Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy funk-laden lounge music, oscillating between dark and light flashes. It's nothing short of astounding! This vinyl release is hyper-limited, with just 500 pressed for the world. The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. This collection was written and recorded in Spring and Summer of '24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers and guitar. He even dusted off my sax for this one, which he doesn't do as often as he'd like! This type of groove-oriented library music has been a steady part of Steve's diet since the late '90s. Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood ('70s/'80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it. The album's cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe, so this shot seemed appropriate. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The six songs that comprise new record Simple Things finally realize Wally's vision for select backing tracks from his beloved Colors Of Silence. The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has "simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius. Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own. As Wally explains: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though Back To Scales Tonight, my very first album, was, indeed, a song album." The guide vocal Wally had laid for Colors Of Silence -- with an organ sound -- seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango, and Miriam Makeba. Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorization. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland.

Berlin-based Swedish singer-songwriter Nadya Albertsson returns with her most personal work to date. Half Silk Half Blade blends diaristic storytelling with lush, layered instrumentation, the capturing a fleeting, transformative moment of queer self-discovery. A Scottish Young Jazz Musician finalist in 2018, her sound has been described as evoking Alice Coltrane, with a blend of Ella Fitzgerald, Esperanza Spalding, and Erykah Badu. Her versatile and expansive vocal range has already been showcased on Rebecca Vasmant's Blessed and Broken Biscuits and Amanda Whiting's After Dark -- projects championed by the likes of Gilles Peterson, Jamie Cullum, Jamz Supernova, BBC Radio 6 Music, BBC Radio 1, and BBC Radio Scotland. For fans of Olivia Dean and Cleo Soul.

West Virginia Snake Handler Revival "They Shall Take Up Serpents" marks the arrival of a landmark record, documenting the last, snake handling church in Appalachia. Featuring hillbilly rock guitars, trance-like rhythms, and howling vocals, this album was recorded 100% live and without overdubs by Grammy-award winning producer and author, Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Zomba Prison Project). The first release of American music ever by Sublime Frequencies, Brennan states, "As much as I've traveled around the globe to remote areas such as Comoros, the southeast Sahara or up-river in Suriname, few places have felt more foreign or 'exotic' than this part of Appalachia. The recording represents in many ways a companion and counterpoint -- the other side of the Deep South, so to speak -- to the music that was explored on the Parchman Prison Prayer albums. The Snake Handler album was an attempt to listen across that divide -- a divide that's never fully healed and continues to haunt and imperil the USA to this day." The recording took place during a two-plus hour Sunday service in the West Virginia mountains. Brennan states, "I'd sworn to stay far away from the snakes at the service, but instead they were waved in my face as they coiled in the preachers' hands, and I crouched down at the foot of the altar tending to the equipment. The pastor soon was bitten and blood splattered, pooling on the floor. The female parishioners hurriedly came to wipe up the mess, and it instantly became clear just what the rolls of paper towels stacked on the pulpit had been for. You can actually hear this moment transpire towards the end of the track 'Don't Worry It's Just a Snakebite (What Has Happened to This Generation?)'. The congregation leapt to its feet and a mini mosh-pit formed. The tag-team preachers huffed handkerchiefs soaked in strychnine, as they circled like aggro frontmen and an elderly worshiper held the flame of a candle to her throat, closing her eyes and swaying. The church PA blew out from the screams as a bonnet-wearing senior whacked away at a trap kit that dwarfed her. It was the most metal thing I'd ever seen, rendering Slayer mere kids play." The flock claim to be the first church that merged Rock and Roll with firebrand preaching -- that the music was stolen from them by Satan, that they are the originators. Given that snake handling ministries can be traced back to at least 1910, there might even be a faint something to the claim. The pastor's father and brother both died after being bitten by timber rattlesnakes, and the pastor himself suffered greatly from one a few years back -- his forearm swelling to twice its size and turning slime green. As a result, he fell unconscious and his forearm had to be sliced open from wrist to bicep to relieve the pressure. Nonetheless, Pastor Chris steadfastly claims that "Jesus is our anti-venom." "Some people think we're Devil worshippers, that we're a cult. But snake handling is only a small part of what we do." In the 1970s there were reportedly five-hundred snake churches throughout Appalachia, but now there is only one -- in West Virginia, the only state where serpent handling remains legal. It's estimated that in the past century more than one-hundred preachers have died from poisonous snakebites inflicted while leading these services. This includes the founder of the first snake handling flock, George Went Hensley, who was illiterate and once convicted of selling moonshine during the Prohibition era. His death was officially ruled a suicide due to his refusing medical treatment. The local county's population has dropped by more than 80% in the wake of the West Virginia coal industry's globalization gutting, and the area now leads the USA in drug-related deaths per capita while also being the poorest in the state. Within minutes of launching into trance-like states during the service featured on this album, both preachers became drenched in sweat. More than strict scripture, the preachers are gifted improvisers able to vent for hours at a time. Brennan states, "Pastor Chris joked, 'You definitely don't want to hear me sing.' But, in fact, he is a gifted vocalist with singular phrasing." Like so much of the most classic music ever made, it sounds as if it is emanating from the past and the future simultaneously -- some parallel universe where instead of discovering amphetamines, The Damned found God (or maybe both) and became born again. The vinyl edition includes a long 13-minute bonus track and features a four-page booklet sporting stunning photos of the congregation's rituals in action.

Restocked on LP. "This is the first stop on Sven Wunder's musical journey. Wunder takes the listener somewhere around the easternmost part of the Mediterranean Sea, around the Levantine Sea, where he paints a colorful portrait and illustrates the region's flora through sound. The fruitage is a vivid bouquet where Wunder fuses colors and pigments by using traditional and modern instruments merged with arrangements and melodies that stretch from popular to folk music by portraying tulips, red roses, hibiscus, hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes these flowers are pictured in both modern and classic idiom. The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy organs, far-out synthesizers, enchanting sax, and impetuous bass lines. Eastern Flowers sweeps through time and space and points towards the future. It could appeal to both psych and prog listeners, folk or jazz aficionados, and as well the gourmet hip hop connoisseurs."

"The field recordings on this album contain the common theme of water in different states: snow, ice, hail, streams, creeks, in the Puget Sound passing under a ferry boat, pouring from a leaking sea wall, in frozen ponds, as it turns a water wheel, rain in thunder storms, in a pool during winter swimming. These were recorded between 2017-2024. They were usually made quickly while out with my son, and later edited to preserve the sounds of our voices while obscuring the specific content of what was said. In contrast, when Daniel records, he has a predetermined place in mind, and sets off on whole day adventures to document through both photography and audio. Working together melds his high fidelity, pre-meditated recordings with my spur-of-the-moment low-fi recordings... When we decided to work together on Smelter, I gave him five recordings of my piano compositions which he treated and added his own elements to -- turning them into long drone formations. These were then combined with the various water-based field recordings we'd made individually. Making records this way creates an aural archive of place/time and environment -- in the same way a film photograph holds onto a vision in time: the single moment when light is suspended in microscopic halide crystals which can then be recreated and reinterpreted: a form of time travel, where the past is both fixed and also accessible in the present. With Smelter perhaps we have created a time capsule, an index in which to place our combined story telling for listeners to share." --Faith Coloccia

2025 restock; LP version. Includes bonus 7". Wewantsounds continues its extensive Meiko Kaji reissue program -- in partnership with Teichiku Records and Kaji herself -- with the release of Yadokari, her third album from 1973. This marks the first time the album has been reissued on vinyl, featuring its original artwork and newly remastered audio. Renowned for her iconic 1970s films (Lady Snowblood, the Stray Cat Rock series) and admired by Quentin Tarantino, Meiko Kaji also released a string of outstanding albums on Teichiku, blending Japanese pop with cinematic grooves. Yadokari is reissued here with its original deluxe gatefold sleeve and OBI plus a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. As a special bonus, this edition includes an EP single featuring "Shura No Hana," famously featured on the Kill Bill soundtrack. Kaji was one of Japan's most iconic exploitation film actresses of the early 1970s. Beyond acting, she was invited by film studios to perform theme songs for many of her films leading to revered music career. Between 1972 and 1974, she recorded five albums for Teichiku, which have since become highly sought after. Yadokari ("hermit crab"), released in 1973, was Kaji's third album for the label. Like its predecessors Gincho Wataridori and Hajiki Uta, it offers a rich mix of kayōkyoku (Japanese pop), traditional enka, psychedelic rock, and cinematic '70s funk. The album includes two tracks, "Hagure Bushi" and "Kiba no Ballad," from the cult 1973 TV series Sengoku Rock Hagure Kiba, in which Kaji starred. "Hagure Bushi" stands out as one of the album's funkiest tracks. Like "Kiba no Ballad," it was composed and arranged by the legendary producer Yuji Ohno (best known for his work on Lupin the III). The album as a whole is a superb blend of atmospheric songs, from the haunting, slow-burning title track "Yadokari" to "Ah," which features groovy guitar licks, harmonica, and sleek string arrangements, evoking a subtle Morricone influence. To complete this reissue, Wewantsounds has included the rare 1973 7" EP "Shura No Hana/Hō Yare Ho" as a bonus. Only released as a single, "Shura No Hana" (Flower of Carnage") is a cult classic, famously featured on Quentin Tarantino's Kill Bill Vol. 2 soundtrack. A key release in Meiko Kaji's 1972 - 1974 Teichiku Records catalog, Yadokari is a testament to her singular talent as a singer.

Green color vinyl version. Sababa 5 finally delivers their long-promised, and self-titled album of original instrumentals, built around the band's distinct mix of Middle Eastern psych, funk, and disco groove. Sababa 5's knack for intricate grooves and catchy melodies have led to a series of acclaimed singles, from fresh takes on classic melodies to vocal collaborations, championed by the BBC's Gilles Peterson, Cerys Mathews, and Gideon Coe in the UK, and Radio Nova and FIP, in France, whilst they gradually found their own contemporary sound, creating original music together that could stand up on its own across a whole album. Across these eight songs, the group blends the Afro disco, reggae, jazz, funk, and a plethora of Middle Eastern traditions, whilst traveling time and space, drawing a musical, cultural and geographical line from Somalia to Iran, via Ethiopia, Sudan, Egypt and Turkey, from the late '70s and early '80s to today. Thus, Sababa 5 creates a unique psychedelic groove that builds on the approach that the likes of the Daptones have taken to working independently, writing, producing, and recording original music, with their own modern take on '70s soul and funk. Standouts include "Malca" (a girl's name that means "queen"). Built around broken synth lines, a languid East Africa meets Anadolu psych groove and vintage organ licks, the instrumental peaks a transformative chord change, shooting it into the stratosphere. The carnivalesque "Lizarb" ("Brazil" backwards), raises the tempo and temperature. The piece kicks off with a guitar-led call-and-response before a synth-led melody lifts everything to another level. Topped off before the end by a beautiful wah-wah meets psychedelic Mizrahi style guitar solo over a pulsating drum and groove line, demanding a physical response. "Habedil" ("the idiot" in Hebrew), is named for the innocent, child-like synths that lead off towards the start, whilst the bass and guitar riff repetitively, crafting an irresistible groove before dovetailing into an epic disco synth vamp. With this, their debut, self-titled album, Sababa 5 is ready to take a seat among the most exciting and original instrumental-based groups across the globe, with an exciting and distinct approach to groove, sound, and melody. For fans of: Surprise Chef, Sven Wunder, Yin Yin, The Soul Surfers, ATA Records.

2025 repress; LP version. Kingston Sounds present a reissue of Horace Andy's Natty Dread A Weh She Want, originally released in 1979. The Natty Dread A Weh She Want set brings together two legends of reggae music. The stylish and unmistakable falsetto voice of singer Horace Andy, and the production/DJ singing skills of Tapper Zukie. Both artists' catalogues of music stand up strong, but something special out comes from both of them on this set of tunes. "Natty Dread A Weh She Want" was a massive hit when it was released by Tapper Zukie and Horace Andy, but this timeless track still sounds as fresh today as the day it was released in 1979, as do the other tracks on this fine album.

2025 repress. MG.ART announce the authorized 50th anniversary edition of Ash Ra Tempel's Schwingungen, originally released in 1972. One of the most important German krautrock albums. Re-cut carefully overseen by Manuel Göttsching himself. Gatefold sleeve with sticker; Includes original release sheet and inlay.

Julian Cope's review on Schwingungen in Krautrocksampler (Head Heritage, 1995): "'Beware of Schwingungen!' That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm -- 'Look at Your Sun' begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful -- John L. repeats over and over, 'We are all one, we are all one', until a howling fuzztone solo guitar blows the whole one chord 'Signed D.C.' ringing-cymbals torture to an end. And then the most far out track of all begins. This is called 'Flower Must Die' and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it's like the Stooges' Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket crosses into hyper-space and everything gets all hyphenated just-for-the-sake-of-it. 'Flowers Must Die', man, it's fucked up. Over on side two, the title-track ('Vibrations') begins poetically enough with Wolfgang Muller's epic and hugely reverbed vibraphone. Organ fades in and FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally materializes -- this is the one that Göttsching and Enke believed was the sound of heaven. They may have been right. And Schwingungen was a gift from the Gods."

2025 reprint. The 20th anniversary re-issue of Fennesz's best-selling Venice, originally released in 2004, is now available as a deluxe version remastered by Denis Blackham, with new and extra tracks not on the previous CD or vinyl versions. Included in the DVD-format edition is a booklet with texts by Fennesz himself, Denis Blackham, and Jon Wozencroft, with unseen photographs from the original 2004 sessions. The booklet also reproduces David Sylvian's original handwritten lyrics for "Transit." This "stunning" collaboration with David Sylvian continues where their fantastic duo track on Sylvian's album Blemish left off. Situated directly in the middle of a mostly subdued listening experience, "Transit" literally bursts out of the speakers accentuating the album's more pop-like characteristics as well as its more restrained moments.

Denis Blackham: "Fast forward to 2024 and here I am again with the same original master mixes I used in 2003 to make a new and expanded version of the album -- Venice 20. A little over twenty years later, technology in audio production, recording and mastering has improved substantially, so I was excited to return to this album and give my 2024 treatment."

Christian Fennesz: "Over months, I collected material for the album: short recordings of acoustic and electric guitars, experiments with newly introduced soft synths and samplers, and field recordings, sometimes done on the go and directly in Venice, where I stayed for several weeks. The sound and acoustics of the city fascinated me. From my room, you could clearly hear conversations at night with the window open, but it was uncertain whether they came from the neighboring house or several blocks away, as if the sound waves in Venice followed their own rules. It was during this time that the idea for Venice as an album title came to me, as a suggestive description of a dignified decline, decay, death, and rebirth. David Sylvian's lyrics and vocal performance for "Transit" perfectly encapsulated this idea for me. The piece remains a highlight of a wonderful, ongoing collaboration."

2025 repress. WRWTFWW Records is announces the first-ever physical release of Louisiana-based composer and producer Jammin' Sam Miller's full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip. Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration/action-adventure/sci-fi/alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game's protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes. Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience." Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Silver-color double vinyl set. First time on vinyl with bonus previously unreleased, period correct live side. Housed in gatefold sleeve with black/metallic silver ink artwork. Riot Season has purged the Acid Mothers Temple archives once again, resurrecting another classic album: Electric Heavyland. Originally released in 2002 on CD only (via Alien 8 Recordings), Electric Heavyland is presented here for the first time on vinyl, remastered and with a whole bonus live side! Housed in a beautiful gatefold sleeve with heavy use of the original black and metallic silver ink artwork. Side D was recorded live at the second Acid Mothers Temple Festival on December 13th 2003 with Yamazaki Maso (Masonna) as a guest. Makoto says "we have played this song, 'Atomic Rotary Grinding God' live only once, and this is that recording." Produced, engineered and mixed by Kawabata Makoto. Live recorded by Takayama Manabu (original source is VHS video tape). Remastered by John McBain.

Astonishing debut LP by Jerry A's (Poison Idea) new band with members of HHH, Rouse, 25th Coming Fire, Disaster Jacks, and Ira et Decessus, an instant hardcore-punk classic. The first, brutal LP by supergroup Black Bacon, Every Action Has Reaction, is a kick ass and punishing barrage of pure punk. They produce eight murderous tracks of frantic hardcore punk sure to satisfy anybody even slightly interested in furious music. Includes fold out insert.

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.

Punk was one of the first photobooks that came out about the punk movement not just in Spain but in Europe. Originally published in late 1977, the book achieved a significant international projection, acquiring a pseudo-mythical status as it disappeared from the catalogue. Almost half a century later the book is now available again. This updated edition includes unpublished photos from Salvador Costa's own archives, preserved by his wife and children after his passing on 30 October 2008, and also short texts and comments by members of Gen X, Eater, The Models, and more. Salvador Costa's black and white photos show his awareness that monochrome is the best way to portray individual punk spirit as well as the atmosphere of beer, music, and sex at the clubs in London, April '77. This book contains an insider vision depicting the city of London and the inclusive ambience at these venues; shot close-up and with a naturalness that shows there were no barriers between players and crowds. Scattered among the public, kids, smoke, and shadows, you will be able to find faces of the Sex Pistols, Chelsea, the Nips, the Slits, Eater, and many more, encapsulated in the space-time of a golden age of youth empowerment where everything was possible and nothing was impossible. The book was originally published in Spain in late 1977 by Star Magazine. It was one of the first books that came out about the punk movement in Europe. His images resembled those of a war correspondent, he was like a photojournalist in the improvised trenches of the early days of the London punk assault. Faces, attitudes and looks that tell as much about the time they lived in as any song or book. Punk achieved a significant international projection, selling out continuously at central London stockists as prestigious as the Photographers Gallery and the avant-garde bookstore Compendium Books. In Spain, it would also sell out, acquiring a pseudo-mythical status as it disappeared from the catalogue.

LP version. "At daybreak, as sunlight travels through the atmosphere and begins to reach Earth's surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises -- especially after clear, calm nights -- relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up. Daybreak is Sven Wunder's fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder's now distinctive artistry, Daybreak is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings -- supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path."

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.

This curated collection comprises hard-to-find salsa 45s from the Discos Fuentes vaults -- deep cuts that have long flown under the radar but still light up dance floors today. This compilation also includes a range of studio experiments and covers -- where artists like Piper Pimienta, Galileo y Su Banda, and La Integración reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens. During the golden age of vinyl -- from the 1960s through the 1980s -- Colombia produced an astonishing number of 45 rpm records -- many of them not tied to full albums, that continue to surprise collectors and music lovers today. This abundance can be attributed to many factors: affordability, jukebox demand, radio promotion, or simply the joy of sharing a small musical token with a loved one. Whatever the reason, these little records traveled far and wide, sometimes ending up in distant countries -- especially Mexico -- carried by DJs, collectors, or pirate radio waves. They became cultural passports, spreading salsa, cumbia, son montuno, and more. These tracks, once pressed in small numbers, feature top tier musicianship, fiery brass, unforgettable grooves, and lyrical gems that reflect the rich diversity of Colombia's musical landscape. Every track tells a story -- of artistic ambition, social change, regional identity, or simple joy. Some were attempts at hits, others personal expressions or studio curiosities. What they share is an authenticity that continues to resonate. These obscure gems, long scattered across dusty crates and forgotten jukeboxes, now find new life. They speak not just to the past, but to a timeless rhythm that still moves dancers and dreamers alike. Featuring Super Combo Los Famosos, Sexteto Manaure, La Protesta De Colombia, Sonora Guantanamera, Orquesta Salsa Panamericana, La Integración, Galileo Y Su Banda, The Latin Brothers, Piper Pimienta Y Su Orquesta, and Fruko Y Sus Tesos.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a Danish sommerhus, or summer house -- the tiny, tidy shacks that are a central feature of the national culture, where for generations, Danes have whiled away the warm months with their families. This sanctuary was the origin for Høyland and Urd's Duvet, a meditation on shelter, trust, and communication. They were motivated by the idea of nesting: finding ways of feeling safe and being at home while traveling, moving through seasons, enduring periods of change. Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out acclaimed artists like Clarissa Connelly, Smerz, and Fine; over the past few years, the two musicians have developed a collaborative method based on connection and trust. A practice, they write, "where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment." Sonically, Duvet feels like an extension of Høyland's last album, 2023's Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark's national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance. "We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us," Ingri adds. "He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound." Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques -- electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments. Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds -- breathing, rustling, perhaps the coppery gleam of Urd's electric bass -- into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

4LP version. After Leeds alt-rock band The Lost Pandas disintegrated around them in the early 1980s, singer/guitarist David Gedge and bassist Keith Gregory decided to form a new group. In 1985, beguiled by pop radio, punk brashness, The Velvet Underground and David's erstwhile schoolmates, The Chameleons -- they launched The Wedding Present. That band was -- and remains -- uncompromising and unwaveringly authentic in every way and, as a result, Gedge, without intention, has become a legendary figure in alternative music. He has become one of the chief architects and originators of modern guitar rock and the mastermind behind one of the richest, catchiest and most consistently enthralling catalogues in pop history. Four decades on, and with 13 studio albums, 20 compilation albums and a whole host of singles, EPs, live albums and radio sessions The Wedding Present 40 is a commemorative reflection of this complex and fascinating catalogue. Available as four vinyl and four CD box sets, this is not your usual collection of "most popular" songs, but rather a chronological, aural journey of album tracks, singles and B-sides. The stunning artwork has been put together by Jonathan Hitchen -- who designed many of the band's original record covers -- and there are extensive sleeve notes by David Gedge himself along with esteemed music writer Mark Beaumont. Gedge's commentary provides a unique insight into the workings of the band and an absorbing track- by-track guide to the compilation.

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources. As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al. The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of centerpiece "By The Light Of The Moon" Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story. Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalizes on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue. Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Brian Auger, Julie Driscoll and The Trinity are today best known for their hit recording of Dylan's then-unreleased "This Wheel's On Fire" which is included here, together with covers of songs by the Staple Sisters, Nina Simone, Donovan, Mose Allison and David Ackles. Add in some band-written originals and you have twelve cool tracks mixing jazz, r'n'b, psyche and pop. All songs were specially recorded for the BBC, sound quality is excellent throughout. Comes with full sleevenotes.

Gaister (Olivia Salvadori, Akihide Monna, and Coby Sey) bring their self-titled LP out via AD 93. The record captures the embodiment of an encounter, one moment of the trio's ongoing relationship as artists who communicate with each other through sound, voice and music. After orbiting in the same circles at each other's shows around 2016 in London, Sey and Salvadori eventually crossed paths. In 2017 Sey joined Salvadori's artistic collective Tutto Questo Sentire on a residency in Capalbio, the southernmost part of Tuscany, Italy, and started working together. Down the line the pair ended up joining with Akihide Monna (of Bo Ningen), performing together in 2019 at Camden Art Centre on Cork Street in London. When the trio come together something new is created, brought out after laying dormant, like an Icelandic Geysir. The setting of this particular encounter amongst the trio is essential in the album's sonic palette, process and emotion. The album was recorded in Iceland at Greenhouse Studios, where the trio formalized a set of intuitions; how nature can provide a guideline in the choices of the instruments, their materials and related rhythms; reflections on the voice as a sculptural element, pure sound and words. A purity, spirit and essence, is pulled from the trio, in spite of their varying mother tongues (Italian, Japanese and English), musical genres, and identities to create something new. Olivia Salvadori's operatic vocals run free, flowing and moving in synergy with Monna's rhythmic drumming. Sey, who is arguably best known for rapping and producing, sings freely with Salvadori, their voices braided together like a waterfall. This flowing nature is reflected in the album itself, its timestamps and scores are marked by encounters rather than tracks themselves. This album can be considered as one constant piece and a journey of its own that is not foreclosed, in keeping with the band's ethos of constant conversation and collaboration. Gaister are able to synergize, hold and transform this varied emotional and primordial matter together through a deep shared trust and intuition.

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.

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.

Mysterious disco outfit Jiri Jiri deliver an essential EP -- four tracks of sublime, summery European cool hand-picked by Batov Records boss DJ Kobayashi for the label's brand new and carefully curated Give Me Disco 12" series, named after Raja Zahr's disco classic. Springing from the ranks of global grooves ensemble Muito Kaballa and psychedelic travelers YĪN YĪN, Jiri Jiri have honed their musical chops and crafted four Neapolitan funk and pan-European disco jams as hot as the Adriatic coastline. The songs on Give Me Disco: Vol. 1 were born in Naples. Collaborators Jan Janzen and Niklas Mündemann enlisted the production expertise of Pellegrino S. Snichelotto -- founder of Early Sounds Recordings, former Nu Genea producer, and a key architect of the Neapolitan funk renaissance, to further refine their sound. The Neapolitan connection shines brightest on opener "Gino". Gentle, breeze-like percussion interlocks with a gorgeous guitar line and a buttery bassline, laying the foundation for a seductive Neapolitan-style vocal. Flute and synth flourishes are the icing on the cake. Things crank up a notch on "Senza Benza". This uptempo, largely instrumental track fuses Afro disco rhythms with Azymuth-esque synths. The relentless groove hardly lets up, save for a brief, wordless vocal break. Elsewhere, "L'amour" does what it says on the tin, expanding the palette from Neapolitan funk to include Anglo-French vocals that both lament and celebrate love's ups and downs. Closer "Lummo Luvva" returns to instrumental territory with flair. The Give Me Disco: Vol. 1 EP marks the beginning of two exciting new ventures -- the emergence of Jiri Jiri, and inspired by their need for a home, the launch of Batov Records' Give Me Disco 12" series.

Eje Eje, the orbiting side project of Şatellites founder and multi-instrumentalist Itamar Kluger, shares Primordial Soup, his second album on Batov Records, stirring an even wider pot of influences from East to West that defies genre. Kluger launched his solo project, Eje Eje, with the 2023 Five Seasons LP (BTR 073LP), playing the majority of instruments himself and refining his production chops. Kluger's blend of traditional Mediterranean and Middle Eastern music with psych, funk, dub, and beat production, culminated in strong support from BBC Radio 6 Music, BBC Radio 2, and Songlines. Much like its predecessor, Primordial Soup was largely self-recorded by Kluger, blending meticulous studio work, recalling DJ Shadow or early Four Tet, with raw, expressive performances -- mainly himself on strings, bass guitar, percussion, and keys, including a new recently acquired microtonal keyboard -- perfect for exploring Eastern musical scales, plus musical friends such as drummer Raz Man of Sababa 5, Şatellites, and Project Gemini fame. Taking its name from the scientific theory on the origins of life, Primordial Soup is as much about sonic experimentation as it is a metaphor for existence itself. For Kluger, the title represents both a philosophical question and a creative mission. Kluger began work on Primordial Soup in October 2023, though many ideas had been gestating long before. The process was shaped by both creative compulsion and emotional necessity. Album opener, "Oyun Çorbası" is a playful fusion of Turkish folk and indie rock textures. Its title is a wordplay on "Oyun Havaları" (traditional dance tunes) and "çorba" (soup), reflecting the track's mix of influences. A tight, marshy groove from drummer Raz Man drives the rhythm, while a phased baglama riff leads, layered with swirling keys into a hazy, cymbal-driven bridge. "The Bride" is a collaboration between Eje Eje and rising flautist, percussionist and multi-instrumentalist Elad Kimhi. Inspired by Lebanese weddings, the track blends tradition with dancefloor energy. Known for his work with Firqat El Nur Orchestra, Sharif, among others, Kimhi brings a deep understanding of Mediterranean music, from Andalusian to Moroccan and Turkish. From brooding cinematic rides to joyous wedding bangers, Primordial Soup explores what it means to be alive, connected, and creative in turbulent times and cements Eje Eje as one of the most exciting voices fusing Middle Eastern traditions with cutting-edge beat culture. For fans of: Sven Wunder, The Gaslamp Killer, Şatellites.

Marina Mello presents Deságua, her debut solo album for experimental harp, via Buh Records. Mello blends classical harp training with experimental techniques, creating a rich sonic journey that pushes the boundaries of the instrument. Recorded in Switzerland and mastered in Madrid, Deságua is available as a very limited-edition vinyl. Based in Zurich, Mello has developed a unique and expressive approach to the harp, combining her classical training with a deep exploration of the instrument's sonic possibilities. Deságua is the result of this process: an intimate and expansive work that traverses sonic landscapes rich in contrast and texture. In the artist's own words, this album is a synthesis of material developed through her musical practice. The title refers to the Portuguese word that describes the moment a river flows into the sea. This concept guides the album's sonic narrative, in which each piece functions as a tributary flowing into an immersive and unexpected listening experience. From bittersweet whale-like sounds to destructive, unsettling, and shattering noise provocations, she explores, senses, and transcends the musical boundaries of her instrument. Recorded by Beat Keller at Lager Studio (Winterthur, Switzerland) and mastered by Alberto Cendra in Madrid, the album presents a wide range of sounds and styles, yet maintains a strong internal coherence through its technical and conceptual exploration of the harp. Mello performs on both lever and pedal harps, employing a range of non-traditional techniques: preparing the instrument with objects, using guitar effects pedals, detuning the strings, and using close mic recording to capture the subtlest sounds and the shifts that lie between them. The result is a collection of pieces that move between the melodic and the dissonant. Deságua does not shy away from repetition, noise, or raw textures. Instead, it embraces them fully, situating the album at the crossroads of contemporary music, improvisation, and electronic experimentation. The physical edition features graphic design by Chhandak Pradhan, photography by Philip Frowein, and a poetic text by Yana Eva Thönnes. The album was made possible with support from Cassinelli-Vogel-Stiftung, C. und A. Kupper-Stiftung, and Kulturförderung Stadt Zürich.

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.

Collection of dubs from the Black Ark Studios.

Flur is the meeting of Austrian-Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison. The trio met when studying separate music courses at Goldsmiths, University of London. Immersed in the explorative music scene surrounding the university, they have played in various formations over the past few years and collaborated with acclaimed artists (Ganavya, Floating Points, Gal Go, Shabaka), but it wasn't until now that they formed Flur. Shaped between Riverside Recording Studios and a South Bermondsey warehouse, Plunge captures the trio's first steps, moving between written passages and intuitive improvisation with equal clarity. Drawing on contemporary classical, free jazz, and ambient influences -- think Alice Coltrane, Ambrose Akinmusire, Kaija Saariaho, Azimuth, and Angel Bat Dawid -- the trio's instrumentation creates a sound that is both expansive and intimate. Plunge follows Latency's acclaimed releases with Nidia & Valentina, Emahoy Tsege-Mariam Gebru, goat (jp), Tarta Relena, and Moritz Von Oswald, expanding the label's commitment to boundary-pushing music. The album features cover artwork by Julie Mehretu, the renowned New York-based, Ethiopian-American artist whose layered, abstract cartographies explore the entanglements of history, place, and collective memory.

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."