"If Coley can do anything and, I assure you, he can do a few things, some very well indeed -- cooking, drinking, smoking, chortling, collecting, dissecting, inspecting, sniffing, gassing, pranking -- to name but a few, he can, without a beat gone by, make you wanna listen to the goddamn records he's criteeking whether it be in old ishes of Forced Exposure, Boston Rock, New York Rocker, or the LA Weekly or his nugget column in Wire. For many his obscurant references to what is already an obscure contempo side can be so layered -- as if the review is some kind of lit cuz to Jodorowsky's spiraling labyrinthian masterpiece of surrealist Espanola 'huh?' cinema, The Holy Mountain -- that the narco-eclectic desire to actually hear what the fuk this accredited gourmandizer is -- in various temperaments -- jazzed about, that you actually find yrself hunting the lathe cut edition of minus three and sending all yr rent money to grip it -- 'Coley wrote about this -- s'posed to be 'insane''. He and Ted Lee have been manning the formidable and replete Feeding Tube emporium for a few years now in the wilds of Western Mass and what at first appeared to be an unlikely pair have become quite a prolific bastion of bonkerism rock and experimental otherness like a water tap stuck on unthreaded gush. Open heads recognize and learn/teach from each other without too many questions being asked (look, listen, have a cold one, step out for a smoke) They play sax? Good toot? sign 'em up! Music is an exchange, a gift, has nothing to do with making money only in making friends and neighbors ('that's where we meet!' --Ornette). Putting out cool records is -- a well worn trope I know, but it's true as trout -- a LABOR OF LOVE. Ted Lee gleans sound art music in organic intrigue obviously from the day he was released from the chute of procreation and it stands to cosmic reason that he can hang tuff and throw down smooth licks with Coley's verbacious loquacity. These readings with sound spoo are just a taste of the cream dream epiphanies these gents collude so instantaneously on. Time is of the essence and music is time, so are thoughts and words like diamond juice dripping from the corners of Don Cherry's pocket trumpet maw -- at least that's what I hear when I hear these cats yowling half past the end of nowhere on a fence behind our collective houses full of records, books, and nudie mags. Life is fuckin sweet." --Thurston Moore, London 2022

2022 repress. Originally released in 1989. "Culture delivers a stellar album and reinvents the sound of reggae along the way under the guiding hand of member Joseph Hill's phenomenal arrangements and productions. The entire set has a massive density to the sound, hearkening back to the heyday of roots; the coursing rhythms pay homage to the rockers style, while the ebullient brass section conjures up the heady melodies of the rocksteady age..." --AllMusic

Recital publish an album of lost Derek Bailey sessions recorded with his friend and collaborator Charlie Morrow. In 1982, Bailey and Morrow organized a series of live concerts and studio sessions around New York. This new LP is a boiled-down rendering of the master tapes that lived dormant in Charlie's archive, until now. Throughout the album, Bailey and Morrow are joined by a rotating cast of New Wilderness players including frame drum percussionist Glen Velez, sound poet Steve McCaffery, publisher and artist Carol E. Tuynman, composer Patricia Burgess, and multimedia artist Michael Snow. The results are surprising and marvelous. The energy of the live concert, which makes up the first half of the record is particularly exciting, with Morrow and McCaffery's visceral sound poetry and Glen's frame drum echoing off of Derek's fret stabs, and Carol, Patricia, and Michael's horns swirling through the air between. A very raw and intense recording. The second side of New York 1982, is a session recorded at The Record Plant, and is clearly more "produced" with panning and tape echo processing, plus experiments with water whistles and other devices. Derek Bailey stands out for personal achievements as a guitarist and for his way of bringing together performance meetings ranging from duos to large ensembles. Working across style and genre, his music and musical unions have inspired the breakdown of boundaries, embracing all flavors of musicians as improvisers. Players focusing on the moment, "without memory." Personnel: Derek Bailey - acoustic guitars; Charlie Morrow - trumpet, ocarina, voice; Glen Velez - percussion; Patricia Burgess - saxophone; Steve McCaffery - voice, saxophone; Carol E. Tuynman - trumpet; Michael Snow - trumpet. Includes eight-page booklet with program notes and artwork; edition of 400.

2022 repress; LP version. 180 gram vinyl, half speed mastered; heavy sleeve with obi and gold ink. We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.

WRWTFWW Records present the worldwide reissue of Midori Takada's solo album from 1999, Tree of Life. Originally recorded in September 1998 at legendary Ginza (Tokyo) studio Onkio Haus (founded in 1974 and where Ryuichi Sakamoto's "Merry Christmas Mr. Lawrence" and many more were recorded) and released on CD only for the Japan market in 1999, Tree of Life is Midori Takada's best kept secret, a lost gem of minimalism and percussive ambient. The album is separated in two parts, the first one finds Takada exploring her trademark environmental soundscapes with precise mastery of marimba, drums, and bells, notably on the magnificent fan-favorite "Love Song Of Urfa". The second half is a collaboration with Chinese virtuoso Erhu player Jiang Jian Hua, allowing Midori Takada to unveil new layers of her artistic mind with a slightly more theatrical approach and a beautiful crystallization of complex simplicity. The entire album was given a fresh new audiophile mix by Midori Takada herself and was mastered at Emil Berliner Studios. This Tree of Life reissue follows two newly recorded Midori Takada albums, Cutting Branches For A Temporary Shelter (WRWTFWW 060CD/LP) and You Who Are Leaving To Nirvana (WRWTFWW 061CD/LP), both available on WRWTFWW Records, along with her 1983 masterpiece, Through The Looking Glass (WRWTFWW 018LP). Design by Kohei Sugiura.

LP version. Tip On sleeve. Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom. Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn't like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks. It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration. The discovery of Bob Dylan, Django Reinhardt, The Byrds, and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs. Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut. In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales's young years, whilst also showcasing an inherent storyteller's ear for narrative. Two aspects of this music make it remarkable: Beales' natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognized) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch, and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion. Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Trevor's music is grounded in reality -- his reality. Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia. Sleeve notes by Hebden author Benjamin Myers.

To celebrate the tenth anniversary of Recital, the label presents Autumn Fair. A group LP comprised of 44 guest players, curated and edited together by Sean McCann. Autumn Fair aptly embodies the feeling of Recital as a record label; the infusion of abstract sound art and sentimental beauty -- performed by both younger and older generations of artists. Personnel: Oren Ambarchi - guitar; Ed Atkins - paper shredder; Jason Bannon - family; Derek Baron - keyboard; Karla Borecky - upright piano; Andrew Chalk - guitar; crys cole - birds; Loren Connors - guitar; Philip Corner - grand piano; Maxwell August Croy - whistle; Sarah Davachi - electronics; Aaron Dilloway - SFX; Delphine Dora - voice; Giovanni Fontana - voice; Scott Foust - trumpet; Peter Friel - impression; Malcolm Green - camera; Judith Hamann - cello/voice; Mark Harwood - speech; Forest Juziuk - voice; Johnny Kay - tapping; Kajsa Lindgren - hydrophone; Rob Magill - guitar; Lia Mazzari - whip; Molly McCann - flute; Sean McCann - editing/voice; Nour Mobarak - voice sampler; Azikiwe Mohammed - interview; Charlie Morrow - MIDI piano; Kiera Mulhern - SFX; Zachary Paul - violin; claire rousay - SFX; Michel Samson - violin; Troy Schafer - strings; Eric Schmid - tone generator; Ben Schumacher - SFX; Tom James Scott - keyboard/SFX; Asha Sheshadri - reading; Patrick Shiroishi - winds; Sydney Spann - voice; Matthew Sullivan - instruments; Flora Sullivan-Kelly - percussion; Connor Tomaka - SFX/synth; Alex Twomey - upright piano. "I won't go into too much detail on the album itself, but after many twists and turns, the album concludes with 'Recital Program,' an intense track that manically collages two-second excerpts from every Recital album to date. I extend a sincere 'thank you' for all the incredible support for Recital over the past decade." Gold foil printing; program notes; numbered fair ticket; edition of 350.

2022 repress. "Music Promenade" (1964-1969): Electroacoustic Music, world premiere for the Théâtre de la musique, March 16, 1970 "Hétéro-Concert". Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl. The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

"Unheimlich Schön" (1971): Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden. Voice: Ilse Mengel. "How does a young woman breathe when thinking about something else?" To be listened to at a low volume.

Translations by Valérie Vivancos. Layout by Stephen O'Malley; Photos by Jacques Brissot, ARR. Coordination GRM by François Bonnet. Remerciements by Brunhild Ferrari. Executive Production by Peter Rehberg; Digital transfer by Jonathan Fitoussi and Diego Losa; Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018.

The official soundtrack to Derek Jarman's 1984 short film Imagining October, with music recorded by Derek's friend and collaborator Genesis P-Orridge (Psychic TV, Throbbing Gristle), and Dave Ball (Soft Cell, The Grid). Recorded at DJM recording studios in Theobalds Road, London. Derek Jarman put together a program of films for the London Film Festival, reflecting the cutting edge of the London avant-garde of the time. Recorded at the same time as The Angelic Conversation, Imagining October was filmed in the Eisenstein Museum in Moscow, Vladimir Mayakovsky's grave at Novodevichy Cemetery, the GUM department store facing red square, and the fire temples of Baku in Azerbaijan. The painting sequences with a group of soldiers (Angus Cook, Stephen Thrower, Peter Doig, and Keir Wahid) was filmed in London. Jarman considered it one of the best, if not the best, of his shorter works. It was intended as an agit-prop work and the combination of music and imagery remains powerful to this day. Features liner notes by James Mackay (Jarman's producer, collaborator, and archivist). Limited edition 12" vinyl featuring a beautiful etched B-side; full color sleeve.

"The heroism of revolution through the queered lens... It was not just the Soviet Union censoring books, Jarman points out here, but Thatcher's government and its homophobia was no greater friend to gays than the regime on the other side of the Iron Curtain. A moral hysteria surrounding AIDs was sweeping Britain, the miner's strike was in full swing (an action supported by gay activists, as it was brutally broken up by police): back home, society seemed on a knife edge" --ArtReview.

In Last Blues, De la Catessen Records presents a mysterious folio of sonic snapshots, as much recaptured as composed, by Jon Dale's project, Moth, in Adelaide in the late '90s and early '00s. We're invited to tune in to these liminal frequencies, to observe and inhabit them, and relish the glowing sensual overdrive of their manifestation. From the ready means and at-handedness of guitar, amp, and tape, a congruous but diverse selection of unnamed tracks emerge -- musical moments borrowed from oblivion with the as yet unfulfilled good intention of returning them. Their sounds evoke abstract Polaroids of winter seascapes flecked with spare, brittle detail, or the scaly-winged flutterings of elusive nocturnal insects. Here, a homely hum like a vacuum cleaner on sunny childhood's weekend morning; there, suburban power lines buzzing gently in the mist. The last track of Last Blues is like a reverent vision of lava-flow for harmonium, the slow-motion eruption of a single chord, which echoes in the mind for hours. Last Blues comes from somewhere that doesn't exist anymore, and shows us something that may never have happened there.

"Jon Dale collapses old dichotomies (such as organic vs. inorganic and heavy vs. light) into a pure horizon of tone with only guitar and a little harmonium. Sonically, it makes me think of a middle point between if Organum snuck into the studio to remix Glenn Branca, and what I imagine the electric synapses firing off in Raymond Roussel's brain would've sounded like if committed to wax cylinder. Which is to say, it sounds rad." --Ben Chasny, Six Organs Of Admittance

Green vinyl. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Not released until over 40 years later, now Viajando Com O Som is back again for a short time only, on limited edition green vinyl.

"Brazilian multi-instrumentalist Pascoal's magical 1976 album casts a spell over the listener from the first beat to the last" --Echoes.

"Viajando Com O Som is a wonderful buried treasure from a better time." --Songlines

"It's a richly satisfying discovery; a snapshot of a master at his peak." --Record Collector

A welcome reissue for this herbal-influenced Zion Train album, originally released on Universal Egg in 1995. A spaced-out, worldwide dub excursion into the Wonderful World of Weed. For 30 years, Zion Train have been at the forefront of the UK dub and festival scene and still take their sound and message worldwide.

Schwarzwaldfahrt is a magical document of a moment out of time, a moment when the saxophone player Peter Brötzmann and percussionist Han Bennink made a journey deep into the heart of the Black Forest with early portable recording equipment and cameras. The recordings that they made there were released as the Schwarzwaldfahrt album by FMP in 1977 and it remains a free music classic, recorded completely in the open air, with Bennink and Brötzmann duetting with the birds, playing in the water, drumming on great natural xylophones made of logs and catching the sounds of airplanes strafing the skies. It is a music of eternal expansion, of elemental communion. This new book comes with the original recordings on a CD and is assembled round a treasure trove of newly discovered photographs taken during the trip by both Brötzmann and Bennink -- photographs of each other, of their lodgings, of their ritual communions, of their route into, and out of the forest. "It's so lonely, this music, these two friends, making music on their own, in all of this space, and back of time, now, too, a document of a world that seems less populated -- by people, by ideas, by demands, by the tyranny of modern time, itself." --pre-liminal poetic text by David Keenan Peter Brötzmann & Han Bennink: e-flat clarinet, b-flat clarinet, bass clarinet, soprano saxophone, alto saxophone, birdcalls, viola, banjo, cymbals, wood, trees, sand, land, water, air. 120 page book; 20x20cm; edition of 1000.

One of the architects of no wave with his band DNA, a pioneer of noise guitar, sublimely inventive producer, and slinkily seductive songwriter, Arto Lindsay has worn countless musical hats. Invited to make a solo record for the Black Cross Solo Sessions, Lindsay boiled it down to essential ingredients, waxing a collection of bristling new songs and works for solo guitar; on six of a baker's dozen tracks, his angelic voice offsets the bracing dissonance of his acidic electric. Recorded at studios in Brooklyn and Araras, Brazil, Charivari has the intensity of a killer live session; it's closer in vibe to the more aggressive side of his work -- think of his trio outing Aggregates 1-26 or the barbed riffs of classic DNA -- than gorgeously arranged solo songwriting records like O Corpo Sutil (The Subtle Body). In these razor sharp cuts you may well discover the identity of what, in the song "Nothing," Lindsay calls "holier than thou timing." CD contains full transcriptions of Lindsay's lyrics. Cover artwork and design by Christopher Wool.

"Robbie Basho's 13th album is now available on vinyl.. Remastered from the original master recording, it has never sounded better. Robbie Basho's innovative pieces for the steel-string acoustic guitar incorporated American, European, and Eastern influences, while his unique voice appeared to emanate from another world. Along with John Fahey and Leo Kottke, Basho was a part of the triumvirate of guitarists on the legendary Takoma Records, and one of the foremost proponents of elevating the steel-string acoustic guitar to the level of a concert instrument. In his brief and troubled life, he laid the foundations for radical changes to the musical landscape of America during the 1960s and '70s but reaped little more than a sparse (if fervent) following during his lifetime. Almost 40 years since its original issue on cassette, Basho's 13th album Bouquet is available on vinyl. Affording us a greater insight into his remarkable vision, this long-awaited release is a critical piece of the puzzle that was Robbie Basho. With lyrical themes traversing famous mystics and arcane symbols, Basho's conceptual focus on Bouquet roves through Catholic, Sufic, Hopi, and otherwise nebulous terrain in search of the choicest blooms, while his approach to composition sees him veering ever further from the long-form instrumentalist of earlier days, becoming something of a troubadour. Remastered from the original master recording (discovered during the production of Voice of the Eagle: The Enigma of Robbie Basho), it has never sounded better. The 24-page booklet includes rare photos and images from Basho's illustrated songbook, as well as texts from Glenn Jones, Henry Kaiser and others. Bonus tracks include an epic 13-minute solo version of 'Land of Our Fathers'."

2022 repress! "The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur's vast archive. This first album Calling Out of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur's prime years 1985-90."

50th anniversary edition reissue, originally released 1972. Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's "One Hundred Records That Set The World On Fire" list. Follow up, Cluster II, has now reached its 50th anniversary and to celebrate Bureau B are releasing a limited anniversary edition, vinyl only in a gatefold sleeve.

"Cluster II was born in two big cities. Back in 1972 Hans-Joachim Roedelius and Dieter Moebius still lived in Berlin, where they were part of the city's swirling underground scene, situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture that perceptibly influenced Cluster II, but the album was recorded in Hamburg; one track a live performance at Hamburg's concert hall 'Fabrik' . . . It goes without saying that they could not do completely without electricity, but they mostly manipulated their keyboards and other electric devices in an improvised way, as if rolling their sleeves up for some real manual work. This way Cluster never saw their role reduced to pushing buttons and pressing switches. It is obvious that Roedelius and Moebius were not late in discovering the tape loop as a method of creating repetitive patterns. They also incorporated an analog rhythm machine into Cluster II, even though it did not yet play an essential part on the album but what they firmly relied on was not their equipment, but rather their intuition and the option to decide at any point what was supposed to happen in the next few moments. The fact that they were always ready to run the risk of musical failure is something that cannot be respected highly enough. So, Cluster proceeded in a different way not only from a musical point of view, but also displayed a completely new attitude. Moebius and Roedelius never submitted to their machines but let their personalities as heart and soul musicians be heard at all times to create 'electronic music with a human face'. Conrad Plank, the ingenious sonic magician, who regularly hosted Cluster, Harmonia and others in his studio, displayed so much enthusiasm and inspiration in helping put these new ideas into practice. Bravely and without fear, Cluster had ventured out on a journey without knowing where it would lead them, stepping into fascinating, virgin territory..." --Asmus Tietchens

LP version. Includes full sized poster and insert. Reissue, originally released in 1984. "Diamanda Galás's second album is sometimes referred to as Panoptikon (the composition on the A-side of the album). The album consists of two pieces: 'Panoptikon', which was inspired by Jack Henry Abbott, whose 1981 autobiographical book In the Belly of the Beast chronicled his experiences in the prison system, and 'ΤΡΑΓΟΥΔΙ ΑΠΟ ΤΟ ΑΙΜΑ ΤΩΝ ΔΟΛΟΦΟΝΗΜΕΝΩΝ' ('Song from the Blood of Those Murdered'), a work dedicated to the political prisoners who were tortured and executed during the 1967-74 Greek military junta. The album, originally released on the label Metalanguage (founded by Henry Kaiser and Larry Ochs in 1978), has long been out of print. It is now available for the first time on CD, and reissued on vinyl for the first time. Remastered by Heba Kadry, with updated artwork overseen by Galás, it follows the recent reissue of Galás's 1982 solo debut The Litanies of Satan (2020) and her new solo piano LP De-formation (2021) on Intravenal Sound Operations. From original liner notes by Richard Zvonar (edited by Galás 2021): 'Panoptikon is a cry of rage by a caged prisoner against his jailer who is concealed from his victims by an impenetrable wall of technology. The title of the work derives from a design for a new kind of prison, proposed in 1843 by Jeremy Bentham. This edifice consisted of a central observation tower, ringed by multiple tiers of cells. Each prisoner could be kept under continual observation by his keepers, yet he would see neither them nor his fellow inmates. Such a polarization of power, manifested through architectural constraint and omnipresent surveillance, would leave an indelible mark upon the victim, even after release. In Galás's piece, the architecture of the Panoptikon is a model for the architecture of the performance work. The observation tower is aurally present as a continuous pulse, placed behind the audience and in opposition to the performer/victim through whose ranting can be seen the progressive psychosis of one buried alive. The walls of his prison become increasingly monolithic as layer upon layer of sound is built up around him -- each one a transformation of the sound of her voice.'"

East London's The Gymslips -- Paula Richards, Suzanne Scott, and Karen Yarnell -- barged their way onto the post punk scene in 1981. They openly embraced drinking, Pie & Mash, monkey boots, and double denim right from the start. Often credited with being the first female Oi! band, but they brought so much more to the table with their punky '60s influenced girl pop. Formed in 1980, the Gymslips started playing live the following year, and opened for Dolly Mixture on a 1981 UK tour. The band referred to themselves as "Renees" a late '60s term for mod girls, the same subculture that named boys "Ronees". Drummer Karen Yarnell told the NME that a "Renee was a girl who got as much shagging done as a bloke while also matching him for pint drinking, fag smoking, nose-picking, farting and the wearing of skinhead style double denim." They recorded five sessions for the John Peel show, after signing to Abstract Records their first single was a cover of Suzi Quatro's "48 Crash", which was released in 1982. The following year they released their sole album Rocking With The Renees along with two further singles "Big Sister" and "Robot Man". After Karen Yarnell left to join Serious Drinking, this ended the Gymslips. Although, they were to return two years later with a new line-up to release their final single "Evil Eye". Deluxe gloss laminated gatefold reissue with bonus 7", The Silly Egg EP; half red and half turquoise vinyl with a white vinyl 7"; includes printed inner sleeve.

Pioneers, that's what they're called. Not properly a giant team, but a bunch of forward-thinking producers. In the heyday of the Italo disco there was some forward thinking, a new way to address the club scene. 1985 is the golden year and if you want to get to the core of the synth-pop experience. Look no further! This previously unreleased compilation collects a series of unbelievable tracks. An outstanding vision featuring la crème de la crème of the early '80s scene. All the way from electro wizard Alexander Robotnick to the astonishing performance of vocalist Mya Fracassini, through the French connection of Bigazzi brothers of Mon Bijou. Also features Mya & The Mirror, Naïf Orchestra, and Gina & The Flexix.

Selected from Alexander Robotnick's catalog of hits and released in this form for the first time. A unique compilation featuring all Robotnick's electro anthems originally released on Fuzz Dance label. A must have for all the Italo-disco and synth-pop freaks out there. Includes a rework by Lorenzo Boscussi.

Previously unreleased music by Otto Sidharta, pioneer of Indonesian electronic music. Inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, the four pieces on Kajang express a contemplation of the self. Otto Sidharta loves to travel, everywhere within Indonesia, in order to collect almost any environmental tones and harmonies he can gather, as an endless source of composition. He is also deeply inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, as in some remote places, they keep their own tradition very strongly. What really interests Sidharta is musicians not interacting with other kinds of music, as in those deep villages, where one might find sounds that feel like very "natural". It results in works expressing Sidharta's personal impression from their music: "I just use my own feeling, with no calculation", not using the tribals motif or style. Kajang is the name of a tribal people living in the south of Sulawesi, a giant island in eastern Indonesia, a closed community, that Sidharta visited twice: "They cut off their communication with the outside world. They live in a very traditional way and try to avoid any new development in culture that might impact their way of life." Sidharta's previous album collected early pieces under the title Indonesian Electronic Music 1979-92, released on Sub Rosa in 2017 (SR 452CD). Kajang gathers a quartet of compositions from 2015 to 2020. White vinyl.

Never released before recordings from Logos Foundation live sessions at Logos Foundation, Gent, Belgium on January 3, 1981. "The music is free-improvisation -- that is we make our music co-operatively while playing: by listening, reacting, throwing in new ideas, not by following preplanned schemes. At its simplest the group's intention can be said to be to play together as well as possible and to enjoy ourselves while doing so. We are very interested in the result and intend that the audience is as well. As well as the musicians reacting to each other the music itself is pretty reactive to context. In other words, room acoustics, background noise, audience response have a strong effect on what happens. This is particularly true of the audience. We have done performances where conversation has broken out with some audience members. There is much to see as well as hear -- this is partly to do with the instruments. Together Terry, Steve and David have hundreds, all sizes, all sorts, most colors. They completely cover the floor. Many of these are non-western. The wide range of instruments means that an extremely broad sound spectrum is covered, from sudden bangs to very quiet low notes, from squeaks to normal guitar sounds. This is what fixes the overall group sound." Personnel: David Toop - flute, home-made reeds, percussion; Peter Cusack - guitar; Steve Beresford - piano, small instruments; Terry Day - percussion, home-made reeds.

Logos Foundation: Belgium Flanders' unique professional organization for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research and other activities related to contemporary music. This organization has been founded in 1968 by Godfried-Willem Raes.

In the year that Juneteenth was finally declared a national US holiday, 2021, Joe McPhee and Tomeka Reid united for a live concert in celebration. Multi-instrumentalist McPhee was deeply moved by the historical nature of the circumstances, the incredible freight of that history of oppression and liberation represented in the legislation, both the insanity of its overdue-ness and the joy of its institutionalization. As a preamble to the music, McPhee led off with two poems, read with trembling, vehement intensity: "Alone Together" and "Nation Time For Real This Time." Then, without a pause, they launched into a 33-minute duet for tenor saxophone and cello that gutted everyone in the packed audience, alighting for a brief segment on the late-19th century hymn "Lift Every Voice and Sing," the so-called African-American National Anthem, lyrics from which the title of the record is taken. At the concert's end, McPhee was nearly inconsolable, the immensity of the day and the emotion of the playing overtaking him alone in the dressing room. Let Our Rejoicing Rise is a kind of apotheosis, an outpouring of two sensitive souls at the dawn of a new day in an epoch of damnation. With a jubilant cover image by Gee's Bend quilter Mary Lee Bendolph, recorded and mastered by Alex Inglizian, it's a once-in-a-lifetime record.

"The soundtrack to the Residents' long awaited new feature film Triple Trouble. Seven collaged suites of brand-new Residents music, film dialogue and one or two familiar themes. Triple Trouble the movie will be appearing at film festivals and art house cinemas near you throughout 2022. 'From priesthood to plumber: In the wake of his mother's death, an idealistic but emotionally isolated man replaces his belief in God with a faith in fungus...' The Residents present Triple Trouble, the soundtrack to their forthcoming fifty-years-in-the-making feature film of the same name. Featuring a blend of extended instrumental cues, film dialogue and spoken word extracts, and self-produced by The Residents and regular collaborator Eric Drew Feldman. Dive deep into the psyche of Randall 'Junior' Rose, son of a recently deceased rock star and a former priest who has lost faith in the church. Convinced that a fungus is a threat to humanity, and accompanied by his only friend Cherry, an AI enhanced drone, Junior slowly gathers evidence to support his bizarre theory, spiraling out of control in the process..."

Color vinyl. Includes unreleased track. "Welcome reissue of long out of print UK DIY post-punk EP, with OG copies currently demanding triple digits. Previously released on the peerless early '80s DIY-avant punk label 'Its War Boys', Emotional Response is proud to reissue this genuine 1983 Rosetta Stone post-punk-disco-dub oddity from one of the few legit unsung pioneers of the UK underground. Recorded in the twilight hours, at the legendary Surrey Sound with Chris Gray at the controls, featuring the arresting vocals of Sara Fancy, this long out of print EP serves as an essential piece of the jigsaw from a sprawling and fascinating back catalogue of Amos. (AKA Xentos Jones, Amos D'eath, L. Voag, Jim Welton, and others...), the playful lunacy and a driving force and behind such heavy hitters of the UK DIY avant-pop squat scene such as Milk From Cheltenham, L. Voag, The Work, The Fear Merchants, Just Measurers, The Homosexuals... and a bazillion others. This EP collects the three original EP tracks, plus the additional previously unreleased studio dub, rescued from an oxide shedding cassette. All remastered with love and consideration, ready for the gen pubs aural consumption. This is essential and rewarding listening. As those of you who know, will appreciate."

"The Dwarves '90s punk classic returns with bonus tracks and expanded art. Includes 'Back Seat of My Car', 'Astroboy', 'Motherfucker', and 'Drugstore'. This record should be in every punk rock collection."

"Eddie Harris Quartet - Live At Fabrik Hamburg 1988; Gatefold, 180 gram vinyl. This musician is simultaneously world-famous and unknown. The label Atlantic periodically re-released the recording of a very special concert he took part in and everybody who is somehow interested in jazz, even if only on its fringes, most probably has listened to at least one of the numbers performed by the saxophonist Eddie Harris. On June 21, 1969, he met with singer and pianist Les McCann on stage of the old casino of Montreux to unleash what can only be described as a firework of music, hardly ever experienced by the jazz community before. Situated somewhere between jazz, funk and soul, McCann and Eddie Harris actually create (this is no exaggeration!) something like a new style; and "'Compared to What', Les McCann's spectacular song oscillating between 'black consciousness' and the civil rights rhetoric, became the hymn of this movement."

In 1997, after a lengthy hiatus, Echo & The Bunnymen returned to the fore with Evergreen, revealing the brighter side of the band, and standing up with any of their earlier work. The self-produced album was recorded at The Doghouse in Henley-On-Thames with additional strings, horns, and vocal arrangements recorded at Abbey Road. The album saw the band rightfully return to the UK album charts at #8, with three singles ("Nothing Lasts Forever", "I Want to Be There (When You Come)", and "Don't Let It Get You Down") entering the UK top 50. "Nothing Lasts Forever" (with backing vocals and tambourine by Liam Gallagher) has grown to become one of the band's most enduring and well-loved songs -- a UK Top 10 and a fan favorite to this day. To celebrate its 25-year anniversary, London Records releases Evergreen. Double-CD version is remastered and expanded; includes studio B-sides, live and acoustic sessions, and previously unreleased versions across 33 tracks.

Reissue of the third album by Swedish trio Tape, originally released in 2005. First time on vinyl. On, Rideau, made their great leap forward. Released on Häpna, following two albums of pastoral folk meets electronica, Rideau saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (Pluramon). On Rideau, Tape's music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, Rideau has a new home with Morr Music. Rideau sits neatly with Morr Music's catalog yet it feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape's sometime collaborators, Tenniscoats. While they had previously recorded their albums in rural Sweden, for Rideau, the trio decamped to Schmickler's Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. You can hear Schmickler's influence at an almost molecular level -- Tape had never sounded quite so graceful and assured with their compositions. Rideau represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of "Sunrefrain", and the insistent piano arpeggio of "A Spire", which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song's stretched canvas. Reflecting on Tape's essence, Schmickler isolates their "uncompromised ethos, caring about small details." This echoes most radically through the twilight environment of "Long Lost Engine", which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song's surface. It's followed by the reissue's extra track, Japanese electronica quartet Minamo's remix of "Roulette", a connection that would lead to a Minamo/Tape collaborative album, Birds Of A Feather (2007). For now, though, here is the gorgeous, penumbral abstraction of Rideau, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world. Includes printed inner and download code; edition of 500.

Comprehensive box-set of six LPs/EPs and Aroma Di Amore first rare 7". Aroma Di Amore is/was Belgian's premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987. Frontman Jos Verlooy adopted the stage name Elvis Peeters. His companion Gerry Vergult -- who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts -- adopts the stage name Fred Angst. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist, and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters's choice of words continues to show a penchant for absurdism and sarcasm. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In Lauwe Oorlog (1983), Peeters exposes the core of his unrest. In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. Encouraged by modest success in the alternative circuits, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, "Voor De Dood" remains the most popular AdA song. AdA goes to the Netherlands to record their next album, De Sfeer Van Grote Dagen. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. De Sfeer Van Grote Dagen is the group's most adventurous album. PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album, and in the meantime, AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released. At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. Harde Feiten kicks in immediately, and the group is back up to cruising speed. At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. Koudvuur is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy.

Double-LP version. Gatefold sleeve. With their sixth studio album, Oiseaux-Tempête unveils a new facet of its mythology through a dense work that carries darkness towards the light of day, that rumbles, calms down and warms up again. Like the silhouette of a lighthouse that reveals itself as its torch rises and shines, the powerful beauty of What On Earth (Que Diable) radiates into an expanding musical cosmos. From the mammoth riffs of "Partout Le Feu", progressively thickened by explosive sound textures and sirens ringing the alarm, you levitate on "Terminal Velocity", a minimalist interlude with a crepuscular feel that is jostled by the hypnotic pulsations of "Voodoo Spinning" and then the call of the dungeon "The Crying Eye - I Forget", an electro mystical trance that deploys its philters in a troubled moat haunted by the psalmodies of Radwan Ghazi Moumneh. The tempo speeds up in "A Man Alone in a One Man Poem", a meeting of body and mind, of mechanical energy and burning breath where the spoken word of G.W.Sok sneaks in, before the pastoral crossing of "Waldgänger" and its forest of electronic chimeras.

"... At the center of this project, which blurs lines and genres, the duo turned trio of multi-instrumentalists Frédéric D. Oberland, Stéphane Pigneul, and Mondkopf have been building dialogues between their own reality, their vocabulary, and those of fellow travelers met all around the surface of the world. From their Mediterranean trilogy to their foray into Canada with the explosive From Somewhere Invisible, deeply instinctive albums shrouded in mystery take shape, in parallel with feverish and incendiary live performances, punk in their urgency to tell the world by blasting the boundaries of space and time. After having signed the soundtrack of the bewitching Tunisian film Tlamess (Sortilège) by Ala Eddine Slim in 2020, Oiseaux-Tempête immerses us with What On Earth (Que Diable) in a collapsed future. A psychedelic/psychological roadmap, the album gathers around Frédéric D. Oberland, Stéphane Pigneul, Mondkopf and Jean-Michel Pirès (Bruit Noir), the voices of Ben Shemie (SUUNS), G.W.Sok, Radwan Ghazi Moumneh (Jerusalem In My Heart) or the electric strings of Jessica Moss (Thee Silver Mt. Zion). If the planetary reality of 2022 looks like a bad spin-off of a pre/post-apocalyptic series, this new record invites us to another kind of anticipative present where the only weapons are poems chanted against the wind. Ben Shemie opens the projection on 'Black Elephant' and sets the tone for this magnetic dance . . . Drum machines, analog synths, percussions, guitars, mellotron, flute, saxophone, vocals, rhodes, piano, violin and electric buzuk come to life in a sort of disaster aesthetic, pushing back the walls of the decor, against the current of any calibrated music." --Alice Butterlin

2022 repress. "There have been some very cool guitar duo LPs over the years -- Bert Jansch & John Renbourn's Bert & John, Danny Kalb & Stefan Grossman's Crosscurrents, Jody Harris & Robert Quine's Escape, Charalambides' Joy Shapes, Bill Orcutt & Michael Morley's Electric Guitar Duets, any comp of Kansas Joe McCoy & Memphis Minnie, etc. -- but there has never been one quite like Avoidance Language. It is a wild-eyed classic from start to finish. Ostensibly a meeting between two guitarists lurking around the Boston area (although Rob has since moved to Japan), Joseph's mastery of other instruments (harmonium and banjo) affords the pair a wider range of sounds than some of their precedents. But they also eschew vocals here, so that kinda balances things out. At least in my book. The album's four tracks display brilliance and variety in spades. 'Feet of Clay and a Crown of Stars' is a two guitar conversation, with notes initially slurring and sliding against each other, then spreading out like waves of sound hitting a sandy beach. It's like something you might hear inside your head if John Fahey dunked you in one of the hot tubs at Big Sur. On 'Stutter Study' Allred uses his harmonium to soften the rhythmically tangled briar patch improvs by Noyes. 'A Valid Subspecies' pairs Noyes' guitar with Allred's provocatively original banjo inventions. Rob's playing on this one mixes ruminative downstrokes with aggressive single string highlighting in a style quite different from his trademark whirlwindery. Finally, on the title track, we are shown another intricate and deftly woven two guitar tapestry. It makes me imagine what Robbie Basho might have done in response to 'The Hall of Mirrors in the Palace at Versailles' from John Cale & Terry Riley's Church of Anthrax album. What can I say, but 'Wow.' Avoidance Language is one for the ages. Don't miss your chance to get ahead of its curve." --Byron Coley, 2021

2022 repress. Originally from Chicago, Haymarket Square released in 1968 one of the rarest vinyl artifacts from the US underground psychedelic scene: the Magic Lantern album. Originally conceived as the soundtrack to a psychedelic lightshow art installation, the album offers crude, dark, psychedelic rock featuring trippy fuzzed-out/wah guitars, male-female vocals and long tracks. Newly remastered sound, insert with liner notes, repro of the ultra-rare Baron & Bailey Lightshow poster. New repress in hard cardboard sleeve; OBI; resealable outer sleeve.

"Magic Lantern is as fine a display of American psychedelia as late-60s albums by It's a Beautiful Day and Jefferson Airplane. This will appeal to fans of the fuzzed-out guitar antics of Cream and Blue Cheer." --Dean McFarlane (AllMusic)

50th anniversary official reissue of this holy grail kraut album from 1972. Real underground heavy-prog/psychedelic hard-rock with raw, in-your-face production, German lyrics, insane acid-fuzz guitar, garage organ and dark, proto-doom atmosphere -- the real deal! Named after the famous Lovecraft book, Necronomicon formed in the German town of Aachen in 1970, first influenced by bands like Black Sabbath, Deep Purple, Pink Floyd, Hendrix... In 1972 they entered a small studio in the Dutch border and recorded in just five days a concept album named Tips zum Selbstmord. The title roughly translates as "Tips on how to commit suicide" but the message the band wanted to give had nothing to do with taking your own life but instead with how mankind was facing self-destruction, destroying its own planet by pollution, wars, exploitation and overpopulation. 500 copies of the album were privately pressed by the band, housed in a lavish, cross shaped multi fold-out cover. It was a graphical translation of what they wanted to express musically. Original copies are impossible to find, making it one of the most desirable and sought-after kraut/German albums ever. Here's a long overdue new vinyl reissue. RIYL: Black Sabbath, Amon Düül, Gila, Paternoster, Hawkwind, Gäa, German Oak, Pink Floyd, Hendrix. Faithful reproduction of the original multi-fold-out cross shaped cover; sourced from the original master tapes; insert with detailed liner notes and photos. "... one of the best and most unique German records of the early seventies." --Cosmic Dreams At Play "... Necronomicon has created a dark and powerful vision that blends psychedelic and progressive music with a proto-punk garage band sensibility" --Rolf Semprebon (AllMusic)