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2CD
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ZORN 093CD
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2025 restock. "Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet, is at last here. Recorded live at ETA (referencing David Foster Wallace), a bar in LA's Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depthful & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan's Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle. While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group -- just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It's tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras -- dub & Dilla, primary source psychedelia, ambient & drone -- suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, 'we sound like the Byrds' (to certain ears, the Clarence White-era Byrds, who really stretched it). A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they've established in Parker's -- The New Breed -- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker's beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers -- as distinctive a sonic signature as we have in contemporary acoustic drumming -- bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom. For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker's unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker's music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power. On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together." --Michael Ehlers & Zac Brenner
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BEWITH 092LP
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2025 restock. They say: "Contemporary scores for visual effect." Be With Records say: "Synth-heavy, low-slung space-funk masterpiece." The creator of the romping tunes that became the iconic themes to the BBC's Grandstand program and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM's most prolific artist from the mid-1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino has included some of Keith's work on the soundtracks to Kill Bill and Grindhouse (2007). Mansfield's Vivid Underscores from 1977 is a sample freak's wet dream. "High Velocity" sets the tone with its aggressive horns, wah-wah guitars, funky baseline and wobbly synth refrain. "Crash Course" -- Stetsasonic horn refrain? Beautiful -- jazzy chase-funk, amazing warm keys, percussion, and funky horns -- all action. The more restrained "Matter Of Urgency" is an utterly amazing, brass-heavy underscore. The grandiose, uplifting "Dawn Of Aquarius" still sounds like the future with its tense, thundering drums, killer bassline and swirling synths. Version II loses the drums and percussion but is no less startling. "Staying Power" closes the first side with a relentless, pounding groove. "Trucking Company" is a pacey, synth-and-string masterpiece and its accompanying parts mess with the formula to great effect. "Hot Cargo" and "Espionage" are both tense spy-funk themes par excellence. "Interplay" is a quiet killer, with flutes over a glistening piano refrain just waiting to be looped. "Omen" is a mini-drama masterpiece, one only Mansfield could create. Even though it is a mix of short themes in-and-amongst longer, full-length tracks, Vivid Underscores is still thoroughly listenable from start to finish. Original analog tapes remastered for vinyl by Simon Francis. 180 gram vinyl.
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BEWITH 158LP
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2025 repress. Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted. Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his eponymous album will be available on vinyl across the globe, ensuring that fans -- and soul music enthusiasts worldwide -- can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest quality at Record Industry in Holland.
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BEWITH 180LP
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Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things Be With has ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. Daniel first pitched it as "Liquid Swords meets Michael Nyman". A "unique hybrid orchestral music," it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland, and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur, and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape. O'Sullivan's first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise. Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O'Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music.
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COSMR 032LP
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Repress. Sought-after compilation exploring the Group Sound movement that swept Japan in the mid-1960s. Under the influence of the Beatles, dozens of Japanese bands devoted themselves to exporting a wide genre that ranged from surf-rock, garage fuzz, psych and wild R&B. Featuring the influential The Mops, the Filipino band (relocated to Hong Kong) D'Swooners, The Golden Cups, The Beavers, The Carnabeats, The Spiders, The Voltage, The Bunnys, and The Spiders.
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2LP
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FAITBACK 001LP
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2025 restock. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).
"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press
"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM
"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM
"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire
"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork
"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME
"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ
"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ
"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
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2LP
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LMS 1725320
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Double vinyl version. Originally released in 1993, The Brown Album marked a significant evolution in Orbital's sound -- and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time. Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's "It's a Fine Day." The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged. The Brown Album 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten years. 2LP version (LMS 1725320) comes in double black 140gr vinyl, in gatefold sleeve, with printed inners and sticker. Also available in limited edition, double gold and khaki vinyl (LMS 1725321).
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LMS 1725321
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Double vinyl version. Gold and khaki color vinyl. Originally released in 1993, The Brown Album marked a significant evolution in Orbital's sound -- and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time. Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's "It's a Fine Day." The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged. The Brown Album 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten years. Comes in double black 140gr vinyl, in gatefold sleeve, with printed inners and sticker.
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2CD
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LMS 1725323
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Originally released in 1993, The Brown Album marked a significant evolution in Orbital's sound -- and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time. Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's "It's a Fine Day." The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged. The Brown Album 2CD includes a second disc of rarities, including the full 11:09 version of Halycon and the 13-minute Underworld mix of Lush. The Brown Album 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten years. 2LP version (LMS 1725320) comes in double black 140gr vinyl, in gatefold sleeve, with printed inners and sticker. Also available in limited edition, double gold and khaki vinyl (LMS 1725321).
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MG 143LP
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Limited repress. A groundbreaking collaboration between British experimental artist Pete Kember, aka Sonic Boom (Spacemen 3) and Swiss electronic duo SINNER DC, MAPS blends music, visuals, and interactive gaming (Mac/PC) into a multidimensional experience. Originally conceived for a one-off live performances in 2013 in Geneva, MAPS draws inspiration from Borges' meditations on the limits of representation, crafting a surreal auditory and visual journey.
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5CD BOX
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NOTON 050CD
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0.365 kg. Size: 19 × 13.5 × 3.5 cm. NOTON presents this box set of Alva Noto & Ryuichi Sakamoto's V.I.R.U.S. Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S. series in 2002. After more than a decade from the release of the collection's final installment with Summvs in 2011, NOTON reissued all the five albums between May and November 2022. With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002), Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered. Remastered in collaboration with Calyx Mastering, the recordings of "Vrioon," "Insen," "Revep," "Utp_," and "Summvs" are made available under the title "reMASTER," accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.
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NOTON 050LP
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5LP box set version. 2.955 kg - Size: 33 × 32 × 5 cm. NOTON presents this box set of Alva Noto & Ryuichi Sakamoto's V.I.R.U.S. Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S. series in 2002. After more than a decade from the release of the collection's final installment with Summvs in 2011, NOTON reissued all the five albums between May and November 2022. With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002), Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered. Remastered in collaboration with Calyx Mastering, the recordings of "Vrioon," "Insen," "Revep," "Utp_," and "Summvs" are made available under the title "reMASTER," accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.
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OM 086LP
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"They had never played together before. They had never even met each other before this springtime 2024 concert at London's Café Oto. Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is free improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental 'noise' guitarists of the 1990s/2000s underground scene. For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance? By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill's approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill's full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism. This sound world of Bill's two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker's improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find its eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music." -- Thurston Moore, London, 2025
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CD
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ROKU 038CD
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Sophie Agnel plays the whole piano. Its body matters as much as its strings. The keyboard's lid is just as good closed as it is open -- in fact it's best slammed open and closed rapidly. Joined by bassist John Edwards and drummer Steve Noble, Three on a Match explodes the piano trio -- each player sparking off the other so quickly that it's impossible to figure out who lit the flame. Recorded at OTO in 2023, this was the second two-night residency for a trio that has fast become one of the label's favorite improvising groups. Each individually brilliant, Agnel, Edwards and Noble's enduring connection is in their seriously playful approach to their instrument -- in their way of looking at it as a whole and then tearing it apart, breaking it down into its raw materials -- wood, brass, steel. Born in Paris in the '60s, Agnel is classically trained and had a turn in modern jazz. What frustrated her was the strange disconnect between the frame of the piano and its keyboard -- a weird boundary that seemed to form some hushed code of etiquette. If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks -- not that you'd recognize their sounds. Steve Noble surrounds his drum kit with whistles, tubes and towels alongside gleaming brass cymbals and gongs. Their stage is a heady mix of high and low -- the grand piano and the gong alongside rubber balls and tiny bells; players half stood up, reaching in, bending toward -- relentlessly working their instrument to unburden its sound from genre. Free improvisation is always a leap of faith, a test of commitment, and these three players are completely unafraid. The music switches deftly from super taut string manipulation to extremely loud percussive collisions. The trio can play microscopic mutations on a bass note and then scale up on the turn of a pin to plunge into huge, black chords and ricocheting sonority -- dissolving the boundary between body and sound. The crescendo of Part Two is shaped by such cumulative repetition that it feels like a confrontation -- a controlled test for breaking point. It's a totally exhilarating, skittering reprise -- short and energetic -- delivered with the kind of grounded abandon you hope to see improvisers play with but rarely do.
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2LP
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SMALL 018LP
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Margaux Gazur presents her debut album Blurred Memories on Smallville -- almost 70 minutes into a very special search for her musical origins. Margaux Gazur is a French-Vietnamese composer, musician, producer and DJ, now based in Berlin. Having lived in Vietnam for five years from 2012, she found herself searching for the sounds of her roots, played-back in form of field-recordings combined with traditional instruments and the sounds of her blurred childhood memories. The tracks of her debut-album unfold the magic in a very subtle way, filled with vivid rhythms of Hanoian street sounds, evolving layers of mesmerizing tones and organic textures to create an intimate and unique atmosphere. Each track offers yet another something to discover while listening -- mysterious voices and fragile elements next to beautiful melodies and trippy glitches, organic grooves and hypnotic wonkiness- and a lot of magic moments implemented. Woozy pads meandering and moving along -- there are so many things to discover within Blurred Memories. Margaux released her first track on vinyl on Smallville 55 back in 2019 and she has played endless live-sets and DJ performances at amazing spaces like Panorama Bar/Berghain, Heideglühen, Club der Visionäre, Berlin, La Station, Paris, Giegling events, Smallville, and Kann Parties as well as beautiful festivals such as Waking Life in Portugal, Fusion, Berlin Atonal, Meakusma Festival or Equation in Vietnam amongst others. Smallville is happy to present Blurred Memories, music to stay with you. LP number 18 on Smallville comes with a special gatefold cover artwork by Stefan Marx.
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SF 126CD
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Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted -- ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations -- which last between three and seven days -- cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this CD edition includes three bonus tracks not on the LP plus an eight-page full-color insert with detailed liner notes and photos of the musicians and surroundings.
Featuring Mamehy, Drick, Songada, Befila, Behaja, Mahafaly Mihisa, Meny & Ando, Rebona, Renitsa, Gorop Milalaza, and Mirasoa & Mahapoteke.
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2LP
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SYR 004LP
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2025 repress. "25th Anniversary Edition. Originally released 11/16/1999, Sonic Youth wrapped up the millennium with an adventurous double album of performances of works by some of the twentieth-century's greatest composers. Joined by an all-star cast of musicians -- William Winant, Jim O'rourke, Takehisa Kosugi, Christian Wolff, Coco Hayley, Gordon Moore, Christian Marclay, and Wharton Tiers. They take on the compositions of John Cage, Yoko Ono, Cornelius Cardew, Steve Reich, Takehisa Kosugi, Nicolas Slonimsky, George Maciunas, James Tenney, Pauline Oliveros and Christian Wolff."
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CD
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TR 584CD
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Picture one of the greatest living singer-songwriters in a kitchen. He is on holidays, he's just had a swim. His wife is out on the beach, and he finds himself faced with a bowl of irresistible strawberries. They're meant to be shared, of course, but their taste is "out of the ordinary," so he just can't help himself. Minutes later all of the delicious fruit are gone, but there's the germ of a song as the phrase "Someone ate all the strawberries" has just popped into Robert Forster's mind, sounding "so weird, but normal". Thankfully, he has taken his guitar with him. As the story goes, his wife Karin Bäumler not only forgave her husband, she actually joined him on a duet of what was to become the title song to his ninth solo album. Robert Forster has perfected the art of being outré in a least ostentatious way, from his time in the Go-Betweens to his solo career, now spanning almost three decades, interrupted only by the old band's reformation in 2000 which ended with his songwriting partner Grant McLennan's untimely death in 2006. Strawberries follows a recent spate of deluxe reissues of four of his older solo albums as well as the third and final volume of the career-spanning series of G Stands For Go-Betweens boxsets with a much awaited helping of new material. Next to admittedly bigger names such as Bob Dylan or Nick Cave, Robert Forster is the rare case of an artist with a celebrated past whose current work evokes genuine interest among a faithful fan base. As a straight-up personal song, "Strawberries" is a bit of a red herring in the context of this new album that, unusually for Forster, deals almost exclusively in observational character studies or, as the author would have it, "story songs". Louis Forster, by the way, also makes an impressive appearance on lyrical lead guitar in "Such a Shame." As his slapback echo vocals tuck into a rockabilly vibe, you can hear Forster enjoying the company of his Swedish backing band: producer Peter Morén (of Peter, Björn and John fame) on guitar, Jonas Thorell on bass, and Magnus Olsson on drums, crucially augmented by Lina Langendorf on various woodwind instruments and Anna Åhman on keys. The album's monumental closing track "Diamonds" starts off as a cross between Lou Reed and Buffalo Springfield, then takes off via Astral Weeks into an (almost) Albert Ayler direction, with Lina Langendorf given free rein on the tenor sax and Forster himself relinquishing his trademark understatement for some unexpected outbursts of falsetto.
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CD
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THRILL 630CD
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"Thalia Zedek's considerable body of work demonstrates a clarity of vision, a singular performance style, and an expansive range. Her ability to deliver raw emotions through her vivid stories of loss and hope, strife and triumph is unmatched. Zedek has long been a melodic songwriter in a series of heavy bands. That contrast, alongside her distinct blend of both direct and poetic lyrics, allows her to sing of the most difficult of life's moments in ways that are both elevating and devastating. Out and proud her entire career, Zedek never hesitates to speak truth to power. The Boat Outside Your Window finds Zedek contemplating absence and distance, with songs as spirited as they are profoundly moving. The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian's counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek's guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to 'Shoes' and 'Aliyah.' The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Throughout the album, Zedek deftly uncovers how external realities manifest in internal worlds. Zedek's mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek's words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.
"Ms.Zedek's songs (are)... more hard-nosed, delivered... in a raspy voice that backed by the band's folk-rock, sounded surprisingly like Bob Dylan's." --New York Times
"she has rediscovered the energy that defined her work with Uzi, Live Skull, and Come, pouring imposing defiance into ten rocking cuts." --The Wire
"This is someone getting better at something they were already incredible at." --The Quietus
"her voice sounding like a cross between Nico and Patti Smith? musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones." -- Uncut
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LP
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THRILL 630LP
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LP version. "Thalia Zedek's considerable body of work demonstrates a clarity of vision, a singular performance style, and an expansive range. Her ability to deliver raw emotions through her vivid stories of loss and hope, strife and triumph is unmatched. Zedek has long been a melodic songwriter in a series of heavy bands. That contrast, alongside her distinct blend of both direct and poetic lyrics, allows her to sing of the most difficult of life's moments in ways that are both elevating and devastating. Out and proud her entire career, Zedek never hesitates to speak truth to power. The Boat Outside Your Window finds Zedek contemplating absence and distance, with songs as spirited as they are profoundly moving. The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian's counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek's guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to 'Shoes' and 'Aliyah.' The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Throughout the album, Zedek deftly uncovers how external realities manifest in internal worlds. Zedek's mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek's words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.
"Ms.Zedek's songs (are)... more hard-nosed, delivered... in a raspy voice that backed by the band's folk-rock, sounded surprisingly like Bob Dylan's." --New York Times
"she has rediscovered the energy that defined her work with Uzi, Live Skull, and Come, pouring imposing defiance into ten rocking cuts." --The Wire
"This is someone getting better at something they were already incredible at." --The Quietus
"her voice sounding like a cross between Nico and Patti Smith? musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones." -- Uncut
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THRILL 630X-LP
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LP version. Clear vinyl. "Thalia Zedek's considerable body of work demonstrates a clarity of vision, a singular performance style, and an expansive range. Her ability to deliver raw emotions through her vivid stories of loss and hope, strife and triumph is unmatched. Zedek has long been a melodic songwriter in a series of heavy bands. That contrast, alongside her distinct blend of both direct and poetic lyrics, allows her to sing of the most difficult of life's moments in ways that are both elevating and devastating. Out and proud her entire career, Zedek never hesitates to speak truth to power. The Boat Outside Your Window finds Zedek contemplating absence and distance, with songs as spirited as they are profoundly moving. The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian's counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek's guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to 'Shoes' and 'Aliyah.' The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Throughout the album, Zedek deftly uncovers how external realities manifest in internal worlds. Zedek's mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek's words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.
"Ms.Zedek's songs (are)... more hard-nosed, delivered... in a raspy voice that backed by the band's folk-rock, sounded surprisingly like Bob Dylan's." --New York Times
"she has rediscovered the energy that defined her work with Uzi, Live Skull, and Come, pouring imposing defiance into ten rocking cuts." --The Wire
"This is someone getting better at something they were already incredible at." --The Quietus
"her voice sounding like a cross between Nico and Patti Smith? musically she spans pedal-steel-laden country rock, punk menace and string-driven Velvets drones." -- Uncut
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CD
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THRILL 631CD
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"Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset's new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity. The compositions across Dissever draw threads from pioneering production methods emerging in parallel across the late 1960s, considering the cross talk between these fields and their radical intentions to carve out the future from differing paths, traversing the mystical and modern, while incorporating elements of the transformative, hypnotic, expansive and transcendent to define new principles within sound. The arrangements, performed live and captured in single takes, emerged across a series of sessions at long term collaborator Mat Sampson's recording studio in Bristol. This process revisited early hardware, spatial and multitrack recording techniques to create a dynamic body of material that could look back to these foundational musical forms and converge them through the lens of a reimagined timeline, cultivating a transmission from 1969 to the present and a sensory bridge to the past."
"Emptyset are in a class by themselves when it comes to excavating brutality out of silence." --Pitchfork
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LP
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THRILL 631LP
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LP version."Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset's new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity. The compositions across Dissever draw threads from pioneering production methods emerging in parallel across the late 1960s, considering the cross talk between these fields and their radical intentions to carve out the future from differing paths, traversing the mystical and modern, while incorporating elements of the transformative, hypnotic, expansive and transcendent to define new principles within sound. The arrangements, performed live and captured in single takes, emerged across a series of sessions at long term collaborator Mat Sampson's recording studio in Bristol. This process revisited early hardware, spatial and multitrack recording techniques to create a dynamic body of material that could look back to these foundational musical forms and converge them through the lens of a reimagined timeline, cultivating a transmission from 1969 to the present and a sensory bridge to the past."
"Emptyset are in a class by themselves when it comes to excavating brutality out of silence." --Pitchfork
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THRILL 631X-LP
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LP version. Blue color vinyl. "Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset's new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity. The compositions across Dissever draw threads from pioneering production methods emerging in parallel across the late 1960s, considering the cross talk between these fields and their radical intentions to carve out the future from differing paths, traversing the mystical and modern, while incorporating elements of the transformative, hypnotic, expansive and transcendent to define new principles within sound. The arrangements, performed live and captured in single takes, emerged across a series of sessions at long term collaborator Mat Sampson's recording studio in Bristol. This process revisited early hardware, spatial and multitrack recording techniques to create a dynamic body of material that could look back to these foundational musical forms and converge them through the lens of a reimagined timeline, cultivating a transmission from 1969 to the present and a sensory bridge to the past."
"Emptyset are in a class by themselves when it comes to excavating brutality out of silence." --Pitchfork
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CD
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RELTIME 088CD
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Maintenant (meaning: Now) defines it all: A snapshot in time, 13 piano pieces, completely improvised by Rico Friebe in one take! Three years after recording The Silva Sessions, this new album serves as some kind of sequel to the improvisational and aesthetic characteristics -- presenting a vast and meditative soundscape solely on the piano with some subtle electronic maneuvering within. A truly unique moment that got captured here and a special album.
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