New York-based artist James K returns with Friend. This album is full of electric pop anthems that blends ear-worming melodies with peak-time breaks, buzzing powerpunk guitars and a classic rave pulse, with K's signature enchanting vocals playfully spitting emotion. It's a hallucinatory pleasure, tearing through your body and mind. "Play" rushes with a rebellion of friends -- an electro fever daydream waking up everywhere you go. Hot off extensive tours worldwide, playing the likes of Pitchfork Festival, Dekmantel, iii Points, and Mutek, following in the footsteps of her last two critically acclaimed singles Friend comes on AD 93. RIYL: Cocteau Twins, Yves Tumor, Prodigy, Oklou, Grimes. Also available on transparent vinyl (WHYT 083TR-LP).

Much of the Collide's sound is derived from an old Aria Pro II electric guitar from Leif's childhood, scratched up with damaged and unpredictable electrics. The record leans into this sense of things being broken or damaged -- and how sometimes things need to break in order for listeners to make sense of them -- reveling in, rather than resisting, unpredictability. Lush textures traverse the listener. across unexpected terrains.

ATA Records presents the latest release from The Flying Hats. Following the buzz surrounding their debut LP and the soft limited pre-release of "Blender," anticipation for this single has been huge. The Flying Hats return in phenomenal form with two previously unreleased cuts of the highest caliber. Both tracks strike hard somewhere between Kingston and New Orleans, as if The Meters were channeling Jackie Mittoo or Sound Dimension were jamming with Jimmy Smith.

The collaboration between Anthony Moore and filmmaker David Larcher began in the late '60s, at the start of both their respective careers and lasted many years. Following on from the 2024 release of the soundtrack to Mare's Tail (PD 041LP) (the first collaboration with Larcher) comes the release of the soundtrack to his second film, Monkey's Birthday. This LP is a condensation of the essence of this six-hour film. The sound is partly taken directly from the existing soundtrack and partly from stereo masters that have survived through the decades. Shot and edited between 1973 and 1975 this epic film moves through a variety of landscapes, both physical and abstract. It was filmed in various locations, starting in Germany and moving through Hungary, Romania and most substantially in rural Turkey. In large part this is a road movie that takes the filmed events and locations and uses them as sources for further experimentation. In much the same way, the location recordings made by Anthony Moore are used as raw material for creating much of the soundtrack, working from a battery powered studio in the back of his truck in this east bound convoy. The previously released excerpt, "Plains Of Hungary (ReR Quarterly Vol.2 No.1)" is included on this album in its rightful place among the collages of Islamic chant, field recordings, tape loops, jam sessions etc. Heathcote Williams is also in the mix reading from esoteric texts. Also feature, alongside various voices from the crew and general public, is a repeated theme using the looped cut up voice recordings from the two other members of Slapp Happy (Dagmar Krause and Peter Blegvad), who took to the road for part of this grueling journey. Comes with large four-sided insert. Numbered edition of 500.

We Jazz Magazine, Issue 17, Weathering for aja monet. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. aja monet by Ayana Contreras, Azymuth by Ben Lee, Henry Threadgill by Bret Sjerven, Sven-Åke Johansson by Magnus Nygren, Anna Webber by Stewart Smith, Rafiq Bhatia by Florent Servia, Talk Show (Steph Richards & Qasim Naqvi) by Andy Cush, Ganavya by Tina Edwards, Cosmic Tones Research Trio by Blake Gillespie, Quincy Jones by Rob Garratt, Devin Daniels by Samuel Lamontagne, album design essay by Alex Coles, Discaholic column by Mats Gustafsson, album reviews, live reviews, photo essay and more.

LP version. ATA Records present the new release by Work Money Death, A Portal to Here. This album continues WMD's exploration of spiritual jazz and the sounds and styles that evolved out of the '60s New Thing, particularly the recordings of Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on -- in many ways this record is a testament and tribute to Chris, his musicality and creativity. Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcerers keyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channeling that through his own unique 21st century musical perspective. The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough and Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear. Standout tracks are the second, "Dance of the Spirits," with a strong core of "Baptism and The Blues" and some lovely playing by Richards, and the third track, "Brother Earl," which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-'60s spirituality. A Portal to Here is a stunning addition to the WMD catalogue and a clear statement that the band continues to create and produce, whatever life throws its way.

This new album by Eric Random coincides with the start of the last Cabaret Voltaire tour, for which Eric joined as a member. The album marks a contrast to his most recent releases, less dance-oriented and with a darker pop tone and a cinematic, soundtrack-like atmosphere.

"Muluken Mèllèssè leaves posterity with a clear idea of the level of sophistication and mastery that modern Ethiopian music had reached before it was crushed under the military-Stalinist boot of the Derg. Betraying the singer's extreme youth (he was not yet 18 at the time), his angelic voice fooled more than one listener into thinking they were hearing a female singer. It was Muluken who inaugurated the Ethiopiques series more than twenty years ago with Hédètch alu, the B-side of his first single. He was not yet 22 when he released his last vinyl record on Kaifa Records (KF 39LP) in 1976, one of the last released in Ethiopia before the cassette became the dominant medium for music distribution. Ethiopia, 1976. For a year now, cassettes have been inexorably crushing the vinyl record market. Muluken Mellesse's 33 rpm album Muluqän Mälläsä, produced that year by Ali Abdella Kaifa on his Kaifa Records label, is historic in more ways than one. It is one of the last vinyl records released in Ethiopia, but more than that it is the absolute masterpiece of Ethiopian Groove -- and its swansong. It leaves posterity with a clear idea of the level of sophistication and mastery that modern Ethiopian music had reached before it was crushed under the military-Stalinist boot of the Derg -- the word that stands for the bloody revolution that had been underway since 1974."

Assembled by Pedro Alves Sousa, Má Estrela is a conjuration of ideas and obsessions around dub, leftfield dance phenomena and the hypnotic potential of urban somnambulance. In a levitating state, not exactly detached from the unease of these end times, Sousa surrounds himself by a number of accomplices from past and present endeavors to project a scrying mirror reflection of distinct languages of trance and liberation -- dub's space and infinity, jungle and footwork's broken shards, DJ Screws legacy perpetually reanimated via numerous slowed down anonymous versions on Youtube and the lyricism and fire of jazz. Temporarily a quartet, comprised of Sousa on saxophone and its electronic processing, Bruno Silva and Simão Simões on electronics and Gabriel Ferrandini on acoustic and electronic drums, after the departure of Miguel Abras, Má Estrela had in their 2022 debut album their first document of this ongoing process that's now continued with Tornada. Miguel Abras has since been replaced with Bruna de Moura and Má Estrela came back to being a five piece. Tornada deepens the symbiotic connection between those rhythmic, melodic and textural particles in a mutating flux of continuities and disruptions throughout seven tracks. Featuring the invocations of Elvin Brandhi in "All You Did," Tornada makes its way amidst harmonic specters, rhythmic debris that breathe for life and a certain, implicit idea of ritual that sustains itself liminally between the ethereal dissolution of time and the physical projection of space.

"Stephan Micus is a musical globetrotter and multi-instrumentalist who has been exploring the diversity of sounds on the planet for almost five decades. Since the release of his debut album in the 1970s, he has recorded nearly 30 albums -- always on his own and with an impressive range of wind, string and percussion instruments from all over the world. As a self-taught musician, he has always been passionate about traditional and exotic instruments, which he not only explores in their original playing style, but also places in a completely new context using unconventional techniques. Over the years, Micus has developed an unmistakable musical language that has long since become his trademark. His soundscapes transport listeners to distant places and open up meditative spaces full of beauty and depth. They show that instruments from different cultures can blend together in harmony -- a musical vision that conveys hope and connectedness. With Behind Eleven Deserts, Stephan Micus presents a work of exceptional radiance. Originally composed in 1978, it combines the Balinese bamboo flute suling with the Indian sarangi, whose warm timbre is reminiscent of a cello. The sound spectrum is complemented by the Indian sitar and the Irish frame drum bodhran. The result is a multi-layered and timeless soundscape that transcends cultural boundaries and at the same time leads deep into meditative spheres. Now, Behind Eleven Deserts is being released for the first time in the INTUITION Master Series as a carefully remastered 180-gram vinyl edition by Intuition Music -- a masterpiece that, more than four decades after its creation, has lost none of its intensity and relevance."

Standalone release of this killer 10" on orange vinyl for anyone who missed it. Featuring remixes by The Bug, Dälek and Object Object. Originally released as a digital double A side both lead tracks were chosen by the remixers and the results are like an electrical storm.

In March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour. One of these dates included a stint at the "End Of Cole Avenue" club in Dallas, one of the Velvets' few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their 1969: Velvet Underground Live album, but the sound quality was not great due to the use of third or fourth generation tapes. However, the first-generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one.

Sonor Music Editions presents the definitive reissue of Piero Piccioni's often unheralded soundtrack to the 1969 bittersweet Italian comedy classic Amore Mio Aiutami (Help Me, My Love), starring two giants of Italian cinema, Monica Vitti and Alberto Sordi. This soundtrack is a prime example of Piccioni's immense talent as a composer of timeless, lushly orchestrated lounge music -- a masterpiece of its era that rightfully deserves its place alongside his most cherished works from the same period, such as Colpo Rovente, Camille 2000, Appassionata, Il Dio Sotto La Pelle, and Travolti Da Un Insolito Destino Nell'Azzurro Mare D'Agosto (Swept Away). In recent years, it has found new life in the age of streaming, being extensively rediscovered and sampled within the hip-hop and lo-fi communities. Maestro Piero Piccioni remains one of the brightest shining stars among Italian composers from the golden age of cinema, soundtracks, and library music. With a prolific career that includes more than 300 film scores, Piccioni began his journey in the world of cinema in Rome during the 1950s. At the time, he was practicing law but soon began composing for film, developing a particularly close working relationship with directors Francesco Rosi and Alberto Sordi. Among his vast body of work -- especially his collaborations with Sordi -- Amore Mio Aiutami stands at the pinnacle of Piccioni's oeuvre, showcasing his style of composition and production. The score moves seamlessly from sophisticated bossa and lounge pieces like "Amanda Strain," "North Pole Penguin," and the versions of "Bossa Per Alberto" -- performed with a smaller jazz combo -- to dreamy vocal pieces by Nora Orlandi and her choir, including "Miss Luna Special," "Luna Amore E No," and "Luna Non Sei Nessuna," featuring British actress and dancer Gloria Paul. The highlight, however, perhaps remains the pastoral main theme, where romantic strings intertwine with Piccioni's unmistakable sound and bittersweet melodies -- forever linked to Italian Commedia all'italiana films, of which Amore Mio Aiutami is a prime example. This revitalized reissue of Piero Piccioni's Amore Mio Aiutami soundtrack has been carefully remastered by Jonathan Dakers, lacquer-cut by Jukka Sarapää at Timmion Cutting, and packaged in a thick cardboard tip-on sleeve with fully restored artwork. It also includes two versions of "Bossa Per Alberto" as bonus tracks.

Witchess is an experimental concept album by drummer and composer Francesca Remigi, which blends music, spoken words, and political concepts together to explore themes of feminism, social justice, and historical memory. Drawing on the radical voices of Angela Davis and Silvia Federici, the album confronts the intersections of gender, race, and capitalism, tracing the roots of gender violence from witch-hunt to today's systemic economic inequalities. Through edgy compositions and spoken excerpts, the music calls for a feminism that is deeply intersectional and transformative, not merely inclusive. Each track becomes a sonic essay -- reflecting on the erasure of women, the colonial legacy of patriarchal violence, and the role of art and music in revolutionary movements. Combining improvisation with political urgency, Witchess offers not only a listening experience but a space for critical reflection and collective liberation.

"Malesch, the debut album by Agitation Free, is a critically acclaimed 1970s krautrock masterpiece known for its unique blend of psychedelic, experimental, and Middle Eastern-influenced music. It features instrumental jams, spacey atmosphere, and electronic devices, creating a 'cosmic' soundscape with mesmerizing hypnotic rhythms. Reviewers highlight the album as a milestone in the genre, praising its 'meta-music' and originality while noting its experimental and sometimes 'trippy' nature. When the band came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free -- soon relegated to the not so flattering category of 'Krautrock' -- made musical forays into areas that few of their fellow German musicians had ever penetrated. At a time when most in Germany were still orienting themselves as closely as possible to Anglo-American musical formats, Agitation Free found a completely new and very original form of musical expression. Starting with their debut album Malesch, Agitation Free delivered a fascinating sound, influenced not least by the manifold impressions from a Near East tour. The band moved toward a form of meta-music, a weaving of exotic-sounding compositions. The album has been justly regarded as a milestone in the genre, especially abroad. Looking back, it's evident that the Agitation Free was one of the most important bands of the experimental circle known as the 'Berlin School,' and a career springboard for a whole slew of musicians. At the same time, this policy of changing personnel also meant risking that the band couldn't keep itself together over the long run. Agitation Free consciously took this risk in order to remain as close as possible to their own concept - free from commercial pressure or concessions to the latest trends and modes."

"Here, in the luminous hush between breath and presence, Sentient Being unfolds. With a lush analog palette of sustained ambient currents, Steve Roach sculpts timeless textural worlds and atmospheres of immersive depth expressing the contours of an inner world where awareness thrives. The six tracks organically reveal the intimacy of present-moment perception and emotion. 'These pieces,' he says, 'explore consciousness through direct engagement. Rather than referencing the term in its philosophical context, 'sentient being' describes the experience of perceiving, encountering, and creating from one's own mindfulness. It evokes the subtle drift of deeper meditative states into the moment of now.' This is Roach at his most intimate and contemplative: sumptuous sonics and grounding immersive realms. Each piece rises out of silence, carrying emotional warmth and the shimmer of the ineffable; gentle companions, at once expansive and heartfelt, are shaped by a master of the audible arts. The music seems dreamed more than composed -- a current of consciousness where a place of knowing rises from within. Emerging from deep presence and surrender, it evokes the gentle pulse of awareness itself. The grace of sensing and reflecting allows the music to speak truths that words cannot reach. Here, sound is feeling. Here, attention has texture. Here, the invisible becomes tenderly audible. This is the sound of being awake inside your own existence."

"Each of them approached music in a fundamentally different way. Aymeric Avice, originally from Normandy, grew up looking at the sea in a family where music was ever-present; he naturally got involved too and was introduced to jazz by his sister, a double bass player; he then committed himself entirely to music. Luke Stewart was born in Mississippi, a southern state whose history is marked by racism; he studied music and jazz there before moving north to Washington DC and then New York. Chad Taylor, born in Arizona into a family of musicians, moved at pre-teen age to Chicago, where he took up the drums after trying his hand at the guitar; it was there that he began his rich and brilliant career alongside some of the most important musicians of Chicago. Despite these differences in approach to music, it is obvious that they all three speak the same musical language, no matter how or where they learned it. A language that comes from afar, developed, shaped, and modified over the years by hundreds of jazz musicians. A language that they themselves, through the originality and creativity of the music they are playing, also contribute to enriching. While each of them, individually, was already part of this community of musicians who are shaping jazz, they are now part of it as a trio. Deep in the Earth, High in the Sky opens and closes delicately with two tracks on which Luke Stewart and Chad Taylor have swapped their double bass and drums for the mbira. While perfectly integrated into the whole, these two pieces allow to gently enter this rich, brilliant, abundant musical universe and to emerge from it serenely, musically enriched. Listen without moderation. These three were meant to meet. Just the beginning of a long journey, hopefully."

WRWTFWW Records presents a super limited vinyl release of Christine Aufderhaar and City of Prague Philharmonic Orchestra's original soundtrack for the critically acclaimed, multiple award-winning 2022 animated-documentary film Aurora's Sunrise. The release comes as a 45rpm double LP in a heavyweight sleeve with inside out print. Aurora's Sunrise is directed by Inna Sahakyan, and tells the extraordinary true story of Aurora Mardiganian, a survivor of the Armenian genocide who later became an actress in the United States. The film combines animated storytelling, archival footage, interviews, and rediscovered scenes from the 1919 silent film, and one of Hollywood's first blockbusters, Auction of Souls, in which Aurora starred. Aurora's Sunrise was Armenia's official submission for the 95th Academy Awards for best international feature film. It has won over 20 international prizes. The composer, Christine Aufderhaar, is an accomplished German composer based in Berlin and Los Angeles, with over 20 years of experience and more than 50 films to her name. Her background spans classical, jazz, film scoring, and contemporary orchestral work, and she has been the recipient of numerous awards for her work. The soundtrack performed by the City of Prague Philharmonic Orchestra is deeply emotional, blending intimate melodies and majestic orchestral work, and weaving together themes of memory, survival, loss, and hope. A perfect fit for collectors of film scores, contemporary classical music, and limited vinyl releases.

"Geologist is the nom-de-théâtre of Brian Weitz, whose pursuits have been an active part of the music underground since he was 15, playing and working in alignment with an organic ensemble of friends that would one day choose to call what they were doing Animal Collective. Can I Get a Pack of Camel Lights? migrates from that tradition, containing a number of surprise affects of its own. It is the first step into a rippling songscape in which his hurdy gurdy gives and takes multiple forms, an epic electro-acoustic textile of many colors cut from the life and times of Brian Weitz. It's an inspired ride through his phases and stages, with traditional sounds, ritual moods, avant, prog-jazz, kraut, post-punk and minimalist vibes merging in electronic infinity. Can I Get a Pack of Camel Lights?, lit like a constellation, threads impulses and happenings across space, cherry picking from his psychic archive: the vibe of an energizing drive from Tucson into the desert, taken repeatedly in the early aughts; an incendiary live witness one night in the clubs in 1998; the unending thrill of the mind-meld in eternal recurrence. Geologist uses the drone and chanter strings, whose possibilities blew open the walls for him back then, to highlight these moments in the kaleidoscopic flow of memory. As he set the controls to account for a multitude of directions on this long-promised journey, Brian took inspiration from late-dawning solo eras of players like Bill Orcutt and Susan Alcorn. Then, hurdy gurdy in hand, Geologist realized structures, improvisations and rhythm tracks at home before seeking other energies at Asheville's Drop of Sun Studio. At the session, Adam McDaniel helped a lot -- he drafted drummers Emma Garau, Alianna Kalaba (FACS, Cat Power) and Ryan Oslance (The Dead Tongues, Indigo De Souza), Sham's Shane McCord on clarinets and Mikey Powers on cello. Through vagaries of fate, Brian got Adam Lion to play vibraphone in a few places, Dave 'Avey Tare' Portner for a couple bass tracks, and his son, Merrick Weitz, on acoustic guitar for 'Government Job.' Izzy Barber painted the front cover and gatefold, capturing that Tucson magic, and Bob Nastanovich lettered the back cover, supplying additional pieces of time and space to the puzzle. Through the mystery and science of record making, Geologist refracts beatifically through his back pages throughout Can I Get a Pack of Camel Lights?"

Trevor Lucas and Gerry Conway were members of the folk-rock group Eclection, who released an album in August 1968 on Elektra Records. After the group disbanded in 1969, they formed Fotheringay with Lucas's girlfriend Sandy Denny, who had recently left Fairport Convention. The Fairports were recording mostly traditional folk material at this time and Denny left the group so that she could perform more of her own compositions. The BBC session on side one of this LP features songs from the first Fotheringay album and took place at the Playhouse Theatre on April 13th 1970. The songs on side two were recorded at BBC's Maida Vale Studios in November 1970. They are "off-air" recordings but the sound quality is still very good.

2026 repress on vinyl; Deluxe 3LP box version with an 8-page, large-format lyric booklet and printed innersleeves. "Joanna Newsom releases her first album since late 2006's Ys, making up for lost time with a disc for 2008, one for 2009 and one for today. Featuring Ryan Francesconi and Neal Morgan from Joanna's Ys Street Band, Have One On Me is an extravagantly packaged collection of fantastic new Joanna Newsom songs -- her most colorful record to date."

LP version. Yellow color vinyl. "The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."

"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus

"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut

2026 limited restock. "Originally intended as the band's debut album and later shelved after Mike Browning left the band, Abominations of Desolation is the stuff of legend among death metal enthusiasts. Recorded in 1986, it is a stepping stone in the genre's history and contains early and raw versions of many soon to be classics in the band's repertoire, with Browning's brutal delivery giving the songs a very different personality than that of later versions. Absolutely essential for anyone interested in extreme metal."

Between 1987 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers, Jack Endino went in to record one of the most solid -- and most unfairly invisible -- outfits of that scene: Bundle Of Hiss. Those sessions fell into limbo, stored in the basement of Dan Peters (who would soon go on to Mudhoney) and for years they were a kind of pre-grunge legend: everyone knew they existed, but there was no record, until Loveless Records from NYC released it on CD. This Bang! Records LP is, finally, that record. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness fans would later hear in Mudhoney, TAD or early Soundgarden. Bang! Records is releasing this album on vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. Here is Bundle of Hiss exactly as Jack Endino captured them in 1987-1988.

LP version. Red color vinyl. "Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.

"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker

"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music

Triple LP version. The legacy of wipE′out″ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn't just revolutionize the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground. Decades later, the game's impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out″'s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack. This is why Lapsus decided to go deeper into the slipstream and build the second volume you're now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn't fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga -- wipE′out″ HD and wipE′out″ Pure -- plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise. Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE's pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum and bass vanguard. Expect the DNA you remember -- accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft's hull, and at times even echoes of classic hardstyle -- now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. For the faithful -- crate-digging ravers, speed-run obsessives, and design nerds -- this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out″ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

LP version. The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz! Includes 6-page booklet with liner notes. Featuring Robert Pico, Annie Girardot, Spauv Georges, Zoé, Jacques Da Sylva, Valentin, Jacques Malia, Bernard Jamet, Jean-Pierre Lebrot, Les Concentrés, Les Missiles, Hegessipe, Marechalement Votre, Mamlouk, Mosaïque, Jean-Marc Garrigues, and Penuel.

2026 repress; Triple-LP version. Tri-gatefold cover. "Considering the monumental depth of Sun Ra's recorded oeuvre, there are surprisingly few solo piano albums. Monorails & Satellites Volumes 1 and 2 were the first commercial LPs of the artist's solo keyboard excursions. Recorded in 1966 and released on his Saturn imprint in 1968, Volume 1 featured seven idiosyncratic originals and one standard ('Easy Street') delivered in Sunny's singular manner. Volume 2 was released the following year, and contains five compositions, all originals. A third volume was prepped but shelved, and this deluxe edition marks its premiere release. As with all Cosmic Myth releases these volumes are superbly mastered, and are available with copious liners notes by renown American jazz pianist Vijay Iyer, and additional overviews by jazz historian Ben Young and producer Irwin Chusid."

Real Time is an extraordinary example of interaction between musicians coming from different worlds of new music. "I had the chance to perform with those two great musicians on other occasions: in duo with Alvin Curran and in duo, trio and sextet with Evan Parker. Alvin came from the American school, full of minimalist references, melodic structures and open to all kinds of contamination. Evan had left jazz to accomplish his own instrumental language, aiming at total improvisation. The idea of getting them to put together a trio that would perform several concerts and recording was one of the most exciting moments of my career. Our three languages found a common ground of expression where different musical backgrounds came together and created a unique blend for that period of time." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live in concert Rome, Italy December 13, 1977. Engineer: Nicola Bernardini. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.

"The lost album by Rodney Stepp's Rapture Ensemble. Unreleased sweet soul and disco funk from mid-'70s Indianapolis, featuring members of Amnesty, Midnight Star, and The Spinners. Featuring liner notes written by Naptown historian Kyle Long. A photo in Rodney Stepp's scrapbook sums this period in his life in music. It's 1974, The Spinners were headliners at the 'Zaire 74' music festival, a sideshow to Muhammad Ali's fabled 'Rumble in the Jungle' fight with George Foreman. Among the faded snapshots, there's a picture of Stepp backstage posing arm in arm with Ali; another image shows The Greatest seated at Stepp's Fender Rhodes alongside vocalist Etta James. It was all a dream for this Naptown wunderkind, who had previously recorded for Herb Miller's LAMP Records as the Diplomatics and had issued the sweet soul killer 'Young Girl' as Jazzie Cazzie and the Eight Sounds on a rare Knaptown 45. But as exciting as his rise out of that local status was, as exciting as it was to headline festivals and arenas and appear on late night talk shows, Stepp grew restless with the mechanical routine of being a sideman. He grew tired of playing the same charts night after night. He was hungry for a creative outlet that mimicked his earliest days in recorded music. So, in 1978, Stepp left The Spinners and returned to Indianapolis, where he established an all-star group of musicians?including members of Jazzie Cazzie and the fabled Amnesty -- and he named the band Rapture. They inspired countless others. They recorded an album's worth of material. Now-Again's Egon first got tapes from Stepp in 2002 and dutifully transferred them, but the time was not right for a foray into this wealth of material. Now, this is the first time it Rapture's music is seeing the light of day, a triumphant, late career moment for Stepp and a cause for celebration of those intrigued by deep, sweet soul and disco funk."

Blue Abstraction compiles a selection of Jessica Williams' lost prepared piano recordings. These recordings document the beginning of a vital, solitary phase in her career: a period of intense sonic experimentation that began with physically altering a 6'4" grand piano -- creating a new instrument, and from there, creating a new music. The results are breathtaking; from melancholic soundscapes with Satie-esque lyricism to forcefully controlled cacophony, always grounded by the distinct emotional voicing of her melodic lines. Jessica Williams (1948-2022) was a pioneering trans jazz pianist and composer from Baltimore, where she studied at the Peabody Conservatory. Among countless other greats, she gigged with Philly Joe Jones, Dexter Gordon, Stan Getz, Tony Williams, Charlie Rouse, Jackie McLean, Roy Haynes, Charlie Haden, and Bobby Hutcherson, and recorded with Eddie Henderson, Eddie Harris, Leroy Vinnegar, Victor Lewis, and Ray Drummond. She received accolades from piano greats McCoy Tyner and Dave Brubeck. Williams could play anything and knew the standards deeply -- expanding from there through her composing and arranging. In 1985, with a head full of Thelonious Monk's dissonant harmonies, Williams began her prepared piano project. She altered the piano by placing vibrating and/or muting elements on top of and between the strings at varying distances across the harp -- some sounding like bells or gongs (screws, bolts), others like percussion instruments (clothespins, hairpins, washers, erasers). The effect radically expanded the instrument's possibilities, sometimes making it sound metallic or ghostly, other times muted, tactile, almost broken. The resulting beauty and listenability of these works are a testament to Williams' vision and mastery. The recordings on Blue Abstraction came out of three years of experimentation. She recorded at her own Quanta Studios and at Moon Studios (both in Sacramento), and two live performances at Noe Valley Ministry in San Francisco, on January 11 and May 10, 1986, as part of the Noe Valley Music Series. For Williams, these recordings were a personal transformation through the musical process. Though known for her recordings and live performances -- especially of Monk tunes -- Williams made some of her most forward-thinking music privately. The music on this record disappeared for almost four decades.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared with the Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. Us, the first of the four records, was recorded on November 24th, 1973 with Sylvin Marcon electric bass and the evergreen Steve McCallon on drums. On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album's companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an "authentic representative of soul/free jazz." This is the first ever stand-alone vinyl reissue of Us. Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Includes four-page booklet with rare and unpublished photos 425GSM Frovi Brown Board Heavyweight 180 gr. LP with bonus 7". Officially Licensed from Palm/Geneviève Quievreux.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared with the Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib.Lancaster recorded Mother Africa along with Clint Jackson III, a trumpeter, and partner of Khan Jamal and Noah Howard on other recordings. On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they created an immediate impression. This is the first ever stand-alone vinyl reissue of Mother Africa. Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Includes four-pagebooklet with rare and unpublished photos. 425GSM Frovi Brown Board Heavyweight 180 gr. LP. Officially Licensed from Palm/Geneviève Quievreux.

Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside. A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis "Blackbeard" Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond. His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more. cLOUD mUsIc features eight new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilized by anyone interested in having music for incidentals, films, TV and advertising etc. cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. Thrilling disco-flecked opener "Rebel Funk" comes bustling out the gate with deeply soulful, driving funk rhythms, a ponderous thumping bass combining brilliantly with a full band and chanting choral vocals. Spirited, joyful and dynamic, it's a true treat from the reggae maestro. The lush, deeply danceable "Raw Soul" combines funk and soul via bass, drums, electric guitar, sax and trumpet. The chilled, serene "Callaloo" presents a sunny, calypso-style reggae with dub rhythms, with steel drums and keyboards providing the sweet melody of deep bass and percussive rhythms. "Too Funky To Be True" is just that: slow bass and brass-led funk with melodies from strings and organ. It's sleazy, warm and refined. To close out the side, "Wind Up, Dub Down" is bright and breezy dub reggae with a bouncy rhythm and reflective, contented feel. The B-Side features jaw-dropping dubbed-out, strung-out, spaced-out versions of each of the first five tracks. The vinyl features artwork utilizing a unique photo by Dennis himself. Meticulously mastered and cut by both Simon Francis and Cicely Balston respectively, cLOUD mUsIc has been pressed to the highest possible quality at Record Industry in Holland.

"Previously unreleased. 12 song dub/instrumental LP. Another excellent find here, an unreleased dub/instrumental album compiled by Lloydie Slim at the end of the '70s, featuring exclusive dubwise & instrumental cuts to many of his rhythms from earlier in the decade. As a bonus we've added two more tracks to the original 10 track album tape -- the vocal & dub cuts to Johnny Clarke's 'I'll Never Fall in Love Again', one of Slim's personal favorites of his productions. This single was originally released in 1975 in JA on his Don One label, and again in New York a few years later on his namesake Ivanhoe the Conqueror label. This album is a great listen which reminds us of the classic Channel 1 Revolutionaries instrumentals of the mid/late 70s."