A reissue of the first album from the legendary Japanese rockers, Flower Travellin' Band, fronted by Yuya Uchida. Although an album consisting mainly of cover versions, Anywhere, originally released in 1970, still exhibited many of the musical traits that were to come to the fore on the band's next release in 1971, the classic Satori (ASH 3002CD/LP), an album of original material delivered with panache by the increasingly confident Uchida. An album made memorable by its risqué cover as well as its ground-breaking approach to Western rock music. 180 gram yellow vinyl; includes CD and insert; hand-numbered sleeve.

During the past few years, material has been gathered concerning the group Ramleh for a book focusing on their beginning as one of the UK's leading power electronics mainstays to their becoming a more outward-bound rock group given to blending sprawling psychedelia, noise, post-punk, intense electronic music and far more besides, in addition to occasionally nodding to their earlier sound. Initially founded by Gary Mundy and Bob Strudwick after being inspired by punk, avant-garde, and industrial music, as well as the complete restart accorded by Whitehouse, Ramleh soon tore apart the templates with a sound and vision entirely their own. Mostly sidelined in the decades since, the group, now driven by Gary and Anthony Di Franco, has proven itself to be one of the most versatile and downright headstrong to have arrived from a time when dozens of such groups went almost as fast as they appeared. Like the very best of them, however, they not only kept going despite the odds, but also continued to push themselves artistically and explore new places just when an audience was starting to take notice. The idea of fitting snugly into a particular style was never on the agenda, irrespective of the group's having created a sound completely their own to work within. With the advent of the digital age, Ramleh deservedly gained a comparatively wider audience and are now often seen critically acclaimed or cited as an inspiration by other groups. Partly for these reasons, a book felt like a natural step to take in order to help pin down one of the more interesting narratives to have arisen from such realms of music, and indeed some of the ideas behind it. Collecting around 356 pages centered on a lengthy and conversational interview with Gary Mundy that looks back at Ramleh's inception and moves through the group's work until and including The Great Unlearning album, plus some of the peripheral projects, Grudge For Life: A Book About Ramleh also includes additional interviews and insight from Anthony Di Franco, Stuart Dennison, the late Simon Morris, Teho Teardo, Stephen Meixner, Steve Pittis, William Bennett, Kate MacDonald, Juntaro Yamanouchi, Richard Rupenus, and others. Besides also including a discography including extensive personal notes from Gary and Anthony and some other bonus material, there are pages dedicated to reprinted ephemera and some previously unpublished photos. Richard Johnson, responsible for conducting the interviews and collating the material, has released albums by both Gary and Anthony on his Fourth Dimension Records imprint. He has also produced a book devoted to his Grim Humour fanzine, plus during more recent years has contributed to several magazines. Book B5 hardback.

"DC hardcore punk legends Assault & Battery featured members of the original lineup of Government Issue, Artificial Peace, Marginal Man and Savage Beliefs. This first ever official release of their only studio recording -- expertly transferred from the original 4-track master in Chicago at Electrical Audio and subsequently mastered by Tom Withers a.k.a. Tommy Stupid -- documents a vital group in the first flourishing of the DC Hardcore scene. It contains the band's previously bootlegged songs, plus never before heard takes! Limited Edition 160 gram metallic gold vinyl (500 pressed) in a 20pt board jacket with printed inner sleeve with liner notes by the band."

It's been a decade since Andy Stott released Passed Me By (2011), a radical re-imagining of dance music as an expression of "physical and spiritual exhaustion" (Pitchfork). What followed was a process of rapid remodeling: We Stay Together (2011) -- slow and fucked, for the club, Luxury Problems (2012) -- greyscale romance, Faith In Strangers (2014) -- destroyed love songs, Too Many Voices (2016) -- 4th world Triton shimmers, and It Should Be Us (2019) -- the club, collapsed, a run of releases that gradually untangled complex ideas into a singular, chaotic body of work somewhere between sound-art, techno and pop. In early 2020 - with a new album almost done and an offer to produce for a completely mainstream artist on the table -- personal upheaval brought everything to a sudden standstill. Months of withdrawal eventually triggered renewed curiosity, a different approach. Stott began to record hours of raw material; slow horns, sibilance, delayed drums, wondering flutes -- whatever, whenever. And although software made it possible to iron out every kink and knot, Stott tirelessly looked for them -- in pursuit of a sound that was human in all its awkward asymmetry. With vocals recorded by Alison Skidmore, the album was finally completed late in the year -- taking on a completely different shape. Its songs were desolate, melancholy, defiant, beautiful -- often all at once. The sounds echoed music around Stott during those months: Prince, Gavin Bryars, A.R. Kane, Bohren & der Club of Gore, Robert Turman, Cindy Lee, Leila, Catherine Christer Hennix, Junior Boys, László Hortobágyi, Nídia, Prefab Sprout -- the unusual, the familiar. And echoing that mix of new and old, each of the songs on Never The Right Time seem woven from the same thread despite following different trajectories; from the lovelorn shimmer of opener "Away Not gone", to the clattering linndrum pop of "The Beginning", through "Answers" angular club haze, and the city-at-night end-credits "Hard To Tell". These are songs fueled by nostalgia and soul searching, but all hold true to a vision of music making as a form of renewal and reinvention. A ten-year cycle, complete. Mastered by Rashad Becker.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto. The Screamers concept was simple, yet audacious: take the spirit and the look of punk -- the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism -- and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational -- to evoke (as Tomata described in an early interview) a state of anxiety. Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' -- perhaps their peak moment, recorded at Target Video in August 1978 -- has now passed over 650,000 views online. This is the Screamers' time, and the time is now." --Jon Savage (excerpt from the liner notes). Cover featuring artwork by Gary Panter.

Two giants of the Japanese noise scene present exclusive material on a special limited vinyl release. Controlled Death is the nom de plume of Maso Yamazaki (Masonna), who unleashed his claustrophobic death industrial/blackened electronics debut for Cold Spring in the autumn of 2020 -- a sold-out split LP with Rudolf Eb.er (CSR 283LP). "Devil's Sacrifice" (in six parts) continues Maso's obsession with heavy, Korg MS-20 drones. Deranged vocals choked under impenetrable, blood-soaked atmospheres of doom, death and decay, saturated with washes of anxiety, paranoia and alienation. Mayuko Hino, "Queen Of Japanese Noise", delivers two lengthy tracks. While the first track is filled with feverish, dense noise and swathes of savage electronics, the second, mind-melting electronic piece -- reminiscent of her debut album Lunisolar for Cold Spring (CSR 245CD, 2018) -- descends into a diseased, suffocating maelstrom, finishing on the verge of psychosis. In addition to self-made instruments, Mayuko plays noise with her six-theremin oscillators (in bright pink) -- the one-and-only in the world, specially made by Ryo Araishi (aka ichion). Mayuko is most well-known for forming C.C.C.C. (Cosmic Coincidence Control Center) in 1990, together with Hiroshi Hasegawa, Fumio Kosakai, and Ryuichi Nagakubo. Picture disc; edition of 400.

LP version. From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock, and hip-hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnamable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city's newest trailblazer: the enfant-terrible of Rio's music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city's musical legacy. "It all started one sleepless night, after watching a Quincy Jones documentary." Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro "people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects." The list included some of Brazil's most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman, and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico. A Pegada Agora É Essa (The Sway Now) is Neves's second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock n' roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer. "My offer to the musicians was complete freedom to express themselves through the songs I proposed -- classics like 'Summertime', 'Luz Negra', and 'Noite de Temporal', and compositions of my own -- creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals "Partido Alto" ("A Pegada Agora É Essa") and "Jongo" ("Jongo no Feudo" and "Luz Negra"); rhythms of African-Brazilian religions like Candomblé ("Noite de Temporal") and Umbanda ("Forte Apache"); and a tribute to newest Rio de Janeiro's contribution to Brazilian music, the funk Carioca ("Simba"). Features Leda, Esguleba, Alice Caymmi, Ana Frango Elétrico, Hamilton de Holanda, Leo Gandelman, and Edu Neves.

LP version. First of two LPs. Far Out Recordings present Mora! and Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years was shelved for decades to follow. A pan-American melting pot of hypnotic Afro-Cuban rhythms, frenetic batucadas, and fiery sambas, Mora! I & II are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. He very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour. Settling in Detroit, Francisco set to work on his self-titled debut, gathering an ensemble of musicians including keyboardist Kenny Cox, founder of the legendary Strata Records, bassist Rodney Whitaker (Roy Hargrove Quintet) and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora's own words the album intended to "manifest the African heritage presence in the American continent." Epitomizing this outlook, album opener "Afra Jum" deploys a melody based on Haitian, African, and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of Afro-Cuban inspired percussion. The sequel Mora! II was recorded shortly after with an expanded line-up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, and others. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter "Amazona", led by the rich vocals of Francisco's wife Teresa Mora. The "Afra Jum" concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum.

LP version. Second on two LPs. Far Out Recordings present Mora! and Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years was shelved for decades to follow. A pan-American melting pot of hypnotic Afro-Cuban rhythms, frenetic batucadas, and fiery sambas, Mora! I & II are holy grails of Latin jazz, masterminded by an unsung hero of the genre. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. He very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour. Settling in Detroit, Francisco set to work on his self-titled debut, gathering an ensemble of musicians including keyboardist Kenny Cox, founder of the legendary Strata Records, bassist Rodney Whitaker (Roy Hargrove Quintet) and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora's own words the album intended to "manifest the African heritage presence in the American continent." Epitomizing this outlook, album opener "Afra Jum" deploys a melody based on Haitian, African, and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of Afro-Cuban inspired percussion. The sequel Mora! II was recorded shortly after with an expanded line-up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, and others. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter "Amazona", led by the rich vocals of Francisco's wife Teresa Mora. The "Afra Jum" concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum.

Originally released in 1979. Edited by Brad Osbourne at Bullwackie Studio. A collection of tunes recorded between 1976-78 and somewhat of a US issue of Delroy Wilson's True Believer In Love LP released on Carib Gems in the UK in 1978 and on Micron in Canada the following year. Brad's collection features just one number from the former and the complete B side from the ladder. On the back sleeve: "Delroy Wilson has a lot of very special things going for him, things that made him the 'big soulful vocal star' that he is and the most consistent vocalists today in Jamaica. Perhaps the foremost of these qualities is an elusive commodity called soul, which is feelings, emotions, expression. Well to me, Delroy doesn't just sing -- he feels the song from within. Some might say he is one of the finest of one of the best reggae singers, but I think a little different, because I know Delroy can sing anything and sing it well. Soul, funk, reggae, shot music anything he's got the power, the know-how, the soul to mash it up..." Personnel: Robert Shakespeare - bass; Carlton "Santa" Davis, Sly Dunbar - drums; Chinna, Tony Chin - guitar (lead); Bobby Ellis, Dirty Harry, Tommy McCook - horns; Burnard "Touter" Harvey, Ossie Hibbert - organ; Ansel Collins - piano. Producer: Bunny Lee.

Patrick Shiroishi is a Japanese-American multi-instrumentalist and composer based in Los Angeles who is perhaps best known for his extensive and incredibly intense work with the saxophone. Over the last decade, he has established himself as one of the premier improvising musicians in Los Angeles, playing solo and in numerous collaborative projects including Upsilon Acrox, Corima, Oort Smog as well as improvising ensembles Danketsu 10 and Borasisi. Shiroishi may well be considered a foundational player in the city's vast musical expanse. Zachary Paul is a violinist and composer currently located in New York. His work explores the boundaries of perception, the invocation of trance states, and the juxtaposition of stasis and movement. Zachary has released solo work on Touch and Preserved Sound, and has performed with the Sonic Open Orchestra and the String Orchestra of Brooklyn. He is also a regular member of the band Nadoyel and a frequent improviser in a variety of musical idioms. These recordings capture a meeting between Patrick and Zachary, a few days before Zachary left Los Angeles and embarked across the country. The sounds of Garfield Park echoed while the San Gabriel mountains burned, and Patrick and Zachary intoned a prayer for our shared futures.

Stardust uses cassette recordings from 2015-2018. Some songs (in different form) appear on the Mára recording Here Behold Your Own. Remixed using dubplates of Faith Coloccia's mixes and additional recordings by Philip Jeck in Liverpool, UK, 2020. Mastered by Denis Blackham. Artwork and photography by Jon Wozencroft.

Faith Coloccia is an American artist and composer based in Vashon, WA. She was born and raised in Palm Springs, CA, and attended Otis College of Art and Design in Los Angeles (BFA). Her work is focused on time deconstruction, inherited memory, indexical archives and how sound affects the body in space. Using voice, field recordings, visual scores and traditional instrumentation, she unites composition, spirituality and installation acoustics into a cohesive whole. She performs under the names of Mamiffer and Mára and has been commissioned by and performed at festivals such as Big Ears (US), Hopscotch (US) and Sacrum Profanum (PL). She has collaborated with artists such as Daniel Menche, Jon Mueller, Aaron Turner, Circle, and Eyvind Kang. Her work has been released on SIGE Records, Karlrecords. Room40, and Touch.

Philip Jeck studied visual arts at Dartington College of Arts in the 1970s and has been creating sound with record-players since the early '80s. He has worked with many dance and theater companies and played with musicians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen, and Bernhard Lang. He has released 11 solo albums. Suite, a vinyl-only release, won a Distinction at The Prix Ars Electronica, and a cassette release on The Tapeworm, "Spool", playing only bass guitar. His largest work made with Lol Sargent, Vinyl Requiem was for 180 record-players, nine slide-projectors and two 16mm movie-projectors. It received a Time Out Performance Award. Vinyl Coda I-III, a commission from Bavarian Radio in 1999, won the Karl Sczuka Foderpreis for Radio Art. Philip also still works as a visual artist, usually incorporating sound and has shown installations in Liverpool, London, Berlin. Philip Jeck has won the Paul Hamlyn Foundation Award for Composers 2009. He has toured in an Opera North production playing live to the silent movie Pandora's Box (composed by Hildur Gudnadottir and Johann Johannson).

Available on CD for the first time. The Green Child is the once long-distance, now based in the same house recording project of Raven Mahon (furniture maker and former member of Grass Widow) and Mikey Young (recording engineer and band member of Total Control, Eddy Current Suppression Ring). The duo draws its spectral pop sound from an illusory past as much as they stalk into pastures new. Broadly retro-futuristic in scope, verdant acres of lushly evocative synthesizers and vintage drum machines underpin most of The Green Child's upbeat yet decidedly uncanny songs. More assured and auspicious, the songs collected on Shimmering Basset are concerned with life after relocation and deal with distance and staying connected. Shimmering Basset also concerns itself with the subjects of transport, escape, the centering of home, humanity in the performative news arena and the idea of time being a beast, animate and hungry. "Fashion Light" conjures up a brilliance from the first few sparks of the album, spinning dizzy dots of synth melody into a classy slice of avant-pop, with live drums courtesy of Shaun Gionis. "Low Desk: High Shelf" follows in likewise sprightly mode. Glancing synths criss-cross, worthy of Orchestral Manoeuvres In The Dark, echoing off the straight-up beat, allowing Raven's collected vocal to stitch its haunted path. A floating kick drum sets off the shivery flurries of sound on "Witness", featuring bristling electronic percussion from James Vinciguerra. Blossoming basslines and saxophone blushes sweep through the relaxed atmosphere of "The Installation". "Tony Bandana" makes a break for it as a rock song with Arron Mawson lending his bass skills to the foray. The Green Child acknowledge an interesting array of musical cues from New Musik via Sade to Hot Chocolate, the latter most keenly felt on the slinky groove behind "Dreamcom". Clockwork sequencing, drawbar organ amid bouncing guitar spirals and a lightness of vocal touch make for a potent potion. The duo covers "Resurrection" by Canadian '60s popsmith Andy Kim later on the record, turning his orchestral "hymn of searching" into a grandiose tower of overlapping drones, languid vocal reverb, and strummed chords. Meanwhile, "Health Farm" is awash with questing keyboard melodies, its notes speeding into each other like Boards Of Canada with the legato ramped up. "Double Lines" draws this fascinating album to an end, seeping into the room like an apparition. Shimmering Basset is a robust album of compelling melody, expanded vision, and melancholic grandeur.

"Blod is the solo project of Gustaf Dicksson (Enhet För Fri Musik, Oroskällan), a prolific and crucial figure in the Swedish Underground scene radiating out of Gothenburg and centered around a number of independent labels and including bands such as Enhet För Fri Musik, Monokultur, Oroskällan, Loopsel, and Neutral. Blod has released various home-recorded cassettes and a handful of albums since 2014, all mercurial in nature, exploring various facets of Dicksson's preoccupations. The melodies borrow from tradition and possess a lonesome quality inspired by Swedish melancholy, close relations, and white trash culture. Combined with intentionally banal artwork, the experience can be beguiling and sometimes bleak but at the same time warm and humorous. Missväxt is Dicksson's greatest work yet, exploring the myth of ancient Swedish being and misery but with a sound that is uniquely ecstatic. Inspired by medieval folk music, it's reminiscent of Fairport Convention's marriage of traditional folk music and psychedelic rock. Missväxt features guest appearances by Elin Engström (Loopsel, Monokultur) on drums, Astrid Øster Mortensen on vocals and flute, Joakim Karlsson (Facit) on production and synth, and Magnus Jäverling on flute."

"Scissor Tail presents the first vinyl issue of Marc Barreca's 1986 album The Sleeper Wakes, originally only released on cassette by the Seattle electronic ambient label Intrepid. Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl in 2016, was one of the earliest releases on Palace Of Lights. Recent releases include Shadow Aesthetics (2018) and three collaborations with K. Leimer. Previous reissues include work on the acclaimed VOD box set American Cassette Culture, the Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette Music Works For Industry. His work is also included in the collection of The British Library. The Sleeper Wakes has been out of print for many years and Scissor Tail is very happy to remaster and reissue this great work that was ahead of it's time, employing analog treatments of sampled sounds arranged in a very interesting and intuitive way."

"People Like Us: People Like Us Vicki Bennett's plunderphonic experiments with sampling over the last three decades reclaimed and revitalised the forgotten detritus of 20th century music and have paved the way for an explosion of postmodern sound collage in the online era. She talks to Abi Bliss about her immersive new spatial audiovisual extravaganza Gone, Gone Beyond which is set to tour the UK this year. Joe Chambers: Venerated by Blue Note legends such as Wayne Shorter, Bobby Hutcherson and Freddie Hubbard, percussionist and composer Joe Chambers has been the secret ingredient in some of the most adventurous jazz of the modern era. As he releases a brand new album, he talks with Dan Spicer about how he keeps pace with modern music. Embassador Dulgoon: This shapeshifting Chilean ensemble are forging a new version of ambient exotica through their globetrotting sonic fictions and collaborations with Grant Corum, Siet Rae, Tomás Dittborn and Spencer Clark of The Skaters, alongside ambitious projects to open a brand new creative space in the idyllic countryside in Caburgua. Invisible Jukebox: Sarah Gail Brand x Mark Sanders The UK improv double act of trombonist Sarah Gail Brand and drummer Mark Sanders submit to The Wire's mystery record test. Global Ear: In Central Slovakia's Liptov region a new compilation turns folk song away from essentialist and nationalist narratives and towards queer new ends. Unlimited Editions: Our Size Matters columnist Byron Coley digs through the record and book archives of Chicago punk and rock 'n' roll chroniclers Hozac. Unofficial Channels: Gareth Lindsay gives thanks and praise for YouTube sound system historian Rooftop Defoe aka The Librarian Of Dub. Plus interviews with Alpha Maid, Sunareht, Joná? Gruska and Charmaine Lee."

"The Gordons crashed upon the do-it-yourself scene of early 1980s Christchurch with torrential force, self-releasing two foundational planks of the vibrant New Zealand underground. Future Shock, a three-song 7-inch released in 1980, is a wild-eyed rampage, as staggering as any feedback-addled punk then being recorded at Southern Studios. The Gordons LP, which followed in 1981, matches the abandon with motorik churn and livewire dissonance, evoking New Zealand antecedents as divergent as This Kind Of Punishment and the Dead C. Brought together on this release, they're a noise-rock landmark anticipating fans such as Sonic Youth. Flying Nun Records, the storied Christchurch label and symbol of the island nation's rich independent music scene, re-released The Gordons and Future Shock together in 1988 following the formation of Gordons outgrowth Bailter Space, which frontman Alister Parker founded with Clean drummer Hamish Kilgour. Bailter Space, which would also come to include founding Gordons members Brent McLachlan and John Halvorsen, settled on a droning shoegaze sound, drawing comparisons to Dinosaur Jr. and the Pixies. The Gordons and Future Shock, however, represent the trio's unreformed id, as startling today as upon release."

Clocktower presents Golden Rockers, a compilation of roots reggae and rocksteady featuring Delroy Wilson, The Uniques, and more. Also features Val Bennett, Lloyd & Devon, Horace Andy, Dennis Brown, Ken Parker, Alton Ellis, Dave Parker, Pat Kelly, The Wailers, and Cornell Campbell.

2021 restock, limited; double LP version. 180 gram vinyl; glossy, 350gsm gatefold sleeve. Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil's 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love's Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil's ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality.

LP version. Mais Um present a reissue of Lucas Santtana's 3 Sessions In A Greenhouse, originally released on CD only in 2006. On the 15th anniversary of its original release, Mais Um revisit a lost classic from the catalog of one of Brazil's most regarded and influential contemporary songwriters. Featuring Tom Zé and mangue beat pioneer, Gilmar Bola 8, Lucas Santtana's 3 Sessions In A Greenhouse fused psyched-out samba and baile funk with original Black Ark-style studio distortion and spiritual dub dread, laying the foundations for his seminal Sem Nostalgia LP five years later (MAIS 002CD/LP), and in the process, establishing Santtana as an elemental force of Brazil's current new wave. "At the beginning of my career, I was experimenting, trying to figure out my sound. On 3 Sessions In A Greenhouse, I discovered what I am and what I wanted to do in music. All the pieces connected. Everything just felt like the right place at the right time." Comprising four originals and four Santtana/Seleçao Natural dubs (plus a CD bonus track), 3 Sessions In A Greenhouse was and is a sound clash unlike any to have come before. Produced by Santtana and Recife's dubsetter himself, Buguinha Dub, each session was approached as an opportunity not to just record each instrument but to create an environment in which the studio becomes the centerpiece. Recorded and mixed entirely live as a group, with no overdubs, 3 Sessions feels uniquely intimate and relaxed (best typified by the band's "chat" in-between recordings). Tropicalia icon Tom Zé features on Santtana's slightly zippier version of Zé's samba dub "Ogodô Ano 2000" and American journalist Phylis Huber's reading of an extract of Virgina Woolf's The Waves on the expansive nine minute-long Balearic/Afrobeat dub "A Natureza Espera", is poignant and trippy. Santtana's take on Naçao Zumbi's "Pela Orla Dos Velhos Tempos", featuring original member and percussionist Gilmar Bola 8 on vocals, takes on techier references of the Detroit type, whilst vinyl closer "Into Shade" is a sumptuous psych rock dub ballad, co-written by Arto Lindsay. Remastered by German dub shaman, Stefan Betke/Pole. RIYL: Dennis Bovell, Tom Zé, Gilberto Gil, Beck, Caetano Veloso.

2021 repress. "MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip-hop history. Now, the first two volumes in the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, Special Herbs Vol. 1 & 2 is a must-have for any DOOM fan or hip-hop head."

The first commercial recordings from Asia were made in Japan in 1903 by Fred Gaisberg, the legendary producer and recording engineer who traveled the world making recordings for the Gramophone Company (later His Masters Voice). The recording industry barely existed at this time. Man's ability to record and reproduce sound had only existed since 1877 (with the invention of Edison's cylinder phonograph) and flat disc records, what we all collect and obsess over today, had only come into being in the late 1890s. It is a miracle what these fragile discs have survived: wars with Russia and China, the fire bombings (and worse) of World War II, modernization, the onslaught of Western media.They document, through a dreamlike haze of surface noise, a Japan that had just barely begun to open its doors to the rest of the world. Including gagaku, shakuhachi, shamisen, storytelling, folksong and more. these recordings are a unique glimpse into an ancient culture and an important document of the beginnings of the recording industry. Simple and complex. Alien and familiar. Featuring important artists and those who only appeared to sing before the strange Western recording horn and then vanished. Sound Storing Machines spans only nine years of recording -- from 1903 and the first commercial recordings made by Fred Gaisberg to 1912, the beginning of Japan's homegrown record industry, including a few sides taken from Japan's notorious bootleg 78rpm industry. Collected on various trips to Japan and compiled by sound artist Robert Millis (Indian Talking Machine, Victrola Favorites, Climax Golden Twins, Phi Ta Khon: Ghosts of Isan, This World is Unreal Like a Snake in a Rope, etc.) This is part three in a series (all produced by Millis) of early recording from Asia -- including Sublime Frequencies' The Crying Princess: 78rpm Records from Burma and Scattered Melodies: Korean Kayagum Sanjo. Limited edition CD with booklet/liner notes by Robert Millis.

Features Suenaga Togi and gagaku musicians from the Imperial Household Orchestra, Toyosawa Heikichi, Azumaya Kamanosuke, Sumako of Shinbashi, unknown artists, Uehara Sakima, Takahashi Kiyokusa, Fukushira Kado, Yanagiya Kosan, Mimasuya Kachiguri, Umewaka Manzaburo, Umewaka Rokurou of the Kanze Noh school, Nokiken Hanadou, Shimeju of Yoshiwara, Takemoto Sumitayu, Toyozawa Danpei, Toyozawa Sennosuke, Takemoto Haruko Tayu, Toyozawa Shinzaemon, Inoue Satokishi.

2021 restock; LP version. 180 gram vinyl; 350gsm gatefold sleeve; includes download with "The Doctrine Of Eternal Ice". Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.

2021 repress. "As a continuing collaboration with Chess Records/Universal Records and the estate of Muddy Waters, Third Man Records is proud to announce the reissue of Muddy Waters' fifth studio album Electric Mud. Electric Mud, which Chess originally released in 1968 has not seen a legitimate domestic vinyl release since 2002, despite its enormous influence on generations of blues rockers. It features members of Rotary Connection as Muddy's backing band and was very controversial upon its release for its fusion of electric blues with psychedelic elements. The album is now recognized as a forward-thinking classic, sampled extensively by artists like The Black Keys and Gorillaz. The album will be available on black vinyl pressed at Third Man Pressing in Detroit, with a beautiful gatefold jacket in its original black-on-white color scheme, and a four-panel foldout poster."

"Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot ('Terminal Case' and 'I'm Screwed Up') as well as smudged glam balladry ('Start Over' and 'Weird'). Its release in 1977, on the group's own Raw Edge label, with Borland's cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom. The Outsiders, featuring bassist Bob Lawrence and drummer Adrian 'Jan' James, were punk in the moment before punk cut ties with solos and five-minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock 'n' roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery."

2021 restock. LP reissue, in gatefold sleeve. "L'Incendie is the first collaboration between Areski and Brigitte Fontaine. It's an exceptional album for BYG records. In a perfect symbiosis with Brigitte Fontaine's magnificent voice and surrealist texts, Areski creates a minimalist 'ethno-folk acoustic universe.' In the uniquely French 'dark chanteuse' genre, this is a classic. Originally released in 1974."

"Originally released in 1994 (on CD only) and developed into an interactive CD-Rom project, Gingerbread Man remains one of The Residents' standout works, exploring their own twisted counter-take on the classic 1875 fairy tale. Nine curious tales of love, hate, pain, art, death, time, age, fear, doubt, confusion and orchids. Never before released on vinyl, this edition, finally, meets public demand. Remastered and resplendent in restored original artwork and a picture inner sleeve."

Forest Drive West returns to Livity Sound with the Dualism EP, a tour de force of stripped dub aesthetics and swirling psychedelic rhythms. One of the finest breakthrough UK producers of recent years, in a short space of time Forest Drive West has created an enviable catalog across labels such as Livity Sound, Rupture, Echocord, Whities, and Mantis. This new EP marks some of his best work to date. The final track on the EP, "Scorpion", features Melbourne based percussionist Lucky Pereira whose frenetic but tightly locked drums add a fizzing energy to Forest Drive West's deep atmospheric rhythm track.

"The musical life of the American jazz saxophonist Gary Bartz is busy and eventful. The eighty-year-old American Bartz jammed with Freddie Hubbard, Lee Morgan and Pharoah Sanders at a young age. In 1965 he became a member of Art Blakey's Jazz Messengers. In 1970 Bartz joined the Miles Davis Band, played with Davis at the Isle Of Wight -- Festival and on his studio/live album Live Evil. In 1972 Gary Bartz founded his own band, NTU Troop. He borrowed the name from the Bantu language. Bartz: 'Ntu means unity in all things, in time and space, life and death, in the visible and the invisible. Musically, it stands for an alliance of bop, free, rock and African music.' On 8th November 1975, Gary Bartz performed with the NTU Troop in Bremen's Post-Aula. Radio Bremen was there and now the recording is being released physically and digitally on Moosicus. Gary Bartz was joined on stage by drummer Howard King, bassist Curtis Robertson and pianist Charles Mims, an extraordinary, musically brilliant quartet that was well-rehearsed and coordinated. Unfortunately, it was short-lived, because quite soon after this performance, the NTU Troop went their separate ways again. King, Robertson and Mims went on to work with Roberta Flack, Lou Rawls and Patrice Rushen, among others, while Bartz continued his solo career with such major labels as Capitol Records and Arista. For Gary Bartz, jazz is 'improvised composing', which can be heard on this live album recorded 46 years ago."

2021 repress; color vinyl version. Originally released in 1973. "The late Big Bill Broonzy looms as one of the few country blues greats whose career seems as remarkable as his musicianship. He played every professional role available to the untutored black guitarist of his generation: that of the country blues soloist catering to dance audiences, the city bluesman beguiling record-buyers with full-dress lyric themes and a slow song delivery, and the folk entertainer trading on familiar standards ear-marked for white listening audiences... It is his early career as a country bluesman that this LP, like its companion volume The Young Bill Broonzy commemorates."

Double LP version. Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this set, that other dimension of the band is being explored full-scale. Szabodelico paints with a colorful palette, both compositionally and sonically -- digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15-year life-span, Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression -- forging new paths into an existing map. Szabodelico feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection. Sparsely dubbed and mixed with a natural, full-bodied flavor by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking "where did the time go?" The answer of course is: Szabodelico.

Double LP version. It's been a decade since Andy Stott released Passed Me By (2011), a radical re-imagining of dance music as an expression of "physical and spiritual exhaustion" (Pitchfork). What followed was a process of rapid remodeling: We Stay Together (2011) -- slow and fucked, for the club, Luxury Problems (2012) -- greyscale romance, Faith In Strangers (2014) -- destroyed love songs, Too Many Voices (2016) -- 4th world Triton shimmers, and It Should Be Us (2019) -- the club, collapsed, a run of releases that gradually untangled complex ideas into a singular, chaotic body of work somewhere between sound-art, techno and pop. In early 2020 - with a new album almost done and an offer to produce for a completely mainstream artist on the table -- personal upheaval brought everything to a sudden standstill. Months of withdrawal eventually triggered renewed curiosity, a different approach. Stott began to record hours of raw material; slow horns, sibilance, delayed drums, wondering flutes -- whatever, whenever. And although software made it possible to iron out every kink and knot, Stott tirelessly looked for them -- in pursuit of a sound that was human in all its awkward asymmetry. With vocals recorded by Alison Skidmore, the album was finally completed late in the year -- taking on a completely different shape. Its songs were desolate, melancholy, defiant, beautiful -- often all at once. The sounds echoed music around Stott during those months: Prince, Gavin Bryars, A.R. Kane, Bohren & der Club of Gore, Robert Turman, Cindy Lee, Leila, Catherine Christer Hennix, Junior Boys, László Hortobágyi, Nídia, Prefab Sprout -- the unusual, the familiar. And echoing that mix of new and old, each of the songs on Never The Right Time seem woven from the same thread despite following different trajectories; from the lovelorn shimmer of opener "Away Not gone", to the clattering linndrum pop of "The Beginning", through "Answers" angular club haze, and the city-at-night end-credits "Hard To Tell". These are songs fueled by nostalgia and soul searching, but all hold true to a vision of music making as a form of renewal and reinvention. A ten-year cycle, complete. Mastered by Rashad Becker.

Gatefold double LP version. Limited clear vinyl. One would think that after the Gullvåg Trilogy -- two double and a single album in a mere three years -- the ultra-productive trio Motorpsycho might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? The bulk of the album was recorded in France back before the pandemic, but was added to, tweaked and finished in 2020. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. Mixed by Andrew Scheps. Produced by Bent Sæther. Reine Fiske guests on several tracks.

"SA26: the OCCAM Ocean Issue, focuses on the radical musical eco-system of French composer Éliane Radigue's OCCAM Ocean project. In a first for the publication, this issue is built solely around interviews with the performers that have collaborated with Radigue to produce this body of work over the last decade. Contributors include Charles Curtis, Carol Robinson, Rhodri Davies, Catherine Lamb, Julia Eckhardt, Silvia Tarozzi, Dafne Vicente-Sandoval, Laetitia Sonami, and Frédéric Blondy. All interviews were conducted by SA's editor, Nate Wooley, also a performer of Radigue's music. The issue features an opening invocation from Radigue herself, followed by writing on the history and practice of the OCCAM pieces, interviews, and a concluding essay by Wooley on his own experience performing OCCAM X. This special issue concludes with the last of a three-part series of 'exquisite corpse' compositions, written especially for SA by inti figgis-vezueta in response to the preceding work of Moor Mother and Amirtha Kidambi. This issue also comes with a special one-of-a-kind pull-out poster detailing the entire OCCAM Ocean composition in all of its interconnected glory. Designed by Remake Designs, this is a unique graphic perspective on the human web of collaboration that Radigue has created."

LP version. 180 gram gold vinyl. Minneapolis psych-rockers Magic Castles are back with a new album, Sun Reign, making an exciting return after founder and songwriter Jason Edmonds suffered a near fatal car accident in November 2019. Magic Castles are well-versed in the ways of psychedelically-inclined folk-rock. Edmonds's smooth vocal harmonies float above the guitars, creating a lush, almost Byrds-esque soundscape. The layered arrangements incorporate Farfisa organ, synths, and dreamy string arrangements. Sun Reign is the band's fourth release on Anton Newcombe's label A Recordings Ltd. Ironically similar to Brian Jonestown Massacre, the Magic Castles have been plagued by lineup changes over the years. Due to this and other factors, in 2016, Edmonds, a single father, decided to take a short hiatus from regular live shows and touring to focus on his family. During that time, (2016-2019) Edmonds, an introverted multi-instrumentalist, continued to record new material in his studio, and also record with a new band at Neil Weir's studio Blue Bell Knoll, in Minneapolis, Minnesota. The results of these sessions are the current release, Sun Reign. In November of 2019, tragedy struck and Edmonds was seriously injured in a car accident that required hospitalization and surgery. Friends started a GoFundMe that raised over $20k USD for the uninsured musician's hospital bills, showing an incredible outpouring of love and support for him and his family. Fortunately, Edmonds has made a complete recovery from his injuries and has bounced back remarkably well. In early 2020, Edmonds managed to finish the remaining work on the album Sun Reign, including a previously unreleased song, "Surmise", penned by guitarist Jermiah Doering, and a rare cover of a moody 1966 garage rock song "Ode to the Wind" by Danny and the Counts. Edmonds also began working with a booking agency, planning a return tour to Europe with the band to support the new album. Unfortunately, it was not to be. Due to the global pandemic crisis of Covid-19, the album was delayed until 2021, and the promising tour was cancelled. In May of 2020, Minneapolis police killed George Floyd two blocks from Edmonds's home, which incited riots across the country. The protests led to the burning of Minneapolis, where a long-time music venue and many other buildings were lost. Edmonds' studio was not destroyed although many nearby buildings were. Edmonds is a known supporter of Black Lives Matter.