LP version. Coming four years after the previous trio album Ding Dong. You're Dead, it´s the longest period ever between Hedvig albums. That, however, is no indication she´s been idle, quite the contrary, actually. There´s been five commissioned works, two of which have resulted in albums in her own name. 2023 saw the debut release from power-impro-trio Hedvig Mollestad Weejuns with Ståle Storløkken (keyboards) and Ole Mofjell (drums). The same year she was Artist In Residence at the Moldejazz festival, with vital guest appearances from the likes of Nels Cline, Trevor Dunn, and Colin Stetson. Hedvig also found time to write new music for a screening of the silent movie Limité (Brazil 1931). After these busy years, she felt a strong urge to get back to the core, which has always been the trio that started it all back in 2011 with the powerful debut album Shoot!. Starting work on new music before last summer, she later in the year hooked up with Ellen on several occasions to collect loose ends and put it all together before drummer Ivar was brought into the fold to complete the process. There was plenty of excitement going into the studio, and with a lot of the music being quite complicated with lots of small variations and long structures, the studio sessions were extremely focused and concentrated. Hedvig stresses that the main objective of the trio is to always have fun whether in the studio or on stage, and to share that joy with the listener. Listening to Bees In The Bonnet, it shines through how much the trio had been missing making new music together, with glowing evidence of their skills both as writers and players. The daughter of a jazz musician, Hedvig soon lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass, and Jim Hall before discovering riff-raging titans like Led Zeppelin and Black Sabbath as well as Mahavishnu Orchestra in her early 20s. This would eventually lead to the formation of Hedvig Mollestad Trio after she received the "Jazz Talent Of The Year" award at Moldejazz in 2009. Their relentless recording and touring schedule (hundreds of concerts all over the world) have earned the guitarist a stream of accolades, including two Norwegian Grammies and DownBeat magazine naming her one of the 25 artists who "could shape jazz for decades" in 2020.

2x10" version. Causa Sui return with the perfect companion to From The Source (EPR 076CD, 2024). Whereas that record was a tightly structured piece of work, that condensed many aspects of the band's sound into a concise 45-minute LP, In Flux presents the more loose and impulsive side of Causa Sui. After an introductory suite in classic Causa Sui territory, with deep fuzz riffs and syncopated grooves, things gradually become more outlandish. The band channels Hot Rats-style jazz fusion, the oceanic post-rock of late-period Talk Talk, and the impulsive, anarchic experimentalism of Can's Tago Mago into their own beatific brew. On "Spree," the band abandons guitar entirely, relying on a dual synthesizer on top of drums and bass instead, yet maintains that uniquely Sui-an vibe. The centerpiece in this set, "Astral Shores," unfolds over 16 minutes -- from gently hypnotic, ritualistic folk, through motoric psychedelia and back again. It's been many years since Causa Sui have sounded this unmoored on a studio record. In Flux is an essential chapter in the band's ever-changing oeuvre. Each track has a character all off its own, taking the listener somewhere different.

"Water Damage is ten people from one town and one sound from twelve people. For Instruments, the plus two are guitarist David Grubbs and saxophonist Patrick Shiroishi, neither of whom blunt the angle or confound the aim. The tempo? Slow and low. Four tracks, averaging twenty minutes each, the pace never above a comfortable walk. The damage creeps, a forest becomes a mountain, and the faithful move forward. The album is named after Fugazi, in a manner, and 'Reel 25' takes after the Shocklee Brothers, in a cry. Stop asking the lord how many drummers this band has and ask him how much of your mind, babe. Some people say drone and same people say trance and some people say invocation through patterned unity. Some people just say rock and we let them set their clocks back. Lie down and let these holy treads flatten you. Just because Water Damage know what they are doing doesn't mean you have to. Fix your hearts or die!" -- Sasha Frere-Jones

Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie, and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes-cruel deception of human perception. It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads, Funke's Seance, and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child. Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

This is a new limited edition 10" single from Brian Jonestown Massacre, the band's first new recordings for two years .Side A includes "Makes Me Great Again," a whimsical song rooted heavily in psychedelic folk rock -- the way Anton Newcombe does it best. Side B offers the up-tempo "Out Of Body," a joyous plunge into an experimental shoegaze ode to the '60s, with multiple experiments conducted on an array of instruments. The art work is a photo taken by the talented Francis Delacroix, part of a series of photos of Anton Newcombe taken by the artist.

After a two-year hiatus following his critically acclaimed fifth album Orbs, Anthony Naples returns with his sixth album, Scanners, featuring ten new songs.

After a collage tape collab with Bardo Todol back in 2022 (Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entry in the label's wonderful catalogue of lost musical oddities. The not so self-explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. A hermetic rearrangement of emptiness could be another more big-headed title. Millis says "The phrase interior music occurred to me a few years ago as a way to describe some recent work. It's about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It's about exploring tiny audio fragments -- single notes, vinyl and shellac surface noise, recording mishaps and anomalies -- and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references 'interior design' with the placement of sounds in specific locations, layers or in juxtapositions. Inspirations include Steve Roden's lowercase work, Toshiya Tsunoda's field recordings, Eliane Radique's slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music -- especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations."

The Fun Years, comprised of multi-instrumentalists Ben Recht and Isaac Sparks, have been making music together since the turn of the century, producing intriguing interrogations of ambient, drone, post-rock, and turntablism. Originally released in 2008 on the now-defunct Barge Recordings, baby it's cold inside is perhaps the high watermark of their discography. Equally concerned with microtonal nuance and harmonic intensity, it is both a product of its time and something well past it. The chief protagonist is surely the turntable, deployed to create woolly, evocative loops from unidentifiable source material that recall, at times, the work of Philip Jeck or Jan Jelinek -- churning, roiling, hissing, atrophied textures further articulated with nuanced processing and buoyed by baritone guitar drones and anti-riffing. The title of opener "my lowville" feels like a wink to the famed slowcore duo, with spare post-rock motifs hovering in a dusty ether, slowly consumed by distorted washes of rich, harmonic sound. One of the most satisfying aspects of the album is that despite the recumbent nature of most of their sound design choices and compositional proclivities, Recht and Sparks are loath to sit still. "auto show of the dead" is a serpentine piano/guitar exploration full of subtle detail, preceding the immaculately titled "fucking milwaukee's been hesher forever," in which the tactile delights of clicks and cuts are liberated from the laboratory and allowed to slum it in the world of tape gunk and '90s plate reverb. Later, "re: we're again buried under" presents an inky black ambience that feels truly expansive and almost overwhelming, and closer "The Surge is Working" tears apart an anthemic shoegaze dirge at the seams, leaving only billowing filtered noise and negative space in its wake. Presented here with a brilliant remaster by LUPO, baby it's cold inside should be considered alongside records like Belong's October Language and Polmo Polpo's Like Hearts Swelling -- an arresting early aughts ambient marvel that warrants ongoing investigation.

Electronic music visionary Pye Corner Audio, a master of blending nostalgia with forward-thinking production, has carved out a unique niche in the electronic music landscape. Drawing inspiration from 1970s and '80s synthesizer music, Detroit techno, and cinematic soundtracks, his work often evokes a sense of eerie futurism. Lapsus Records presents Where Things Are Hollow: No Tomorrow, a comprehensive box set revisiting and expanding his acclaimed Where Things Are Hollow series. This release includes the first two volumes -- with Volume 2 featuring an unreleased track -- and two additional chapters that further enrich the series' narrative. Once again, Pye Corner Audio delivers innovative soundscapes, drawing inspiration from ambient techno, cinematic electronica, and experimental slow disco. The third installment unveils a constellation of entirely new tracks, weaving the ambient, synthwave, and retro-futuristic textures that define Jenkins' work. Meanwhile, Where Things Are Hollow 4 amplifies this narrative, incorporating reinterpretations by some of today's most visionary artists: Alessandro Cortini, Kaitlyn Aurelia Smith, Lord Of The Isles, and Surgeons Girl, alongside the popular 2020 John Talabot remix of "Resist." As with previous entries, the visual identity of Where Things Are Hollow: No Tomorrow is a striking collaboration between Basora Studio and renowned illustrator Alex Trochut, offering a visual counterpart to the series' otherworldly audio. With all tracks remastered for this release, Where Things Are Hollow: No Tomorrow is a testament to Jenkins' enduring influence and creative evolution, cementing Pye Corner Audio as a key figure in modern electronic music.

Double LP version. Gatefold sleeve; includes printed inner sleeve, 28-page booklet; edition of 700. Carpet Of Fallen Leaves is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as Yumbo, Andersens, and the Minna Miteru compilations. Carpet Of Fallen Leaves draws together songs from Eddie Marcon's twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs. Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan's underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon's sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music's core. They've long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who's played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te. Across the songs on Carpet Of Fallen Leaves, Eddie Marcon's songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they're variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous -- fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication. Includes download code.

"On The Cover: Cosey Fanni Tutti. There are few artists on the frontier between music and performance/body art as influential as Cosey Fanni Tutti. An early member of the COUM Transmissions collective, she would co-found the group's trailblazing offshoot Throbbing Gristle before she and Chris Carter launched their long-running duo Chris & Cosey (later Carter Tutti) after TG's first disbandment in 1981. Recent years have seen her withdraw from music to focus on writing, leading to the publication of books like Re-sisters and her autobiography Art, Sex, Music. By Claire Biddles."

Perila returns with a contemplative spiritual successor to her album 7.37/2.11, which was also released on Vaagner's sister label A Sunken Mall back in 2022. Featuring a collection of eight pieces produced between 2021 and 2023, the album carries a serene vulnerability that underpins each work, drawing the listener in while gently grounding them amidst a drifting, ephemeral motion of echoing voices, droning guitars and sonorous soundscapes. Like a whispered conversation in the quiet moments of the day. Perila has once again created a world unto itself, one that doesn't need to be understood but simply felt. If anything, it's an album that brings listeners back to the present, reminding them that the chaotic disarray of the world outside can be addressed and mitigated through their internal landscape. By embracing imperfection and forging new paths, The Air Outside Feels Crazy Right Now is a testament towards Perila's ability to turn fragility into a powerful form of strength.

180 Gram vinyl, hand numbered edition of 500, ultra gloss sleeve on 380 gsm card, black poly-lined inner, eight-page booklet printed on 330 gsm card. Neil Ardley'S Harmony Of The Spheres returns to vinyl for the first time in over 40 years. Analogue October Records presents the long-awaited licensed reissue of Harmony of the Spheres, Neil Ardley's cosmic jazz masterpiece, originally released in 1979 by Decca. This marks the first vinyl reissue of the album since its original release, offering fans a rare opportunity to experience this extraordinary record in its purest form. Recorded at the legendary Morgan Studios and produced by the esteemed Martin Levan, Harmony of the Spheres is another bold evolution in Ardley's ever-expanding musical journey. A unique blend of jazz, electronic synthesis, and progressive rock, the album explores the ancient Greek concept that planets create celestial harmonies as they move through space. Using precise astronomical calculations, Ardley transposed planetary orbits into a nine-note chord -- one that extends beyond the range of traditional acoustic instruments, making synthesizers the only means of fully realizing this cosmic sound. The album features an all-star lineup, including the visionary John Martyn on guitar, saxophonist Barbara Thompson, Tony Coe, Ian Carr, and keyboardist Geoff Castle, alongside the formidable rhythm section of Billy Kristian (bass), Richard Burgess (drums), and Trevor Tomkins (percussion). Following the reissue success of Journey to the Urge Within (1986) by Courtney Pine, Analogue October Records' founder Craig Crane embarked on a mission to restore Harmony of the Spheres to its full sonic glory. Working with Gearbox and using Decca's original 15ips 2-track stereo master tapes, this reissue is a true AAA release -- an all-analogue production with no digital step. The album was meticulously cut directly from the tapes and pressed to the highest standards at Optimal in Germany. Inside the deluxe package, fans will discover an eight-page booklet featuring an in-depth essay by Jazzwise magazine editor Mike Flynn, along with never-before-seen photos from the original recording sessions. This reissue is just the beginning -- Analogue October Records is committed to further explorations of Neil Ardley's work, alongside other deep cuts from the UK's vibrant 1970s jazz fusion and jazz-rock scene. Whether you're rediscovering Harmony of the Spheres or experiencing it for the first time, this release is a testament to the artistry and innovation of Neil Ardley.

Every ATA project is marked by collaboration -- some over a few weeks and some over decades. When drummer Sam Hobbs and bassist Neil Innes decided to make The Return Of, by The Flying Hats, they were building on twenty years of playing together; Innes's years of nightclub residencies and love of Afro-American dance music, and Hobbs's intensive exploration of the links between American soul and R&B, Jamaican rocksteady and roots, and the music of the wider Caribbean from Cuba to Trinidad and Brazil. Organist Bob Birch (the original organ player for New Mastersounds) and guitarist Chris Dawkins (Nightmares On Wax, Jimi Tenor, David Holmes, Finlay Quaye) were the other crucial elements -- Birch started out as a jazz Hammond player in the bluesy McGriff/McDuff mould before discovering the more exotic colors of Art Neville and Jackie Mittoo, and Dawkins has been a session guitarist for the cream of British reggae and rock for a generation. The Return of the Flying Hats occupies a space somewhere between The Aggrovators and The Meters, under the influence of Lynn Taitt & the Jets, and Fatman Riddim Section. Tracks like "Grafter" and "Bust Up" conjure up the image of classic New Orleans funk recorded in Kingston, whilst "Tough Swagger" sounds like half of Bunny Lee's Aggrovators have dropped in at "Ultrasonic" to jam with Ziggy Modeliste. In other places the Jamaican sound predominates: "An Autumn Sun" is as sweet a dish of Kingston soul as you could wish for, "Strong Fish" an honest homage to Hot Milk-era Mittoo, whilst the introductory fanfares of opener "Night Bus" and "Power Cut" feel like they should be ushering in hot I Roy cuts. Meanwhile, "Iron Fist" mixes everything up together in a fresh brew of asymmetric drums, talking bass and free-flowing organ melodies: when Innes and Hobbs started jamming together they roughed out melodies to every groove, but Birch came in and ignored virtually every note, preferring instead to simply channel extempo lines that sound both original and traditional at once. It would be a mistake to call this group a new band, with all the communal miles they've travelled together: what this undoubtedly is though, is a fresh take on a couple of cherished genres (New Orleans R&B, Instrumental Rocksteady) that comes up with something more than the sum of its parts.

LP version. With Ylh Bye Bye, Swiss-Moroccan producer Sami Galbi delivers a raw and electrifying debut album after the success of his first single "Dakchi Hani / Rruina." Merging North African folk, chaâbi, and trap with forward-thinking electronic club music, his punk energy and DIY ethos stem from years immersed in Lausanne's underground squat scene, shaping a sound that's both deeply personal and politically charged. Driven by infectious North African melodic loops, heavy basslines, and percussive textures -- blending bendir drums, karkabas, and analog synths -- Ylh Bye Bye pulses with urgency. From high-energy dancefloor anthems to dreamy acid pop ballads, the album explores themes of migration, identity, and belonging. Galbi's Arabic vocals oscillate between auto-tuned harmonies and spoken word, capturing the tensions of diaspora life. Recorded between Switzerland and Morocco, the album's title -- meaning "Let's go" or "See you" in regional slang -- reflects the artist's nomadic journey, from a DIY studio in a van to a transformative creative residency in Casablanca. It's a work of constant movement, embodying both departure and return. Featuring FlexFab and INES.

2025 repress. "This compilation is dedicated to the memory of the late great 'Prince' Philip Smart -- the first apprentice of King Tubby and the first engineer at Tubby's studio besides Tubby himself. Alongside Tubby, Philip was integral to the innovation that took place at Tubby's studio in the mid-1970s, where the mixing of new roots reggae revolutionized the sound of Jamaican music and created styles and techniques that are still being echoed today, nearly 50 years later. Though rarely credited on records in comparison to Tubby, Philip also mixed a lot of the paramount music produced by those close associates of Tubby's studio such as Bunny Lee, Yabby You, and Augustus Pablo. Philip was closely tied to Pablo due to their childhood friendship and was a partner in his stylistically significant early production works. In the early years of Tubby's studio, both men were making and cutting custom dubs there for their sound systems before starting to produce their own tunes from scratch, and Philip becoming the second chair engineer. Several of the songs on this compilation are a selection of the aforementioned work. All of the songs here are sourced from Philip's personal tape archive, and basically all of these mixes and versions have been scarcely if ever heard, and never released before. This double album comprises a rare and genuine glimpse into the dubplate workings of the inner circle of Tubby's studio in the mid-1970s, where the prime players and emerging giants of reggae music production and sound system versioned, remixed and voiced rhythms for custom and exclusive cuts. Some of the cuts heard here were formerly exclusive power plays on King Tubby's own legendary sound system, and unlike some previous issues of such material, these are genuine mixes done at the time. Some other tracks clearly exude the youthful enthusiasm of the participants. Rest in power Prince Philip Smart." --RB/DKR, Summer 2023

Efficient Space charts Ghost Riders' North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte. In the late '60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighborhood friends, the trio hammered out raw rhythms, drawing in Brooklyn's wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making. Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7"s on his newly minted Roundtable Records. To maximize his chances of courting major labels, he strategically assigned each release a different artist name -- Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack. Dennis' emotional maturity and sheer talent bleed into the defining "Summer's Over," penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart -- the candied ballad "Running Thru My Mind" -- delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin' Spoonful, and The Youngbloods. Roaring like the Spencer Davis Group, Pure Madness' organ-driven bruiser "Freedom Rides" screams of biker gangs, yet its true subject -- '60s civil rights activists the Freedom Riders -- looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus "Treat Me Like a Man" digs back into Edelson's catalogue, covering the Beatles-inflected Levittown group The Shandels. Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge -- a heartfelt homage to an unbreakable brotherhood.

The first release on Entire Records, in the shape of the soundtrack score to Academy-nominated 1976 documentary about the Bakhtiari tribe composed and performed by G.T. Moore and Shusha Guppy. Available on vinyl for the first time since its original release. Musically encompassing Persian-flavored and folk-tinged instrumentals and Farsi-language acapellas. G.T. Moore is a singer and songwriter whose career stretches back to the late '60s when he was a member of folk band Heron. In the mid-'70s he formed G.T. Moore and the Reggae Guitars. Later in his career, he would work with the likes of Lee Perry, Johnny Nash, and Poly Styrene. After 50 years in the music business, Gerald (G.T.) is still effortless bridging musical genres. Shusha Guppy, born in Tehran, was a talented writer, editor, songwriter, and singer. Between 1971 and 1995, she recorded over ten albums of both Persian and Western folk songs. She passed away in 2008.

Reise der Schatten (Journey of Shadows) is the soundtrack to the eponymous debut feature-length animation film by Swiss artist Yves Netzhammer. Composed by Anthony Pateras and released as a standalone album through Hallow Ground, the 29 pieces are based on "weird folk melodies ornamented with electro-acoustic" to give the film a more fantastical, fairy-tale feeling, as the composer puts it. His extensive international recording sessions with a slew of guest musicians results in a record imbued with a sense of mystical surrealism, otherworldly and haunting. Pateras recorded with musicians such as guitarist Alexander Garsden, viola player Erkki Veltheim, clarinetist Aviva Endean, multi-instrumentalist Justin Marshall and Lizzy Welsh on the viola d'amore among other instruments. He recorded percussion and recorders with Rohan Rebeiro and Natasha Anderson in his hometown of Castlemaine, double bass with Benjamin Ward in Sydney, bass and flutes with Jon Heilbron and Rebecca Lane in Berlin, and electronics in Züri ch with Netzhammer. Reise der Schatten was thus a literal journey, made with a big, international electro-acoustic ensemble. As a stand-alone album, Reise der Schatten opens up a space of its own. Its stylistic diversity makes it atmospherically and emotionally multi-faceted. As its composer notes, music for screen can be very virtuosic, sophisticated, and variegated! His own work is a testament to that claim.

Double LP version. Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I -- the production trio of Dean Honer, Jason Buckle, and Richard Barrett (aka DJ Parrot). Part of the late nineties big beat/trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker. Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used "Sounds" in recent years accruing 2.4 billion views and 162k creations. The follow up "Walk Like A Panther" peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years. Also appearing for the very first time on vinyl as collector red and yellow double LP (LMS 5521974).

Legendary shoegaze band Chapterhouse share their first ever recordings on a new EP, White House Demos. The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about -- until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record." Of the four tracks that make up the EP, "Ecstasy" has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of "Guilt" was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of "Die Die Die" was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning "See That Girl," however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.

Polonius AKA Egyptian-French artist Seif Gaber, whose works spans a decade of "science fiction archeomiragical time travel" explorations and is an important piece of the healthy electronic/far out mosaic in Milan. With a considerable number of releases under his name, both self-released and through such likeminded labels as Ikuisuus, Goaty Tapes or Sun Araw's Sun Ark, Polonius' grand vision encompasses a myriad of languages culled from kosmische travelings, exotica's dreamlands, soundtrack psychedelia, spiritual jazz escape routes and transmuted beat science to convey them into a sonic fiction where all these trails intertwine in a cosmological soundscape filled with wonder and speculation. Building on 2024's more beat-centric excursions of his self-titled vinyl debut on Stoned to Death, Polonius' first entry into the Discrepant extended family via Souk finds him dwelling deeper into rhythmic mystic extrapolations through a series of hallucinatory tracks. Conveying jungle's kinetic energy, dubwise meditations on bass weight, collapsing beats, globetrotting percussion accents and synth-driven night drives, You Didn't Hear It From Me finds Polonius with a strong sense of purpose and direction, reconvening bits and pieces from the netherworld into a more urban scenario, not quite any we can stand or dance on. Just dream of. All tracks written and produced by Polonius. Artwork by Giuseppe Salis. Layouts by Polonius. Master by Daniel Baes.

Double LP version. Pink color vinyl. "What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes."

"like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music

"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

Tuning the Wind was created in 2022 as an installation piece. Since then, it has been adapted into multichannel, 4DSOUND, and stereo installations, as well as performed live on numerous occasions around the world. The piece has a duration of 36 minutes and 15 seconds. For the vinyl pressing, it has been divided into two parts. Composer Aimée Portioli, known professionally as Grand River, recorded various types of wind and then reworked them through layering and pitch adjustment to create a musical piece where the wind itself becomes a prepared instrument. At times, the sound of the wind is tuned to the 440 Hz reference, while at other times, the instruments are tuned to the sound of the wind. In Tuning the Wind, nature and music merge seamlessly. Synthesizers and wind recordings become indistinguishable, blending natural sounds with human-made instruments. The boundary between a gust of wind and an instrument-generated sound fades away. Human artistry and nature's symphony merge to become one. Wind is air in motion. It makes no sound until it encounters an object. The sounds it produces depend on the strength of the wind and the shape and material of the object it touches. When the wind blows, trees sway, buildings rattle, materials move, and sound waves are generated. Some believe that temperature changes create layers of air, and that the friction between them forms a unique sound -- perhaps the true voice of the wind, which birds may be the only creatures capable of recognizing. Sometimes the wind howls; at other times, it sings or whistles, shifting from a gentle murmur to an angry roar. The wind's range of frequencies, tones, and timbres is vast and varied. Tuning the Wind is a piece about the wind, made with the wind -- an abstract expression of our ongoing conversation with nature.

Helsinki tenor saxophonist Jussi Kannaste's debut album as a band leader has been a long time coming. A top musician in the local scene revered by his contemporaries and sought after as a band member, Kannaste now presents his new work Out Of Self and Into Others on We Jazz Records. His quartet, Kannaste4, brings together Finnish musicians Tomi Nikku (of Bowman Trio) and Joonas Riippa, plus Berlin-based Swedish bassist Petter Eldh (of Koma Saxo/Post Koma and Y-OTIS), and features an all original program penned by Kannaste. His music is highly personal contemporary jazz leaning into modes of avantgarde expression. At times quiet as a whisper, at times fiery and swinging, Out Of Self and Into Others is a product of a deep marinade, a debut album that feels like much more than "just" that. This album, full of compositional innovation that feels at the same time natural and unique, peels back and adds layers from the first moments on. "No Name," a hauntingly beautiful quiet time ballad is a captivating listen, its sparsity lending the track remarkable quiet intensity. "It's All Good," another key piece, is offered here as two versions bookending the LP edition's side B. The lax vibe of the piece delivers its message that feels soothing yet almost radical in its momentary acceptance of it all. Jussi Kannaste (born 1976) is a saxophonist and educator based in Helsinki. Prior to launching Kannaste4, he has been a key part of the scene for 20+ years, performing in highly acclaimed bands such as Antti Lötjönen Quintet East, 3TM, Jaska Lukkarinen Trio, Ricky-Tick Big Band, and many more. As the head of the department of Jazz at Sibelius Academy, Kannaste is also a key figure in internationally admired Finnish jazz education system.

Ultra limited edition on white vinyl. Consists of four different artworks (BUY, OBEY, WATCH TV, SLEEP) -- no repress! Please mind that you will receive a random selection of the artworks. A specific selection cannot be guaranteed. Full soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth. Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes -- Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci-fi vibe of John Carpenter's iconic movie. This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack -- the true complete music scores of They Live!

4LP set in 1cm slipcase sleeve with 12-page booklet with photos and text by Robert Fesler and Baudouin Oosterlynck. Edition of 200 copies. An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975-1987) created with his self-built synthesizers, with as pinnacle the "μP RPF78." All music composed and recorded by Robert Fesler at his home on rue Cour Boisacq in Bierges, Belgium. Except one, all tracks are previously unreleased. With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, "Building my synthesizers and working with them enabled me to sublimate my anxieties." Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the μP RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious solitary journey. It's quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way. The music of Robert Fesler might be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck; the purity of Dominique Lawalree; the mysticism of Arsène Souffriau. Anthology produced by Timo van Luijk. Tape transfers by Timo van Luijk. Mastering by EARLabs.

First LP in the Signature Series, a small new series in the Metaphon catalog, documenting previously unreleased archive works of less known composers. Metaphon presents their "signature" in the most personal and elementary way. Raoul De Smet (1936), mainly known for his numerous instrumental and chamber music works, started composing in the early 1960s. Between 1974 and 1989 he also recorded several electro-acoustic compositions at the IPEM in Ghent, one of the more approachable crossroads for experimental music creation at the time. His work carries different moods and contrasts, a sort of expressive eclecticism where straight forward evolution often prevails over far-fetched intemperance. However, his work is far from obvious. The four distinctive tracks on this album portray a fresh and unpretentious enthusiasm of a composer discovering new electronic tools. Four previously unreleased electro-acoustic compositions recorded at the IPEM.

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context, and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975, the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend had already been practiced by a small group of Romanian composers led by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bares the shade of authenticity.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, and William Parker formed by Parker to play concerts in conjunction with the Milford Graves Mind Body Deal exhibition at the Institute Of Contemporary Art Los Angeles and now a working group. Across two discs of long-form improvised sets recorded at 2220 Arts and Archives in LA and The Chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit and Ornette Coleman's Golden Circle Band (expanded upon in later eras by Sam Rivers' trio and Parker's collective trios with Charles Gayle/Graves and Peter Brötzmann/Hamid Drake) into their own unique and scintillating realms of expression. As we tumble further into the throes of history's tides, people of hope and creativity rely on the works of our great artists to lift our spirits and focus our resolve. Ascension was recorded less than a year after the passage of the Civil Rights Act and four months after the assassination of Malcolm X. Journey in Satchidananda was recorded the month Reagan was re-elected governor of California. M'Boom made its debut recording weeks after the Watergate scandal broke and a couple months after the Wounded Knee occupation ended. The music of The Ancients builds on these great musical legacies. It resounds with the pride of survival and the joys of making and sharing music. It delivers to us hope and balm. Something real in you, real in history, and real in the music is shared, right on time. When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, and David S. Ware were at the height of their powers. Isaiah Collier's tenor playing in The Ancients is bracing testimony that the wellspring lives on. To hear the young Chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, and the intensity of his expression -- as well as a bold complement to his composition-based albums as a bandleader (including The Almighty, a New York Times' best albums of 2024 selection). I've admired drummer William Hooker since first encountering his music in a Hartford, CT, city park, early '90s (on a double bill with Jerry González and Fort Apache Band). From the man himself right off the bandstand I bought his even-then rare first recording, the 1976 self-released 2LP opus Is Eternal Life (reissued 2019 by Superior Viaduct). An imposing force on his instrument and an intrepid DIY cat, Hooker's been exuberantly swinging in-and-out of free time for 50+ years. Informed by the innovations of Sunny Murray and Tony Williams yet entirely himself, there is no other term for it than "pure Hooker." At age 78, with the Ancients and everywhere else, THE HOOK is in peak form. With a discography approaching 600 entries and 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership and a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as "the tone world," multi-instrumentalist, improviser and composer William Parker is a living hero of the grassroots and the Black Mystery Musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite. Free jazz is an enduring high art. Its greatest expressions belong to their particular moment in history, and live on to transcend and refract in amaranthine ways. Inside our present historical moment, we are fortunate to have the master musicians in the ancients bringing us their high-level creation. Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY. Album and concerts co-produced with The Black Editions Group.

Yellow/red splatter color vinyl version. Lost somewhere between the mysterious alleys of '70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, Şatellites self-titled debut album is set to be released on Batov Records. The Şatellites' sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dancefloor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honoring the Anatolian folk and psych artists from this golden era of music. From the funky disco beat of Disko Arabesque to the celestial lead guitar in "Yağmur Yağar Taş Üstüne", the band add fire and flair to time-honored pieces of Turkish music giving them new meanings. Covering important tracks such as female singer Kamuran Akkor's track "Olurmu Dersin", and musician and guitarist Zafer Dilek's "Yekte", the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (bass), Lotan Yaish (drums), Yuli Shafriri (vocals), Tsuf Mishali (keys and synths), Tal Eyal (percussion), and Itamar Kluger (diwansaz, both electric and acoustic, electric baglama, Greek four double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst traveling the Kaçkar mountains in Turkey's eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of Şatellites' union, and plays predominance throughout the bands' album and music. In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called "Anatolian rock" and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music. As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional Middle-Eastern rhythm and structure, opening up the wealth of Turkish music to the western world. For fans of: Derya Yildirim, Altin Gün, Liraz, Baba Zula, Yin Yin, Ayyuka, Bab L'bluz.

Rivet's new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognized for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms. Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However, he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression. The entire trip of Peck Glamour is sewn up with "We left before we came" whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

Hüma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval Latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown. This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku's experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption. Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles; this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation. The haunting opening track "A World Between Worlds" tackles pregnancy, of which Utku was experiencing when making this record. This track features the "Lyraei," an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option. All tracks composed, performed and recorded by Hüma Utku. Mixed by Enyang Urbiks. Mastered by Heba Kadry. Cover artwork by Marco Ciceri. Design by Tina Frank.

2025 repress; LP version. "After a two-decade interlude, Jim O'Rourke's Moikai returns with Spectral Evolution, a major new work by Rafael Toral. Making his name in the mid-1990s with influential guitar drone platters like Sound Mind Sound Body and Wave Field, Toral has never been one to rest on his laurels repeating his past glories. Since 2017, Toral's work has been entering a new phase, often still centered around the arsenal of self-built instruments developed in the Space Program, but with a renewed interest in the long tones and almost static textures of his earlier work; he has also, after more than a decade, returned to the electric guitar. Spectral Evolution is undoubtedly Toral's most sophisticated work to date, bringing together seemingly incompatible threads from his entire career into a powerful new synthesis, both wildly experimental and emotionally affecting. Toral manages the almost miraculous feat of having his self-built electronic instruments (which in the past he had seen as 'inadequate to play any music based on the Western system') play in tune. In an unexpected sidestep away from any of his previous work, the chord changes that underpin many of the episodes on Spectral Evolution are derived from classic jazz harmony, including takes on the archetypal Gershwin 'Rhythm changes' and Ellington-Strayhorn's 'Take the ʻA' Train,' albeit slowed to such an extent that each chord becomes a kind of environment in its own right. Threading together twelve distinct episodes into a flowing whole, Spectral Evolution alternates moments of airy instrumental interplay with dense sonic mass, breaking up the pieces based on chord changes with ambient 'Spaces.' At points reduced to almost a whisper, at other moments Toral's electronics wail, squelch, and squeak like David Tudor's live-electronic rainforest. Similarly, his use of the guitar encompasses an enormous dynamic and textural range, from chiming chords to expansive drones, from crystal clarity to fuzzy grit: on the beautiful 'Your Goodbye,' his filtered, distorted soloing recalls Loren Connors in its emotive depth and wandering melodic sensibility. The product of three years of experimentation and recording, and synthesizing the insights of more than thirty years of musical research, Spectral Evolution is the quintessential album of guitar music from Rafael Toral."

Written, recorded and produced by Kirk Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes. And yet, where Marionette relied at times on more recognizable field recordings, Lux leans into Barley's skill as an instrumentalist and sound designer, working from a palette of short samples and utilizing a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks "Vita," "Sprite" and "Descendent," these tunings create an otherworldly harmonic language that is easier to perceive than describe. Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album's cover, exists somewhere between reality and artifice. On album opener "Cache," Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track's title. Introspection blossoms into new life on "Vita," crumpling again into the percussive ambience of "Verre." A track that takes its harmonic lead from the clinks of glass, it features Barley's long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives "Verre" a fizzing, ice-like quality. There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on "Descendent," whose ritualistic air unfurls around a pattern in exponential decline. Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of "Sprite" and "Balanced" before arriving at the album's title track. An expression of his recent experiments in live, prepared guitar, "Lux" brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.