Efficient Space welcomes Th Blisks to the fold with their mutant strain of melodica dub, torched hip hop breaks, post-punk and procession song. Th Blisks' members have many notches on their collective belt. Amelia Besseny and Altered States Tapes' founder Cooper Bowman are prolific in their ritualistic ambient-pop duo Troth, while Yuta Matsumura holds a formidable Sydney punk band pedigree on top of his Low Company-backed solo work. A reward for those who took the time to dig it out, Th Blisks' 2022 debut How So? was a DIY creation that fully embraced its outsider roots, reveling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, they return with Elixa. With an unseen clarity of vision, Elixa conjures its meticulously fleshed out world. Those familiar pieces are all there -- the mystery, the patience, a cheeky pop hook -- however this time there's an intentionality to it all. A blurred dialogue stretching across Australia, it was largely recorded remotely with tracks bouncing between Bowman and Besseny in Muloobinba (Newcastle) and Nipaluna (Hobart), and Matsumura stationed in Warumpi (Papunya). Every element is carefully considered, stemming from their individual time spent as lifers in the local DIY scenes. Through these tracks you can feel that history; echoes of Castings and Vincent Over The Sink in "Do You Bless It?," Bowman's distinctive submerged tape loops gurgling away under boom bap and that Sydney guitar tone in "Esk." Elixa attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. Informed by the old but drug into The New, it is a begrudgingly current Australien record that respectively nods at the UK's sound history.

Keith Hudson, who temporarily worked as a dentist in the ghettos of Kingston, emigrated to New York City in 1976 and died there prematurely in 1984. He is best known for his work as a producer for artists such as U-Roy, Big Youth, Ken Boothe, and Horace Andy and within short order Hudson brought his all-round talent to full fruition. In 1974, he produced two ground-breaking albums. Pick A Dub was one of the first official dub albums ever, and is still considered to be one of the greatest moments of Jamaican music. In addition, the unique Flesh Of My Skin, Blood Of My Blood became the first concept album in reggae history. Thematically dedicated entirely to black history, this masterpiece captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. In 1981, he created the dub masterpiece Playing It Cool, Playing It Right which he produced with the help of Wackie's founder and mastermind Lloyd 'Bullywackie' Barnes. It remained the only collaboration between the two producers. Hudson decided to release it on his own label Joint International as he has done on his previous releases. The album continues Hudson's psycho-acoustic journey into the abyss of existence and has the power to overwhelm the listener with the beauty of artistic self-empowerment. "Too Much Formula" sings Hudson, whose voice occasionally recalls Sly Stone, "Darkest Night" answers an echoing background chorus found elsewhere on the track "California." Hudson's production techniques are fascinating on this album. There is often a kind of flashing-whip sound on the snare, which adds dynamics to the whole album. Rarely has a dub record sounded so electrifying, with radical spatial sound spreading out in all directions and rarely has it been as crystal clear, with warm bass and echophonic treatments as contained within these 30 minutes of music. 43 years after its first release and 20 years after its last re-release on the German-British label Basic Replay (Basic Channel/Honest Jon's), Playing It Cool, Playing It Right is now finally available again via Week-End Records, with a newly revised master and a rare interview with Lloyd 'Bullywackie' Barnes, talking about the making of this amazing album.

"It feels fresh and sounds amazing." --Lloyd Barnes Wackie's

"Legendary, strange, compelling music." --Mark Ainley, Honest Jon's

"Drag City presents the first ever vinyl pressing of guitarist Lee Underwood's under-sung 1988 acoustic guitar opus, California Sigh. Lee Underwood had been Tim Buckley's stalwart, inspiring, accompanying and being inspired by Buckley as they both navigated a heady set of changes in the late '60s and early '70s. Then, he abruptly stopped working as a professional musician, leaving behind a body of work, that, as noted by Eugene Chadbourne, was the work of 'a loner, who didn't quite march under any one flag, whose improvisations involved the level of sophisticated harmonic development one finds in jazz, floating as freely as Ornette Coleman.' 35 years later, yet still in time, train your ears on the meditations of California Sigh! As Byron Coley's liner notes observe: 'The music is guitar-based acoustic instrumental melodicism with a lovely tone and alternately ruminative and jazzy structuring. The playing is generally in the vein of William Ackerman and Alex de Grassi rather than progenitors like Basho and Fahey, although 'Lady of the Streams' does display a bit of a Fahey lilt at times. Throughout these pieces there are also flashes of single string runs straight out of the Django Reinhardt playbook. But the overall mood is tranquil -- reflecting the musical joys Underwood found when surrounded by nature.' The tenor of the production is transcendent to be sure. The playing of Chas Smith and Kevin Braheny Fortune, on pedal steel and soprano sax respectively, lend additional colors to Lee's music on several songs, but it is largely the soulful depth of Lee's guitar figures, limned by Steve Roach's synthesizers and the Roach/Underwood co-production, that give dynamic shape and elevation to Lee's lovely cycle of songs. And now, with this remastered vinyl edition, the air around the instruments -- both real and implied -- and the full sonic impact of California Sigh -- alternately gentle and mighty, like the natural world that inspired it -- is magnified incomparably. In the years following the release of California Sigh, Lee wrote and recorded two solo piano CDs, Phantom Light and Gathering Light. He continues to live in Northern California. California Sigh is 'dedicated with love and respect' by Lee to his late wife, Sonia Crespi, for the friendship and inspiration she brought."

"Drummer Chris Corsano is a tireless collaborator. Among the 150 or so albums that he's contributed to over the past 25 years, only six have been credited to Chris alone, which makes the existence of The Key (Became The Important Thing [& Then Just Faded Away]) a rare instance of Chris going deep on his own vision. Indeed, this album finds him involved in every aspect of the process, from making the string-drums that the music is based upon, to playing all parts of the music, mixing them, and doing the cover art, too! This is a special album, bringing his encompassing focus on free improvisation and noise into a granular fusion with acoustic experiments and ideations of hard rock riffing and the post-punk sound. In Chris Corsano's collaborations over time with Paul Flaherty, Joe McPhee, Dredd Foole, Michael Flower, Paul Dunmall, Bill Orcutt, Nate Wooley, Mette Rasmussen, C. Spencer Yeh, Ben Chasny, and Sir Richard Bishop (as individuals, and together as Rangda), Bill Nace, Wally Shoup, Evan Parker, and dozens of other players, it's clear the vibe may get intense/heavy/OUT. Accessing this place, in itself, is an incredible calling -- but on The Key (Became The Important Thing [& Then Just Faded Away]), the intensity radiates entirely from inside Chris's process, in conversation with himself. And that's something that hit a bit different once he was done making it. The pieces here were largely built out of Chris's string drum playing, utilizing a setup he's created involving a silicone string, stretched across a snare drum with a bridge. When the string is hit, it resonates the drum -- a conception similar to that of the banjo, but with more of a bass tone. Several songs focus on Chris playing a bass string drum with a full kit, while the basic parts of two other pieces ('I Don't Have Missions,' 'The Full-Measure Wash Down') implied possibilities for full band arrangements which Chris was compelled to respond to himself. All the results on the tape, when listened back, found a higher order, transcending sequences of experimentation and technique, becoming much more than the sum of an internal conversation, standing together as a set of insistently compelling pieces of a whole. And so they became The Key (Became the Important Thing [& Then Just Faded Away]). They unlocked something in Chris Corsano."

LP version. "Emerging once again from the unending waves crashing upon fragile timecraft (adrift on the eternal ocean, and taking on water), Dirty Three are a) back, b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares, and c) not wasting another minute -- as nothing is guaranteed. For their first album in over a decade -- yep, it's been since 2012's Toward the Low Sun -- they flew in, got together and started playing. End of story. What else is there to say or do but that? Music's their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything. The Dirty Three -- Warren Ellis, Mick Turner, and Jim White -- formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they'd broken out -- out of Australia, out of anything else they might have been inside of, to boot -- and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they've gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. These lot were born to be as weathered as they are today. Time doesn't matter. They make their gathered wisdom of the ages sing like something new every time. It renews. And Love Changes Everything."

2024 restock. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).

"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press

"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM

"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM

"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire

"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork

"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME

"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ

"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ

"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat

Glossy Mistakes presents Atlantic Mavericks: A Decade of Experimental Music in Portugal 1982-1993, a groundbreaking double LP compilation that offers a unique glimpse into the vibrant landscape of Portuguese experimental music. This monumental release showcases the evolution and innovation of the Portuguese music scene during a transformative decade marked by political upheaval and artistic experimentation. Compiled by Glossy Mario and featuring liner notes by Rui Miguel Abreu, Atlantic Mavericks captures the essence of a generation of artists who dared to challenge conventions and push the boundaries of what was possible in music. The compilation stands as a testament to the eclecticism of the Portuguese music scene during this period, featuring a diverse range of genres and styles. From ambient and new age to electro, rock, and synth-pop, Atlantic Mavericks offers something for every listener, inviting them to explore the rich tapestry of sounds that defined the era. The 1980s in Portugal were a time of profound transformation, marked by the aftermath of a peaceful revolution and a burgeoning desire for artistic expression. As the country emerged from political turbulence, a new generation of musicians began to explore uncharted territories, paving the way for a wave of experimentation and innovation. From the emergence of artists like Rui Veloso and bands like UHF, who ushered in a new era of Portuguese rock, to the founding of independent record labels like Fundação Atlântica and Ama Romanta, the 1980s saw a surge in creativity and a desire for independence within the music industry. Each song on this album tells a story of artistic evolution and creative risk-taking, reflecting the diverse influences and eclectic tastes of the Portuguese music scene during this transformative decade. Spanning from 1982 to 1993, the compilation includes contributions from a wide range of artists, including SPQR, Croix Sainte, Linha Geral, Balladium, Ban, Santa Maria, Gasolina Em Teu Ventre!, Fé de Sábio,Nuno Rebelo, Vítor Rúa, Tó Neto, Luis Cilia, Pilar, Carlos María Trindade, Balladium, Pop Dell'Arte, and Telectu. With each track carefully curated to showcase the breadth and depth of Portuguese experimental music, Atlantic Mavericks promises to be a must-have for music enthusiasts and adventurous listeners alike.

Repressed. Dettinger's Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as pop ambient, while also existing, somehow, to the leftfield of any clearly recognizable genre. Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Originally released on CD only in 1999, Intershop was Kompakt's first artist full-length. The music here simmers and broods, with opulent banks of tone marking out territory for rhythms that seem to be built from the clacking detritus of technology -- hisses, thunks, knocks. Bass is deployed carefully, each drop a dubbed-out depth charge; drones spin and spiral, warping and weaving between the beats. There is, of course, other music to know Dettinger by, too -- his three excellent EPs for Kompakt, Blond (1998), Puma, and Totentanz (1999), the latter of which, Michael Mayer once argued, "invented dubstep." There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt's Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distill Dettinger's singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.

Repressed! Dettinger's Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as Pop Ambient, while also existing, somehow, to the leftfield of any clearly recognizable genre. Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Oasis, released in 2000, refined the palette that Dettinger had explored on its predecessor, Intershop. A blurred crusade of ambient texturology, its unassuming patterns, and subtle, incremental dynamics, admit to real beauty, and a kind of abstract sensuality that you don't often experience with music that is, perhaps, similarly tooled, but not as poetic. Through seemingly simple gestures -- whether lushly expansive repetitions, hyper-acute tremolo tones, or ear-tickling rhythms -- it builds complex emotional resonance. It's no surprise to discover Oasis is held in high esteem by artists like Panda Bear of Animal Collective, who once said of Dettinger, "For us, he was the dude." There is, of course, other music to know Dettinger by, too -- his three excellent EPs for Kompakt, Blond (1998), Puma, and Totentanz (1999), the latter of which, Michael Mayer once argued, "invented dubstep." There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt's Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distil Dettinger's singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.

"Third Ear Band hail from Canterbury and started out as a psychedelic band called The Giant Sun Trolley, playing long, impromptu sets in South London clubs. After one gig, almost all of the band's equipment was stolen. So, by sheer coincidence and obvious necessity, they became an acoustic band and adopted the name Third Ear Band. From 1969 to 1972, the band released three albums on the progressive Harvest label, of which Music From Macbeth (1972) was the best known and most commercially successful. On April 24, 1970, the Third Ear Band performed at the second Essen Pop and Blues Festival. For some reason, they did not appear on the official poster for the event or in the festival program. The line-up was packed with acts like The Flock, Ekseption, Rhinocerous, The Groundhogs, It's A Beautiful Day, and the still unknown Black Sabbath, who had just released their first album. The Essen concert in the quartet line-up with Sweeney on drums, Minns on oboe, Coff on violin and Smith on cello took place just a few weeks before the release of the second album, which fans know as Elements, although it is simply called Third Ear Band and was released in June 1970. Of the four elements, the band played 'Earth' and 'Water' that night, but in a shorter version compared to the album versions. The professional sound recordings of the Third Ear Band's festival performance have only recently resurfaced and have now been restored, edited and mastered."

"Scratch Came Scratch Saw Scratch Conquered is the 2008 album by Lee 'Scratch' Perry (born Rainford Hugh Perry), who was a Jamaican record producer, composer and singer noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and the use of studio effects to create new instrumental or vocal versions of existing tracks. From his Black Ark Studio in Kingston Jamaica, he worked with and produced a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, Susan Cadogan, The Congos, and Max Romeo. Later, he moved to Switzerland and reinvented himself as a performance and visual artist but continued to produce innovative music -- collaborations include The Beastie Boys, The Clash, Keith Richards, George Clinton, and Adrian Sherwood. Scratch Came Scratch Saw Scratch Conquered is the second in a series of three albums he made with English musician and producer Steve Marshall a.k.a. John Saxon. It features guest appearances by none other than George Clinton and Keith Richards. The 2LP Scratch Came Scratch Saw Scratch Conquered is available as a limited edition of 1500 individually numbered copies on translucent green colored vinyl, housed in a gatefold sleeve."

"Reissue of a superb Elton Dean recording with a band full of Brit jazz luminaries -- saxophonists Paul Dunmall and Trevor Watts, bassist Paul Rogers, and drummer Tony Levin -- from the Covent Garden Jazz Saxophone Festival 1989, which was originally released by Ogun in 1990. The artwork has been reworked and new sleeve notes written for this release. The CD also includes a bonus download recording of the band playing at the Le Mans Festival in 1991, previously unreleased."

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full-length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it. "Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that people owe nothing to. "Breaking Points" harkens the times that listeners may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward. Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date.

2024 repress. "Little introduction should be required here. Let it suffice to say that Bee Thousand is arguably the best, or at least among the top Guided By Voices albums in a copious discography. Accordingly, the album has stacked up accolades over the years, including being voted #1 on Amazon.com's '100 Greatest Indie Rock Albums of All Time.' It's a staple of such lists, and has also placed highly on those curated by Spin, Pitchfork, Mojo and Rolling Stone. This new LP pressing, the first since the late '90s, honors the album's 20th anniversary. It features new (and definitely improved) mastering from John Golden, a substantial gatefold jacket with a previously unpublished Robert Pollard collage, and high-quality virgin vinyl from RTI. We've also included a free download card."

Cotton and silk complement each other like cookies and milk, you and your lover, or Tiger & Woods. The new leading track of "Dancing Without Headphones" by the always reliable Italian duo. Now featuring the tried and tested heavenly vocal chords of 'Em and meaningful lyrics. Hardcore boogie peak time vibes! The rest of the record suits these needs and follows Larry Tiger's and David Woods' highest production standards. Play -- and powerful, formidable and floor-shaking, you will be hard-pressed to find the same quality somewhere else. With or without headphones: essential listening!

2024 restock. "The album was produced by the band themselves, and issued in two different stereo mixes. The more widely distributed mix is the one done by MGM/Verve staff engineer Val Valentin. The other mix was done by Lou Reed, boosting his vocals and guitar solos, while reducing the level of other instruments. This version was dubbed the 'Closet Mix' by Sterling Morrison, because it sounded to him as if it had been recorded in a closet. The most dramatic difference is that the two versions use entirely different performances of 'Some Kinda Love', both taken from the same recording sessions."

2024 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.

Old Saw, the enigmatic New England collective led by Henry Birdsey (Tongue Depressor), return with their third long-playing record, Dissection Maps.

"It is not enough to trace the fields. The choreocartographic demands the casting of stone, a grassfire, a carnival; something with which to rupture the horizontality of existence and imagine the vertical. Earth is the eighth morning, folded against the week's work. The field is a line drawing of oblivion. The house is a forest in the shape of a womb. America is a quarry in the image of god." --Aidan Patrick Welby, 2024

Repressed. WRWTFWW Records is flying high as it announces the reissue of the 1997 ambient masterpiece Quiet Logic by electronic music visionaries Mixmaster Morris (The Irresistible Force), Jonah Sharp (Spacetime Continuum), and Haruomi Hosono (Yellow Magic Orchestra). Quiet Logic invites listeners to embark on a captivating sonic odyssey, blending intricate rhythms and celestial environments that push the boundaries of electronic music. Co-crafted at Haruomi Hosono's Tokyo studio in 1997, this album represents a time of rapid transformation in the genre, with these three artists at the forefront of redefining soundscapes. With its unique blend of influences from Hosono's immense contribution to electronic, pop, and experimental music to Morris' worldwide chill out DJ performances and Sharp's pioneering label, Reflective, Quiet Logic remains a timeless piece of ethereal electronica. It was originally only released in Japan in CD format on the Harry Hosono-curated Daisyworld Discs label. Remastered for 2024, this reissue is a must-have for fans of Haruomi Hosono/YMO, The Irresistible Force, Spacetime Continuum, Dreamfish, Tetsu Inoue, FFWD, H.I.A., Fax +49-69/450464, and mind-expanding musics. Immerse yourself now.

2024 repress. Gatefold double LP version featuring 10 tracks from the double CD. Z Records returns with a long overdue gospel album compiled by David Hill. The album leads with a track from The Clark Sisters, who are without doubt one of the most successful and prolific family gospel groups of the last 40 years. Originally released on S.O.G. Records (Sounds of Gospel), Overdose of the Holy Ghost was recorded in 1981 and would go on to become the group's biggest crossover hit after being licensed to Elektra Records and released internationally in 1983. The "Queen of Gospel Music," Shirley Caesar turns in a smoldering, socially-conscious, Philadelphia International inspired groover with "Message to the People." Gospel artists are well-known for taking popular secular songs -- or riffs from them -- and adapting the lyrics to take the song in a spiritual direction. Kristle uses The Emotions' "Best of My Love" as its foundation, and builds from a slow intro, gradually turning up the heat until it's the dancefloor burner that is "I'll Go." Further highlighting gospel music's influence on current music production, we have Norman Weeks & The Revelations' "Hold On" which first appeared on an obscure, and rare, 12" on Rent productions. With further disco and funk-induced soul provided by BeBe & CeCe Winans, Gloster Williams & Master Control, D.J. Rogers, James Moore, The Dynamic Clark Sisters with Mattie Moss Clark, Sharon Johnson and many more gospel luminaries, plus exclusive edits from David Hill and Z Records' Joey Negro, Overdose of the Holy Ghost is a shining example of church music that has been influenced by secular soul that was built for the dancefloor. David Hill began his music career in 1994 as a member of the Ballistic Brothers, together with Ashley Beedle and Rocky & Diesel of X-Press 2. In 1994 he co-founded the Nuphonic record label that also produced the Sony award-winning London Xpress radio show for Xfm. He continues to work as a music consultant to several record companies and on personal projects such as "Rootikal," the monthly roots reggae night, and has a number of reissue and compilation projects currently in production. He is also currently overseeing the production of a book and an accompanying touring exhibition that will showcase Bill Bernstein's photographs of New York nightlife in the late '70s.

LP version. The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagmites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synesthesia. Co-produced with Holidays Records.

A floating drift toward a mysterious reality, between nature and cosmos, poised between sleep and wakefulness, temporal co-presences and impossible spatial ubiquities. In this phantasmagorical saga, inspired by TV science-fiction as well as '60s and '70s horror movies, Nicola Giunta/Lay Llamas creates a miraculous balance between original inserts and retrievals of freely chosen fragments from old audio documentaries on vinyl, perfecting the art of sound collage in an absolutely psychedelic way. Nonlinear dream textures become labyrinths of sudden openings, empty rooms, interstellar platforms, narrating voices from other worlds or ghostly churches from beyond the grave. A piercing electronica of cosmic synths, dense with the mists and dusts of distant times, past and future at the same time, where lysergic percussions merge with echoes of flutes vibrating in endless tropical forests and natures. Until the final awakening, in the reality of the first light of dawn.

The work of Bolivian composer Cergio Prudencio (La Paz, 1955) is indissolubly linked to the project of the Orquesta Experimental de Instrumentos Nativos (Experimental Orchestra of Native Instruments, OEIN), which he co-founded in 1980 and of which he is the emeritus director. It constitutes one of the most challenging adventures in the music that has emerged in Bolivia and Latin America. The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. This incorporation is not only based on using native instruments but also involves integrating their socio-historical context and philosophies from the Andean indigenous world. The release of Cergio Prudencio's Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos allows listeners to delve into this wealth of thought and sounds, into the work of a fundamental and radical artist, for whom decolonization is also an opening to experimentation and the new. These compositions project a historical memory into the present, constructing new horizons. This is evident in the works included in this album, such as "La ciudad" (1980), which marks the beginning of an understanding of highland urban soundscapes, a geography that cannot be understood without the groups of sikus and led to the formation of the OEIN. On the other hand, there is a piece like "Cantos insurgentes" (2012), composed from materials used for the soundtrack of the film Insurgentes by Jorge Sanjinés, a Bolivian director and founder of Grupo Ukamau, with whom Prudencio has had a long collaboration as the creator of music for his films. Prudencio's work has followed multiple musical paths, including music for conventional Western instruments, music for film and video, electroacoustic music, chamber opera and more. The album is completed with compositions such as "Tríptica" (1985), "Otra ciudad" (2005), and "Cantos funerales" (2015), offering an artistic and vital journey in Prudencio's trajectory as well as that of the OEIN. Limited edition of 300 copies. Includes a booklet with notes written by Cergio Prudencio. The recording, editing, and mastering were done by Gustavo Navarrete. Art and design by Gonzalo de Montreuil.

Certainly one of the most obscure and perhaps one of the most fascinating work of the English jazz revolution. Master of ceremonies is cellist Paul Buckmaster, known for his work with the Third Ear Band and for his (later) collaborations with Miles Davis, David Bowie, and Elton John. Chitinous is his only album as leader, and it was recorded between 31 March and 13 April 1970, by an orchestra of no less than 51 players, with violins, violas and cellos. In this enormous line-up is the cream of English musicians, starting with trumpeter Ian Carr and ending with drummer John Marshall. The leader is on cello, his main instrument, but also on keyboards, which he shares with the excellent Pete Robinson. The music is organized in suites, with very broad suggestions that draw from classical and contemporary music and then move back into jazz territory.

New Jersey-born Ali Berger is a drum machine specialist and low-key US electronic music standby, now based in Pittsburgh after spending the 2010s in Boston and Detroit. His catalog of original music runs deep, with over 60 releases on his Trackland label and EPs on imprints like Spectral Sound and Sequencias, all resulting from a lovingly-cultivated studio approach which respects improvisation as a spiritual practice. Here with this sublime release on Scissors and Thread, Ali shares a multitude of sounds and atmospheres across the five tracks. As Ali himself puts it "This record collects tracks from the last three years, plus "0221 (Serious Mix)" which is from 2018. There's a full cross-section of production techniques represented here, from one-take jams to multi-tracked compositions, but through it all there's a deep melancholy which (I hope) is tempered by enough groove to be uplifting. Maintaining emotional balance takes constant, caring attention; music is a part of that process for me and these tracks reflect that." This balancing of melancholic atmospheres and groove is evident throughout. "Rhythm & Simplicity" is a low-key thoughtful banger for the more discerning dancefloors, while "A New World To Forget" also exhibits a deep love of cultured house music and analog drum machines. "Tape Jam Pt 2" is the perfect mix of improvisation and pure groove, put down in a rough and gritty fashion. 0221 (Serious Mix)" merges a breakbeat with pads and synths that give off a Balearic sunrise vibe, while "Motion Anthem" wraps up the EP with a tougher groove coupled with wistful melodies and oceans of feeling.

"To understand the significance of the word 'featuring' on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution's continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. It wasn't until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they'd recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. Now on limited green vinyl."

"On the cover: Tomeka Reid: The cellist, composer, improvisor and band leader goes from strength to strength across several creative projects. By Stewart Smith. Plus: KMRU: The Kenyan sound artist finds a new mode of listening on his collaboration with Kevin Martin. By Ilia Rogatchevski; Bodies In Motion: Dance and music collide in the creative worlds of Malik Nashad Sharpe, NWAKKE and Bianca Scout. By Emily Bick and Misha Farrant; Gordan: Folk songs of the Balkans plug into noise and industrial currents in this cross-continental trio. By Abi Bliss; Tongue In The Mind: DJ and conceptualist Juliana Huxtable joins forces with Jealous Orgasm and Via App to rock the club. By Claire Biddles; Invisible Jukebox: Karl Bartos: Will the ex-Kraftwerk man have had more fun computing The Wire's mystery record collection? Tested by Leah Kardos. Also inside this issue: Global Ear Belgrade; Unlimited Editions Notice Recordings; Unofficial Channels A Moon Age Daydream; The Inner Sleeve by Alison Cotton; Nick Dunston; Nika Son; Henry Birdsey; Sisso & Maiko; Epiphanies by Jim Staley; pages of reviews and much more."

Black Truffle presents Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes. Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins "Resonant Tree I" alone, slowly sounding out a series of arpeggiated chords that emphasize the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesizer, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars. On "Resonant Tree II," a similar structure and ensemble (without the flutes) are used with quite different results. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as "space and a sound that one could grasp in one's hand." As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa's classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

Black Truffle presents the first vinyl reissue of David Rosenboom's unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period. Future Travel emerged from the confluence of two important streams in Rosenboom's work at this time. First, his exploration of "propositional music," defined as "complete cognitive models of music" that start from the radical question, "What is music?" In this case, the music belongs to the universe of Rosenboom's In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom's long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla's hybrid analogue-digital keyboard synthesizer, the Touché, the instrument heard most prominently here. In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming "intelligent instruments" that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply "playing the system," recording live at Francis Ford Coppola's Zoetrope studio in San Francisco. Future Travel is bracingly sui generis, existing in a unique universe where radical formalization spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies. At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between "The Double" (an embodiment of humanity's timeless desire to replicate itself in spiritual and technological copies) and two "Spirit Characters.: Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert's delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. The record includes a 12-page booklet with notes about the album.

Field Records takes a look into the vast catalogue of Celer, the prolific ambient project from Tokyo-based artist Will Long. Perfectly Beneath Us was originally released in 2012 as a CD-R on Still*Sleep, and now it's being presented as a vinyl release remastered by Stephan Mathieu. Celer began in California as a collaborative project in 2005 between Long and Danielle Baquet, resulting in reams of self-released work up until Baquet passed away in 2009. Long opted to keep their project going, and Celer has continued to grow as an expansive exploration of purest ambient. Meanwhile Long's solo work under his own name has been equally accomplished, with scores of releases on DJ Sprinkles' Comatonse Recordings and respected Norwegian leftfield label Smalltown Supersound. With such a sizable library of sounds to explore, the reissue of Perfectly Beneath Us serves as an ideal entry point into the Celer catalogue, presenting four pieces of sustained, glacial movement wreaking profound emotional impact from the subtlest methods. Long exercises the utmost patience from the shorter "Distressing Sensations" and "Ultra-terrestrial Yearning" through to the ten-minutes-plus stretches of "Slightly Apart, Almost Touching" and "Absolute Receptivity Of All The Senses." It's truly immersive, captivating drone music that rewards the attentive listener as much as it soothes the casual drifter. Originally limited to just 100 copies in 2012, it's now beautifully framed on a carefully considered reissue which adds to Field's own repertoire of evocative, subliminal electronics.

After having finished recordings for Desde Infiernos De Flores, Nový Svět immediately began putting down new songs for a follow-up album, which they planned to finalize benefitting from time won by releasing Desde Infiernos De Flores in slices over a period of some months. J. Weber's and Frl. Tost's return to an earlier life in their hometown Vienna brought a new deck of cards into play and those by then already mixed new pieces, rumored to circle around all things dream and sleep and (waking up in) nightmares, suddenly were regarded as "too Spanish," hence "inappropriate" for release. Instead, in late 2007 surprisingly a synth-only album named Todas Las Últimas Cosas ("All the last things"), accompanied by a collection of early demos entitled Todas Las Primeras Cosas, was announced by the acclaimed German label Treue Um Treue/Reue Um Reue. During the following seven years it took Nový Svět to present their next album Mono, tons of unreleased music was made available on various formats. But none of the tracks abandoned in 2007 showed up. Years after their making those recordings were saved from a disintegrating master and compiled for the album DeGenerazione, which when it showed up online caught the attention of Quindi Records, now making the album available for the first time on the intended LP format, presenting a missing link in the Austrians' discography and the final part of a musical triptych, the so-called Spanish Trilogy, begun with Fin.Finito.Infinito back in Vienna, where it now would also find an end. Although noisy and rhythmic in parts, DeGenerazione closes the passage of Nový Svět's exile on an overall introspective note. It stands as a document of a band at the point of implosion, another dark hole -- in a story full of them - illuminated and evidence that J. Weber's Spanish did not improve a bit. Not even living there. A triumph of the will.

Introducing Azerbaijani Gitara Vol. 2 by Rəhman Məmmədli, the eagerly awaited sequel to Bongo Joe's acclaimed debut featuring Rüstəm Quliyev. Born from the vibrant streets of Baku, Azerbaijani gitara culture has evolved into a mesmerizing fusion of indigenous traditions and global influences. From the oil boom era to Soviet rule, musicians have embraced the electric guitar as a symbol of cultural expression. Rəhman Məmmədli, a legend in his own right, revolutionized the sound with his innovative techniques and impassioned performances. Drawing inspiration from mugham music, Məmmədli's compositions resonate with soul-stirring melodies and electrifying solos. Azerbaijani Gitara Vol. 2 promises to captivate listeners with its depth, diversity, and unbridled passion, inviting you on a journey through the heart and soul of Azerbaijan's musical heritage.

LP version. Experience the sonic journey that is The Black Dog's latest album, Other, Like Me, as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, Other, Like Me, draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, Other, Like Me offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

LP version. Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the '60s and '70s music I could find from there." In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020 to 2023, Wax Machine birthed three cult-favorite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana. Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife. Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern-day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."

LP version. Dez Dare ventures further into the void than ever before on his fourth album and the first to be released via God Unknown Records, A Billion Goats. A Billion Sparks. Fin. On past records Dare has fought beasts and beats alike, waging a fuzz war and tackling the biggest topics the world has to face; doom scrolling, capitalist demagogues, a passionate dislike of the beach in summer. On this record he leaves the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence. Piling up the synths, noise boxes and guitar pedals, Dez set about building a soundscape of noise and ideas around the nature of reality, time, and how people interact with them. From the music you would play in your last moments, to the reverse Darwinism of modern society, to arguing with time itself, and very boring people talking at you, all is covered here for the aspiring existentialist. The self-produced Australian has spent over three decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career. Across the drone of noise and washed-out guitars of the final track, "A Billion Voices Screaming, Hello Void!" the chant repeats "We all return to where we begun," which encapsulates the message that Dare delivers.