Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito's psychedelic cosmology, distinct from his better-known work with High Rise, Musica Transonic, and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there's only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo's longest-running, most mysterious outfits, Ohkami No Jikan's conceptualization -- as a psych outfit "that explores 'stasis' and 'motion,' both actively and philosophically" -- hints at the intensity of the music here. There's a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with arcing blasts of feedback, the group feels cosmically aligned with Nanjo's purity of vision. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990s. It released nearly 200 cassettes and CD-r's, all handmade in micro-editions and sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.

"Sur Drone's debut LP, T.I.T.S. is a collaboration by renowned graphic artist Raymond Pettibon and avant-garde composer Daniel Adams. Together, they created an unusual musical album full of lowbrow grit and high-concept levity. Raymond supplied the graphics, wrote the lyrics, and performed as lead vocalist. Daniel wrote and produced the music, played guitar, and recorded it to 24-track analog tape. When indie legend Geza X first heard the results, he gasped 'This is dynamite!!' and immediately signed them to Geza X Records. He reeled in his longtime friend Lisa Fancher (head of illustrious Frontier Records) to co-release this high-profile project. Pettibon's Black Flag and Sonic Youth record covers are well known to any record buyer. A self-taught artist born in Tucson, Arizona, Raymond Pettibon emerged in the late 1970s on the California punk-rock scene, designing covers and flyers for SST Records (founded by his brother, Greg Ginn). He began self-publishing his drawings, which adopted the DIY aesthetic of comics, flyers, and fanzines. His name became synonymous with punk art. Today, Pettibon's modern art museum pieces draw from a wide range of sources, including literature, art history, popular culture, religion, politics, and even sports. The other half of Sür Drone is Daniel Adams, a multidisciplinary conceptual artist who composed soundtracks for Roger Corman and others. He's a composer, producer and film director based in Los Angeles, California. Adams' guitar work covers a broad range of sounds, from surf-styled electric guitar and drones to circuit-bent noise. As a songwriter, his music is a whimsical, rollicking party featuring many guest artists."

Double LP version. Daphni's fourth studio album Butterfly at first picks up where his last album, 2022's Cherry left off. Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single "Waiting So Long" (feat. Caribou). An unlikely duo -- in that both artists are the same man, Dan Snaith -- it is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong. Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like "Clap Your Hands" which picks up the energy of "Sad Piano House" and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile "Hang"'s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. "Lucky" is squirmy and elusively intoxicating, "Invention" skitters down meandering, inviting corridors, "Talk To Me" grumbles and broods in the murk, and "Miles Smiles" could roll on endlessly, so confident in its groove. Right from the inception of the Daphni alias, the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns.

Repress on yellow vinyl. After two pandemically conditioned "reaction" albums, a few non-album singles, and a compilation album, a downsized and sleek Motorpsycho is back where everyone knows and loves them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety and diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3-minute-something pop-rockers, to 20-minute-plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis.

This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more. Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered. The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges River. Classical music in India was perhaps at its height during the 78rpm period as the raj era was ending and the world was globalizing. 2LP gatefold with 12-page full color booklet insert. Produced by Robert Millis (Climax Golden Twins/Victrola Favorites) and features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Millis from his collection of 78rpm records and ephemera.

LP version. "Millions of Dead Cops is the first iconic, full-length classic record by M.D.C. This was first released in 1981 and quickly became an overnight sensation. Not only did M.D.C. deliver a record full of fast intense music, but this record would influence 1000's of hardcore/punk and bands of political nature to this day. The corruption of cops! Greed of corporations! Racism! The fact that not all people were the same, but so what -- that's OK! Are all addressed in this groundbreaking album. Many of these issues were quite taboo at the time and had not been addressed to this degree in punk before. Round it all off with this being fully restored and re mastered with the original mix. You have a definite must-have album!"

Miracle After Miracle After... is, in contrast to Jeff Clarke's (The Black Lips/Demon's Claws) previous solo work Locust (BRD 004LP, 2023), recorded in a single session in a forest, more beautifully embellished, but never overloaded. At its heart, this is folk music. Clarke could be mentioned in the same breath as Connie Converse, Daniel Johnston, and Atlas Sound, though such traditionally excellent songwriting makes comparisons both easy to make and inherently reductive.

Limited anniversary edition: hand numbered, yellow transparent vinyl, 500 copies available! From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so-called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. The influence of Tangerine Dream can clearly be heard on Romance 76, although the arrangements are comparatively minimalist -- a state of affairs for which David Bowie can be held partially responsible. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts. After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums, Baumann called time on his solo career with Romance 76. This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story. Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record Romance 76. Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on Romance 76, for example, along with a Mellotron. Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.

LP version. "Control was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He never used these innovations merely for their own sake, but always put them at the service of his artistic flair for experimentation. His signature style is clearly recognizable on Control. The album seems to be a kind of compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all directions. But then there are tracks 1, 8, 11, and 12 -- and here I can only speculate -- where it seems as if Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces. And why not? He was completely undaunted by new things. Most important was that the music remained within the framework of his strict overall concept. There is no spacing between the tracks on the original LP, released in 1981 by the DYS label in the US. The A and B sides are originally titled simply 'Control A' and 'Control B', and the thirteen pieces are strung together without interruption. Strange. About half of the tracks on Control are apparently faded in and/or out. This could indicate that Schnitzler either drew on 'overlong' archive material to extract passages suitable for the album, or that he shortened the newly recorded music. Speculation is pointless -- we can no longer ask Schnitzler. In any case, he opted for relatively short pieces averaging three minutes in length, some even shorter, others a little longer. All in all, this creates the impression of sketches. Sketches with sharply defined contours, however: as with almost all his albums, Schnitzler gives us listeners clear information about where he currently resides in his musical universe. For Schnitzler, too, the journey was its own reward, and there were many stops 'on the way to the complete Schnitzler'; he never lingered at any of them for long. His artistic restlessness and curiosity were his lifeblood. And to stay with the metaphor, Control is a strong dose of that elixir." --Asmus Tietchens, 2025

LP version. Berlin's experimental trio ZAHN returns with their most electrifying work yet. A lush fusion of heaviness, electronics, and hallucinatory color. Monolithic grooves meet synthetic shimmer. Purpur breathes tension and danger, pulsing with depth and density. Known for their intense, driving sound that echoes the relentless march of a world on the edge, the trio ZAHN -- Chris Breuer, Nic Stockmann, and Felix Gebhard -- are deepening their sonic exploration with a record that is simultaneously more electronic and more rock-infused than their acclaimed predecessors. Purpur takes its cue from the album's vivid cover -- a burst of grapes and berries that mirrors its lush, colorful sound. The record blends potent genres into something fresh and electrifying: heavy foundations meet rich electronic textures, creating layers of color, complexity, and a touch of hallucinatory sweetness. Recorded once again in Gyhum with recording engineer Peter Voigtmann (ex-The Ocean, Death By Gong, Heads), Purpur follows in the footsteps of the band's previous work but also marks a bold leap forward. Guest appearances by Fabian Bremer (Radare, AUA) and Kjetil Nernes (Ârabrot) deepen the record's sense of unease and allure, while Magnus Lindberg's (Cult of Luna) mix and master give it the depth of a subterranean pulse -- crisp, heavy and alive with microscopic detail. While Adria offered a vivid escape through Krautrock, dark jazz, noise rock and post-punk, Purpur draws listeners into a denser, more intricate and tightly woven soundscape. The band's third full-length is an intoxicating swirl of synthetic pulse and physical heft -- a record that feels like it's been fermented rather than composed.

"Arriving in 1984, Nobody Move Nobody Get Hurt was recorded at Channel One and mixed by Sylvan Morris at Harry J Studio. Produced by the legendary Henry 'Junjo' Lawes. There wasn't a weak number on this ten-song set and all backed by blistering riddims from the Roots Radics. The album's title track was a huge Jamaican and global hit."

LP version. Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone -- a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining -- the film traces a descent into one of Earth's last untouched ecosystems. Charrière's film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance. Echoing this tension, Halo's compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect. Halo's score evokes the life that exists beyond a physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo's imprint, Awe. The film is central to Charrière's current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.

LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

LP version. Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Pioneering experimental electronic record receives first-ever complete vinyl pressing, featuring expanded content and exclusive liner notes. Editions Mego release the highly anticipated vinyl reissue of Get Out, the groundbreaking second album by Peter Rehberg under his influential PITA moniker. Originally released in 1999, this seminal work stands as a landmark achievement in experimental electronic music, praised for its revolutionary fusion of ear-splitting noise and melancholic melodies. Moving beyond the era's trend of pure abstraction, Get Out represents a pivotal moment when experimental electronic music began exploring new territories laying forth a path which many artists would subsequently follow. This expansive reissue marks a significant milestone for collectors and enthusiasts, presenting all 12 tracks from the 2008 eMego CD version on vinyl for the first time. The inclusion of the rare Detroit live recording (remastered by Jim O'Rourke) provides invaluable insight into PITA's performance practice during the album's original touring cycle, whilst new liner notes from Jim O'Rourke and Chris Clepper provide further personal and anecdotal insight. Since its original release, Get Out has been recognized as essential listening for understanding the evolution of experimental electronic music in the late 20th century. This authoritative reissue ensures that Rehberg's visionary work remains accessible to new audiences while providing longtime admirers with the definitive version of this crucial album. The vinyl comes with a DL code which contains a 20-minute live performance in Kyoto, Metro, 25.01.1999.

Double LP version. Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru's second release on Editions Mego, following on from the classic 2020 release Peel (EMEGO 289CD/LP). Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. It is a deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru's vision. Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in this immense new work. The charms within Kin lay as Easter eggs revealing the true identity behind the colorful sonics only after multiple deep listens. "With Trees Where We Can See" sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, "Blurred." A neat Mego/Editions Mego loop as such. "Blurred" arranges twangy guitar strums alongside glistening glaciers of shimmering drones. "They Are Here" represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. "Maybe" takes a detour into a bristling euphoric electronic storm whilst "We Are" screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. "By Absence" concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop. Kin is a trip that rewards close repeated listens as all the colors and textures, nuance and narratives unveil themselves.

We Release Jazz presents this limited vinyl edition of Ill Considered's transcendent live album Live in Jura, an expansive document of the trio's 2023 performance at Spiegelberg Festival -- now available as a double LP with a bonus D-side, housed in a heavyweight sleeve with obi and an original artwork by Vincent de Boer. Captured in the heights of Saignelégier, Switzerland, in the middle of a pasture overlooking the Jura mountains, Live in Jura bottles the singular Ill Considered live experience at its most open, responsive, and elemental. From Idris Rahman (sax, flute), Liran Donin (bass), and Emre Ramazanoglu (drums), this is deep free improv built from intuition and heart -- an ever-evolving conversation of groove, texture, and spirit. Whispered motifs bloom into towering climaxes; earthy bass surges meet shimmering cymbal work; woodwind lines move from meditative invocation to ecstatic release. It is music shaped by the audience, the environment, and the moment: alive, unrepeatable, and deeply organic. The bonus D-side extends the album's world with a unique ambient composition made from field-recorded organic sounds of the forest surrounding the concert area. Re-composed into a drifting, luminous piece, it features The Voices of the Alpenglow, blurring the boundary between performance and landscape, human gesture and elemental presence. Ill Considered -- known for forging improvised music around simple themes or spontaneously created structures -- here reach a new level of sensitivity and power.

2026 repress; double-LP version. Gatefold sleeve with insert and original liner notes. Another Thought was the first collection of Arthur Russell's music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur's most recognizable music, like the title track "Another Thought", "A Little Lost", "This Is How We Walk On The Moon", "Keeping Up" and the woozy disco of "In The Light Of The Miracle" and "My Tiger, My Timing". Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur's lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it's essential for any fan of non-obvious pop music.

Camouflage are one of the few German bands to have been making music successfully at home and abroad for the last couple of decades. The Great Commandment (1987) and Love Is A Shield (1989) were actually worldwide hits. After four albums, Camouflage felt it was time to experiment. This phase reached its zenith with the album Spice Crackers in 1995 -- the most daring, most interesting work they ever released. Electropop tracks sit side by side with hypnotic, repetitive, spheric tracks. Now, 30 years later, Spice Crackers is finally released on vinyl for the first time! Heiko Maile, Camouflage founder member and producer of Spice Crackers, has this to say about working on the album: "On our previous productions, we started out with just a few songs, worked on these as demos and then went to an external studio to completely re-record them with a producer. Having the idea to produce an album in our own studio, thus giving us more time to experiment, basically wanting to do the whole thing differently, was the beginning of an interminable recording session. Once we got going, surrounded by synthesizers, drum machines, guitars, microphones, a mammoth analogue mixing desk and a few pieces of recording equipment, we simply taped everything that came into our heads. Only a few of these tracks -- I'm deliberately refraining from calling them songs -- ended up on the original CD. It was a very formative and inspiring time for us in terms of album production."

Limited to 537 numbered copies! Two killer acid-punk/psych-fuzz tracks taken from the ultra-rare Kaleidoscope album from 1969, recorded in the in the Dominican Republic by this Boricuan/Dominican band but released only in Mexico.

2026 restock. MG.ART reissue Seven Up as part two of the authorized 50th anniversary "A.R.T." re-edition series. Seven Up is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. Cover art by famous Swiss artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik -- the first release on the new sub-label "Kosmische Kuriere". Seven Up in a re-cut carefully overseen by Manuel Göttsching himself. Features the full original text for the "7 Levels of Consciousness" by Timothy Leary in English, i.e. "Instruction Manual for Pleasure Panel" plus a previously unreleased glimpse view of the original scripts including notes and mark ups as well as partly unreleased photos from the recording session. Gatefold; four-page inlay.

Julian Cope's review and remarks from Krautrocksampler (1995): "When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues! Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality. The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic. 7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers. The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk technicolour yawn in the grandest of traditions. In typical Ash Ra Tempel style, the record is divided into two pieces, 'Space' and 'Time'. Within this, though, Timothy Leary's ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together . . . Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away..."

2026 repress. 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.

Proto-doom metal/stoner/hard-rock by this Mexican band formed in 1972, including their mega-rare early '70s singles plus later material in the same raw vein. Born on Día de los Muertos in 1972, Medusa emerged from Mexico City with a mission: to forge heavy, hard, Spanish-language rock rooted in social awareness and poetic force. Guitarist Luis Antonio "Toño" Urquiza, drummer Víctor Moreno, and bassist/vocalist Javier Plascencia shaped their sound influenced by bands like Blue Cheer and Black Sabbath, as well as the turbulence of the 1968 Student Movement, the 1971 Halconazo, and the creative explosion surrounding the legendary Avándaro Festival. Friends and contemporaries of bands like Peace & Love, the Dug Dug's, and El Ritual, Medusa quickly stood out for their powerful live presence and politically charged energy. They released their mega rare first single in 1973 and then an EP followed in 1974, but their refusal to compromise their artistic direction led to being dropped before completing a full LP -- pushing them into self-produced, underground recordings throughout the following decades. Despite media marginalization, Medusa remained active into the mid-1980s, playing everywhere from stadiums and TV to prisons and "hoyos fonkis." After a decade-long hiatus, they resurfaced in 1994 to a new generation that embraced them as pioneers of heavy metal and early stoner rock in Mexico. Later joined by Jaime García Mares, they reaffirmed their status with a landmark 2006 national TV appearance. In 2015, after more sporadic performances and demos, Medusa were honored by Tianguis del Chopo and recognized by the National Sound Archive as the founders of stoner rock in Mexico, becoming subjects of books and a Rolling Stone special on Mexican rock. Shortly after, the band closed a 43-year chapter and its members moved on to personal projects. Now, thanks to recordings rescued from Víctor Moreno's personal archives, Medusa's early work -- including their four tracks from the '70s and additional raw and unadulterated sessions from the '80s-'90s -- finally appears in long-play format.

A note from Carlos Giffoni: "I initially recorded all tracks in California between 2024 and 2025. The tracks were then sent to various locations around the world to each collaborator for completion, before returning to me in California for final touches. They were subsequently sent to Japan for mixing. Then, back to California, and then to Australia, where the final designs for the artwork were created. The final version was then multiplied and spread all over the world until it reached your ears, their intended target. The Pendulum swings. And the world keeps rotating endlessly." Mixed and mastered by Jim O'Rourke. Featuring Greg Kelley, Mabe Fratti, Zola Jesus, Ben Chasny, Lea Bertucci, and Iggor Cavalera.

Formed in London in 1970, Patto evolved from the legendary Timebox and were known for their unique mix of progressive rock, jazz, blues, and their exceptional musicianship. Featuring Mike Patto, Ollie Halsall (one of rock's great "guitarist's guitarists"), Clive Griffiths, and John Halsey, this is their 1970 debut for Vertigo. Comes in original gatefold artwork in textured sleeve. Features stereo mixes and mastering by Prof. Stoned. Includes insert with detailed liner notes by Ralph Heibutzki and rare photos/memorabilia.

Rising from the ashes of Timebox, Patto delivered a bold fusion of progressive rock, jazz, and blues powered by Mike Patto's soulful vocals and Ollie Halsall's stunning guitar work. Their second album, Hold Your Fire (1971), originally on Vertigo, is a true gem of early '70s progressive rock. Comes with original artwork in gimmix gatefold sleeve. Remastered by Prof. Stoned. Includes insert with detailed liner notes by Ralph Heibutzki and rare photos/memorabilia.

Recorded in 1973, Eclipse was intended as Jade Warrior's fourth Vertigo release but was shelved before pressing, circulating only as rare test pressings. Restored with the band's original running order and period artwork, this is top notch British progressive rock, blending delicate acoustic passages with bursts of heavy-rock intensity, African, and Middle Eastern rhythms. The missing link between Last Autumn's Dream and their later Island-era sound. Sourced and remastered from the original master tapes. Comes in lavish gatefold sleeve in the best early '70s tradition. Includes insert with detailed liner notes and photos.

France's near-revolution of May '68 was the zenith of that generation's struggle for a new kind of life. It kicked the country's small, but vibrant, counter-culture into overdrive, and birthed a local underground music scene. The bands it spawned made music with much less rock purity than groups from the UK and US. Their musical and cultural influences foregrounded improvisation, dis-junction, and genre-blending: Soft Machine, Pink Floyd, Frank Zappa, free jazz, and radical politics. The introduction of the synthesizer in the early 1970s added fuel to the fire. This collection of French underground music inaugurates a series to accompany Synths, Sax & Situationists, the first English-language book to investigate this movement. It focuses on the music of the second wave of bands that emerged in 1972/3, which saw radicalized psychedelic and jazz in-fluences merge with the future-music possibilities offered by new technology. Featuring Nyl, Etron Fou Leloublan, Lard Free, Heldon, Jacques Berrocal/Dominique Coster/Roger Ferlet, and Delired Chameleon Family.

Detroit original, Terrence Dixon, returns to Tresor Records with When Stars Remember. The release finds him stepping forward: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that "monumental" seems a better descriptor than "minimal." The absence of things is another main theme of the EP, especially what Dixon sees as "The Forgotten," a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life.

WRWTFWW Records presents the first-ever vinyl release of Art Form I, the overlooked 1997 compilation from Tokyo's cult imprint FORM@ RECORDS, now available as a limited-edition double LP housed in a heavyweight sleeve as part of the ongoing collaborative series between the Swiss and Japanese labels. Originally issued only on CD, Art Form I is a fascinating deep dive into the rich and singular world of late '90s Tokyo electronic music -- an inspired collection of timeless IDM, techno, ambient, and electronica experiments. Showcasing a roster of visionary underground artists including fan-favorite Virgo (Landform Code, Remnants), the compilation maps the innovative spirit of the era: emotional machine music, intricate rhythmic architecture, mind-expanding textures, and the soulful heart that serves as the solid foundation of everything FORM@ RECORDS. Art Form I reminds of the pioneering explorations from Warp's Artificial Intelligence series, B12, The Black Dog, Ken Ishii, and early Carl Craig, all while maintaining its own distinctive local identity. This long-awaited vinyl edition offers listeners a fully immersive rediscovery of a pivotal moment in underground music. Featuring Mag-Net-Walker, Tensor, Minerva, Souther, Dendrobium, Micro Wave Assessment Chisei, Led-M, and Penance.

WRWTFWW Records presents the first-ever vinyl release of Art Form 2, the seminal 1998 compilation from Tokyo's cult label FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve, as part of the ongoing collaborative series between the Swiss and Japanese labels. Initially available only in CD form, Art Form 2 emerges as a quiet artifact from an exploratory phase in FORM@ RECORDS' late-1990s trajectory. The compilation drifts through the deeper layers of Tokyo's electronic underground, where IDM, techno, ambient, and downtempo dissolve into one another within an atmosphere of deliberate experimentation. Both intimate and forward-looking, it preserves a moment in which a local scene, largely unseen, was patiently reshaping the future beyond the reach of prevailing global narratives. Flowing with carefully sculpted rhythms, immersive sound design, and a subtle sense of machine soul, Art Form 2 reflects the maturity of the FORM@ aesthetic in 1998. The compilation resonates with the spirit of Warp's Artificial Intelligence era, Carl Craig's melodic futurism, Ken Ishii's cerebral techno, B12's deep electronics, and Ian O'Brien's emotive touch, while remaining unmistakably rooted in its own local context. Timeless and singular, it stands as a beautifully preserved time capsule of underground electronic music. Featuring Circle Limit, Led-M, Missing Project, Tensor, Tek Of 606, Misty Fuzz, Fossil, Modern Living, and Toh Chisei.

David August's most expansive, ambitious album to date, the Italian-German composer and producer lets his vast sonic universe collapse, rediscovering in its wake an instrument that's been a constant presence in his life. Hymns is a deeply personal set of candid piano-led reflections that tell a simpler but far more distinctive story; rather than concentrate on the life cycle of humanity and civilization, August narrows his field of vision, tracing his own background and reasserting his relationship with a musical language he'd tried hard to unlearn. An intimate, instinctual album that emerged from isolation and contemplation, Hymns is also a surprisingly hopeful suite of soft hued, evocative improvisations that well up from the depths of the soul. In August's own words, "it should recall light, not darkness."

The deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the post-punk tonality of Pentacles, than the breezy Balearic jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device. As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further ten pieces, this time displaying the full range and fervor of Thought Leadership. Originally out on cassette only, Be With presents the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this. Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret -- they are all represented across the first seven tracks, and often within the same piece. Side B again takes the listener on a trip through three long-form semi-improvised pieces. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash. Beautifully dreamy, undeniably soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

Sculptures is composer and pianist Derek Hunter Wilson's third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist's journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay. Award-winning poet Mathias Svalina composed a poem for the album, entitled "A Dream for Sculptures." It is reproduced on an insert that accompanies each LP. Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound, Travelogue (BNSD 016LP, 2017), and Steel, Wood, & Air (BNSD 035LP, 2019), as well as a collaborative album with Location Services entitled Wake (BNSD 066LP, 2022).

"The residents of Scandinavia and those of coastal regions of Canada have more than a few commonalities. For one thing, they love seafood as well as the act of gathering it. And while this briny lust was not the sole rationale behind this, Mats Gustafsson's third visit to the city of Nanaimo on Vancouver Island off the coast of British Columbia, I am certain it was on his mind. After all, his second visit to the city, with his band Fire!, was designed around a fishing trip envisioned by promoter/label head Jack Tieleman as a sure way to lure those salmon-hungry Swedes to town. That such a gambit was not conjured up again must mean that either Kjetil Moster (a Norwegian rather than Swedish musician) had no overwhelming lust for fin or that their schedule was just too tight. I have asked about this several times, and the lack of response makes me wonder if it is a touchy topic. Maybe there's some kind of law against anti-piscatorial activity in Norway, so things have to be kept hush-hush. But that's just a guess. Regardless, this duo LP is totally great, savage and funny in equal measures. Whether there's sea salt on his lips or not, Mats is one of the great saxophonists of his generation, playing everything from traditional post-bop sax to explosive experimental electronics and many many things in between. The other half of the duo, Kjetil Moster, plays with Mats in a wild quintet called The End, and has a vast array of other projects and ensembles with whom he plays and records. Together, they form and exciting unit, employing a vast array of techniques (freaky and otherwise) to create music ranging from elegantly floating reed interactions to full-on fire music form-tussles. The music at times recalls everything from Eric Dolphy's backyard birdcall practice to rusty electronics worthy of Lasse Marhaug. That Mats and Kjetil are able to flow back and forth between such distant poles during their first-ever appearance as a duo speaks to an excellence in communication as well as lightning-fast response time. It is a gas and a blast from start to finish. How I wish I'd been there!" --Byron Coley