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2LP
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N 100LP
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Magnificent Fall, The Notwist's new rarities compilation, compiles some special and wild moments from this unique German indie group's rich history. They've always snuck gorgeous songs and thrilling remixes onto split singles, extended plays, and other formats, across their career, and pieced together here -- compiled thoughtfully, with sensitivity to flow and the listening experience -- these thirteen selections work as a kind of "shadow narrative" of The Notwist, an alternative index of the possibilities this shape-shifting group uncovered during their time together. They've been smart to let go of chronology when sequencing Magnificent Fall, so the songs here move across phases and stages of The Notwist's career, helmed by brothers Markus and Micha Acher. The Notwist have always been interested in and open to community, and one of the many ways they reach out to others is through the remix. There are three here, sent back to The Notwist from different corners of the world, both aesthetically and geographically. The music on Magnificent Fall traverses varying terrain -- abstract hip-hop, chamber pop, sweet and simple folk song, indietronica, free-floating improvisation. There are several unreleased songs, as well, drawn from across the group's history. Core to it all, though, the thing that makes The Notwist so singular, is the thumbprint of the Acher brothers, their gently poetic way of moving through the world and welcoming other musicians and artists into the fold, expressively and with generosity.
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2LP
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BEWITH 108LP
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2026 repress; double-LP version. Gatefold sleeve with insert and original liner notes. Another Thought was the first collection of Arthur Russell's music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur's most recognizable music, like the title track "Another Thought", "A Little Lost", "This Is How We Walk On The Moon", "Keeping Up" and the woozy disco of "In The Light Of The Miracle" and "My Tiger, My Timing". Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur's lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it's essential for any fan of non-obvious pop music.
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LP
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BNSD 096LP
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Sculptures is composer and pianist Derek Hunter Wilson's third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist's journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay. Award-winning poet Mathias Svalina composed a poem for the album, entitled "A Dream for Sculptures." It is reproduced on an insert that accompanies each LP. Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound, Travelogue (BNSD 016LP, 2017), and Steel, Wood, & Air (BNSD 035LP, 2019), as well as a collaborative album with Location Services entitled Wake (BNSD 066LP, 2022).
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12"
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SAUNA 001EP
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Sauna Radio presents its first compilation, a sonic snapshot of Stockholm's vibrant underground. Born from the weekly community radio and event series hosted on a floating sauna in the city center, the compilation brings together local and international artists connected to the project -- including Peder Mannerfelt, MOLØ, Abstraxion & Bella Sarris, Staffan Lindberg, Julia Wallin, and more. Blending hypnotic techno, leftfield house, and introspective electronica, the release captures the raw, emotional, and communal energy of Sauna Radio.
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LP
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BELA 006-077LP
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Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito's psychedelic cosmology, distinct from his better-known work with High Rise, Musica Transonic, and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there's only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo's longest-running, most mysterious outfits, Ohkami No Jikan's conceptualization -- as a psych outfit "that explores 'stasis' and 'motion,' both actively and philosophically" -- hints at the intensity of the music here. There's a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with arcing blasts of feedback, the group feels cosmically aligned with Nanjo's purity of vision. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990s. It released nearly 200 cassettes and CD-r's, all handmade in micro-editions and sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.
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LP
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BS 069LP
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2026 restock, last copies, reduced price. LP version. The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagmites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synesthesia. Co-produced with Holidays Records.
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Book
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9781953691996
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Limited restock; hardcover. 588 pages. "Fiery, funny, inviting and digressive, Sonny Simmons' memoir is a long overdue celebration of the famed New York free jazz pioneer. Though his years in the New York free-jazz scene of the sixties cemented his reputation as 'one of the most forceful and convincing composers and soloists in his field,' saxophonist Sonny Simmons (1933-2021) was nearly forgotten by the '80s, which found him broke, heavily dependent on drugs and alcohol, and separated from his wife and kids. 'I played on the streets from 1980 to 1994, 365 days a year,' Simmons tells jazz historian and biographer Marc Chaloin. 'I would go to North Beach, and I'd sleep in the park. The word got around town that Sonny is a junkie, really strung out.' The resurrection of Simmons' career -- upon the release of his critically acclaimed Ancient Ritual (Qwest Records) in 1994 -- has become a modern legend of the genre. In the last two decades of his musical career, Simmons broke through to a new echelon of recognition, joining the pantheon of great innovators and masters of the music. But to this day he remains an undersung figure. Here, in the first ever book dedicated to his life, Simmons recounts his childhood in the backwoods of Louisiana, his adolescence in the burgeoning Bay Area jazz scene and his star-studded life in New York playing alongside the greats."
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12"
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BOND 12081EP
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Dilby and Pornbugs team up on Between Us. Opening with "Hear Me Out" their combined bumpy deep sound marries incredibly well. Uptempo and lively, this is the future sound of retro. Next up, "Hold The Line" joins the dots between deep and progressive house, keeping the funk and soul intact. Bass-led and groovy as hell, this is your new secret weapon. "Fade Into You" is the first of the vinyl only tracks and marks a stark change of pace. Deeper, more soulful and markedly more thoughtful, this is modern deep house in its glittery new rave clothes. Pairing nicely is the flipside track "Beyond Fear" which rumbles along with techy bass and a chunky groove.
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2LP
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BB 032LP
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Camouflage are one of the few German bands to have been making music successfully at home and abroad for the last couple of decades. The Great Commandment (1987) and Love Is A Shield (1989) were actually worldwide hits. After four albums, Camouflage felt it was time to experiment. This phase reached its zenith with the album Spice Crackers in 1995 -- the most daring, most interesting work they ever released. Electropop tracks sit side by side with hypnotic, repetitive, spheric tracks. Now, 30 years later, Spice Crackers is finally released on vinyl for the first time! Heiko Maile, Camouflage founder member and producer of Spice Crackers, has this to say about working on the album: "On our previous productions, we started out with just a few songs, worked on these as demos and then went to an external studio to completely re-record them with a producer. Having the idea to produce an album in our own studio, thus giving us more time to experiment, basically wanting to do the whole thing differently, was the beginning of an interminable recording session. Once we got going, surrounded by synthesizers, drum machines, guitars, microphones, a mammoth analogue mixing desk and a few pieces of recording equipment, we simply taped everything that came into our heads. Only a few of these tracks -- I'm deliberately refraining from calling them songs -- ended up on the original CD. It was a very formative and inspiring time for us in terms of album production."
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LP
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BB 250LTD-LP
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Limited anniversary edition: hand numbered, yellow transparent vinyl, 500 copies available! From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so-called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. The influence of Tangerine Dream can clearly be heard on Romance 76, although the arrangements are comparatively minimalist -- a state of affairs for which David Bowie can be held partially responsible. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts. After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums, Baumann called time on his solo career with Romance 76. This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story. Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record Romance 76. Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on Romance 76, for example, along with a Mellotron. Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.
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CD
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BB 495CD
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"Control was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He never used these innovations merely for their own sake, but always put them at the service of his artistic flair for experimentation. His signature style is clearly recognizable on Control. The album seems to be a kind of compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all directions. But then there are tracks 1, 8, 11, and 12 -- and here I can only speculate -- where it seems as if Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces. And why not? He was completely undaunted by new things. Most important was that the music remained within the framework of his strict overall concept. There is no spacing between the tracks on the original LP, released in 1981 by the DYS label in the US. The A and B sides are originally titled simply 'Control A' and 'Control B', and the thirteen pieces are strung together without interruption. Strange. About half of the tracks on Control are apparently faded in and/or out. This could indicate that Schnitzler either drew on 'overlong' archive material to extract passages suitable for the album, or that he shortened the newly recorded music. Speculation is pointless -- we can no longer ask Schnitzler. In any case, he opted for relatively short pieces averaging three minutes in length, some even shorter, others a little longer. All in all, this creates the impression of sketches. Sketches with sharply defined contours, however: as with almost all his albums, Schnitzler gives us listeners clear information about where he currently resides in his musical universe. For Schnitzler, too, the journey was its own reward, and there were many stops 'on the way to the complete Schnitzler'; he never lingered at any of them for long. His artistic restlessness and curiosity were his lifeblood. And to stay with the metaphor, Control is a strong dose of that elixir." --Asmus Tietchens, 2025
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LP
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BB 495LP
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LP version. "Control was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He never used these innovations merely for their own sake, but always put them at the service of his artistic flair for experimentation. His signature style is clearly recognizable on Control. The album seems to be a kind of compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all directions. But then there are tracks 1, 8, 11, and 12 -- and here I can only speculate -- where it seems as if Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces. And why not? He was completely undaunted by new things. Most important was that the music remained within the framework of his strict overall concept. There is no spacing between the tracks on the original LP, released in 1981 by the DYS label in the US. The A and B sides are originally titled simply 'Control A' and 'Control B', and the thirteen pieces are strung together without interruption. Strange. About half of the tracks on Control are apparently faded in and/or out. This could indicate that Schnitzler either drew on 'overlong' archive material to extract passages suitable for the album, or that he shortened the newly recorded music. Speculation is pointless -- we can no longer ask Schnitzler. In any case, he opted for relatively short pieces averaging three minutes in length, some even shorter, others a little longer. All in all, this creates the impression of sketches. Sketches with sharply defined contours, however: as with almost all his albums, Schnitzler gives us listeners clear information about where he currently resides in his musical universe. For Schnitzler, too, the journey was its own reward, and there were many stops 'on the way to the complete Schnitzler'; he never lingered at any of them for long. His artistic restlessness and curiosity were his lifeblood. And to stay with the metaphor, Control is a strong dose of that elixir." --Asmus Tietchens, 2025
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CD
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BB 496CD
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Convex is one of a series of LPs that Schnitzler released himself in the 1980s. It is one of his LPs that convey virtually no visible information. Only the title is printed in large letters on the cover of Convex, and in tiny letters that are easy to overlook, it says: "Cover Conrad und Richard." The labels on the original LP indicate that one side is called "Convex" and the other "Concav." That's all the information there is.
"On Convex, as on many of his other albums, Schnitzler definitely used a sample-and-hold generator (S/H generator), a device that converts sounds stored as desired into random sequences of tones. This is important to know because this album is also non-keyboard music, i.e., it was not played 'by hand'; instead, the experimental setup is: synthesizer -- sequencer -- S/H generator. Whether Schnitzler could foresee the respective results for each piece or whether he let himself be surprised is uncertain. But I believe he let himself be surprised and decided in each case whether to accept the result or not. Because one of the cornerstones of his artistic concept is controlled chance. However, it is not this method that makes Convex so special, but the slow tempo of the music. With one exception, the other pieces are almost sluggishly slow. Schnitzler certainly never had ambient music in mind, as his music is defined throughout by transparency and dynamic movement. However, Convex does meet some of the criteria defined by Eric Satie for 'musique d'ameublement' and also the concept of 'ambient' further developed by Brian Eno: its calmness and apparent uniformity -- both of which require no attention and yet are a pleasant addition to the atmosphere of a room. A prerequisite for this, however, is a discreet volume level. Schnitzler would probably turn in his grave if he knew that I was placing his music in the vicinity of ambient. And of course it's not ambient. With Convex, Schnitzler remains consistently true to himself. The only unusual thing is that he experiments with 'slowness' here. Schnitzler has carefully faded out some pieces, even though they are suitable for filling an entire LP side. If I were to stick with my thought experiment, this would be another characteristic of ambient music. Convex raises questions that cannot be answered with certainty. But that is precisely why Schnitzler's music remains so interesting." --Asmus Tietchens, 2025
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LP
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BB 496LP
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LP version. Convex is one of a series of LPs that Schnitzler released himself in the 1980s. It is one of his LPs that convey virtually no visible information. Only the title is printed in large letters on the cover of Convex, and in tiny letters that are easy to overlook, it says: "Cover Conrad und Richard." The labels on the original LP indicate that one side is called "Convex" and the other "Concav." That's all the information there is.
"On Convex, as on many of his other albums, Schnitzler definitely used a sample-and-hold generator (S/H generator), a device that converts sounds stored as desired into random sequences of tones. This is important to know because this album is also non-keyboard music, i.e., it was not played 'by hand'; instead, the experimental setup is: synthesizer -- sequencer -- S/H generator. Whether Schnitzler could foresee the respective results for each piece or whether he let himself be surprised is uncertain. But I believe he let himself be surprised and decided in each case whether to accept the result or not. Because one of the cornerstones of his artistic concept is controlled chance. However, it is not this method that makes Convex so special, but the slow tempo of the music. With one exception, the other pieces are almost sluggishly slow. Schnitzler certainly never had ambient music in mind, as his music is defined throughout by transparency and dynamic movement. However, Convex does meet some of the criteria defined by Eric Satie for 'musique d'ameublement' and also the concept of 'ambient' further developed by Brian Eno: its calmness and apparent uniformity -- both of which require no attention and yet are a pleasant addition to the atmosphere of a room. A prerequisite for this, however, is a discreet volume level. Schnitzler would probably turn in his grave if he knew that I was placing his music in the vicinity of ambient. And of course it's not ambient. With Convex, Schnitzler remains consistently true to himself. The only unusual thing is that he experiments with 'slowness' here. Schnitzler has carefully faded out some pieces, even though they are suitable for filling an entire LP side. If I were to stick with my thought experiment, this would be another characteristic of ambient music. Convex raises questions that cannot be answered with certainty. But that is precisely why Schnitzler's music remains so interesting." --Asmus Tietchens, 2025
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LP
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CASTEL 003LP
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2026 restock, last copies, reduced price. Recorded live on April 28, 2014 at Outside Inside Studio, Montebelluna. Featuring Alan Zignoto (bass), Dave Easlick (drums), Tom Greenwood (guitar, vocals), Jeffrey Alexander (synth, chalumeau), Michael Whittaker (saxophone, flute, trombone), and Dave Siebert (violin, lap steel). Mixed and mastered by Matt Bordin. Photos by Lorenzo Ferraro.
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CD
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CRM 113CD
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Hailing from Kansas City and mid-century America, Robert Steinhilber, AKA Catfish Rushdie, is a drummer/percussionist/animator/illustrator who was a founding member of Ska band The X-Streams in the 1970s in Los Angeles California. After discovering Jamaican music in London in 1971, he tripped around the US as a carny, hitchhiked all over Australia, went to Art School in Miami, then settled on the I-10 corridor between Phoenix and LA where he began his checkered career forming and playing in a variety of bands for the next few decades which includes stints with The Skanksters, X-Streams, Jerry's Kids, Victory Acres, Rhythm Clinic, Sun City Girl's Big Band, and Eddy Detroit. As the founding art director of BEAT magazine, he frequently appeared on KCRW's flagship radio show The Reggae Beat. As a designer, he has worked on LP covers for Lee Scratch Perry, The Heptones, and Bob Marley & The Wailers. As an animator, he started in the late '70s working under Al Brodax (Producer of The Beatles Yellow Submarine), created a controversial 7-minute film called That's My Terrorist (screened at the Scottsdale animated film festival in 2004) along with Cardiac Neurotic, an unreleased feature starring Sun City Girls. For the past few years, Rushdie has been spending time performing in Springfield Oregon and recording in Cairo Egypt where he's just finished his first solo album Count Your Blessings. He describes the record as "a musical dark comedy -- each song an impression of the early 21st century, with a couple of hangovers from the late 20th. A combination plate of novel diseases, social decay, cannibalism (carnivorous and financial), addiction, reckless driving, mass-media psyops, broken hearts, political assassination and genocide." The record also features an unlikely cast of players including Gilbert Zvmaida (guitarist for Thomas Mapfumo -- The Lion of Zimbabwe), Maurice McConnell (played with Zoot Horn Rollo), Sean Jackson, and Alan Bishop (Sun City Girls). This CD edition is limited to only 200 copies and features a 6-page booklet insert with photos of the band members."
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CD
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DE 337CD
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"Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed 'Spider' by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite. Throughout the '70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early '80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker's partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider's music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider's compositions for film veer from the expansive, reverb-drenched 'Rainforest' to the Miami Vice-esque chugger 'Tech.' While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music is available on both LP and CD, the latter of which includes a 20-minute version of 'Strange Places, Strange Things!' as a bonus track. The album's cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider's estate by Michael Ely, Spider's partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later."
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DE 337LP
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LP version. "Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed 'Spider' by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite. Throughout the '70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early '80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker's partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider's music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider's compositions for film veer from the expansive, reverb-drenched 'Rainforest' to the Miami Vice-esque chugger 'Tech.' While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music is available on both LP and CD, the latter of which includes a 20-minute version of 'Strange Places, Strange Things!' as a bonus track. The album's cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider's estate by Michael Ely, Spider's partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later."
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DE 354CD
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"Somewhere between heaven and hell, there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton's Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. Brandy was known for many years in the LA underground for his performances with his boyfriend, Robert Woods, who was the resident DJ at Club Fuck. Eventually, they recruited John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of 'Swelled' to the tabla-laced trance of 'FA2,' taking listeners on a journey through hedonistic recesses chock full of crunchy digital drum machines and wailing FM synths. This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It is reissued on LP as well as CD, featuring six bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Brandy's passing was preceded by his best friend and Drance co-founder Robert's death in 1995. Documenting a sonic shift in the '90s bathhouse music, Fallen Angel provides a hardcore BDSM ride, building upon the analogue archival soundtracks that Dark Entries has previously released."
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DE 354LP
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LP version. "Somewhere between heaven and hell, there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton's Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. Brandy was known for many years in the LA underground for his performances with his boyfriend, Robert Woods, who was the resident DJ at Club Fuck. Eventually, they recruited John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of 'Swelled' to the tabla-laced trance of 'FA2,' taking listeners on a journey through hedonistic recesses chock full of crunchy digital drum machines and wailing FM synths. This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It is reissued on LP as well as CD, featuring six bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Brandy's passing was preceded by his best friend and Drance co-founder Robert's death in 1995. Documenting a sonic shift in the '90s bathhouse music, Fallen Angel provides a hardcore BDSM ride, building upon the analogue archival soundtracks that Dark Entries has previously released."
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DE 356LP
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"Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum's songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, she waxes nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation. The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, 'Field Tone' transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. 'Dragon Pine' darts from cosmic dub to cybernetic dancehall and back again. The up-tempo darkwave-leaning number 'Aeolian Crossing' dissolves into the void, like sand falling through one's fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx."
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12"
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DEFCLAS 028EP
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Nick Holder's Iconic "Dance, Dance, Dance" finally arrives with new remixes from Jason Hodges and Trackheadz, originally released in 1995 and repressed countless times on vinyl since. This timeless house anthem, a pure expression of disco-driven groove, now returns remastered and refreshed -- accompanied by two brand-new remixes from fellow Toronto house legends Jason Hodges and Trackheadz.
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DELI 033LP
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Like a head resting on a train window, gazing at the horizon without anxiety, Jesper Ryom's debut album breathes a wind of freedom and propels listeners toward the unknown, to no destination in particular. Beyond the sensations of movement it evokes, this work is a marvel of unexpected mixtures. Seamlessly transitioning from progressive sounds to genuine French touch inspirations, it sails through the ages while maintaining a dreamlike homogeneity. This long-awaited offering from one of Copenhagen best-kept mysteries invites listeners on a captivating journey.
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DMOO 032LP
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2026 repress. One of the best-known rock singers of the 1960s, Janis Joplin made a lasting impact with a powerful mezzo-soprano voice and an electrifying stage presence, drawing on blues, country, and gospel. Little Girl Blue gathers some of her earliest performances, dating from just after she ditched her native Texas for the San Francisco Bay Area; recorded at the Folk Theatre in San Jose and at SF's Coffee Gallery, the awesome power of her voice is already apparent on a cover of Ma Rainey's "Leavin This Mornin" and "Daddy Daddy Daddy," the latter written with future Jefferson Airplane guitarist Jorma Kaukonen. A must for all Janis fans!
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DMOO 056LP
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2026 repress. Recorded in October 1959, with heroin a caustic presence, In Milan is the first of the albums Chet Baker cut in Europe, revisiting West Coast cool jazz nuggets with drummer Gene Victory and a set of local players, including bassist Franco Serri and pianist Renato Sellani, bolstered by saxophonists Glauco Masetti and Gianno Basso on select tracks. Bop favorites such as Charlie Parker & Miles Davis' "Cheryl" and Davis' "Tune Up" are handled with care, and there's a fine take of "Line For Lyons," which Baker first recorded as a member of Gerry Mulligan's Quartet, with a great solo by Serri. It's Baker at his best -- thoroughly excellent! Printed on clear vinyl.
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