A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Shūji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue
For Marco Bellocchio's masterpiece debut film I pugni in tasca (Fists in the Pocket) (1965), Ennio Morricone composed some mysterious and obsessive music for soprano voice, harp, harpsichord, and strings, alternating with lounge music of the period, swing, and jazz to create a great contrast with the dark mood of the movie. This is the first vinyl edition of Morricone's complete soundtrack. Blue vinyl; edition of 1000.
Excavated Shellac: Reeds
Reed instruments are capable of some of the most impassioned music on the planet, due to the malleability of the reeds themselves -- historically made of plant tissue -- which vibrate when air hits them. The origin of most reed instruments is steeped in rural, pastoral culture. Many insistent, loud, often joyful reed instruments have always been played outdoors as traditional accompaniment for dancing and celebrations. This compelling album is the second volume in the Excavated Shellac release series, featuring rare, never-before-issued 78-RPM records from around the world centered on a unique theme. The previous volume (Excavated Shellac: Strings (DTD 044CD)) focused on stellar stringed-instrument performances. This release examines some of the most intense and hypnotic music set to disc during the early years of international recording, all featuring reed instruments. All previously unreleased on CD, with three bonus tracks not available on the LP version (PT 2006LP). All records have been carefully transferred and mastered. Digipak with 20-page booklet featuring rare and historic photos, jaw-dropping graphics from the 78-RPM era, and extensive liner notes by compiler Jonathan Ward, founder and author of the acclaimed Excavated Shellac website. Includes tracks by I Tre Antonio della Basilicata (Italy), Sylvain Poujouly & Achille Marc (Auvergne, France), Karzana Oyun Havasi (Turkey), Tufanpur Orchestra (Iran), Ahn Ki-Ok and Kin Yin Kuan (North Korea), Guangdong Troupe with Da Kai men (China), T. Rajarathnam Pillai (India), Selim (Albania), Obdulia Alvarez, "La Busdonga" (Asturias, Spain), Jhande Nath (India), Hoseynkali was Roofakah (Kurdistan), Mohamed Efendi Baz (Upper Egypt), Ngoma Ya Kitokomire (Tanzania), Mqonga Sikanise (South Africa), Musicians of Radio Studio Skopje (Macedonia), uncredited musicians (Tajikistan), and Parush Parushev (Bulgaria).
180-gram vinyl. "In 1975, following the departure of Jannick Top and almost all original members of the group, Magma was reborn from the ashes with a rejuvenated ambition. This live recording, which took place in June of '75 at the Olympia Tavern, captures Christian Vander at the top of his artistic game and features a mind-blowing performance from Didier Lockwood, whose violin adds an extra dimension to the profound originality of this superb double album."
"An exquisite double LP release by obscure Japanese artist Tomo Akikawabaya. As long time admirers of Akikawabaya's 1980s releases on his own label Castle Records, we had attempted to reach him for many years without any luck. Finally at some point in 2014, a conversation was struck and one thing lead to the next. It was through Nao Katafuchi that we finally made contact with the legend himself, and began speaking about the proposed release idea. It turned out that the admiration was mutual, which was surprising as we thought Akikawabaya had disappeared completely. After working through the track selection and artwork ideas, we came up with the release plan. We're very excited to present this double LP entitled The Invitation of The Dead. The collection of songs include the entirety of both The Castle (1984) and Anju (1985) releases, all newly remastered. They sound fresher and stronger than ever before, exactly as the artist had intended them to sound when he recorded them 30 years ago. The songs that span this double LP are personal and unique; they are dark synthpop gems. The artist still remains a mystery, as does his relationship to the model Rena Anju featured on this and all but one of his album covers (Kojiki to Onna). The Invitation of The Dead double LP is a limited edition of 999 copies."
Precipice is Byron Westbrook's first long-playing record under his given name. Operating under the handle Corridors for many years, Westbrook has established a reputation for creating immersive, multi-channel, site-specific live experiences using sound, image, and light. Precipice expands upon these ideas as a collection of approaches to texture, landscape, perception of time, and the potential for sound to generate visual space. Like climbing a column that inexplicably leads to a plateau of glass, the topography above and below visible in crystal clear relief. Byron Westbrook is an artist and musician based in Brooklyn, NY. He works with listening, space, perception, and awareness, often pursuing routes with social engagement. His electronic sound interventions play with dynamics of perception of space, sometimes manifesting as multi-channel sound performances or as small- or large-scale installation work using video or lighting. He has presented work at the Institute of Contemporary Arts (London), Clocktower Gallery (NYC), ISSUE Project Room (NYC), Abrons Arts Center (NYC), Roulette Intermedium (NYC), Diapason Gallery (NYC), Eyebeam (NYC), BRIC Arts Media House (NYC), LMAKprojects (NYC), Human Resources (Los Angeles), The Lab (San Francisco), International House (Philadelphia), VIVO Media Arts Centre (Vancouver), Les Voûtes (Paris), Festival Colla+eral (Bologna), O' (Milan), Cyberfest (St. Petersburg), and many others. He studied with David Behrman, Marcus Schmickler, Laetitia Sonami, and Marina Rosenfeld for his MFA from Bard College, and has also toured and collaborated with Rhys Chatham. He has also worked closely with Phill Niblock at Experimental Intermedia in NYC since 2005. He has been an artist in residence at Clocktower Gallery, The Wassaic Project, Diapason Gallery, and HotelPupik, and was a 2014 Civitella Ranieri Fellow. LP includes download code.
"Telephone Explosion reissues for the first time on vinyl ever Bruce Haack's cult masterpiece Haackula. The releases feature the full Haackula album along with Russell Simmons (RUN DMC) co-produced electro banger 'Party Machine.' Limited to 1,000 copies... essential in every minimal synth, experimental, outsider, electro collection."
I Can't Give You the Life You Want
"Blackest Ever Black US exclusive release manufactured and distributed by Mount Analog. 500 copies worldwide featuring unreleased and brand new material from Tropic of Cancer, Bremen, Tarcar, Cut Hands, Exploring Jezebel, Dalhous, Secret Boyfriend, 500 Stamps (Veronica Vasicka), Infrastructure Zero and more."
180-gram LP version. "Niney The Observer's Sledgehammer Dub In The Street Of Jamaica LP has always been considered to be a long lost gem with Dub collectors. Originally released in early 1977 and pressed in a limited quantity of between 300 to 400 copies the record was a compilation of Dubs devoid of vocals but high on rhythms - mixed with feeling and showcasing the talents of both musicians and mixing engineers. King Tubby's involvement is clear, as is that of all the other parties involved such as Niney, The Soul Syndicate and The Cimarrons to name but a few. The actual LP title was derived from how King Tubby mixed his tracks. Strong! Niney described the sound coming from the speakers as like having a sledgehammer hitting you on your head. Niney himself is steeped in Reggae history, making songs for the likes of Lee Perry, Bunny Lee, Joe Gibbs and Coxsone, producing the masterful Blood And Fire cut and being one of the first to experiment with sound in early reggae. Sledgehammer Dub In The Street Of Jamaica was pressed on Nineys own Observer label without a jacket and has become something of a holy grail for collectors of dub."
Schnitzelbeat Vol. 2: You Are the Only One - Raw Teenage Beat & Garage Rock Anthems from Austria 1964-1970
A Sunday in August 1965: while the grown-ups are tending to their cars and gardens, a bunch of kids are mistreating budget guitars, cheap Italian combo organs, and ramshackle drum sets in the garage. Mandatory accessories: longer hair than all the other boys at school and black boots pointier than the tip of a knife. What had happened to these youths? What had infected the young, amateur musicians brought to you by Schnitzelbeat Vol. 2 was the exciting, new, hot sound seeping into cozy, provincial Austria from happening places like New York, London, and Hamburg. The artists compiled here translate the air of unrestrained abandon transported by the newly emerging popular genres into their own, locally flavored idiom. Presenting internationally operating exponents of the Austrian underground sound of the 1960s (The Slaves, The Gamblers) alongside recently rediscovered trailblazers of independent production (The Lost Generation, The Earls), Schnitzelbeat Vol. 2 is the first compilation of its kind to pay respect to the wilder side of the home-grown Austrian teenage sound of the 1960s in all its diversity: you'll find instrumental rock smashers, beat ballads, straight-up rhythm and blues pieces, jangling folksy harmonies, savage proto-punk blowouts, and -- of course -- off-the-wall appropriations of well-known international beat hits that often provided ambitious amateurs with the jump-start they needed to get their own sound up and running. Curated and compiled by Al Bird Sputnik of Trash Rock Archives (Vienna), this volume makes a compelling case for a revised history of Austrian pop and rock music. Also includes tracks by The Boys, The Beatfires, The Counts, The Desperates, The Rockets, Harry David Quintett, The Meadows, Herbert O und Die Beatniks 62, The Brand Brothers, The Lamberts, Les Fantoms, and The Seals.
"Colin Potter has been a central figure in the UK's DIY and post-industrial underground since the late '70s. His ICR label, founded in 1981, blurred the lines between post-punk experimentation, crude pop, Krautrock-inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle, experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones's Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late '90s as well as serving as a member of Nurse With Wound's current live line-up. From the late '90s to the late '00s Potter's IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nacsent UK drone scene" --David Keenan, Red Bull Music Academy Daily, March 31, 2015. Rank Sonata encloses sounds of organic techno, somnambulistic dub, and dream-ambient. The nearly-20-minute track "A Wider Pale of Shale" sounds absolutely timeless, with an interplay between ambient and beat-driven passages that could play all night long. With "You," Potter brilliantly weaves abstract sounds into an unexpected multi-layered dub track. The deep, slow reverb-rhythm of "Knit Where?" gives the record a touch of darkness and melancholy. Rank Sonata is a brilliant piece of music full of technical sophistication and innovation.
Limited copies of the 2015 tour-only 7" featuring "You're Brave" by Sleaford Mods and an exclusive track from Berlin's noise rock trio Sudden Infant -- "Fat Nipple Upright."
Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighborhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha, and Mount Rushmore were built in this fashion. Wild, organic machine grooves, with a mind's eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air. Spacious, witty, melancholic, deadly.
Known for his uncompromising tape and synthesizer work, Pete Swanson has pushed the limits of electronic music since the early 2000s. Since stepping down as half of formative underground duo Yellow Swans, he has subverted the genres of noise and electronic dance music as a solo artist. For Eliminated Artist, the third LP release from ISSUE Project Room's Distributed Objects imprint, Swanson ventures into new territories with two works at the intersection of electronic and acoustic sound, created in collaboration with New York instrumental quartet Yarn/Wire. Combining electronics, tape loops, and modular synthesizer with Yarn/Wire's unique ensemble of two pianists and two percussionists, both works were recorded live at ISSUE Project Room, initiated as part of the ensemble's 2011 residency at the Brooklyn venue and presenting organization. For the title-track, "Eliminated Artist" (2012), Swanson recorded improvised rehearsals by Yarn/Wire, from which he crafted an exacting, repeatable framework for live performance. A combination of live signal and rehearsal recordings were then constructed by Swanson into a live electronic mix, ranging from tranquil chromatic textures to unhinged distortion. "Corrections" (2014) emerged from a series of recorded fragments Swanson made using "the Putney," an early EMS VCS3 modular synthesizer, at Rotterdam's WORM studios in 2013. Over two days of rehearsal, Yarn/Wire and Swanson developed acoustic arrangements to integrate with the earlier recordings. Clattering, intricate rhythms combine with soaring synthesizer-pitches and heavy, percussive beats; the result is atmospheric, physical, and precise. Yarn/Wire: Ning Yu, Laura Barger: piano; Russell Greenberg, Ian Antonio: percussion. Pete Swanson: EMS VCS3, electronics, and tape. "Corrections" recorded live at ISSUE Project Room on May 1, 2014; EMS VCS3 for Corrections recorded at WORM Studios, Rotterdam, December 2013. "Eliminated Artist" recorded live at ISSUE Project Room March 22, 2012. Mastered by Rashad Becker. Limited edition of 500 on 150-gram vinyl.
2015 repress. Double LP version. "Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener 'Ahull' make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation. Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the loscil "ensemble", some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead's Elaine Reynolds who provides layered violin on 'Catalina 1943', and Ashley Pitre contributing vocals on 'Bleeding Ink'. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks 'Sea Island Murders' and 'En Masse.'"
Double LP version. Includes the Punk Tape LP, previously released on cassette by Runstate in 2015. The second LP contains covers of Chron Gen, Reagan Youth, Thee Headcoatees, Trotskids, Antisect, Anti-Cimex, Rudimentary Peni, and Ludwig Von 88. Edition of 250.
Mirumir Music Publishing proudly presents the world's first vinyl soundtrack to a mobile game. The soundtrack for Rovio's 2013 game Angry Birds Go! is not quite your typical soundtrack. Recorded with dozens of live instruments ranging from guitars and drums to theremin, saws, and steak in a frying pan (full list of almost 100 instruments included on inner sleeve), this soundtrack contains more music than was used in the game, and even more than on the iTunes release of the soundtrack. The incredible neo-psychedelic retro-funk groove from Pepe Deluxé, who started in the late '90s with trip hop and downtempo, deserves to be heard on a high-quality audio system rather than built-in phone speakers. Guest list includes such eminent persons of the international music scene as Jens Johansson, keyboardist on Yngwie Malmsteen's Rising Force (1984) and member of Stratovarius, and Kimmo Pohjonen, the most famous accordionist in the world. 140-gram LP with printed inner sleeve.
"Yes, double stars do exist. They are a reality. They appear in the firmament -- sometimes as an optical and sometimes as a physical phenomenon. Two celestial bodies, working in relation to each other, circling around each other, responding to each other. Both in a delicate balance. In the German language this rare astronomical occurrence is called a 'Doppelstern.' Yet the double stars at issue here have not fallen from the sky, even if it sometimes sounds like it. Barbara Morgenstern -- the great Berlin composer, lyricist, musician, and choir director -- has conceived them, formed them, and lets them rain down upon us like a meteor shower. Three years after her previous English-language album Sweet Silence (MONIKA 074CD, 2012), Barbara Morgenstern is in possession of a marvelous new metaphor for a shining new creative principle. The name was actually a hint from Justus Köhncke, with whom she also forms a double star... In various studios and different constellations, across continents and neighborhoods, a veritable solar system has come into existence. Let's listen into it! It shimmers. Unbelievable. So many facets. Each piece is unique due to its double star constellation. Let's call them by name: T.Raumschmiere, Hauschka, Gudrun Gut, Justus Köhncke, Corey Dargel, Lucrecia Dalt, Julia Kent, Coppé, Tonia Reeh, Richard Davis, Jacaszek. And each piece is connected to the other through Barbara Morgenstern and her songs... And as complete lyrics in collaboration with the aforementioned partner stars they shine sometimes brighter than a supernova, and other times as delicately as a firefly. Between song-craft and krautrock, electronic listening and dance-pop, an entire glittering galaxy of sounds and songs unfolds in front of us. That's Barbara Morgenstern's Doppelstern. Do not miss this celestial phenomenon." --Hans Nieswandt
A lot has changed since Ms. John Soda released their first 7" in 1998, since Micha Acher (The Notwist, Tied & Tickled Trio, Alien Ensemble) joined Stefanie Boehm (Couch) and completed the creative nucleus of this band; day-to-day life indeed feels different in 2015, but the basic chemistry, the intricate balance of electronic and analog molecules that orbit this nucleus -- and thus, the resulting mood and vibe -- they're still recognizable, still undeniably Ms. John Soda. Whether it's the dense, intensely rushing soundscapes of "Hero Whales," numerous layers pushing and taking off into the same direction; the propelled clatter of "Sirens"; a track like "Millions" that blows off more and more steam, a glistening, wheezing sort of madness even (though there is a tender side to it as well); the perpetual magic-lantern-like motions of "Name It" (think Trish Keenan and Broadcast); or the gradually descending melodies of opening track "In My Arms" -- they're all lined with a certain tension, underpinned by a certain atmosphere, a unique brand of melancholy that never quite gives in and keeps searching for new outlets and answers. The title of Loom, the band's first album since 2006's Notes and the Like (MORR 064CD/LP), hints at a feeling of re-emergence, gathering and looming, but according to the singer, it also refers to a weaving loom; it's about "weaving and combining a vast number of influences, ideas, instruments, melodies, rhythms, and layers to create a whole," says Boehm, whose vocals span these tracks like thick, reliable ropes that glow with marine luminescence. "It's about weaving individuals into a group ('Millions'), weaving and merging former ideals and hopes with reality ('The Light'), combining 'hi' and 'bye,' beginning and end ('Hi Fool'), interweaving opposite or contradicting concepts, such as pushing forward vs. being pushed ('In My Arms')." Cico Beck aka Joasihno of Aloa Input (drums, electronics) and drummer Thomas Geltinger helped out on various tracks recorded with Oliver Zülch in Weilheim; Boehm and Acher were also joined by Karl-Ivar Refseth (percussions) and Matthias Götz (trombone). Together, they keep feeding the loom with countless spools of yarn, until epic piano closer "Fall Away" seems to offer a temporary respite: "find your way/take the dry suit off/for a night." Time to rest, to take a deep breath. Or are those the first rays of dawn looming on the horizon?
Alif is the collective sound of five musicians at the forefront of independent music in the Arab world. Conceived in 2012 and taking its name from the first letter of the Arabic alphabet, Alif features Khyam Allami (oud), Tamer Abu Ghazaleh (vocals and buzuq), Bashar Farran (bass), Maurice Louca (keys and electronics), and Khaled Yassine (drums and percussion). Their self-produced debut, Aynama-Rtama (Wherever It Falls) is a reflection of its time and environment. Recorded between Beirut and Cairo in 2014, it is a shape-shifting album that twists and turns when one least expects it. Right from the lead track "Holako (Hulagu)" -- featuring a poem by late Iraqi poet Sargon Boulus (1944-2007) rendered into song for the first time -- the band immediately reveal their intention. Louca's gritty electronic percussion melds with Allami's rhythmic oud, and builds until the explosion of a driving rhythmic section, backing Abu Ghazaleh's frenzied buzuq, leads to a cinematic climax of soaring strings and raging drums. The startling synergy of these five musicians is retained throughout the album. A fiery sermon rages in "Al-Khutba Al-Akhira (The Last Declamation)" as the tumult of Yassine's acoustic percussion gives way to Louca's piercing synths, intertwining with Abu Ghazaleh's potent diction. From the melancholic beauty of "Dars Min Kama Sutra (A Lesson from Kama Sutra)" -- which features the tantalizing verses of renowned Palestinian poet Mahmoud Darwish (1942-2008) -- to the majestic and surreal album-closer "Eish Jabkum Hon? (What Brings You Here?)," penned by the band's own Tamer Abu Ghazaleh, each track bursts with rhythmic drive and fervor. The band's wide-ranging influences, along with their unified and intriguing energy, give birth to a soundscape that is at once familiar and unknown. Mixed by Ali Chant of Toybox Studios, Bristol, UK (PJ Harvey, Rokia Traoré, Yann Tiersen, Gruff Rhys, John Parish) and mastered by John Dent of Loud Mastering, UK (Bob Marley, Nick Drake, Yann Tiersen, Massive Attack, Nick Cave), Aynama-Rtama traces a complex labyrinth of genres, sounds, and emotions, rendered as a unique postcard of the tumultuous rollercoaster-ride of its time. The album is adorned in artwork featuring a painting by Syrian-Lebanese visual artist Semaan Khawam. His colorful, surreal paintings, combined with original typography by Egyptian designer Salma Shamel, perfectly complement the complexities latent in Alif's music and lyrics. All editions also feature Nariman Youssef's English translations of the poems and lyrics.
"These sublime poetic texts dating from the 14th century have the classic themes of courtly love, nostalgia and absence. Performed on the qanbus luth and copper plate percussion, the music of The Singing of Sanaa is the quintessence of Yemenite traditional music."
So Far/It's a Bit of Pain
2010 reissue. First reissue of Faust's only 7", originally released only in Germany, France, and the UK in 1972. This reissue bears the original artwork and was remastered by Faust member Hans-Joachim Irmler from the original recordings. Both tracks are non-LP versions. It is said that "It's a Bit of Pain" was John Peel's favorite Faust track. Archive your music on vinyl!
Tresor is fortunate enough to be sitting on a catalog of releases that no label in electronic music would turn down. Three of the finest were contributed by Surgeon; Basictonalvocabulary (TRESOR 10073LP), Balance, and Force + Form all originally came out on the Berlin institution between 1997 and 1999, and are the fullest expression of Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland. The Balance Remakes 12" accompanied the original 1998 release of Surgeon's second Tresor album, Balance, with additional versions as well as a remix by long-time Birmingham collaborator Mick Harris.
Trost continues its Trost Jukebox Series of 7"s. Raymond Boni on guitar and electronics; Joe McPhee on soprano saxophone, voice, and electronics. Recorded in Birmingham, Alabama, in 1985. Both songs are based on the words of Eric Dolphy. Artwork by Lasse Marhaug.
LP version. American saxophonist John Dikeman, Belgian guitar experimentalist Dirk Serries, and legendary English drummer Steve Noble team up for an impressive improvisational record. Inventive, harsh, precise! Recorded at Sound Savers, London, in 2015. John Dikeman: saxophone; Steve Noble: drums; Dirk Serries: guitar.
Transient Random-Noise Bursts With Announcements 2LP
I Can't Give You the Life You Want LP
The Invitation of the Dead 2LP
Clarinet and String Quartet CD
Excavated Shellac: Strings CD
Excavated Shellac: Reeds CD
Smallville Ways: Ten Years CD
Future World Funk Presents Urban Brazil CD
Schnitzelbeat Vol. 2: You Are the Only One - Raw Teenage Beat & Garage Rock Anthems from Austria 1964-1970 LP
R&B Hipshakers Vol. 4: Bossa Nova and Grits CD
So Far/It's a Bit of Pain 7"
Complication/Oh-How to Do Now 7"
Cowboy on the Run: Live in New York CD
As Sure as Night Follows Day CD
Live at the Record Plant '73 LP
Super Fly (Colored Vinyl) LP
Sledge Hammer Dub in the Street of Jamaica LP
Angry Birds Go! Original Soundtrack LP
Live in New York: Eight Miles High CD
Bravery, Repetition And Noise LP
Psycho (The Original Film Score) LP
Global Dance/Mad Ting 12"
Musik For Autobahns 2: Ambient Race Car Music Compiled by Gerd Janson CD
Hand to Hand Combat/Concealed Weapon 12"
Ceux Qui Restent + Punk Tape 2LP
Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 LP
Ten Songs About Real Utopia CD
Cave Trilogy - A Barricade, A Tigress, A Shadow 3LP
Live in Haight-Ashbury 1971 CD
You're Brave/Fat Nipple Upright 7"
Play Your Corner (Walton/Kahn & Neek Remixes) 12"
Schlecht Dran/Gut Drauf LP
Drunken Maria/Monk Chant 7"
Crete: L'Art de la Lyra CD
Yemen: Le Chant de Sanaa CD