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#	Artist	Title	Format	Label	Catalog #
# 1	GAS	Narkopop	3LP+CD	KOMPAKT	KOM 371LP
$69.00 LOW STOCK LEVEL Triple LP version. Includes CD. Comes with a 24-page booklet in a hardcover book. In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s - Gas stands out in particular, a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of Gas doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a box set (KOM 370LP). The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of Gas. Which is why it will feel like hardly a day has passed since the release of the last official album Pop nearly two decades ago in 2000, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length Narkopop. Even in the here and now, the unmistakable vibe of Gas immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing them into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum. While earlier Gas tracks were often based on the hypnotic effects of looping techniques, the ten new pieces on Narkopop unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, at times subtle and fragile. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of Narkopop. In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the Gas artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of Narkopop reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion.

#	Artist	Title	Format	Label	Catalog #
# 2	TAKADA, MIDORI	Through The Looking Glass	LP	WE RELEASE WHATEVER THE FUCK WE WANT RECORDS & PALTO FLATS	WRWTFWW 019LP
$25.00 IN STOCK Repressed. LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.

#	Artist	Title	Format	Label	Catalog #
# 3	CARETAKER, THE	Everywhere At The End Of Time - Stage 2	LP	HISTORY ALWAYS FAVOURS THE WINNERS	HAFTW 026LP
$23.50 LOW STOCK LEVEL The second of six albums issued under the title Everywhere At The End Of Time, The Caretaker's fictional first person account of life with early onset dementia, takes a more wistful tack as our protagonist gradually realizes that all is not well and begins to rummage deeper into the recesses of his memory, masking emotions of grief, loss, fear, and uncertainty by deeper dwelling in the recesses of a decaying mind. As The Caretaker's short term memory functions begin to more rapidly erode, the loop-based punctuation of previous installments begin to subtly unravel, leading his mind to drift off and ponder fuller segments of tea dance strings and horns which appear uncannily more inviting, seductive, and now even more tangible than the abbreviated reels of earlier editions. Loop points wilt away in autumnal greys and russet rustles as new information becomes more difficult to process, back pedaling down memory lane toward an opaque smudge of half-forgotten/remembered spaces, places and un/familiar faces which provide more comfort and clarity than the world around him. It feels strange to recommend undergoing this experience, albeit in such an impressionistic and detached manner, but it somehow feels like a conversely enlightening one for these strange, disingenuous and unpredictable end times that we inhabit right now. Artwork by Ivan Seal. Mastered and cut by Lupo.

#	Artist	Title	Format	Label	Catalog #
# 4	RILEY, TERRY	Descending Moonshine Dervishes	LP	BEACON SOUND	BNSD 017LP
$22.00 IN STOCK Repressed. Beacon Sound present a reissue of Terry Riley's Descending Moonshine Dervishes, originally released in 1982. Recorded live in Berlin in 1975, and largely improvised, Riley plays a modified Yamaha organ with variable resistors to facilitate tuning in just intonation. This is a 50+ minute recording divided into two halves for vinyl. Terry Riley turned the music world upside down with his 1964 work In C, a revolutionary concept based on 53 modules that can be improvised upon by any number of musicians for an indeterminate amount of time over a pulsing C note typically played on piano or mallet. Performed live for the first time by Steve Reich, Pauline Oliveros, Morton Subotnik, and Jon Gibson, it has since been performed by everyone from the Shanghai Film Orchestra, Adrian Utley of Portishead, and the Malian musicians of Africa Express (featuring contributions by Brian Eno and Damon Albarn). Though referred to as the "father of minimalism", the 81-year-old Riley has ranged widely in the intervening decades, deeply influenced by jazz, North Indian classical music, and a distinctly West Coast strain of radical spirituality - and in turn influencing practically everyone: The Who ("Baba O'Riley"), The Velvet Underground, collaborators The Kronos Quartet, as well as the legions of cutting-edge electronic musicians and contemporary composers making genre-defying music today. A resident of Grass Valley, CA, Riley is still touring the world. "Great for meditating to the cosmos" --Thurston Moore. Remastered by Rafael Anton Irisarri. .

#	Artist	Title	Format	Label	Catalog #
# 5	TAKADA, MIDORI	Through The Looking Glass (Limited Audiophile Edition)	2x12"	WE RELEASE WHATEVER THE FUCK WE WANT RECORDS & PALTO FLATS	WRWTFWW 018LP
$38.50 LOW STOCK LEVEL Limited repress; 2x12" version. Comes in a gatefold Stoughton "Tip-On" jacket. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.

#	Artist	Title	Format	Label	Catalog #
# 6	JUSTICE	Cross	2LP	ED BANGER RECORDS	BEC 5772110
$26.50 IN STOCK 2016 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.

#	Artist	Title	Format	Label	Catalog #
# 7	RILEY, TERRY	Songs For The Ten Voices Of The Two Prophets	LP	BEACON SOUND	BNSD 018LP
$22.00 IN STOCK Repressed. Beacon Sound present a reissue of Terry Riley's Songs For The Ten Voices Of The Two Prophets, originally released in 1983. Recorded live in Munich in 1982 using two Prophet synthesizers and voice, this album is a reflection of Riley's ongoing interest in melding improvisation, electronic music, and the raga vocal stylings of his mentor, Pandit Pran Nath. Terry Riley turned the music world upside down with his 1964 work In C, a revolutionary concept based on 53 modules that can be improvised upon by any number of musicians for an indeterminate amount of time over a pulsing C note typically played on piano or mallet. Performed live for the first time by Steve Reich, Pauline Oliveros, Morton Subotnik, and Jon Gibson, it has since been performed by everyone from the Shanghai Film Orchestra, Adrian Utley of Portishead, and the Malian musicians of Africa Express (featuring contributions by Brian Eno and Damon Albarn). Though referred to as the "father of minimalism", the 81-year-old Riley has ranged widely in the intervening decades, deeply influenced by jazz, North Indian classical music, and a distinctly West Coast strain of radical spirituality - and in turn influencing practically everyone: The Who ("Baba O'Riley"), The Velvet Underground, collaborators The Kronos Quartet, as well as the legions of cutting-edge electronic musicians and contemporary composers making genre-defying music today. A resident of Grass Valley, CA, Riley is still touring the world. Remastered by Raphael Anton Irisarri. Includes original insert; Edition of 300. "His voice twists and curves in complicated arabesques, recalling Indian music, and especially the singing of Mr. Riley's colleague and teacher, Pandit Pran Nath, who is also associated with Mr. Riley's long-time friend LaMonte Young. The synthesizers create a hushed, meditative counterpoint of slowly unwinding melodies and cross-rhythms... the Prophet 5, a polyphonic synthesizer that is capable of rich viola-like sounds, is a winning instrument for Mr. Riley's improvisations. After years of playing a Yamaha electric organ, he has turned to the synthesizer, which theoretically offers an infinite assortment of sounds. Rather than take advantage of the instrument's ability to mimic vocal sounds and timbres, as composers like Jon Hassel and Brian Eno have done, Mr. Riley plays the synthesizer as a keyboard instrument, with a luminous sound and the ability to bend or inflect notes." --New York Times, Feb 1984

#	Artist	Title	Format	Label	Catalog #
# 8	VA	Mono No Aware	2LP	PAN	PAN 077LP
$27.50 LOW STOCK LEVEL Mono No Aware is the first compilation to be released on PAN, collating unreleased ambient tracks from both new and existing PAN artists. Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called "ambient", to incorporating wider variations that fall under the term. "Mono no aware", "the pathos of things", also translates as "an empathy toward things", or "a sensitivity to ephemera". A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life's transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present. James K's "Stretch Deep" features Eve Essex. Features photography by Molly Matalon; Design by Bill Kouligas. Mastered and cut by Rashad Becker at Dubplates & Mastering.

#	Artist	Title	Format	Label	Catalog #
# 9	LIL UGLY MANE	Mista Thug Isolation	2LP	HUNDEBISS	H 018V-LP
$27.50 IN STOCK 2017 repress. Vinyl reissue of Lil Ugly Mane's 2012 classic Mister Thug Isolation. Originally released on cassette by Ormolycka. Impose on Lil Ugly Mane: "Lil Ugly Mane has fully developed into his ideal Memphis hardcore caricature and exudes pure evil without resorting to shallow shock tactics. But even in the presence of the hellish, the attention to detail - whether in his commitment to country-fried pronunciations or producer Shawn Kemp's devilishly dissonant flips - makes it evident that this project wasn't born from a love of violence or horror, but rather a love of hip hop" Features Supa Sortahuman and Denzel Curry. This is the black vinyl repress (the "5th anniversary neon vinyl" edition previously offered is not available).

#	Artist	Title	Format	Label	Catalog #
# 10	CIANI, SUZANNE	Lixiviation - Ciani/Musica Inc. 1969-1985	LP	FINDERS KEEPERS	FKR 053LP
$25.00 IN STOCK LP version. 2017 repress. The American Delia Derbyshire of the Atari generation. With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials, and the electronic sound effects in the original Stepford Wives film (1975), amongst many others, the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolized by a male dominated media industry, a woman's touch was the essential secret ingredient to successful sonic seduction. A classically trained musician, with an MA in music composition, this American-Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the Buchla Synthesizer, the instrument that would come to define Ciani's synthetic sound. Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers, and proto-video nasties, Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends, Suzanne and her Ciani Musica company became the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now. Finders Keepers Records present a new creative archive based relationship with Suzanne Ciani, who, as one of the very few female composers in the field (save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerized music modules throughout the 1980s, dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early '70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humor) shines throughout this new collection of previously unreleased recordings. Lixiviation complies and re-contextualizes both secret music and commercial experiments of Suzanne Ciani made for microcosmic time slots and never previously documented on vinyl or CD.

#	Artist	Title	Format	Label	Catalog #
# 11	CHILTON, ALEX	Take Me Home And Make Me Like It	LP	MUNSTER RECORDS	MR 372LP
$21.00 IN STOCK Take Me Home And Make Me Like It comprises unrehearsed, first-take recordings by Alex Chilton, recorded in 1975. Notes by Alex Chilton and producer Jon Tiven; 180 gram vinyl. "This is music performed with some of the most callous abandon ever to have been allowed in a recording studio. Many of these tracks have a raw cinéma vérité atmosphere applied to recorded rock and roll. My own performances seem to be either obnoxious or attempting an insufferable cuteness, but often they achieve a compelling electricity in their spontaneous excitement. We recorded over a few days in the fall of 1975. I was very into a loose, unrehearsed first take sort of approach to recording music. I learned from producer Jim Dickinson the method of throwing a very impromptu rendering of a song onto tape. . . . This method gives a fresh, sometimes anarchistic quality to the performances. The first day of the sessions was approached in this way. The second day went according to the producer's more conservative method of planning and rehearsal. All in all there is some hot, untamed rock and roll on this disc." --Alex Chilton, 1992. "This record is meant as an addendum to Singer Not The Song (1977) / Bach's Bottom (1981) and not a substitution. The idea that somebody would be interested in anything beyond what had already been released is lunacy considering the underwhelming reaction the record industry had to it at the time. When Munster asked if I'd like to take a look at releasing anything that wasn't out previously, I had to say yes. Now you have it, all the contents of the first crazy night of recording, plus some new ways to look at some of the other material. . . . It's sort of similar (not musically, but in terms of the producer/artist relationship) to the Blowin' Your Mind! album by Van Morrison (1967) -- you can sense the underlying tension, and not every track is a 'success', but it is mighty powerful. . . . Alex was not about melody at the time, he wanted to repudiate his Big Star work and make a sinister record that threatened people. Without half trying, Singer Not The Song did accomplish that. It became one of the first punk rock/new wave records, the very first EP for the genre." --Jon Tiven, Jan 2017

#	Artist	Title	Format	Label	Catalog #
# 12	CLUSTER	Konzerte 1972/1977	LP+CD	BUREAU B	BB 240LP
$22.00 LOW STOCK LEVEL LP version with CD. The two authorized recordings presented on Konzerte 1972/1977 vividly conjure up the atmosphere, perhaps even the magic, of a Cluster performance back in the day. One took place in 1977 during a science fiction festival in Metz (France). The other dates back to an earlier show in Hamburg's Fabrik venue. Cluster played three gigs in the city in 1971/1972, including the one partially included on 1972's Cluster II (LR 335LP). Cluster shows routinely lasted six hours or more, luring both the band and the audience into a state of intoxication, no doubt acutely enhanced by the intake of certain substances. The buzzwords of the moment were: psychedelic, magical, ritualistic, corresponding more or less to the Dionysian hedonism which pervades certain styles of contemporary music culture today. It is worth noting this context as useful background when listening to the live recordings presented here. In the beginning, Cluster's music was rough, brutal, and spontaneous, created with the most rudimentary tools. Unlike many of their colleagues in this pioneering age, Cluster did not use any synthesizers, sequencers, or high-end amps. But this proved to be their strength, rather than a disadvantage. Roedelius and Moebius played in the truest sense of the word, untroubled by mechanical processes. They used their machines but were not dependent on them. Intuition was the dominant force, the risk of potential failure was readily understood to be as much a part of their vibrant art as success. Perfection had become a concept associated with convention. Indeed, anyone who was lucky enough to witness Cluster play in the 1970s will testify that things sometimes went badly wrong. But mostly they did not, and then the real magic was tangible. A utopian, previously undiscovered world of sound was created in the presence of the beholder. The sound quality of these two documents is average. A successful performance was considered more important than a perfect recording thereof. As listeners, this should be accepted today. Konzerte 1972/1977 provides a short journey into the nascent heart of Cluster's creative universe, just after the big bang.

#	Artist	Title	Format	Label	Catalog #
# 13	TRAD, GRAS OCH STENAR	Tack For Kaffet (So Long)	CD	SUBLIMINAL SOUNDS	SUBL 119CD
$11.50 IN STOCK The long-awaited new album from the legendary pioneers of transcendental psychedelic rock music and DIY culture in general. Tack För Kaffet (So Long) is a tribute to the deceased band members and dearest friends Torbjörn Abelli and Thomas Mera Gartz. It becomes something of a farewell show for the old Träd, Gräs Och Stenar because all the old and new members, including founder Bo Anders, Torbjörn and Mera, and Reine Fiske (Dungen, The Amazing), are all contributing to this album. The sounds were captured on tape in their music workshop in the countryside and consists mainly of improvised moments where the sounds travels beyond time and space, something that has been TGS hallmark over the years. Perhaps there's a form of melancholy over some of the album, much depending on how cruelly and suddenly Mera and Torbjörn passed away, but also on a little lighter and crazier whim. Everything is recorded live so there are no euphemistic circumstances, rather everything is pared down, bared bone drones, sounds traveling in the magical improvised unknown with no makeup, just as life can be when the feeling has control. A manifestation of improvised timelessly organic music and free creation. Real life!

#	Artist	Title	Format	Label	Catalog #
# 14	GUN CLUB, THE	In My Room	LP	BANG! RECORDS	BANG 107LP
$25.00 LOW STOCK LEVEL In My Room features the unreleased recordings of what would have been the very last album of The Gun Club. Recorded in the very last period of the band, between 1991 and 1993, the studio recordings that Jeffrey Lee Pierce did with The Gun Club, with maximum quality and excellence of sound and presentation. What Jeffrey Lee Pierce exposes here is the highest vocal and guitar performing, from sounds are reminiscent of Jimi Hendrix and Television, to truly intimate heartbreaking blues, going through soul and rock. Includes covers from The Who, Wilson Pickett, and more. A dream come true for all Jeffrey Lee Pierce/The Gun Club fans all over the world - absolutely necessary. Comes in a deluxe gatefold jacket; Includes lyrics; 150 gram vinyl; Edition of 500.

#	Artist	Title	Format	Label	Catalog #
# 15	TRAD, GRAS OCH STENAR	Tack For Kaffet (So Long)	2LP	SUBLIMINAL SOUNDS	SUBL 118LP
$28.50 IN STOCK Gatefold double LP version. The long-awaited new album from the legendary pioneers of transcendental psychedelic rock music and DIY culture in general. Tack För Kaffet (So Long) is a tribute to the deceased band members and dearest friends Torbjörn Abelli and Thomas Mera Gartz. It becomes something of a farewell show for the old Träd, Gräs Och Stenar because all the old and new members, including founder Bo Anders, Torbjörn and Mera, and Reine Fiske (Dungen, The Amazing), are all contributing to this album. The sounds were captured on tape in their music workshop in the countryside and consists mainly of improvised moments where the sounds travels beyond time and space, something that has been TGS hallmark over the years. Perhaps there's a form of melancholy over some of the album, much depending on how cruelly and suddenly Mera and Torbjörn passed away, but also on a little lighter and crazier whim. Everything is recorded live so there are no euphemistic circumstances, rather everything is pared down, bared bone drones, sounds traveling in the magical improvised unknown with no makeup, just as life can be when the feeling has control. A manifestation of improvised timelessly organic music and free creation. Real life!

#	Artist	Title	Format	Label	Catalog #
# 16	AYLER, ALBERT	Prophecy	LP	ESP-DISK	ESPDISK 3030LP
$24.00 IN STOCK ESP-Disk present a reissue of Albert Ayler's Prophecy, originally released in 1975. Recorded in concert at the Cellar Cafe, NYC, June 14, 1964. Three weeks before this trio recorded ESP-Disk's first jazz album, the epochal Spiritual Unity (ESPDISK 1002CD/LP), it was captured "live" by Canadian poet Paul Haines, who also recorded the New York Eye and Ear Control soundtrack (ESPDISK 1016CD/LP). This is one of the most influential groups in jazz history, a coming together of like-minded innovators who would be considered crucial influences by succeeding generations, so there is no question of the immense value of this material. Yoked, in the CD era, to the one-sided 1965 LP Bells (ESPDISK 4076CD), made with a different band in a very different style a year later, it is perhaps best appreciated on its own. Personnel: Albert Ayler - tenor saxophone; Gary Peacock - bass; Sunny Murray - drums; Paul Haines - engineer. Presented here on opaque yellow vinyl.

#	Artist	Title	Format	Label	Catalog #
# 17	PALESTINE, CHARLEMAGNE	Strumming Music	LP	AGUIRRE RECORDS	SSH 003LP
$25.50 IN STOCK Repressed. The classic minimal music album, available again on vinyl for the first time since the '70s. Primed with a glass of cognac, Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-colored overtones. For 45 minutes, this rich pulsating music swells and intensifies, filling the air. When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called minimalist company of La Monte Young, Terry Riley, Steve Reich, and Philip Glass, whose work also featured in the Shandar catalog. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times, the opulent fullness of his music would more accurately be described as maximalist. Strumming Music, recorded in Palestine's own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician. Although the technique of the piece has roots in Palestine's daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the color moods, plastic rhythms, and tactile space of Mark Rothko's abstract expressionist canvases. Strumming Music remains the essential index of Palestine's singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. "The Bösendorfer at its best is a very noisy, thick molasses piano," he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music.

#	Artist	Title	Format	Label	Catalog #
# 18	GARSON, MORT	Mother Earth's Plantasia	LP	THE GREAT THUNDER	TGT 431LP
$23.50 NOT IN STOCK The Great Thunder present a reissue of Mort Garson's Mother Earth's Plantasia, originally released in 1976. Garson is well known as one of the pioneers of electronic music in the late '60s and some may have heard of his contributions to quite a few pop hits back in the day when he wrote and conducted orchestral arrangements for a few popular artists. During the second half of the 1960s, Mort Garson and his sidekicks Paul Beaver and Jacques Wilson among others, discovered the newly invented synthesizer courtesy of Robert Moog and made it an integral part of the future pop music even before Wendy Carlos released Switched On Bach in 1968. Plantasia was recorded and released a few years past Garson's monumental works: The Zodiac's Cosmic Sounds (1967), The Wozard Of Iz's An Electronic Odyssey (1968), and Lucifer's Black Mass (1971). Plantasia, originally released in 1976, has been labeled "warm earth music for plants . . . and the people who love them." So you as the listener can imagine that this is a rather bright affair, far from the dark and seething atmosphere of the earlier electronic pieces. A shining diversity of stylistic devices used as the foundation for dreamy and colorful compositions, which works like a soundtrack for a non-existent movie. The warm, yet haunting Moog melodies can still create a rather sinister vibe in their most playful and surreal moments, similar to what you would expect from a mid-seventies horror flicks from Italy. It is a feeling that, despite everything seeming peaceful and relaxed on the surface, something utterly dire is about to rise up. These are certainly just a few passages and when Mort Garson and his mates move on from lush orchestral soul arrangements to something white men always consider to be tribal music of the North American natives, you will drift with them from one scene of your inner mind movie to the next. At this point in the seventies, the technical requirements had already been a bit better with new inventions such as electronic percussion which gets used here and there, conjuring memories of records by German electronic pioneers from the same era, such as Cluster, Kraftwerk, and Tangerine Dream. And despite the twinkle-toed harmonies and big arrangements, which point at the big band music and orchestral pop Garson originated from, the whole work is futuristic and intriguing.

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# 19	ROACH, MAX	We Insist! Max Roach's Freedom Now Suite	LP	CORNBREAD RECORDS	CRNBR 16024LP
$21.00 IN STOCK Cornbread Records present a reissue of Max Roach's We Insist! Max Roach's Freedom Now Suite, originally released in 1960. Max Roach's 1960 masterwork We Insist! is a suite based on the Civil Rights Movement, and involves variations on the theme of the struggle for African Americans to achieve equality in the United States, a struggle that is still all too relevant. Roach began composing with lyricist Oscar Brown Jr. in 1959, with the initial intention of having the suite performed in 1963, on the 100th anniversary of The Emancipation Proclamation. Featuring the wonderful Abbey Lincoln on vocals, as well as Booker Little, Julian Priester, Coleman Hawkins, Olatunji, and more, We Insist! is a truly stunning album, one that knows no equal from that time or since. Reissued on 180 gram vinyl; Includes download code.

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# 20	TAIEB, JACQUELINE	Jacqueline Taieb: Her 1967 Debut Album	LP	MERLINS NOSE RECORDS	MN 1018LP
$23.50 IN STOCK Merlins Nose Records present a reissue of Jacqueline Taieb's debut album, originally released in 1967. This 1967 yé-yé debut album is as scarce as gold dust, fetching high prices among collectors if they find a copy in good condition. Tunisian-born Jacqueline did fairly well with her music over the past 50 years and here we witness her more than adequate start into the world of chanson and pop. Her intense brand of fiery, late '60s beat, refined with tinges of garage rock, can be considered as an ear candy for '60s aficionados. Some rather lightweight tunes twang around you like flock of colorful butterflies and could easily have been a great success for the one or another star of the American West coast pop scene. Melancholic ballads straddle into this checkered round dance and seize your heart. The waking call happens instantly with a well-placed gruff beat tune, which you would not expect from such a tender young woman. In the next moment, a passionate French chanson drags you back to the opposite side. From well-behaved to cheeky and even charming. Due to very memorable and substantial compositions, this jewel of late '60s pop music is a classic. RIYL: Rolling Stones, The Shocking Blue. Edition of 1000.

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# 21	CLARA MONDSHINE	Luna Africana	LP	THE GREAT THUNDER	TGT 432LP
$23.50 LOW STOCK LEVEL The Great Thunder present a reissue of Clara Mondshine's Luna Africana, originally released in 1981. Clara Mondshine was a musical project of the late radio director, journalist, and composer Walter Bachauer, who worked for RIAS Berlin in the '70s and '80s. Mr. Bachauer was also involved as musician in projects with electronic artist Peter Michael Hamel and the krautrock act Between in the '70s. With Clara Mondshine, he was able to score three albums before his untimely passing in 1989. Luna Africana, from 1981, was the first, and it fits exactly into that era, when the sluggish grinding of the early epic "cosmic music" had finally completely vanished and a new peppy drive could be felt with the spacious soundscapes of electronic music. Still rather lo-fi, with primitive machine grooves and swirling waves of analog synthesizers to which some hypnotic drones were tastefully added, this music has learned a lot from the grand masters of the '70s, and especially the so called "motorik" style of krautish electronics with rather simple melodic patterns and a very rhythmical approach. The music on Luna Africae is quite imaginative and picturesque, and the trip it takes you on leads you through a dark galaxy where only the starlight guides your vessel. Certainly a must have for fans of Eno/Harmonia collaborations, Cluster's Zuckerzeit (LR 333LP) and other similar "motorik" electronic albums. It also has a Kraftwerk feel, just without the vocals of course. This long hidden secret gem is unveiled for your stellar listening pleasure. Beware of the depths of outer space.

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# 22	EMMANUEL, JD	Rain Forest Music	LP	AGUIRRE RECORDS	ZORN 047LP
$25.50 IN STOCK Aguirre Records present a reissue of the 1981 debut album by new age pioneer JD Emmanuel, Rain Forest Music. Texan musician JD Emmanuel's career story is, in a way, a story about how the passion of fans can make a difference and about a gifted musician whose music may have been lost to the ages. The tale begins in 2005 when Douglas Mcgowan stumbled on several dusty boxes of two JD Emmanuel vinyl albums -- several hundred of them, all still sealed -- at a discount book and record store in North Dallas, Texas. Mcgowan purchased 50 copies and took them back to the west coast. This discovery set in motion a chain of events that led to a series of reissues and Emmanuel's return to recording and performing in 2010. The majority of JD Emmanuel's studio recordings date from the 1980s, when new age music in America was still an indie scene. Whether you call his albums new age or not, the meditative vibe, spiritual underpinnings and self-releasing are all hallmarks of the genre. Yet his cyclic, organ-based music is different from most of his contemporaries of that era. Back in 1970, he was deeply impressed by his first taste of classical minimalism when he heard American minimalist composers Terry Riley and Steve Reich. He was also attracted to the improvisations of modern jazz and long-form rock jams. Minimalism and improvisation, then, became the foundations of his art, and the evocation of trance-like states his goal. In 1980, with his newly acquired Crumar Traveler-1 organ, analog synths, guitar, and various effects, he began building a body of warm, melodic, usually stripped-back ambient trance with a unique mystical vibe. On Rain Forest Music he builds gentle, short cycles of notes into floating clouds of sound, mostly improvising around single chords. The "minimalism" in his music lies not in repetitive patterns that barely change -- the extreme end of classical minimalism -- but more in the spare arrangements. There's also an open, loving optimism to the melodies that has obvious appeal to new age listeners. The album cover is from an original water color created for the LP in 1981 by Houston artist, Molly Khan. 180 gram vinyl; Printed inner sleeve; Remastered by Rashad Becker; Lacquer cut by Rashad Becker; Cover reconstruction by Jeroen Wille; Edition of 1000.

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# 23	COLEY, BYRON	Defense Against Squares	Book	L'OIE DE CRAVAN	LOIE BC2
$16.50 IN STOCK Poems of resistance against death and the dead squares. After years of collecting and reading the stuff, Byron Coley started writing poetry in 1998 as a reaction to the death vortex seemingly surrounding everything in his life at the time. From that moment on, he wrote lots of poems, mainly published in chapbooks, broadsides, and underground magazines: all almost impossible to find. Defense Against Squares is the first major collection of Byron Coley's poetry to be published. It features odes to personal heroes such as Jack Rose, Lou Reed, and Captain Beefheart, poems against the rotten world of George Bush and words of resistance against all squares. With an introduction by Kim Gordon, cover drawing of the author by Charles Burns, and French translation supervised by John-Glassco prize winner Marie Frankland. Softcover; 166 pages; Bilingual; 4.75 x 8.5 inches. Byron Coley was born in Manhattan in 1956 and currently lives on an old farm in Western Massachusetts with his wife, the inventor Lili Dwight. He has written extensively about underground culture since the mid-70s. Known most prominently for his work for Forced Exposure in the 1980s, he has been resident editor at NY Rocker, managing editor Take It!, underground editor Spin, ghost editor Ecstatic Peace Poetry Journal, etc. He has been a columnist for the L.A. Weekly, Arthur, Spin, le Bathyscaphe, Harp, and so on. He co-wrote No-Wave with Thurston Moore (2008). He has written liner notes for hundreds of records, spewed for more zines than anyone could ever remember, and contributed to various anthologies. He currently writes for The Wire, codirects the label Feeding Tube Records, and publishes Bull Tongue Review, a quarterly journal of post-rock cultural pluralism. Historical straight jobs include dishwasher, snowmaker, Teamster, carpenter, line cook, janitor, doorman, panhandler, and drug tester. Byron Coley's previous book for L'Oie de Cravan was the collection of his articles, C'est La Guerre: Early Writings 1978-1983 (2011).

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# 24	DEDEKIND CUT	American Zen (Special Edition)	2LP	HOSPITAL PRODUCTIONS	HOS 485LP
$25.50 IN STOCK Following a strictly limited tape edition of American Zen, Lee Bannon, aka Dedekind Cut, links with Hospital Productions for an expanded new vinyl edition, clasping a sublime bonus single collaboration with Alex Zhang Hungtai, who's better known for his maudlin pop moniker, Dirty Beaches. If you like your ambient music intangible and synaesthetically olfactory, huffable, you're encouraged to check this one without delay... American Zen finds its center in quivering, pensive drones and fractured small sounds, but is rent with an oceanic sense of scale, deploying splashes of distant percussion, extreme panned vocal snippets, and slowly escalating harmonic space perfused by crackling radio-waves and that intangible timbre of an old TV turned on somewhere, but you can't quite pick out its location. It unfolds at a glacial pace in five parts, crossing lines/waves comparable to Chino Amobi & Rabit's ultraviolent mixtape (2015), the nostalgic Americana yearn of Torn Hawk, and even The Caretaker's hallowed ether zones; perpetually out of reach, submerged or hardly there, but feeling as though he's close, breathing quietly in the background and watching you listen. In addition to the original five tracks, including the formerly tape-only "Folsom Lake 04", you'll now also find a rare outing from Alex Zhang Hungtai infiltrating the finely graded and diaphanous silhouette of "I'll Give You The World" on the final side, serving to complement and temper Dedekind Cut's broader strokes with fluctuating microtonal infidelities and a gauzier, anaesthetizing and almost pastoral atmosphere that's a real pleasure to drift off with. Excellent stuff, perhaps the most interesting of Bannon's releases so far. Cut at Dubplates & Mastering, Berlin.

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# 25	LES FRERES MEGRI	Mahmoud, Hassan Et Younes	LP	SUDIPHONE	SUDI 002LP
$22.00 IN STOCK A reissue of Les Frères Mégri's Mahmoud, Hassan Et Younes, originally released in 1974. Les Frères Mégri was a Moroccan rock band formed in Oujda, Morocco in the late 1960s. The band consisted of four members: the three brothers, Hassan, Mahmoud, and Younès, and their sister Jalila Mégri. Before the creation of the band, the Megri brothers were popular session musicians, composers, and producers in Morocco, starting in the late '50s. In the early '70s, Hassan and Mahmoud released four singles as Les Frères Mégri: El Harib/Heya Essamra, Galouli Ensaha/Kellemtini, Sebar/Ououd Ou Chouk in 1971 and Sabar/Chaaltiha Nar in 1972. This LP, their second album simply titled Younes Hassan Mahmoud and a collaboration between all three brothers, was released in 1974. They re-recorded some of the singles tracks with Younes and the result is one of the finest examples of the early '70s progressive, psych, folk sounds coming from North Africa and beyond. This is an album that stands as a high point for the genre globally. A baroque folk approach that demonstrates utterly mesmerizing results, psychedelic, electric guitars, sitars, bongos, swirling multi-tracked vocals that sound like prime era Fairport Convention, Pentangle, Trees, and the first two Pink Floyd albums -- It is of that pedigree. A holy grail LP that has been near impossible to locate for over 40 years. Beautifully remastered, it's presented here in its first ever reissue. Edition of 500.

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# 26	VA	Saigon Supersound Vol. 1	2LP	SAIGON SUPERSOUND	SSS 001LP
$28.50 IN STOCK Double LP version. Gatefold sleeve. What started as an idea in 2012 now becomes reality with the release of Saigon Supersound Vol. 1, compiled by Jan Hagenkötter. A compilation about the story of a musical era in Vietnam that was almost lost, made of tracks from 1965 to 1975, the so-called "Golden Music" period in the south of Vietnam, where -- under difficult circumstances -- a lively pop culture had developed. This period is characterized by the fusion of Vietnamese music with western pop music. The compilation includes some tunes reissued for the very first time since their original release. Jan Hagenkötter, a music-lover and DJ who is also the mind behind the renowned music publishing company and record label INFRACom!, relocated to Saigon in 2012. In co-operation with the Vietnam based dOSe crew, Jan organized parties and shows, inviting guest and friends like DJ Spinna, Jazzanova, Alice Russell, and many other artists. In 2012, as he was spinning tunes in Saigon and other parts of South East Asia, the idea for this project was born. In 2013, Jan returned to Germany, but he has been swinging back and forth between Saigon and Frankfurt ever since. In the following years, he began to research and collect more seriously. He bought vinyl singles from around the world, often several copies of the same release, just to restore or rather "rebuild" one good recording from several sources. With the help of friends based in Saigon, he was able to navigate an almost impenetrable jungle of music websites and come into contact with several collectors. The best recordings from this treasure hunt were then retouched, refined, and remastered in the studio for this release. Besides this amazing project, Vietnamese producers like Maqman from Saigon, DJ Yellow from Paris, and others who also share roots in Vietnam, have already started to work on edits and re-works of songs featured on Saigon Supersound Vol. 1. Features: Carol Kim, Hùng Cường & Mai Lệ Huyền, Duy Quang & Thái Hiền, Thanh Vũ, Connie Kim, Hòa Tấu, Phượng Mai, Khánh Ly, Kim Loan, Thanh Thuý & Văn Thanh & Hoàng Liêm & Thanh Mai, Kiều Oanh, Thanh Lan, Châu Hà & Thanh Mai, Mai Lệ Huyền, Vân Sơn & Thùy Dung, Hoàng Oanh, Phương Dung, and Ngọc Giàu.

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# 27	BIOSPHERE	The Petrified Forest	LP	BIOPHON	BIO 030LP
$16.50 IN STOCK LP version. Biosphere is the main recording name of Geir Jenssen -- a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata (BIO 028CD/005LP) was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album. The Petrified Forest is inspired by the movie of the same name, released in 1936 and directed by Archie Mayo. IMDB description of the film: "Alan Squier, a failed, world-weary British writer, hikes into an isolated, weather-beaten desert diner in Arizona owned by Jason Marple. Jason's daughter, Gabrielle is immediately taken with the disillusioned intellectual, since they share idealistic dreams of escaping the stark reality of their lives." Features: Joan Lorring, Leslie Howard, and Bette Davis. Mastered by Stefan Betke; Designed by Joanna John.

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# 28	JELINEK , JAN	Loop-Finding-Jazz-Records	2LP	FAITICHE	FAITBACK 001LP
$23.50 LOW STOCK LEVEL 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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# 29	FRY, MARK	Dreaming With Alice	LP	MERLINS NOSE RECORDS	MN 1017LP
$23.50 IN STOCK LP version. Merlins Nose Records present a reissue of Mark Fry's Dreaming With Alice, originally released in 1972. Dreaming With Alice was already an obscurity by the time of its release. Recorded by a 19 year old Mark Fry for an Italian sub label of RCA, it presented a beautifully naive kind of psychedelic folk similar to what the Incredible String Band laid down at the same time just a bit more straight forwarded. Young Mark enchants his listeners with dreamy vocal melodies of utter beauty which create an outmost peaceful atmosphere. The picturesque tunes take the listener on a trip out to the English countryside, on a gentle and warm spring morning, and into a fairytale world. You might get lost within this colorful dream and not be willing to return to grey reality anymore, but this music burns as the flame of love within your heart. The direction, despite all psychedelic elements, is definitely determined by British folk music of the '60s and '70s. One charmingly odd aspect of the album is that the title track has been split up over the whole album as short sections flanking the longer tunes. Mark Fry plays his acid folk from the bottom of his soul without thinking about satisfying the demands of the mainstream audience. Dreaming With Alice is intriguing, keen, and absolutely one of a kind, with a mood changing from rainy days to sunny mornings out in the meadows. Original copies in good condition go for about 1600 Euros, so a reissue is welcome among fans of totally psyched-out music, with mostly acoustic instrumentation and vocals. A must have for all fans of acid folk from the late '60s to the early '70s era. RIYL: Perry Leopold, Incredible String Band, Steeleye Span, Woods Band, Pentangle.

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# 30	REDD KROSS	Hot Issue	LP	BANG! RECORDS	BANG 110LP
$25.00 LOW STOCK LEVEL Turn of the century rarities recorded by Redd Kross in Hollywood between 1981 and 2007. Hot Issue is a compilation that was self-released by the band and sold out immediately, becoming a collector item which reaches insane prices in the second hand market. Top quality recordings that focus on the band's most explosive creativity period in the '90s. Created to be a complete play experience with unreleased and rare tracks compiled from the Jeff McDonald archives. A total must for all Redd Kross fans around the world. Comes on 150 gram grey vinyl; Edition of 600.

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# 31	FRUKO	A La Memoria Del Muerto	LP	VAMPISOUL	VAMPI 174LP
$21.00 IN STOCK "A La Memoria Del Muerto is Fruko Y Sus Tesos's second album, released in 1972, and features exclusively the soaring and soulful vocals of Cali native Edulfamid Molina Díaz, aka 'Píper Pimienta', Fruko's previous vocalist Humberto 'Huango' González having left after the first album Tesura (1970). The record is a mix of spirited cover versions and authentically Nuyorican-sounding originals with a Colombian twist. . . . Produced and engineered by Fruko's uncle Mario "Pachanga" Rincón, the album has an uncompromisingly stark, hard sound that is appealing to today's collectors of 'salsa brava' just as it was impactful on the Colombian scene when it was made at the beginning of the 1970s. Unlike the first Tesos album, with a two trumpet line-up and fairly simple arrangements, this more mature recording added another trumpet and two trombones for a more robust brass attack. Additionally, instead of basic salsa, there are many different rhythms - guaguancó, bomba, plena, oriza, bolero, cha-cha-chá, descarga and Latin soul. Though Fruko's sound at this stage wore its New York, Havana and San Juan sources on its sleeve - Willie Colón, Javier Vázquez, Richie Ray -, at the same time the album has a uniquely Colombian approach to these influences with the bounciness of coastal music like cumbia being felt throughout. The title song is a 'guaguan-plena' version of Dominica Y Su Conjunto's original 'Acuyuye' hit of the same name from a decade earlier. Following that is Fruko's take on Cuban pianist Javier Vazquez's driving salsa dura anthem 'Mi Verdadero Son'. . . . The side finishes out with more cover versions: the double-entendre 'La Fruta Bomba' by Cuban trovador Maximiliano "Bimbi" Sánchez Y Su Trío Oriental and the fiery rumba gitana 'Achilipu'. . . . Side B kicks off with one of Fruko's favorite Afro-Cuban artists, the conguero and Santería singer Silvestre Méndez, with 'A Bailar Oriza'. After a wild descarga (jam session) track, we are treated to a fun pair of cover tunes: Johnny Zamot's 'Bomba Africana' and the old Afro-centric chestnut by folkloric Cuban rumbero Alberto Zayas, 'Baho Kende'. . . . The record finishes off with another Fruko original written with his Discos Fuentes colleague Isaac Villanueva. . . . This reissue features as a bonus the Latin soul track 'Tihuanaco' (a cover of Peruvian pianist Alfredito Linares), which appeared on the US edition of the LP." --Pablo Yglesias, aka DJ Bongohead

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# 32	ELIA Y ELIZABETH	La Onda de Elia y Elizabeth	LP	VAMPISOUL	VAMPI 160LP
$16.50 IN STOCK 2016 repress; LP version. Includes "Todo en La Vida", the track featured in the Netflix Narcos series, "an ode to patience propelled by a yearning riff that wouldn't have been out of place in a Gainsbourg perv-jam"). The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medellín which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medellín. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogotá, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.

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# 33	MAINETTI, STEFANO	Zombi 3 Soundtrack (Special Version/Green Vinyl)	LP	WE RELEASE WHATEVER THE FUCK WE WANT RECORDS	WRWTFWW 011DJLP
$27.50 IN STOCK Green-inferno vinyl version. Special DJ Blue Heart version, with included skits/interludes from the movie. Heavy cardboard Stoughton Tip-On jacket; Green Japanese Sanguelia 2 VHS obi; 180 gram vinyl; Edition of 400. We Release Whatever The Fuck We Want Records unleash the complete uncut soundtrack for Lucio Fulci and Bruno Mattei's 1988 cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2, aka Sanguelia 2) for the first time ever on vinyl, available on two different collector's edition vinyl, the "Classic Version" and the "Special Version". This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems, remastered directly from the rare original reels of maestro Stefano Mainetti. Zombi 3 is the (unrelated) sequel to Zombi 2 (1979), itself an unofficial sequel to George Romero's Dawn Of The Dead (1978). This marvel of the VHS-era finds a group of super scientists working on a very secret biological weapon called Death One which mutates and kills living humans... and re-animates the dead. Feared by critics and beloved by vintage exploitation fanatics, Zombi 3 has all the charms of the glory days of Italian B-horror, including a fantastic soundtrack. Underrated composer and conductor Stefano Mainetti has done soundtracks for Italian sleaze masters Joe D'Amato and Bruno Mattei, but also for Weekend at Bernie's (1989) and First Blood (1982) director Ted Kotcheff, and Russell Mulcahy of Razorback (1984) and Highlander (1986) fame. His resume includes 1988's badass actioner Strike Commando 2 (aka Trappola Diabolica), exploitation horror flick from 1988 Ratman (aka Quella Villa In Fondo Al Parco), and 1995's The Shooter (aka Hidden Assassin) with the manly superstar Dolph Lundgren. Much like his Italian peers Fabio Frizzi, Claudio Simonetti, or Stelvio Cipriani, Stefano Mainetti can do it all: haunting synths à la John Carpenter, jazzy atmospheres, classical orchestrations, erotic funk, decadent FM rock, and the list goes on. His eclectic abilities and flair for '80s cinematic moods are well represented in Zombi 3: The Soundtrack.

#	Artist	Title	Format	Label	Catalog #
# 34	COVERDALE, KARA-LIS	Grafts	LP	BOOMKAT EDITIONS	BK12X12 004LP
$18.00 LOW STOCK LEVEL A sublime and quietly hypnotic work belied by steadfast conceptual rigor, Grafts is the most ambitious and involving work yet from Kara-Lis Coverdale, her first since 2015. In three parts of cascading yet plaintive multi-instrumental gestures, Grafts expands on the processing and self-temperament techniques explored on 2014's A 480 into a more encompassing palette. Uncompromisingly distinct while redolent of modal minimalism, '70s new age, and folk music, Grafts effectively blurs distinctions between traditional composition and more open, overlapping genres that hover in the half-light between acoustic and electronic refinement. Rather than anything grandiose or explicitly seductive, the effect of Grafts is best compared with the subtle intoxication of micro-dosing on LSD or the clarity afforded by quiet meditation, in a sense dilating the listener's focus to a heightened awareness of the piece's intricate peripheral tones as much as its melodic center ground, with a beautifully understated, surreal resolution. The piece flickers with gentle optimism, never at random, illuminating unseen spaces that quickly gradient into nothingness. Frames of reference are numerous and on the face of it largely disconnected; the deviant pop instinct of Arthur Russell, the organic/synthetic love songs of Art Of Noise, the meditative, almost hallucinogenic spiraling compositions of Philip Glass and Terry Riley, the intoxicated minimal romance of Erik Satie, Alva Noto and Ryuichi Sakamoto's austere, beautiful sound sculpting... all, and none of the above. In both concept and execution, Grafts firmly resonates with Kara-Lis Coverdale's deeply established roots as an improvisational virtuoso and accomplished pianist as much as her academically informed approach to electroacoustic composition that showcases a distinct omnivorous appetite for the digital. But it's an emotional generosity that proves to be its defining, most intangible characteristic. Never fully coming to a resolution, lingering on like a slowly dispersing plume of smoke. Kara-Lis has previously contributed to records by Tim Hecker, Lee Bannon, and How To Dress Well. One-sided vinyl, mastered and cut by Matt Colton at Alchemy.

#	Artist	Title	Format	Label	Catalog #
# 35	GAUSSIAN CURVE	The Distance	LP	MUSIC FROM MEMORY	MFM 018LP
$23.50 LOW STOCK LEVEL In the spring of 2016, Gigi Masin, Jonny Nash, and Marco Sterk got together in the studio for the first time since they recorded Clouds (MFM 004LP, 2014), the critically acclaimed debut album from their Gaussian Curve project. By the time they reconvened in Sterk's new studio in Amsterdam, a stone's throw away from the temporary, second-floor space where they recorded Clouds, much had changed. When they first got together in March 2014, it was for a spontaneous, weekend-long exploration of shared musical passions. They were merely three new friends expressing themselves, and having fun in the process. By the time they got together again last year, the album they recorded on that famous weekend had taken on a life of its own. To their surprise and delight, Clouds had become one of the most admired ambient albums of the 21st century. They'd initially reconvened in the studio to rehearse for their first live performances. It soon became clear that all three members were brimming with ideas for new Gaussian Curve material. Over the four days that followed, and fueled by the same spontaneous working method that drove Clouds, a new album began to take shape. Although their methodology remained the same, the inspirations were different. Whereas Clouds was intimate by design, The Distance reflects more on spaciousness, distance, and time. It is instantly recognizable as a Gaussian Curve record, but feels different in scope and tone. The Distance is a different musical beast to its predecessor, but shares the same timeless, emotion‐rich feel that made Clouds such a hit. Still, the fundamental ingredients remain the same: Masin's masterly piano and synthesizer work, Nash's blissful, meandering guitar, and Sterk's synths, drum machines, and production. The Distance is an album brimming with fresh ideas, and more complex musical arrangements. It's the sound of three confident collaborators crafting magical musical moments in their own unique way. This expansive new approach can be heard on "T.O.R.", where Nash's haunting trumpet and hazy guitars wrap themselves around the kind of hypnotic piano and synth patterns that were once the preserve of American minimalist composers, in the gently breezy positivity of "Four For You", and in the loved-up chord progressions and bubbly electronic beats of "Breathe". Close your eyes, and you'll also hear it amongst the sunrise shuffle of "The Distance", Masin's hushed vocals on "Another Place", and within the kosmische-influenced sensuality of "Ceremony".

#	Artist	Title	Format	Label	Catalog #
# 36	MINGUS/MAX ROACH/ERIC DOLPHY/ROY ELDRIDGE/JO JONES, CHARLES	Newport Rebels	LP	CORNBREAD RECORDS	CRNBR 16030LP
$21.00 IN STOCK Cornbread Records present a reissue of Newport Rebels, originally released in 1960. Led by Charles Mingus and Max Roach, this 1960 recording was made, in some regard, in protest. Growing increasingly annoyed by the booking policy of the Newport Jazz Festival, which he found to be too conservative and lacking in foresight, Mingus formed this group with such future leaning artists as Eric Dolphy and Max Roach, and the vocalist Abbey Lincoln. Recorded over only two sessions at New York's Nola Penthouse Studios, this Newport Rebels group put together a fine piece of post-bop that, despite its rather bitter beginnings, deserves to be more well known. Reissued here on 180 gram vinyl; Includes a download code.

#	Artist	Title	Format	Label	Catalog #
# 37	DJ JAZZY JEFF PRESENTS: THE PLAYLIST FEATURING GLENN LEWIS	Chasing Goosebumps	2LP	PLAYLIST MUSIC	PM 1001LP
$25.50 IN STOCK DJ Jazzy Jeff enlisted world-class artists to record a full album in seven days and documented the process on Facebook Live. World-renowned DJ and Grammy Award-winning producer DJ Jazzy Jeff invited a collective of musicians, singers, and songwriters to his home for a music session with an extraordinary idea in mind: Create, record, and release the most incredible music possible in seven days. The artists were given full creative freedom, with one condition: Give listeners goosebumps. Jeff has always believed making and sharing great music with the world should be simple and honest. To prove it, he captured the entire creative process of Chasing Goosebumps and streamed it using Facebook Live from the DJ Jazzy Jeff fan page, allowing millions of music lovers to witness this unprecedented approach to making music. Chasing Goosebumps exemplifies the sincerity and soul-bearing emotion that only comes from unhindered creativity. Not genre-specific, the album is an eclectic, yet cohesive, mix of soul, funk, hip-hop, jazz, pop and samba. From the melodies to the lyrics, Chasing Goosebumps is moving and provocative, tackling topics like social injustice, relationships, love and the music industry. Vocalist Glenn Lewis serves as the perfect vessel for these stories of frustration, anger, hate, inspiration, love and hope. His distinctly familiar voice navigates the range of topics and music styles with effortless delivery. Chasing Goosebumps is musically as diverse as the artists who brought it to life, The PLAYlist. More than a supergroup, The PLAYlist is a movement that promotes authenticity in music and empowers artists to remain true to their craft. For The PLAYlist, Chasing Goosebumps is reassurance that real, meaningful music is not a lost art. Chasing Goosebumps is not the end of an era. It's just the beginning. Comes in a gatefold sleeve.

#	Artist	Title	Format	Label	Catalog #
# 38	BROTZMANN/HEATHER LEIGH, PETER	Sex Tape	CD	TROST	TROST 163CD
$17.00 IN STOCK Recording of Heather Leigh and Peter Brötzmann's great set at Unlimited Festival, Wels, 2016. Personnel: Heather Leigh - pedal steel guitar; Peter Brötzmann - tenor saxophone.

#	Artist	Title	Format	Label	Catalog #
# 39	COMBO LOS YOGAS	Canabrava	LP	VAMPISOUL	VAMPI 175LP
$21.00 IN STOCK "Combo Los Yogas was a short-lived early Colombian salsa band from Medellín directed and arranged by Aníbal José Ángel Echeverri, the famous antioqueño keyboardist known as Aníbal Ángel or simply Anán. Anán studied arranging and composition at the famed Manhattan School of Music in New York, had many of his own songs become hits over the years, founded the raspa gallega band Los Teen-Agers in 1958, and recorded with Discos Fuentes starting in 1965, so he was already an established musician on the scene by the time he founded this oddly named combo. With the influence of New York's burgeoning young Latin scene being absorbed by certain sectors of the youth in South America at the end of the 1960s, Aníbal Ángel must have felt the urge to join the fray, so in 1968 he founded Los Yogas to explore this new phenomenon from the north. Employing Barranquilla native Johnny Moré as his lead vocalist and a full combo with trumpet, trombone, congas and timbales, Los Yogas recorded a fantastic collection of cover tunes in the guaguancó, son, guajira, descarga and cha-cha-chá rhythms. The sound here is very raw and hard, something that makes this obscure Discos Fuentes record a sought after collector's item. Taking their cue from the New York scene, Los Yogas cover Larry Harlow's arrangement of 'Coco May May' and 'Bajándote' from Orquesta Harlow's 1967 album of the same name, as well as a fabulous version of Puerto Rican singer/songwriter Chivirico Davila's 'Montuno Pa' Caridad' from Joe Cotto's classic early 1960s album El Magnífico. Sprinkled throughout are heavy versions of Cheo Marquetti's son cubano classics 'Que No Muera El Son', 'Caramelo A Kilo', and 'Apriétala En El Rincón', all tunes heavily influential on Fania co-founder and musical director Johnny Pacheco. Venezuelan sax player and New York transplant Juan 'Johnny' Sedes's composition 'Aquí Y Allá' . . . became a hit in Colombia for Los Yogas when they covered it, as did the title tune 'Cañabrava' by Mexican composer Paco Chanona and the album's sultry closer, the guajira descarga 'Oye Mira' (originally done in 1965 by Pete Rodríguez Y Su Conjunto La Magnífica). Despite being a record with no originals, Cañabrava holds up magnificently due to the inherent quality and execution of its repertoire, providing a wonderful snapshot of the influences and early development of the genre of salsa in 1960s Colombia." --Pablo Yglesias, aka DJ Bongohead

#	Artist	Title	Format	Label	Catalog #
# 40	MONK, THELONIOUS	The Unique Thelonious Monk	LP	CORNBREAD RECORDS	CRNBR 16031LP
$21.00 IN STOCK Cornbread Records present a reissue of The Unique Thelonious Monk, originally released in 1956. Recorded in 1956, The Unique Thelonious Monk is the pianist's second LP of standards. Though the recording was his label's attempt at reaching a larger audience, this is in no way watered down; Thelonious Monk takes his unique interpretive approach to tracks from the likes of the Gershwins and Rodgers & Hart. With the help of a crack rhythm section of Art Blakey and Oscar Pettiford, this is one of Monk's early career highlights and a truly unique piece of '50s piano trio jazz. Reissued here on 180 gram vinyl; Includes a download card.

#	Artist	Title	Format	Label	Catalog #
# 41	GAS	Narkopop	CD	KOMPAKT	KOMP 136CD
$18.00 IN STOCK In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s - Gas stands out in particular, a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of Gas doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a box set (KOM 370LP). The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of Gas. Which is why it will feel like hardly a day has passed since the release of the last official album Pop nearly two decades ago in 2000, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length Narkopop. Even in the here and now, the unmistakable vibe of Gas immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing them into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum. While earlier Gas tracks were often based on the hypnotic effects of looping techniques, the ten new pieces on Narkopop unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, at times subtle and fragile. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of Narkopop. In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the Gas artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of Narkopop reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion. CD version comes as a hardcover book with a 24-page booklet.

#	Artist	Title	Format	Label	Catalog #
# 42	RAHBEK, LOKE	City Of Women	LP	EDITIONS MEGO	EMEGO 237LP
$21.00 IN STOCK Editions Mego welcome Danish artist Loke Rahbek (Damien Dubrovnik, Croatian Amor, Posh Isolation) to the fold. Known for countless creative and commercial endeavors, Loke presents City Of Women, his first solo full-length under his own name. As with all of Loke's output, City Of Women harnesses the radical with the aesthetic in a manner of extreme pleasure for all who encounter. Harnessing his thorough knowledge and experience in extreme electronics, melodic encounters, and sultry showmanship, Loke ties together disparate threads of various underground movements to create a singular and deeply personal journey through industrial temptation, noise refraction, and melodic seduction. This is 21st century pop music. One which dismantles previous held borders of sound to present a wide palate of sound, song, abstraction, and intense emotion. Recorded throughout Europe; Assembled in Stockholm at EMS studios and in Copenhagen 2014-2016. Mixing assistance by Malthe Fischer, Copenhagen; Mastering by Bonati, New York; Cut at Dubplates & Mastering, Berlin. Additional instrumentation by Anton Rothstein, Mikkel Reher Langberg, Alex Zhang Hungtai, Kristian Emdal, and Elias Bender Rønnenfelt. Artwork by Rahbek, Emdal, and Lukas Højlund.

#	Artist	Title	Format	Label	Catalog #
# 43	FAUST	Fresh Air	LP+CD	BUREAU B	BB 254LP
$23.00 IN STOCK LP version. Includes CD. Faust's new album Fresh Air differs in several respects from its predecessor, Just Us (BB 182CD/LP, 2014). The recordings were made at Jean-Hervé Péron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, Péron and Werner "Zappi" Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a tour in 2016). In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub, and Ysanne Spevack as a wonderful wave-maker on the viola. The seven and a half minute title track begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?" "Engajouez Vous!" Péron presents this franco-Faustian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl". And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect-based text piece, which starts with chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and schnapps and suddenly sees two cows. The story of the band can tell that tale nicely. As Krautrockers, Faust had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. One can still feel the breathing of this music in current Faust pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". "We let the music play through us," says Jean-Hervé Péron. Jean-Hervé Péron has a little tip for us: Listen to the fish.

#	Artist	Title	Format	Label	Catalog #
# 44	MAINETTI, STEFANO	Zombi 3 Soundtrack (Classic Version/Red Vinyl)	LP	WE RELEASE WHATEVER THE FUCK WE WANT RECORDS	WRWTFWW 011LP
$27.50 IN STOCK We Release Whatever The Fuck We Want Records unleash the complete uncut soundtrack for Lucio Fulci and Bruno Mattei's 1988 cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2, aka Sanguelia 2) for the first time ever on vinyl, available on two different collector's edition vinyl, the "Classic Version" and the "Special Version". This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems, remastered directly from the rare original reels of maestro Stefano Mainetti. Zombi 3 is the (unrelated) sequel to Zombi 2 (1979), itself an unofficial sequel to George Romero's Dawn Of The Dead (1978). This marvel of the VHS-era finds a group of super scientists working on a very secret biological weapon called Death One which mutates and kills living humans... and re-animates the dead. Feared by critics and beloved by vintage exploitation fanatics, Zombi 3 has all the charms of the glory days of Italian B-horror, including a fantastic soundtrack. Underrated composer and conductor Stefano Mainetti has done soundtracks for Italian sleaze masters Joe D'Amato and Bruno Mattei, but also for Weekend at Bernie's (1989) and First Blood (1982) director Ted Kotcheff, and Russell Mulcahy of Razorback (1984) and Highlander (1986) fame. His resume includes 1988's badass actioner Strike Commando 2 (aka Trappola Diabolica), exploitation horror flick from 1988 Ratman (aka Quella Villa In Fondo Al Parco), and 1995's The Shooter (aka Hidden Assassin) with the manly superstar Dolph Lundgren. Much like his Italian peers Fabio Frizzi, Claudio Simonetti, or Stelvio Cipriani, Stefano Mainetti can do it all: haunting synths à la John Carpenter, jazzy atmospheres, classical orchestrations, erotic funk, decadent FM rock, and the list goes on. His eclectic abilities and flair for '80s cinematic moods are well represented in Zombi 3: The Soundtrack. The "Classic Version" comes on red-is-dead colored vinyl with a red Japanese Sanguelia 2 VHS obi; a helicopter is pictured on the back cover. Housed in a Stoughton Tip-On jacket; 180 gram vinyl; Edition of 400.

#	Artist	Title	Format	Label	Catalog #
# 45	NECKS, THE	Unfold	2LP	IDEOLOGIC ORGAN	SOMA 025LP
$29.00 IN STOCK Repressed. Ideologic Organ present Unfold, brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, "sound based" music. The latest document from this long-running ensemble presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns. The immediacy of "Rise" confirms this new path, as the mournful tones of Lloyd Swanton's bass swirl around Chris Abrahams's crystalline piano motif, with Tony Buck's percussion steering proceedings into enlightening free-jazz territories. "Blue Mountain" cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. "Overhear" retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst "Timepiece" skips along as a gentle gesture of further possibilities. Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone's guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those already known. Mastered & cut by Rashad Becker at Dubplates & Mastering.

#	Artist	Title	Format	Label	Catalog #
# 46	NEW TWEEDY BROTHERS, THE	The New Tweedy Bros!	LP	GUERSSEN RECORDS	GUESS 148LP
$25.50 IN STOCK Guerssen Records present a reissue of The New Tweedy Bros!, originally released in 1968. Originally from Portland, the New Tweedy Brothers were formed by brothers Fred and Danny Lackaff, plus Dennis Fagaly and Steve Ekman. In 1966, they relocated to San Francisco, where they were part of the exploding, nascent psychedelic ballroom scene, influencing none other than Jerry Garcia, and sharing the stage with bands like The Warlocks (pre-Grateful Dead), Quicksilver, and Big Brother, among others. Upon returning to Oregon, they self-released their only album in 1968, housed in a striking hexagonal, over-sized silver foil cover, now a holy grail between psychedelic collectors. Innocent vocal harmonies, fuzzy bass, jangly guitars, raga sounds -- 100% uncut psychedelia and garage-y, jangly folk-rock from 1968. RIYL: The Byrds, Moby Grape, Jefferson Airplane, The Charlatans, Buffalo Springfield. "Many punters feel that this LP epitomizes the innocent first wave of 'the West Coast Sound' before it was quickly corrupted." --John T. Berg Master tape sound; Includes insert with rare photos, memorabilia, and an interview with original band member Fred Lackaff; Original hexagonal silver foil artwork adapted to a standard cover.

#	Artist	Title	Format	Label	Catalog #
# 47	GOLEM	Orion Awakes	LP	MENTAL EXPERIENCE	MENT 006LP
$25.50 LOW STOCK LEVEL Mental Experience present a reissue of Golem's Orion Awakes. Orion Awakes was recorded and produced circa 1976 by Toby Robinson, aka Genius P. Orridge, while he worked as second engineer at the famous Dierks Studio in Cologne. Memories from those hazy times are sketchy, but all evidence leads you to believe that the musicians featured here were well-known names from the kraut scene working under pseudonyms, recording 100% underground, non-commercial music under Toby's guidance, just for fun. Apparently, Orion Awakes was released as a very limited hand-made pressing housed in a silver foil sleeve on the Pyramid label, which was run by Toby and his friend Robin Page, the Fluxus artist. No original copies have ever been found. The fascinating liner notes by kraut expert Alan Freeman talk about seeing an original copy of Golem at a record shop in Germany many years ago and he also sheds some light on who could be the real musicians involved, as well as discussing the controversial story of the Pyramid label and the accusations of Golem being a manufactured '90s "fake" instead of a real vintage '70s recording. A glorious blend of space-rock, kraut, and psychedelia, courtesy of the mysterious Golem -- Plenty of Hammond organ, analog synths, ripping guitar, effects, trippy jams. RIYL: Gila, Mythos, Guru Guru, Cosmic Jokers, Novalis, Neu!, Hawkwind, Brainticket, My Solid Ground, Pink Floyd. "Legitimately tripped out, fans of the Cosmic Jokers could certainly get behind this one." --Angela Sawyer (Weirdo Records) Includes download coupon; 24-bit domain remaster from the original tapes; Housed in a silver foil sleeve; Insert with liner notes by Alan Freeman (Ultima Thule/The Crack In The Cosmic Egg (1996)).

#	Artist	Title	Format	Label	Catalog #
# 48	FAUST	Fresh Air	CD	BUREAU B	BB 254CD
$17.00 IN STOCK Faust's new album Fresh Air differs in several respects from its predecessor, Just Us (BB 182CD/LP, 2014). The recordings were made at Jean-Hervé Péron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, Péron and Werner "Zappi" Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a tour in 2016). In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub, and Ysanne Spevack as a wonderful wave-maker on the viola. The seven and a half minute title track begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?" "Engajouez Vous!" Péron presents this franco-Faustian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl". And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect-based text piece, which starts with chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and schnapps and suddenly sees two cows. The story of the band can tell that tale nicely. As Krautrockers, Faust had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. One can still feel the breathing of this music in current Faust pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". "We let the music play through us," says Jean-Hervé Péron. Jean-Hervé Péron has a little tip for us: Listen to the fish.

#	Artist	Title	Format	Label	Catalog #
# 49	MANSON, CHARLES	Sings	LP	ESP-DISK	ESPDISK 2003LP
$24.00 IN STOCK ESP-Disk present a reissue of Charles Manson's Sings, originally released as Lie: The Love and Terror Cult in 1970. Charles Manson visited New York City in the early '60s with his guitar and his songs in a vain search for recognition. Later, he had better luck in Beverly Hills, where famous musicians let him use their studio to produce this album. He has vocal backup from the women of the "family". During a stay in a San Francisco prison, he met a fellow inmate and gave him the album to release. While Manson was being tried and convicted of participation in his notorious murder spree, the government attempted to discredit the hippie movement by citing him as an example, hoping to stem the rising tide of anger among the population over the war in Vietnam. This album has achieved cult status among connoisseurs of '60s folk-rock. Personnel: Charles Manson - lead vocals, rhythm guitar, tympani; Bobby Beausoleil - electric guitar; Paul Watkins - French horn; Catherine Shore - violin; Dianne Lake - recorder; Steve Grogan - electric bass; Mary Brunner - flute, vocals on "People Say I'm No Good"; Nancy Pittman - vocals on "Arkansas"; Sandra Good, Catherine Share, Lynette Fromme, Nancy Pittman and Cho-Cho - backup vocals. Presented here on red vinyl.

#	Artist	Title	Format	Label	Catalog #
# 50	DAVIS, MILES	Conception	LP	CORNBREAD RECORDS	CRNBR 16027LP
$21.00 IN STOCK Following the 1949 and 1950 recordings compiled on Birth Of The Cool (RUM 2011122LP), which created the sub-genre of cool jazz, Miles Davis had already moved onto the next thing, because that's what an innovator does. By 1951 he was recording hard bop of the highest order on a variety of formats, including 10" and 7". This LP compiles a number of those recordings, and the fact that the entire record was recorded on one day, October 5, 1951, would be surprising if it weren't the one and only Miles Davis. Featuring Art Blakey; Sonny Rollins; Walter Bishop, Jr.; Tommy Potter; and Jackie McLean in his very first recording session, this is classic '50s Miles Davis. 180-gram vinyl. Includes download code.