Attachments featuring Jorg Schneider (LP, Feeding Tube/Cardinal Fuzz) is made up of two side-length tracks "Death Mask" and "Born in a Storm," meditative longform journeys exploring the themes of death and birth. German drummer Jorg Schneider has been a longtime friend and collaborator of Przemyslaw Drazek and Brent Fuscaldo (formerly of Mako Sica), having released records together under the name Havre de Grace on labels No Index and Somnimage. Recording on previous efforts took place closer to Jorg's home in Western Germany and for this time around Jorg traveled to Chicago to record with Drazek Fuscaldo at Electrical Audio. "Death Mask" is kinetic right out of the gate with propulsive drumming and a guitar looping sequence that provides the framework for the trumpet to tell a story. The real-time guitar riff is sampled and played back in different fractions to which Schneider reacts with scattered beats to the electronic blips and bleeps. After the high-energy free jazz simmers and the smoke clears a maraca rhythm emerges along with a bluesy guitar and vocals enter the picture. "Dream through forest, fly through many thorns that bleed" unravel as lyrics over a more subdued floor-bed after the chaos. The trumpet bookends the track with a final breath. "Born in a Storm" begins with a long gateway of floating ambience. A cyclical texture that is joined in the background with bells and percussion that decorates the space. A guitar enters with atmospheric notes adding to the color then a deep vocal mantra, multi-layered, takes over. Drums and a dubby bassline add to the bouquet of sound. Lastly, the trumpet carries with it an air of otherworldly bliss. Wildly different than the first track but altogether shows a spectrum of what this trio can explore together with improvisation. Recorded in Studio B with engineer Taylor Hales, who has worked on several records together over the years, and who has done a fantastic job with capturing the presence and vividness of the music. This album featured more "songs," which still had drawn-out passages of improvisation, but felt more structured. Attachments goes further in each direction of chaos and ambience.

Twin Lakes, Feeding Tube, and Cardinal Fuzz Records present the long-awaited fourth LP by the NY/CT duo Spiral Wave Nomads, a joint release between the three labels. Imagine being swallowed whole by a phosphorescent jellyfish the size of a city bus, drifting half-conscious across some cosmic tide pool while a guitar gnaws at your bones and a drum kit levitates just out of reach. That's The Weightless Sea, the new LP from Spiral Wave Nomads, a record that doesn't give a damn about your earthly anchors, your comfort zones, or the cloying stench of polite indie rock playlists. Spiral Wave Nomads are Eric Hardiman (guitarist, psychic detonator, veteran of Albany's colossal noise-tribe Burnt Hills, bassman of the lit-punk jammers Sky Furrows, and one half of the spectral duo Century Plants) and Michael Kiefer (drummer, rhythm exorcist, tempo-smasher of the free-rock duo Rivener and survivor of Myty Konkeror and its glorious progeny, the ecstatic psych-trio More Klementines). Together they don't so much "play songs" as they drag sound through wormholes, melt it down to plasma, and spray it back into your synapses like an unholy baptism of feedback and thunder. The Weightless Sea is exactly what it says: an ocean without gravity, where riffs flicker like dying stars and percussion ricochets like rusted satellites gone feral. It's heavy without being sludge, it's free without being chaos, it's the ecstatic howl of two lifers chasing something bigger than language. It's a transmission from a parallel dimension where Hendrix never died, Can never stopped, and Sun Ra actually did get picked up by aliens and returned with a rhythm section made out of asteroids. Play it and you'll either ascend to another plane or drive straight into a glowing portal where the air shimmers with an alien heat, and the colors bleed into one another like an oil slick on a distant sun. It's a slow burn, a simmering groove that feels like a forgotten ritual being performed in the heart of a dead star. The sea is weightless. The waves don't end. The Nomads have no map, no compass, no tethers.

2025 repress; double LP version. In the history of Afro-Colombian culture, Son Palenque is without a doubt an exceptional band, and its history has a place at the very heart of ancestral palenquera music as well as at the musical intersection between Africa and Colombia, which took place on Colombia's Caribbean coast in the '70s and '80s and which continues today through champeta, a musical genre and dance that also bears a strong African influence. The members of Son Palenque band grew up in rural communities fixed in time, with deep musical roots, duels between tambora players and a legendary musical profusion of traditional musicians that built the foundations of today's Afro-Colombian music. Later they all migrated to the city and bit by bit made a place for themselves. In 1980 they recorded their first single for the Fonobosa record label. Two years later they recorded an LP, again with Fonobosa, along with Estefanía Caicedo. Later on the band signed with the label Felito Records, in Barranquilla, which during the '80s produced some of the finest gems of psychedelic and Afro-roots music of the time. With Felito Records a new era began for the group. They recorded the LPs Ane Jue and African Erotic -- milestones in the history of Afro-Colombian music: for the first time they showed us traditional palenquera music, chalupa, bullerengue, lumlalú and other traditional rhythms mixed with modern arrangements of bass, guitar and saxophone. They then recorded three LPs for the CBS music label, and in the mid-'90s Son Palenque lost its recording contract, The group was resurrected in 1999 for a song with guitarist Sekou Diabate, legendary leader of the band Bebeya Jazz. Subsequently they recorded for the same label, under the production of Lucas Silva, the record Ma Kamajan Ri Musika Ri Palengue, released in 2012, which marked the folkloric group's resurrection. And so Son Palenque continues to play, 30 years after its foundation. This compilation of their music from the '70s and '80s makes clear their inimitable, groundbreaking legacy.

While working in Berlin Wedding at andereBaustelle studio on their upcoming album, Kreidler found also time to dig deep into the vaults of their Düsseldorf and Berlin archives. Thirty years ago, Kreidler's eponymous mini-album was released on Cologne-based label Finlayson; and RIVA, their first outing, on cassette tape, was released a year before that. Both released in limited physical formats and long unavailable. This edition documents the band's beginnings, with threads that can be followed throughout their whole history to their current work. Still, they are straight out of a certain scene, at a certain place, at a certain time. Kreidler -- formed from the encounter of the band Deux Baleines Blanches (Thomas Klein, Andreas Reihse, and Stefan Schneider) with DJ Sport (Detlef Weinrich) -- already in its initial years, and in those that followed, managed to hold seemingly contradictory strands, becoming a fluid form that could equally accommodate the various strengths and interests of its members. This ability has remained intact up to the present lineup of Thomas Klein, Alex Paulick, and Andreas Reihse. Oliver Tepel wrote of their mini-album in 1995 in Spex magazine: "On the basis of calm grooves from andante to moderato -- comparable to the dissolution of object and background in analytical cubism -- the contours of the instruments disappear in favor of mysteriously meandering waves of sound." In 1994, RIVA, the beginning: circuitous somehow, a spatial presence in the restraint, strangely physical in its beauty. Mounting with Das Wilde Heinefeld, with voice and bass clarinet by Fritz Sitterle. Produced for an unreleased Monarchie und Alltag cover version album, conceived by Joerg "Zappo" Zboralski as a follow-up to his Brücke Kaufen album The journey ends in a heated but once again taut textual space, familiar ground for Kreidler, after various gigs with spoken word artists. The photography incorporated on the front cover of this release depicts Kreidler in 1995 in the artists' club WP8.

2025 restock; reissue, originally released in 1971. Can you pick up a better iconic band than Japan's Flower Travellin' Band? Have a look at Julian Cope's Japrocksampler cover with the band bare naked wildly ridin' on their wheels. Is any description more appropriate? A sense of freedom has always enhanced their music, a heavy rock manifesto clearly informed by British stalwarts. Their second album Satori was released on Atlantic Japan in 1971 and still is a masterpiece on its own. The band was made up of Joe Yamanaka (vocals) -- possibly an Eastern version of Rob Tyner of MC5 -- Hideki Ishima (guitars), Jun Kobayashi (bass), and George Wada (drums). By the end of 1970, they had relocated to Toronto, Canada and lived there until March of 1972. In April 1973, the band split up, but they reunited in January 2008 with all original members joined by Nobuhiko.

2024 reprint. Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke. Engineered by Conny Plank, it was recorded in March 1971 and released in June 1971 on Ohr Records. Much has been written about the record and band. Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old, Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and compose what, to many, became one the holy grails of psychedelic rock and early electronic music -- the German variant which was later also named "Krautrock." Manuel Göttsching said of the album: "Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result? On our album, the track 'Amboss' represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album -- 'Traummaschine' -- the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin -- and the music can be absorbed and processed free from the limitations of categorization."

"There are many legends in the southern rap scene: Three 6 Mafia and Hypnotize Minds affiliates from Memphis, Geto Boys, and Rap-A-Lot from Houston, Texas; Gucci Mane, Outkast, and T.I. from Atlanta; and one of the unsung rap legends of Mobile, Alabama, is Donald Maurice Pears, II, better known as The Last Mr. Bigg. Donald was given the nickname Bigg and began DJing and rapping in the late 1980s while spending time in the streets and in and out of jail. His career took a detour when he was arrested after crashing his car and violating his probation, which led to a three-year sentence. Eightball and MJG released their debut album in 1993, featuring a track in which Eightball called himself Mr. Big. After being released from prison and inspired by the rise of southern Hip-Hop, Donald changed his rap moniker to The Last Mr. Bigg and got in the studio. Shortly after he started recording, he had another encounter with the law and was about to appear in court. He penned the single 'Trial Time' about his court case, which would appear on his debut album, Only If U Knew, released on Warlock Records in 2000, putting Mobile, Alabama, on the map. In 2004, Bigg was shot in the eye during a botched robbery and survived the attack. He had his eye replaced with a diamond-encrusted glass eye. The next year, with his distinct gruff voice, he provided the chorus to Three 6 Mafia's 'Poppin My Collar.' Bigg continued to record and tour, but would never release another album after his 2003 sophomore album, The Mask is Off. The Last Mr. Bigg sadly passed away in his sleep in 2015, but he left behind his southern rap legacy as the Rap Kingpin of Alabama. For the 25th Anniversary, and for the first time on vinyl, a limited edition pressing of Only If U Knew is now available. The album is pressed on white color-in-clear with red and yellow splatter colored vinyl, limited to 500 hand-numbered copies."

"The Notes & Tones: 2nd Vintage continues where the first album -- all based on Sun Ra samples -- left off: DJ Muggs' deep dive into Gene Perla's PM Records catalog of jazz's wide reach, produced in collaboration with Egon of Now-Again Records, who manages Perla's catalog and readied this album for release. Notes & Tones - the Wine: Produced by Chris Brockway of Broc Cellars in Berkeley from grapes picked in Broc's organically farmed Fox Hill Vineyard in Mendocino. The wine is a blend of three grape varieties: 50% Ribolla Galla, 45% Tocai Friulano and 5% Trebbiano. All grapes naturally fermented on its native yeasts and skins in sandstone jarres, then gently pressed to age back into jarres for twelve months. After that year in jarres it was racked to neutral oak barrique where it lived for six months to develop further. The wine was hand bottled by Muggs, Egon and Chris at the start of 2024 and aged for another year in bottle. 540 bottles made."

"Pete Rock returns with another installment of his instrumental series, banging out boom bap beats. A renowned producer lauded for his innovative production and impeccable ear, Pete Rock is widely recognized as one of the greatest and most influential hip hop producers of all time. A pioneer of fusing jazz, funk and soul into hip-hop, many sight him as laying down the blueprint for soulful production in hip-hop. He revolutionized rap production through groundbreaking studio wizardry, made remixes matter more than the original songs, established ad-libs as a standard recording asset -- the list goes on. Having worked with huge names including Run-D.M.C, Public Enemy, J Dilla and Busta Rhymes (just to name a few), Pete Rock's work as a producer has translated into over 25 million albums sold worldwide. With such huge influence as a producer, Pete's solo material serves to only further enhance his reputation as an artist and a producer. PeteStrumentals 4 adds to that legacy."

"The Testament is a studio album by Queensbridge rapper Cormega. It was originally recorded as Cormega's debut album in the mid-1990s, and scheduled for release on Def Jam Recordings, but was eventually shelved. After many years, Cormega was finally able to obtain the masters to the album, and released it on his own Legal Hustle imprint in 2005. This reissue marks the first time it has been in print on vinyl in 20 years, and features appearances by Mobb Deep and Hussein Fatal, plus production from Havoc, Sha Money XL, Nashiem Myrick, RNS and more."

2025 restock. Wewantsounds present the first ever reissue Jack Wilkins's highly sought-after Mainstream Records album Windows, originally released in 1973. Produced by Bob Shad, the album, which is on many want-lists, is especially cult for his rendition of Freddie Hubbard's classic "Red Clay", notably sampled by A Tribe Called Quest (on "Sucka Nigga") and Chance The Rapper. Recorded in 1973 at New York's Record Plant, this superb session sees guitarist Jack Wilkins in a trio setting accompanied by Mike Moore on bass and young seasoned west coast drummer Bill Goodwin (Gabor Szabo, Gary Burton, Paul Horn, Tom Waits). Together, the trio plays mix of classics including John Coltrane's "Naima", Wayne Shorter's "Pinocchio", and Chick Corea's "Windows", showcasing their instant rapport. Jack Wilkins is an underrated guitarist; he's accompanied such stars as Stanley Turrentine, Ray Charles, Sarah Vaughan, and Sammy Davis Jr. but he has remained more of a musician's musician. Windows has reached cult status for the fact that its slow funk version of Freddie Hubbard's "Red Clay" has been sampled by A Tribe Called Quest for "Sucka Nigga" from their masterpiece Midnight Marauders (1993). ATCQ's jazz samples have always garnered a huge amount of attention from DJs and hip-hop fans and this one has had an instant effect on Windows's popularity, making it one of the most sought-after albums released on Mainstream. Chance the Rapper has also sampled "Red Clay", in the song "Nana" which featured on his second mixtape, Acid Rap (2013). This reissue is thus a great opportunity to (re)discover a great guitarist. Comes in gatefold sleeve featuring never-seen session photos and new liner notes by leading UK journalist, Kevin Le Gendre (Jazzwise, Echoes, BBC's Jazz Line Up).

2025 restock; Wewantsounds present a first-time vinyl reissue Fairuz's classic album Kifak Inta produced by her son Ziad Rahbani in the late '80s and only released on cassette and CD in 1991. Composed and arranged by Rahbani, who had already produced Wahdon (1979) and Maarifti Feek (1987), Kifak Inta features his usual blend of jazz, funk, and Arabic music, spiced up with Brazilian influences serving Fairuz's beautiful voice. Fairuz is a living legend and one of the greatest divas of the Arab world. She came to prominence in the '50s crossing path with the Rahbani Brothers (Assi and Mansour) an encounter that turned into a fruitful collaboration that would last until the '70s, spawning countless classics in the process. Fairuz's marriage with Assi produced a son, Ziad, who would start a brilliant career as a cutting-edge playwright, musician, and producer in the early '70s. When Assi Rahbani became ill in the mid-70s and the couple separated, Ziad took over as Fairuz's musical director and started to add elements of jazz, funk, and bossa nova to her music. The collaboration started in 1979 with Wahdon which included the funky cult classic "Al Bosta". They worked together again in 1983-84 on the album Maarifti Feek which was released in 1987 and continued their collaboration with Kifak Inta a few years later. The album was released on the Lebanese label Relax-in in 1991 on cassette and CD only, but, although there are no recording dates listed, the track "Ouverture 87" indicates it was recorded around that year. The album follows the same pattern as previous Ziad Rahbani productions for his mother and mixes traditional Arabic music ("Farewell Song", "It's Not a Problem"), jazz-funk ("Ya Leili Leili Leili"), and bossa nova ("Indi Thika Fik"), all featuring Ziad's superb orchestrations and slick arrangements. The jewel in the crown is the album's title track, "Kifak Inta" (And You, How Are You?), a ballad written and composed by Ziad Rahbani. The song is sung by a woman opening her heart to her childhood sweetheart, now married to another woman, and confessing she still loves him. The subject was controversial and created quite a stir when the song came out in the still conservative Lebanese society of the time. The track "Prova" which closes side one is a fascinating studio rehearsal of "Kifak Inta" featuring both Ziad and Fairuz. Remastered audio by Colorsound Studio in Paris. Includes new liner notes (French/English) by Mario Choueiry (Institut Du Monde Arabe).

"The Heptones are undoubtedly one of the most accomplished, significant and influential Jamaican vocal harmony trios. Amongst genuine lovers of Jamaican music their standing is beyond compare but, outside of the confines of reggae music, it is still nowhere near as assured. 1985's Swing Low reissued on red vinyl."

2025 restock; LP version. "Originally released in 1974 on Shandar, Dream House 78'17" is the second full-length album by La Monte Young and Marian Zazeela. This first-time US edition reproduces the original gatefold sleeve with beautiful calligraphy by Zazeela and liner notes by Young and French musicologist Daniel Caux. Side one was recorded at a private concert (on the date and time indicated by the title) and features Young and Zazeela's voices against a sine wave drone with Jon Hassell on trumpet and Garrett List on trombone. This work is a section of the longer composition Map of 49's 'Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery' (begun in 1966 as a sub-section of The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). The piece evolves with the oscillator changing pitch and dictating an ornate pattern over the course of the performance. Side two is an example of one of the sets of frequencies sustained in the Dream House, the composite sound environments conceived by Young and Zazeela. The composer suggests listening while seated -- to experience how the sound interacts with the room and other perceptions of its arrangement -- as well as while walking. As Young states, 'The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer, but at very loud levels, one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time.'"

Deluxe laminated sleeve and high-quality vinyl made in France. Includes: A3 poster, 2x 12'' inserts, 1x 4-panels flyer. Limited edition of 700. Akuphone and The Cambodian Vintage Music Archive present the first-ever retrospective dedicated to So Savoeun -- one of the radiant voices that defined Phnom Penh's golden age of sound in the 1960s and 1970s. In those vibrant years, the city pulsed with music: rock bands, crooners, and traditional ensembles blended East and West, shaping a uniquely Cambodian pop that shimmered with hope and modernity. Amid this flourishing scene, So Savoeun's voice stood out -- silken yet powerful, intimate yet expansive, carrying with it the promise of a new era. This collection brings together rare and long-unheard recordings, including luminous duets with legendary contemporaries Meas Saman, Lek Savath, and Sinn Sisamouth. Each track is more than just a song -- it is a fragment of memory, a preserved echo of nights when Phnom Penh's dance halls and radios overflowed with rhythm and possibility. In her own words, hearing these songs resurface is like opening a long-buried chest of jewels, hidden beneath the dust of history and now gleaming again after half a century. Her voice, once thought lost to time, reemerges like the cicada whose chant reverberates endlessly through the forest -- an eternal call that bridges silence and remembrance. Her music is more than nostalgia; it is testament and rebirth. It continues to resonate, not only with those who lived through that golden era, but with new generations discovering its beauty for the first time. Through this release, the past breathes again -- tender, luminous, and unforgettably alive.

Double LP version. Wewantsounds reissues French pop icon Brigitte Fontaine's landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. This special, approved by the artist, features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of "Il Pleut" recorded for France Inter/ORTF. The release also includes a 20-page bilingual booklet with introductions by journalist Jeremy Allen and Stereolab's Laetitia Sadier, essays by Brigitte Fontaine's biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos. Brigitte Fontaine needs no introduction. An inspiring figure in French music since the 1960s, she has long been revered by a wide array of musicians -- from Stereolab to Sonic Youth, Beck, and Jarvis Cocker. Originally released in 1968 on Pierre Barouh's cult Saravah label, Brigitte Fontaine Est Folle shattered conventions. Fusing Fontaine's lyrical brilliance -- tackling themes like death, social revolt, and female desire -- with Vannier's lush, funky arrangements, the pair created a work that was ahead of its time. The release offers a selection of rare and previously unreleased recordings, including demos -- recently unearthed by the album's composer, Olivier Bloch-Lainé -- instrumentals showcasing Vannier's skills, and a groundbreaking 1969 live rendition of "Il Pleut" recorded for France Inter/ORTF. This version features Malachi Favors on bass, forming a direct link to her next LP, Comme à la Radio, recorded with the Art Ensemble of Chicago. Rebellious, witty and timeless, Brigitte Fontaine Est Folle is a landmark work by an artist who not only redefined French pop but also expanded its boundaries on the international scene. This deluxe edition stands as a vital document of her enduring legacy and one of the most original voices in modern music.

This ultimate 6LP boxset presents the works of Pascal Comelade from 1984 to 2024 and his 40 years producing instrumental music. Each vinyl has been thought as an album in itself, with its own identity, that could be listened as it is. According to the artist, Improperies: compositions et enregistrements magnétiques (1984-2024) is a music puzzle which doesn't obey to any rule with the exception of Pascal Comelade's creation and art thoughts that kept moving over the years. Limited numbered to 500 copies; 6LP Black Vinyl in spineless sleeve, heawyweight cardboard slipcase/custom numbered at the back, includes an insert-photo signed by the artist. The boxset artwork is an original creation by Miquel Barceló.

Released exclusively in Germany in March 1966, Black Monk Time by The Monks has become a cult classic -- praised as a groundbreaking forerunner to punk and krautrock. From the explosive opener "Monk Time" to the fierce "Complication," Black Monk Time rejected flower power for something more urgent -- anger, humor, and innovation developing a confrontational, rhythm heavy sound. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men -- Walther Niemann and Karl Remy -- who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history -- loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, Black Monk Time still resonates. This is your chance to experience the album that dared to be different -- don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.

180g vinyl LP. Includes a 24-page risograph printed publication and a print with works by Tokyo-based photographer Daisuke Tomizawa. Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with Nozomi, the follow-up to their 2022 debut MMMMH (SQM 018CD). The Japanese title, which translates to "hope," felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope. The music on Nozomi unfolds gently, with Lindermayr's airy tone and lyrical playing being wrapped in Ohta's chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto's "Hibari," the arrangements are largely improvised, letting the duo's intuition guide the course and build the form. Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.

Italian producer, musician, DJ, and groove architect Sam Ruffillo presents his long-awaited debut album Tipo Così on Toy Tonics -- a sun-drenched, genre-blurring statement that blends classic house with Mediterranean flair, romantic funk, and tongue-in-cheek Italo vibes. Over 11 expertly crafted tracks, Ruffillo delivers a dancefloor-ready, emotionally rich LP that connects deep musicality with irresistible rhythm and light-hearted elegance. After three acclaimed EPs and collaborations with revered artists such as Barbara Boeing, Kapote, and Fimiani, Ruffillo has firmly cemented himself as a core artist on the Berlin-based label. Known for his unmistakable signature sound -- a warm mix of vintage disco, '90s house, and Italian vocals -- Sam's music has garnered widespread DJ support from tastemakers like Gerd Janson, Palms Trax, Seth Troxler, and DJ Tennis, while becoming a staple on Italian airwaves. Tipo Così is the natural culmination of a musical journey that's both playful and profound -- a travel diary written in grooves, synth stabs, and melodies that feel like postcards from a parallel Mediterranean universe. The album expands and deepens Ruffillo's world into a fully immersive experience: lush emotional chords meet tight syncopated grooves, vintage synth textures collide with irresistibly catchy pop refrains, and the boundary between sincerity and playful irony is exquisitely blurred. Entirely written, produced, and recorded in Italy, in his beloved hometown of Bologna, the album finds Ruffillo at the helm on keys, drum machines, and production, supported by a talented cast of musicians contributing live bass, guitar, and other organic elements -- further enriching his trademark fusion of electronic grooves and natural instrumentation. Collaborations with close friends, especially vocalists like Ninfa, add warmth and authenticity, exemplified in tracks like "House Tipo Così." For Sam, music is honest self-expression -- crafted for listeners who crave memorable melodies and rhythms imbued with genuine feeling. While technical perfection is tempting, Sam prioritizes emotion, knowing that what truly resonates is the soul behind the sounds. His long-standing partnership with Toy Tonics has been key in nurturing his vision, offering a blend of creative freedom and professional support.

Avenue 66 opens Series 33 with a Düsseldorf/Lyon connection. Jonquera first encountered Tolouse Low Trax a decade ago in a small Lyon club. The Düsseldorf artist's mechanical psychedelia, and the influence of the Salon collective have been a constant touchstone for Jonquera. After several LPs, Jonquera returns to the EP format with "Cause & Utility"/"Tales of Decay." Built from improvised drum, bass, and vocal recordings, the tracks are reworked through heavy looping and acoustic treatment, a method inspired by his recent live shows. The MPC sorcerer Tolouse Low Trax, aka Detlef Weinrich, brings his Düsseldorf circuitry and autobahn funk with two tracks of pure rhythm apparition. "Amp" is a quintessential Tolouse Low Trax cut, built on concealed rhythmic structures, swampy bass lines, and fragments of radio and voice samples. "Solid Rock" echoes this idea, first conceived as a variation on Amp where particles repeat themselves.

The Keith Tippett Group's Dedicated to You, But You Weren't Listening is a landmark in cutting edge fusion/avant-jazz. A vital and profoundly adventurous jazz-rock record that still swings hard, it was first released on Vertigo in 1971. Original copies are now very tricky to score and, as most of you really should know, it's aged ridiculously well. The stunning gatefold jacket fully restores Roger and Martyn Dean's original, arresting album artwork to complete this must-have reissue. Alive and bursting with a joyful energy that has to be heard to be believed, Dedicated to You, But You Weren't Listening flirts with perfection. It's truly magical and forever essential. A brilliant jazz pianist, composer, arranger and bandleader "who could make the outlands of modern music feel like the most hospitable of places" (The Guardian), Keith Tippett's second album is oft-regarded as his Canterbury album. Indeed, not only does he draw heavily on Soft Machine members past, present and future but the album title itself archly references a Soft Machine composition. Ray Babbington handles bass alongside Neville Whitehead and the drums are shared between Brian Spring, Robert Wyatt, and Phil Howard. Gary Boyle is on guitar whilst the great percussionist Tony Uter is enlisted for his conga and cow bell expertise. Elton Dean on alto saxello, cornetist Marc Charig and Nick Evans on trombone round out this quite stunning ensemble. Dedicated to You, But You Weren't Listening presents a collective of superhuman musicians enjoying themselves in the studio. The sheer exuberance of the performance is totally infectious. It's wild, energetic, atmospheric and, bluntly, bordering on chaotic at points. In a word, it's beautiful. This Be With edition of Dedicated to You, But You Weren't Listening has been re-mastered from the original Vertigo master tapes, Simon Francis' mastering working together with Cicely Balston's cut at Abbey Road Studios to weave their usual magic with these wonderful recordings.

Discostan presents the first vinyl release by young legends Sireesha and Sreeusha -- better known to both classical Indian fans and to musical fans of improvisation around the world as the Mandolin Sisters. On their first album released to a global audience, the Sisters showcase an upstart energy, revitalizing centuries-old songs with a fast and furious playing on electrified mandolin. Mandolin Sisters: Odysseys in Electric Carnatic is a deep immersion into the Sisters' virtuosic playing style, weaving intricate lines and sophisticated harmonies that will appeal to fans of genre-expanding experimental guitar sounds and improvised music. But the pair is also deeply steeped in historical tradition and spent years dedicated to study and practice of these sonorities. Even before the two sisters could read, the duo were singularly devoted to the expression of Carnatic music through an instrument that is still relatively new to South Indian classical music. Over their career, they have played more than 3,500 shows. The mandolin is only a recent addition to the world of Carnatic music. However, there is no disputing the role that Uppalapu Srinivas (more widely known as simply U. Srinivas) played in bringing the instrument to wider acclaim and as a respected part of South Indian classical music. Today, the Mandolin Sisters are carrying on the legacy of Srinivas. Across the seven songs in this album, the Mandolin Sisters imbue their signature sound onto raga compositions drawn from the deep well of the Carnatic tradition. Because of the amount of improvisation in Carnatic music, no song is ever played the same twice. Each person adjusts the song every time to create an all-new version, even playing them for years. While they are inspired by deep tradition and the mastery of Srinivas and others, their search for new paths is unrelenting. In the words of Sireesha: "In Carnatic music there's no end to learning, it keeps going. It's like a sea. No matter how deep you go, there is always more depth." Discostan is a relatively young record label dedicated to documenting innovative sounds from South and West Asia and North Africa from the past, present and future. The long-running party, radio show and label has previously released reissues of Urdu-language synth pop and Palestine's first English-language folk songs. This album is a unique entry point into contemporary Carnatic music as well as a gift (or revelation) for fans of adventurous music from new voices.

Cassy: Kwench 040 is a celebration with tougher house beats embellished with acid lines and lots of classic house "Loving" on the third track. "It's Time" has two versions one with breakdown and one without.

"Sam Gopal took up the tabla in Malaysia at the age of 7, before coming to study music in Britain in 1962. Sam Gopal put together his first group, Sam Gopal's Dream in 1966. They quickly became a feature of the psychedelic scene, playing at the 14 Hour Technicolour Dream at Alexandra Palace in 1967 and sharing stages with such giants as Pink Floyd, the Move and Jimi Hendrix. Indeed, Jimi jammed with them during a gig at the Speakeasy in January 1968. However, whilst successful live, the band went unrecorded, and disbanded shortly after, only to be reconstituted under the 'Sam Gopal' moniker, Sam being joined by Roger D'Elia on guitar, Phil Duke on bass and most famously, ex Jimi Hendrix roadie Ian 'Lemmy' Willis on vocals and guitar. Signed to the short-lived Stable label, songs for an album were quickly written, most of them by Lemmy, and the album was released in March 1969, beautifully packaged in a gatefold sleeve. Something of a classic of psychedelic acid rock, complete with fuzzed guitars, but rooted by its Eastern percussion, the album included one cover, a rocked up version of Donovan's 'Season Of The Witch,' whilst a projected single release included a version of Willie Dixon's 'Back Door Man,' which managed to be even heavier than the interpretation by the Doors on their first album, released two years earlier. 'You're Alone Now,' one of the Lemmy-written songs on the album, became quietly influential, acting not only as a forerunner of Hawkwind's seminal 'The Watcher', but having an intro that brings to mind Black Sabbath's 1970 smash 'Paranoid.' The album ends with undoubtedly the gentlest song of Lemmy's career, the rather lovely 'Yesterlove,' which has Lemmy's vocal floating gently over a backing of tabla and acoustic guitar. Sadly, despite apparently having all the ingredients in place for success, this incarnation of 'Sam Gopal' proved to be no longer-lived than 'Sam Gopal's Dream', and broke up not long after the release of this album."

This performance was first presented at The Fruitmarket Gallery, Edinburgh in November and December 1999 and subsequently repeated. The present audio recordings document the action at Kunstverein Langenhagen. Performer: Petra Tutschke, Hanover. Posters announce a daily action: A professional marksman shoots daily at 12 o'clock from a distance of approximately 15 meters at a paper flower. The number of shots is limited to a maximum of three per day. Upon a hit, the flower is replaced by a new one, the action ends and is continued the next day with a new flower. The bullet holes in the wall are not removed. The flowers remain lying on the floor until the end of the exhibition or event and are then given away. Posters are produced in color variants (yellow, orange, red, violet, light blue, green) to advertise the action: Every day at noon a professional marksman will shot at a paper flower (place of action to be filled in).

Synaptic Cliffs and the Missechusatts Institute of Elecronicity present the latest peer-reviewed sermons of pdqb, as well as the associated validation studies from the Dopplereffekt-Institut für Retroaktive Zukunftsforschung, located in section 334 of the Mariana Trench. The contributions to the data carrier presented here are characterized by the following features: Crescendos of swirling arpeggios; Synth lines arced like a bolt of cosmic energy; Resonant pulses that shake the foundations of existence; Quartz-precise timed snare hits. In the temple of the Electrofying Messiah, the beat is life, the melody is truth, and the drop is salvation.

Originally released on Ben Chasny's own Pavilion imprint in 2011. "I was invited by the Incubate Festival and the city of Tilburg to participate in an artist residency where I would explore the region's unique chapels built for the Virgin Mary. After writing the music for about six months by drawing on memories of the encounters with the chapels and using techniques inspired by Gaston Bachelard's Poetics Of Reverie, I flew back to Tilburg to perform the music at the Incubate Festival. We recorded the evening and I released the result on my Pavilion label. Each cover was hand painted white on white in the old Pavilion style. I created a stencil and used graphite powder to make the design that is inspired by the sun imagery in Athanasius Kircher diagrams. In 2010 I was approached by the organization of the Incubate Festival in the North Brabant town of Tilburg. Their request was for me to lead the American composer and guitarist Ben Chasny around a number of chapels in the province devoted to Mary. He had been invited to North Brabant to write some new compositions. Ben Chasny then chose to be inspired by these chapels and that's how we met. I was especially curious how an American would react to something as specific and small as a roadside chapel in North Brabant, since we tend to think here of (people in) America in terms of 'big-bigger-biggest'. Would an inhabitant of this enormous country with this prevailing culture be able to grasp and respect the identity of some 2.5 million people in North Brabant with their chapels? The answer to this question lies hidden in the compositions he made and that can be listened to on this album. Yes, Ben Chasny has been able to convert the phenomenon of a simple chapel devoted to Mary into music. The physical and the spiritual have found each other. What a beautiful world -- just listen!" --Paul Spapens

LP version. "The shaman of the six-string is back. Waving his axe of choice, Sir Richard Bishop once again summons forth damnable truth and beauty on an all-new musical kamikaze run through histories both written and -- as of yet -- not commonly known. Since the dying days of the 20th century, the composer/player of spirited polytheistic guitar recitals including Salvador Kali, Improvika, The Freak of Araby, Tangier Sessions, and most recently, Oneiric Formulary has worked feverishly to wrench and wrangle all the music that has and can possibly fall out of the guitar from east to west. With Hillbilly Ragas, Sir Rick stretches his callused hands across the waters to draw diverse musics back to his shack with the gladiatorial bloodthirst and balance of gravitas and jocosity listeners can expect from him in every hot little moment of play. But there's more to be said than these merely glib rantings as to what happens when traditional music heads for the hillbillies:"

"There were a few different approaches I utilized for this release. First and foremost, I wanted to go back to basics, to strip away any excesses and keep it as simple as possible: one man, one acoustic guitar, no overdubs, no effects, no electricity. Taking several cues from the sounds most often associated with the so-called American Primitive guitar style, I wanted to avoid any traditional approaches and instead try something more-raw and aggressive, concentrating more on rhythm and movement as opposed to anything predictable or overly melodic, while also keeping my particular interpretive ideas about East Indian Raga in the mix. I've always felt that the majority of what is considered to be American Primitive music, while certainly based on historical American musical traditions, never really had any sounds that I personally thought of as being primitive -- it always seemed too orderly, too developed, and too safe? During the recording process I was envisioning an undiscovered mountain man or "hillbilly" who had remained hidden in his own private backwoods; one who never learned, or even heard about, any traditional musical canon that he was expected to work within. So what we have here with Hillbilly Ragas are nine pieces for solo acoustic guitar, each one representing a different excursion into the dark woods -- the untamed explorations of a musical loner, an outsider, maybe even an undesirable, embodying a peculiar folklore and turning it into sound -- creating his own folk music in the process. He's still out there, fueled by moonshine, his supernatural surroundings, and a fuck-all attitude!" --Richard Bishop, 2025

Off The Record, the new album by French collagist Roméo Poirier, is an amusing romp through the discarded history of recording studios. It contains fourteen miniatures based on accidental recordings of studio talk, revealing things that were never meant for the public: listeners hear instructions from studio staff, scraps of talk between musicians, or just microphones being adjusted, as well as false notes, false starts: everyone stops. Start again: 1, 2, 3, 4! Poirier's approach recalls "Accumulation," an artform practiced by Arman, Jean Tinguely and Daniel Spoerri that involved piling up everyday items into assemblages. The objects themselves often remained unaltered, the artistic gesture consisting in the careful curating of a distinctive selection. Poirier's audio collages explore similar terrain. The fourteen pieces on Off the Record combine more than a thousand found sounds from studio archives into complex miniatures. The audio content of these outtakes is twisted, stretched, cut, reassembled, slowed down and accelerated. Voices cut into a microgroove, from a very old recording, intertwine with digital voices gleaned from YouTube. All of them in dialogue, engaging the listener with the impression of being part of a new music group. Poirier uses the mundane routine of setting up before the actual recording gets underway to tell a universal story about working in a recording studio. And he manages something few achieve, transforming specialist knowledge into a narrative whose beauty goes far beyond its immediate subject. It speaks to everyone, because the story is told in a musical language that is open and accessible, evoking magical images reminiscent of Oz -- a world consisting less of events than of camp hallucinations, captured in grainy black-and-white photographs. En passant, Poirier shows listeners how the notion of material accumulation can produce great art. Written and produced by Roméo Poirier, mastered by Stephan Mathieu, photos by Roméo Poirier, graphic design by Tim Tetzner.

"Although it was the lead track on the Stones's eighth studio LP, Let it Bleed, the song 'Gimmie Shelter' was not released as a single. Indeed, the single 'from' that album was the countrified non-LP track, 'HonkyTonk Women' backed with the corny chorale sluice of 'You Can't Always Get What You Want.' It was as though the Stones, knowing they would soon be pilloried on the cross of Altamont, wanted to have a way to try and dodge those nails by being able to claim they weren't even a rock band. Well, fuck them. 55 long years after the Stones's shameful retreat from their true identity, Jackie O Motherfucker has decided to try them in the court of public opinion, both for their jaundiced world view as well as the sheer cowardice of their presentation of facts. The simplest way for JOMF to proceed would have been to illuminate the ridiculous musical and philosophical inconsistencies inside their trademark song of 1968/9, 'Sympathy for the Devil,' but they chose to leave child's play to children. Instead, they took the four minutes and thirty seconds of 'Shelter,' divided it into thirds and created a set of music that explores the mathematical relationships between those segments and the three parts of a song which it reportedly inspired, The Stooges's 'Gimme Danger.' I've had the Calculus of the equation explained to me a couple of times by Tom Greenwood, the founding member of JOMF, but I get sorta lost in most number stuff more evolved than Trigonometry. My sense is that three improvised pieces on this album are musical meditations about the possible existence of a tripartite equivalent of Aristotle's Golden Mean. And while I totally believe in his as a concept, it doesn't really help to explain what the music sounds like, y'know? The three tracks are drawn from two live shows and one studio session, using a line-up resembling that on 2023's Manual of the Bayonet, the music here is largely-instrumental, reed-laced, and filled with the same glowing sense of direction this listener gets when I'm several acid sheets to the wind. Some parts collect themselves and repeat like small bursts of energy trapped inside a pyramid. When vocals do pop up, they sound like out-takes from the soundtrack to Kenneth Anger's Invocation of My Demon Brother, and submerge themselves in a murk of Egyptian dust. Some might compare JOMF's sound to the more abstruse out-takes from the Dead's Gizan shows of '78. But its commentary on the nature of musical forms reaches back further than that. I mean, remember -- the Dead pulled out of playing Altamont. I'm not sure JOMF would have done the same, but I'm sure they would have done something if they found themselves in the same situation. And it might well have sounded like this. As Bear always said, 'A trip in time saves nine.' Good thought, and as diggable today as it was back then. Hop on. This shelter is rolling. --Byron Coley, 2025

Fully licensed, all tracks remastered! Ken Boothe and Lloyd Charmers -- two soul-driven innovators -- deliver a bold statement. Each vocal cut is paired with a raw version: stripped to drum and bass -- raw, unfiltered. It's a format that would shape reggae's future. This is where it starts -- no filler, just foundation. Includes two bonus tracks.

Paloma Mensajera (featuring members of New Juggler Sound/Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early '70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. The positive reception albums by artists such as We All Together, Telegraph Avenue, and Zulu garnered between 1972 and 1975, marked a change of paradigm and in preferences within the Peruvian rock scene. Eclecticism gained new ground, to the detriment of the sectarian and orthodox, while melody grew more present and visible, moving away from the progressive experimentation that typified underground Peruvian rock up to the beginning of the '70s. For their first single on MAG, included on this reissue, the band adopted a formula in which Beatles harmonies converged symmetrically with folk motifs. "Dirty Girl" was a hit on the radio. A full album followed but only a fairly small number of copies of the album were pressed, which seems to have been the main reason for omitting it from the historical accounts of Peruvian rock music from the late '90s onwards. In Paloma Mensajera all compositions were penned by the group, after several years during which cover versions were a staple. Some of the musical resources that the band had at their disposal in terms of composition and arrangements are striking and even surprising, considering that they were a debut band, whose members were under the age of 20. The arrangements included the clever use of a Moog synthesizer which had just arrived at the MAG studio. The success achieved by the Beatles tribute performances played by the members of Grupo Amigos for decades have eclipsed the songs that Edmundo, Andrés Da Ros, and Simón Ames composed with youthful enthusiasm and energy between 1972 and 1973 to the point where they have almost been forgotten. This re-release of Paloma Mensajera should help rectify this major injustice. It includes bonus tracks and extensive liner notes.

Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. Joropop: Psych Pop & Folk in Venezuela, 1968-1976 features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks -- most of which have never been reissued until now. The golden age of Caracas pop started in 1965. It replaced the wave of cloyingly romantic song writing as fresh talents leant into richer and more complex styles: folk-rock, psychedelia, soul, hard blues, symphonic pop, Latin rock etc. Singer-songwriters, experimental electric guitars and jam sessions all appeared on the scene, creating music that became increasingly refined and free. The industry took a while to catch on to this new trend and leave behind the teen idols and dream lifestyles. By the late '60s, there was a long list of new bands in the capital city. Young people finally found their voice. Featuring El Zigui Y Una Luz, Grupo Espiga, Grupo Syma, La Fe Perdida, Ladies W.C., Los Fabricantes De Muñecas, Los Memphis, La Cuarta Calle, Grupo C.I.M., Grupo Pan, Los Rangers, Los Chicos Malos, Ciruela, The Four Blues, and La Cuarta Calle.

Several years after his Unrelatable 12", Marco Passarani returns with F.F.O.M., a project that bridges the raw spirit of his early Nature Records work with a more abstract, narrative approach. Blending digital and analog textures until boundaries dissolve, Passarani channels the pure techno pulse of the Roman school into stories of alien landscapes, fierce struggles, and fleeting moments of beauty, from shadowy promised lands to love songs for the unknown.