LP version. USA exclusive cream color vinyl. The Daydream Library Series record label has confirmed Thurston Moore's new full-length album Flow Critical Lucidity, his ninth solo recording. Some of the songs were written and arranged in Europe and The United Kingdom and include lyrical references to their environments and inspired by nature, lucid dreaming, modern dance and Isadora Duncan. The album was arranged at La Becque in Switzerland and recorded at Total Refreshment Studios in London in 2022, and mixed at Hermitage Studios in London with Margo Broom in 2023. Flow Critical Lucidity comes from a lyric in the single "Sans Limites" and the album sleeve cover art features Jamie Nares' "Samurai Walkman" -- a helmet befitted with tuning forks. Jamie Nares (born in Great Britain) is a life-long friend of Thurston Moore from his New York No Wave days and the two have often collaborated in art and music. In 2023, Thurston released two singles: the energetic Isadora Duncan inspired "Isadora" with a music video starring Sky Ferreira. "Hypnogram," which press called "one of the most intensely cerebral cuts Moore has ever released, [in which] he blends the more melodic moments of his former band with the layered, heady flourishes of his bassist Deb Googe's main band, My Bloody Valentine. Emphatically conveying the feeling of dreams, the new material has fans excited for what the American has in store with his next album." In April of 2024, Thurston shared the stirring Earth Day anthem "Rewilding." The musician delivered chilling lines as he ruminated on the removal of the human hand from nature. Moore sang about renewal, and a period for friends of the Earth to sleep and realize a natural way by "coralmorphologically dreaming." The musician said the U.K.'s rewilding movement aspires to reduce human influence on ecosystems. The players on Flow Critical Lucidity: Thurston Moore (vocals, guitar); Deb Googe (bass); Jon Leidecker (electronics); James Sedwards (piano, organ, guitar, glockenspiel); Jem Doulton (percussion); Laetitia Sadier (backing vocals on "Sans Limites").

Double LP version. Color vinyl. "The complete uncollected Noise New York studio recordings of Galaxie 500. A twenty-four-track chronological journey through rarities and outtakes including never-before-heard songs, from the start of their incendiary career to their final studio session. Uncollected Noise New York '88-'90 marks Galaxie 500's first release of new archival material in nearly thirty years and their most comprehensive collection of unreleased and rare material ever. Produced and engineered by Kramer at Noise New York."

Translucent orange vinyl version. "Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices' Tonics & Twisted Chasers has always existed as an anomaly in Robert Pollard's vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the 'classic line-up' trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics & Twisted Chasers has taken on a mythic status. It's arguably Pollard's strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It's like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline ('Knock 'Em Flyin'' and 'Key Losers'), but as with anything in Pollard's orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that 'less is more' is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard's collage-styled visual art. Arena anthems in miniature ('158 Years Of Beautiful Sex') bash up against eerie piano laments ('Universal Nurse Finger') without any time to breathe, acoustic lullabies that sound like a Midwestern summer's twilight ('Look It's Baseball') segue into monochromatic post-rock ('Maxwell Jump'). The euphoric joy and obtuse melancholy in Pollard's voice is so palpable on the album's standout, 'Dayton, Ohio 19 Something & 5' (which has since become a live staple), that it's impossible to find a more autobiographical yarn in his catalog. The album's closest analog is 1993's Vampire On Titus, as it contains that album's prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics & Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret."

LP version. Wewantsounds presents the release of BAG's first album since 1973, For Peace and Liberty, recorded in Paris in Dec. 1972 when the musicians had recently arrived from St Louis. BAG only released one album during their existence. This long-lost performance, recorded at Maison de l'ORTF in optimal conditions just a few months previously, was thought lost until recently unearthed from the vaults of INA (Institut National de l'Audiovisuel). Here the group unleashes an incandescent 35-minute set mixing free improvisation and spiritual jazz with funk grooves. Released in partnership with the band and INA, the album features sound remastered from the original tapes, plus a 20-page booklet featuring words by Oliver Lake, Joseph Bowie, and Baikida Carroll plus Bobo Shaw's and Floyd LeFlore's daughters as well as extensive liner notes by BAG scholar Benjamin Looker and previously unseen photos by cult French photographer Philippe Gras. The Black Artist Group (BAG) was founded in St Louis, USA, in 1968 to promote local artists from the burgeoning Black Arts movement, including musicians, playwrights, dancers and poets. The BAG quintet heard here pulled together key musicians from the larger organization, including Oliver Lake on sax, Baikida Carroll, and Floyd LeFlore on trumpet, Joseph Bowie on trombone and Charles 'Bobo' Shaw on drums. The musicians emerged from the organization to become a vital force within the late '60s free jazz revolution. Modelled on the AACM and the Art Ensemble of Chicago with whom they had close ties, this subset of BAG musicians followed in the footsteps of their Chicago colleagues, relocating to Paris in the early '70s on the recommendation of Lester Bowie, Joseph's older brother. Arriving in the French capital in Oct. 1972 the group made an instant impact on its underground music scene. In December of that year, Andre Francis, ORTF's jazz supremo invited them onto his "Jazz sur Scene" radio show, which showcased four groups live over two hours. Arriving onto the stage of the prestigious Studio 104 auditorium of the Maison de la Radio, the group delivered a jaw-dropping 35-minute set that left the audience mesmerized. Only thanks to a chance listening of another concert -- where the BAG live set was buried within -- was the recording unearthed making this historic release possible fifty years on. The release counts as an invaluable document, shedding fresh light on one of the most fascinating groups in modern jazz history.

A Colourful Storm presents Effroyables Jardins, a soundtrack composed by Zbigniew Preisner for Jean Becker's eponymous film. Given limited distribution during its initial release, the soundtrack's luster has only strengthened and it is now considered a lost gem of contemporary chamber composition. An understated triumph of the oeuvre of Preisner, who closely collaborated with Polish director Krzysztof Kieślowski and was responsible for the film scores of Dekalog, The Double Life of Véronique, and the Three Colours trilogy. Effroyable Jardins marks Preisner's post-Kieslowski era of solo composition, shifting from devotional harmonies into a beautifully restrained style of neo-Romanticism. It is his second soundtrack for Jean Becker, following Francis Ford Coppola's commission for The Secret Garden, the César-winning Élisa, and Edoardo Ponte's Between Strangers. Its leitmotif -- a delicate, sparse melody for piano and organ, appears only during the opening sequence and, like Preisner's most powerful soundtracks, takes on a life of its own. Compositions for violin, harp and percussion are interspersed with haunting variations on a theme and a masterful use of silence. His music haunts the grieving Julie in Blue, soundtracks Valentine's epiphany in Red, and evokes the sublimity of moments in everyday life.

Black Truffle presents A Song for two Mothers/Occam IX, the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College. Sonami is perhaps most closely associated with one of her inventions, the Lady's Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady's Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye. After decades of aversion to documenting her work on recordings, A Song for two Mothers/Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. "A Song for two Mothers" (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye, the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction." After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops. "Occam IX" is a radically different proposition. At the outset of Sonami's exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it -- and her: like all of Radigue's work since she ceased working with analogue electronics at the beginning of the 21st century, "Occam IX" is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise. Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, A Song for Two Mothers/Occam IX is an essential document celebrating an under-recognized pioneer of electronic music and performance.

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT 096LP), Making Conversation documents a different facet of cole's work, presenting three rigorously conceptualized commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions. The side-long title piece is a stereo version of an eight-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia/San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she "observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place." Drawing on field recordings as memory aids (but including none in the finished piece), cole's piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cage-ian drive to "imitate nature in her manner of operation." "Valid ForeverrRrrRRrrr? (pt. 1)" began as cole's contribution to an Issue Project Room commission to realize a score from Alison Knowles and Annea Lockwood's Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole's piece begins from Beth Anderson's "Valid for Life," a complex arrangement of the letter R in various typefaces. Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole's work, extending her signature concerns in new sonic and conceptual directions.

Klara Lewis' latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg. The opening track "Thankful" resides as a direct tribute to the track recorded under his PITA moniker, the timeless "Track 3." Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink to this original ground zero monster. Klara's take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funeral tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short. The track "Ukulele 1" is another tender tribute within an album made by a human, utilizing contemporary technology with absolute sincerity, surprise twists and sublime emotion. The sound of the instrument in the title gently loops and deconstructs in a recording replete with the sound of the room it is recorded in. A human element appears at exactly the point an increasingly inhuman approach is becoming the forced raison d'etre today. One of Peter's many repeated phrases was the word "top." One he used at any occasion to agree with a vast array of subjects. With this musical tribute to Rehberg's favorite phrase, Lewis conjures a short blast of mutant acid techno which shrivels and thrives as much as it lives and dies. Following "Top" is the reflective and deeply moving "4U." No words. Just sounds. As it was. And lives on. "Ukulele 2" sits at the end, as an epilogue of sorts, fashioning itself as an ouroboros with the return of the initial methodology of the previous track "Thankful." This time around the sublime melody of the previous "Ukulele 1" plays out in returnal as it is gently swarmed by all manner of digital play. Thankful is an emotionally considered and precise homage to the methodology and spirit of Peter Rehberg. A new work which inhabits the spirit for what this was written for and the general guise devised with the launch of the original MEGO label many moons ago.

Mark Templeton is a Canadian media artist and the founder of Graphical, an audiovisual label dedicated to publishing his own musical and image-based experiments. Mark's audio compositions are constructed from reel-to-reel tape loops and sampled cassettes that are contrasted with contemporary sound techniques. In his published photobooks, he incorporates his own 35mm pictures and found images, focusing on intangible fantasies and realities. During his audiovisual performances, he utilizes digital instruments while projecting his own photographs, VHS footage, Super 8 film, and other sampled video. Mark Templeton's reinterpretation of outdated media as musical instruments makes him a compelling artist for the Faitiche label roster. For his debut on Faitiche, he browsed his old hard drives and invited Andrew Pekler to listen through and co-produce a selection of Mark's unreleased works. The compositions act as a series of snapshots: a look back at a decade of archived sounds, re-envisioned and re-imaged for Faitiche. The album contains nine tracks that follow an AB song structure. Each piece begins with verse A, transitions into verse B, and then ends. This simple formula creates a dichotomy that is also present in Mark's diptych photographs, featured in the artwork. Throughout the album, both juxtaposition and inherent connections are simultaneously at play. One way or another, Two Verses provides a beginner's guide to Mark Templeton's highly idiosyncratic catalog.

LP version. "The full-length debut by Detroit duo Giovanna Lenski and Christian Molik aka Clinic Stars both refines and redefines their pitch-perfect fusion of downer-pop balladry and featherweight shoegaze: Only Hinting. Recorded and produced at the band's home studio, the album was crafted across 2022 and 2023, patiently layering FX and spatial depths to give each song a swirling, subconscious undertow. From the strummed whirlpool of 'I Am The Dancer' to the gated reverb of 'Remain' to the greyscale guitar reverie of 'Isn't It,' the record aches as much as moves, daydreaming of escape and transcendence. The group cite a desire to leave their 'industrial environment' as muse, although the songs also revel in the romance of longing itself, in the beauty of hearts grown distant. The duo's previous EPs, 10,000 Dreams (2021) and April's Past (2022), captured a similarly swooning slowcore palette, but Only Hinting hits different. Here haze is as much instrument as texture, gauze and melody married as one, traced in elegant arcs across cities streaked in shadow."

"Steve Roach's new purely atmospheric statement hovers within a warm and embracing expression of etheric ambience. One Day of Forever pulls back the layers of memory, time and perception to express life's amber-lit emotions, continuing an intimate, mystical-revealing vision within Roach's work. In this one day of forever the meditation on longing, nostalgia, connection, loss, grace and gratitude transmutes from fleeting moments, forming into gentle epiphanies. This album furthers the refined intention within the elemental approach first expressed on his previous 2CD, Reflections in Repose. The pieces began with a minimal collection of instruments leading to emotive sonic choices which paint the impressionistic realm contained in each of the album's five long-form pieces. The core of the release is built around the beguiling sound of the Mellotron (originally an English electro-mechanical musical instrument developed in 1963, but here performed on a new Swedish digital version) and emotional warmth of the Oberheim OB-X8. Steve reflects, 'This music reaches towards the moments between moments, leading to the eternal now. Each day provides the opportunity to connect to a sense and knowing of forever in our own individual ways; it lives within my ears, eyes, heart and soul, nourished by the ineffable and my desire is to embrace each day into forever.' CD in four-panel digipak."

Unequal cycles in search of synchronous experiences: On his new album Pounding, Frank Bretschneider tells of distance, convergence and congruence in a continuous, ever-changing flow of events. What is often regarded as an unquestionable dogma in club music -- the groove -- appears precarious, unstable, and in motion. Pulse and accent are volatile encounters and have to be found again and again for short, delightful moments. Music becomes a constant process of negotiation. In search of new sound spaces, Bretschneider has recently worked a lot with modular synthesizers, both solo, and in collaborations, including the project Beispiel together with Jan Jelinek. Pounding was created using similar means -- conceived in 2020 for the Pochen Biennale in Chemnitz, subsequently developed further and recorded in March and April 2023 on a sample-based modular system. And in fact, Bretschneider is once again exemplarily scanning his own sound material, such as dub effects that listen to them-selves disintegrate; but also the human voice, or more precisely: the stuttering of fragments of speech, far in the distance but omnipresent, like a mysterious narration. Aesthetically, the eleven pieces form part of a series of works with a focus on percussion. Bretschneider has already perfected this approach with albums like Rhythm (2007) and has been shifting the perspective ever since, for ever-new results. Shifting is the basic principle of Pounding. Bretschneider combines elements that are in different aggregate states, changing their relationship to each other and thus ensuring the complex overall movement. He lets one to two-bar loops run against each other and through small manipulations, develops a network of rhythms that creates a hypnotic state in the counterplay of repetition and mutation, between clearly recognizable meter and disorientation. There are comparable approaches in aleatoric music. Bretschneider combines them with sounds and patterns that are reminiscent of step sequencer logic and at the same time go far beyond it. The result is relational techno. Never obvious, always restless and exciting.

Rain and experimental music have had an interesting connection for decades. Perhaps as a reminder of the musical quality of rain, but knowing full well that it can only be enjoyed in theory, Razen call their new album Rain Without Rain. In the music of the Brussels collective led by the two multi-instrumentalists Brecht Ameel and Kim Delcour, it certainly pours down on the roofs. In fact, the album opens with the sound of pouring rain before we hear the sequence of an oscillator played through a guitar amp on the first track "Lazy, Lazy Eye." The album is the captivating result of a one-night mobile studio field recording in an abandoned pedestrian tunnel in the center of Düsseldorf, and it is finding beauty with brutal(ist) means: recorder, oscillator, guitar amp and reverberation, two musicians and four microphones, early electronics versus early music. "Suicide meet Hildegard von Bingen," as Stefan Schneider, who recorded the session, admits. "Ghostly occurrences," he adds. Brecht Ameel states: "We do put a lot of weight and care on acoustics. On some of our recordings, the room acts as another band member, or as the main 'mixing board'. Most of the albums we have recorded so far are not mixed in the traditional sense: they are simply 'captured,' and we let the room decide what is left on the tapes. The studio recordings, then, give us the possibility of bringing other elements to the fore; precision of interplay, or tiny variations in breathing." The group Razen has existed since 2010 and has since released numerous records on labels such as KRAAK, Marionette and Hands In The Dark. Rain Without Rain is their debut on the Düsseldorf label TAL. If there has been an increased international interest in experimental music from Belgium in recent years, this is not least due to musician collectives such as Razen. In terms of its electro-folkloristic intensity and instrumentation, Razen's music is quite unique worldwide.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting com-plex, spatial musical moments in their own distinct manner. The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other's presence. With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore -- a sonic island where one can develop sensuality through patient movement. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together. The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work. In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot, Mapstation). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music -- Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, listeners can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre. This capacity to work within liminal zones makes perfect sense when thinking about both Grosse's and Schneider's prior work, whether the energetic diffusions and spatial explorations of Grosse's artistic practice, or the slippery texturology of Schneider's recent work with electronics. Khorkhordina, Patrone and Roisz all find their own ways into this dynamic, too, and Permanent Parts feels like an equal exchange of presence and contribution; there are no hierarchies here. This might explain the music's curious sense of development, where several elements are allowed to exist alongside each other, not in direct contact but in a mode that's somewhere between carefree layering and unconscious juxtaposition. The musicians are listening, but not just with their ears -- their skin, their bodies are hearing, too. There's a curious phrase on the back cover of the album, before the artists are listed: "Wir sind eine Batterie/We are a battery." This sums up the spirit of Permanent Parts. Schneider recalls that Grosse said this phrase to the musicians at the start of the performance. Grosse explains further, "The figure of the battery referred to our placement in the space building out a small circle facing one another from where the sound could spill into the impressive volume of the gallery."

Double LP version. The trio of Japanese saxophone legend Akira Sakata with the Scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music -- drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria. Japanese saxophonist and improviser Akira Sakata turned 79 in February of 2024, but this singular musician shows no little sign of age. Over the last 15 years or so, as he neared the typical retirement age, he formed a couple of searing working bands that finally earned him a devoted international following despite his crucial role in establishing his homeland as key center for free jazz as a member of the Yosuke Yamashita Trio in the 1970s. Arashi, with Norwegian drummer Paal Nilssen-Love and Swedish bassist Johan Berthling, has become his primary touring group, a fiery unit operating with a collective improvisational drive that lifts his white-hot alto saxophone and clarinet playing to new heights and provides the ideal platform for his over-the-top vocal exhortations. While the trio was on a short Japanese tour in 2019, Sakata arranged for a handful of special collaborations, bringing his two younger Scandinavian colleagues face-to-face with some of Japan's most important artistic figures. They performed with Min Tanaka, the singular experimental dancer, who famously improvised with guitarist Derek Bailey and pianist Cecil Taylor, as well as the legendary new music pianist Yuji Takahashi. The concert documented on this phenomenal recording features the third veteran of Japanese experimental music Arashi worked with on that tour, drummer Takeo Moriyama, the third member of the Yamashita trio. As the present recording makes patently clear, Moriyama fit right in. The percussionists melded beautifully, driving the music but also clearing space for one another and forging astonishing feats of interactivity. Rather than canceling one another out or laying it on too thick, they quickly find a method to co-exists, tapping history without the slightest hint of nostalgia. The trio nonchalantly becomes a quartet, absorbing more history, more ideas, and more energy, spitting it back out with greater concentration and focus than ever.

Fully licensed and limited to 500 copies. An acid-folk masterpiece finally revealed. When two worlds collide, here's where the legacy of Tim Hollier begins. His first album was released on United Artists in 1968, and this long overdue reissue is a definitive statement of the master genius. Guest on the opening night of a Beckenham folk club run by his friend David Bowie, Hollier recorded Message To A Harlequin with the assistance of Donovan arranger John Cameron. Hollier was also a regular on London's folk club circuit for several years alongside the likes of Paul Simon, Al Stewart, and Nick Drake. Here's your chance to finally grab his visionary songwriting.

"Six Organs of Admittance extend their annum of unlikely delights -- begun in March '24 with Time is Glass, the first new 6OOA album in four years, and joined in June with the most unlikely awesome collab of '24: Shackleton & Six Organs of Admittance, Jinxed by Being -- with the release of Companion Rises (Twig Harper Remix), which expands the zone of disbelief simply by being the third Six Organs-branded release in one year! Also by pushing the boundaries in all the manners that matter -- psychologically, spiritually, philosophically and sonically -- into a new dimensional space. Companion Rises dropped in February 2020. Its new techniques in sound generation called for an aggressive new moment, with heavy Six Organs touring scheduled for the year ahead. As Ben Chasny picked up the pieces following the 'Big Blink,' he had to think of what could have been. By then, Six Organs had moved on -- both Time is Glass and Jinxed by Being were in the works -- but here was a thought: Companion Rises was a record about the weirdness of California. Right then, Twig Harper was touching down in Cali after stints in Baltimore and Chicago. Ben'd been onboard with Twig's shit since the days when Nautical Almanac burst out of Michigan like an engorged, inflamed, screaming blood vessel. When Ben asked him if he would do whatever he wanted, it felt like full circles were colliding when Twig said yeah! Once Twig had measured out the physics of Companion Rises, most of his remix was done up in his van where he, otherwise homeless, was living. In the 'Twig Harper Remix,' the maximal qualities of original Companion Rises DNA are evoked via omission: to recreate the implied construction of Six Organs' spirit realm, Twig isolated source sounds, triggered new data off those sounds, then edited the new readouts. To the naked ear, it sounds to be a highly stimulating new example in modern electronic minimal classical music. The assiduous Organs-head will no doubt find a few Easter eggs here, but mostly, this is new dimensional space made of the not-so-old one. Companion Rises (Twig Harper Remix) is like two journeys in one, juxtaposing Twig's new-to-Cali musings with Six Organs' original borne-and-bread wanderings."

"Jill Fraser is a composer and electronic music pioneer, active since the 1970s. Her credits are many and varied -- yet her new album, Earthly Pleasures, takes a unique place among all her work: a luminous suite of electroacoustic music examining the bones of hymnal harmony, speculating on how the spirit of songs might be interpreted after people are gone. Playing electronic music was what Jill's seen for herself almost from the beginning. Switched on Bach was an early influence, blowing up her understanding of what she was learning on the piano. So was Silver Apples of the Moon, evolving recognizable aspects of classical music into a fantastic elsewhere. She studied at CalArts, working with Morton Subotnick (her mentor) and taking master classes with John Cage and Lou Harrison, among others. She composed film scores with Jack Nitzsche and played her synthesizer at punk shows opening for Minutemen and Henry Rollins. When her daughter Sofia was playing with Wand, Jill contributed electronics to one of the songs on Laughing Matter. Earthly Pleasures stands out from all these things Jill's done. Balancing composition, technology and introspection, it is a fluent expression that also considers mortality and loss; not simply our own lives and the lives of those we love, but the mortality of the very age we live in, the intelligence of our time. For Earthly Pleasures' composition, Jill began by researching revival hymns of the late 19th and early 20th centuries (with an instinctive bias towards those composed by women). Her workstation combines both the newest technology and some of the oldest analog electronic sound sources, a combo involving her original 1978 Serge Modular, a new Prism Modular and Ableton Push 3. The sound world of Earthly Pleasures accesses a seeming infinity of dimensional sound in which the human hand is always keenly felt, no matter how deep the space. It's a breathtakingly transcendent album that suggests inclusion within a diversity of genres: ambient, electronic, new age, modern classical, gospel, healing, sacred. It is the work of a veteran composer and synth master at the peak of her powers, meditating upon the detritus of memory, the passage of all consciousness, and the rebirth of meaning in a new era."

2024 repress! 180-gram black vinyl. The astonishing sessions that went light years beyond "free jazz" improvisation to create a music of deeply felt, explosive and gentle gesture made from sound itself without reference to previous notions of melody or harmony are now reissued on 180 gram vinyl with Sun Ra's original, self-created cover art. Recorded by Richard Alderson on April 20, 1965, this set of tunes finds Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion. Remastered.

"Nicholas Lens, a Belgian composer of contemporary music, is known particularly for his operas. One of his earliest works is the music drama Flamma Flamma: The Fire Requiem, the first part of his trilogy The Accacha Chronicles (Flamma Flamma/Terra Terra/Amor Aeternus). The fusion of non-European musical cultures and Western classical music has been described as highly unique. Flamma Flamma is conspicuous for its unusual instrumentation - apart from chamber orchestra, mixed choir and six soloists, there are also a Japanese koto, an extensive percussion set-up and three natural voices. The work is a composition beyond all conventions. Unlike almost any other requiem, Flamma Flamma not only deals with grief and pain, but also with the idea that death is a natural part of life. Tribute is paid to the afterlife without glorifying it, the positive aspects of fire -- such as light and warmth -- are praised and all human emotions in the face of death are addressed, across all philosophical and even musical boundaries. Flamma Flamma has been used numerous times for the most diverse art events and hundreds of dance and ballet creations around the world. For instance, it was performed live at the opening of the Adelaide Festival with more than 1,000 performers in front of an audience of 30,000 people. After its first release on CD in 1994, Flamma Flamma moved up various international charts and quickly went from being an insiders' tip to a huge success, with even a videoclip showing on MTV and Arte. Tracks such as 'Sumus Vicinae,' 'Corpus Inimici' or the title track 'Flamma Flamma' have even become cult classics and made it to some alternative dance floors from Paris to NY and Tokyo. Flamma Flamma by Nicholas Lens will now be re-released on an elaborately designed double vinyl in gatefold cover to mark the 30th anniversary. The composer himself artistically supervised the re-mastering."

LP version. "The Heads' Simon Price returns to his Kandodo project with theendisinpsych. theendisinpsych is the follow up to Price's 2019 collaboration with Wayne Maskell and Hugo Morgan, Kandodo 3 (K3), but this time back in solo-mode. He is now relocated in Northumbria, and has recorded the album himself in his home studio, drawing on his wide collection of music/instruments and the rural environment for inspiration. The new album fizzes and crackles with a verve that will activate the 'turn on, tune in, drop out' sense in all listeners. Known as the singer/guitarist of The Heads, Price was raised in Zambia and Malawi, which left an indelible mark on him personally, and is manifest in the song titles, artwork, and name of the project. The influence is less obvious on his instrumental music, but Simon says that if there were lyrics, they'd be about animist religions, hyenas, sharks and dusty drives. Named after a Malawian supermarket that he used to shop in back in the late '80s, the album contains mini-sonic soundscapes that start firmly grounded and then go off into the deepest reaches of space. Along the way, Simon touches on influences as diverse as Kraftwerk, Neu!, Eno, Morricone, Stooges, Loop, and Spacemen 3. Kandodo is for Price an exploration of tones, chords, and textures that evoke a very particular emotional response, a sense of yearning. These instrumental pieces are lyrical and evocative soundtracks with an elongated and elegant song structure. Describing them himself as 'fuzzy lullabies,' Simon's pieces undulate as delicate layers are built and removed, easing the listener along a thread of melodies. This is immersive music meant to be listened to at a loud volume or in the space between headphones."

"Claudio Simonetti's Goblin celebrates a new prog rock version of this famous soundtrack. The terrifying and atmospheric experience of Dario Argento's films comes from the merging of gorgeously crafted visuals with a soul tingling auditory experience. Once heard, Goblin's scores are never quite forgotten. Suspiria is no exception, characterized by its synth heavy sound, carillons, yells and sighs, Suspiria is perhaps Argento's most celebrated film and a classic of horror subgenre in its own right. A surreal masterpiece from Dario Argento with a pounding score from cult prog rockers Goblin, Suspiria will leave you battered and breathless! Deluxe limited purple vinyl plus insert. 499 copies."

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways. Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise. Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas. These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising. Her new solo album, When It Rains It Pours presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

"When Paul Simon first heard the Zulu accordion flourish that would open his multi-platinum album Graceland, he told Joe Boyd that it seemed to proclaim, 'You haven't heard this before!' Yet the 'world music' boom of the 1980s that Simon's album helped to usher in had roots that extended back through the decades and across continents: tango on the eve of World War I, Latin dance across the '30s, '40s and '50s, reggae in the '70s, pre-War samba and pre-Beatles bossa nova, Eastern European ensembles filling capitalist concert halls during the Cold War, Indian ragas changing rock and roll in the 1960s, gypsy music inspiring classical composers of the 19th and 20th centuries. As far back as 1853, the music that had intrigued Simon had captivated London during a Zulu choir's extended run there. (Only Charles Dickens dissented.) Like that of other far-flung musical traditions sweeping the globe, the story of Zulu music and its relationship to neighbors, invaders, appropriators, and admirers -- from brutal 19th century massacres to 'The Lion Sleeps Tonight' -- is more controversial, colorful, and complex than many imagine. Joe Boyd was part of a small group of label heads and journalists who chose 'world music' as their marketing slogan in the 1980s. Already the legendary producer of artists including Pink Floyd, The Incredible String Band, Soft Machine, Fairport Convention, Nick Drake, Toots and the Maytals, and many others, Boyd had little idea how fast and how wide those simple words would spread, or how far back the history went. He would soon learn, producing pathbreaking music in Cuba, Brazil, Bulgaria, Mali, Hungary, Spain, and India under his label Hannibal Records. Following the success of his book White Bicycles: Making Music in the 1960s, a self-published smash hit, Boyd now sets out to explore the stories behind the world music he had helped to popularize. He has traveled across continents and interviewed dozens of musicians, producers, and academics, and spent years reading, listening, and writing. The one-of-a-kind result is And The Roots of Rhythm Remain: a riveting, symphonic, globetrotting tour of the music that shapes the world. Hardcover. 900 pages."

"The Light Is Leaving Us All is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the astonishing aeonic beautiful talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the voice in the mask of one of my favorite authors, and longest colleagues, Thomas Ligotti, also joined C93. The album's title was given to me in a dream, in which I saw the souls of humans pouring out of their eyes, and returning to God. On The Light Is Leaving Us All, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also channeled my fascinations with The Red Barn Murder of 1827 and The Witchcraft Murders of Bella in Hagley Wood, and Charles Walton in Lower Quinton in 1945. All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead -- all this while the birds were softly singing, and The Light Was Leaving Us All. Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12" vinyl picture-disc comes in a full-color die-cut sleeve, which is printed on both the outside and inside. This is one of the first four reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out." -- David Tibet

2024 repress. The mighty Scientist meets Jamaica's original Crazy Mad Professor in a dub showdown pitching their best musical shots against each other. The connection between these two great mixers/producers is that they both learned the trade and also cut their musical teeth working with the master himself King Tubby. Scientist (b. Overton Brownie, 1960, Jamaica) and the Crazy Mad Professor (not to be confused with the London-based Mad Professor, Neil Frazer, Ariwa Sounds) initially both helped King Tubby (b. Osbourne Ruddock) wind his transformers for his main business of electrical repairs. They both moved over to engineering and mixing when the need arose due to the heavy demands on Tubby's time and studio became too great. Scientist and The Crazy Mad Professor built their careers on these formative years of training, as they say if you learn from the best, your knowledge can only hold you in good stead and it certainly has with both these talents. Jamaican Recordings have pitched both against each other on some great rhythms recorded at the legendary Channel 1 Studios and then mixed them at King Tubby's Studio, as was often the case when rhythms needed voicing/versioning for that classic dub cut.

"The music of New York trio Weak Signal (Mike Bones, guitar and voice; Sasha Vine, electric bass, violin, and voice; Tran, drums and voice) is a masterclass in simplicity and economy but these aspects aren't present for their own didactic sake. Rather, their art is world-building in the most essential of ways, subtly spinning out in an enveloping, rich haze from a clear, architectural core. There are sections of knife-like collective squall and dialogic drift that glance at improvised music; while not strictly pop, the tunes are incredibly catchy with wry, keenly memorable lyrics that easily stick in one's craw. With associations including Endless Boogie, Sian Alice Group, and Soldiers of Fortune, Weak Signal formed in 2017. They waxed two full lengths in the period leading up to the pandemic, and during that unsettling year -- plus without many gigs to speak of, the trio kept busy and unleashed a handful of choice digital EPs and a couple of split 7" singles. Fine is their fourth full-length to date, its tight ten-song program fleshed out with sonic icing from keyboardist Alexis Taylor (Hot Chip) and guitarists Doug Shaw (Gang Gang Dance; White Magic) and Cass McCombs. Fine is an unhurried jewel in the trio's discography, partly the result of the time it took to write. Even if the vibe and structure is familiar -- and one can easily pick out their stripped-down jangle, like the lovechild of the Rain Parade and Lungfish -- there's a clear evolution over the course of their records, each one more finely-tuned and comfortable. Fine was recorded by Jon Erickson and mixed by Rupert Clervaux, whose expertise has been called in for records by Spiritualized and pianist Matthew Shipp, among others, keeping just enough of the SoundCloud lo-fi aesthetic to ensure it's a proper Weak Signal record."

It's like waking up. Disorientated at first, feedback, crushed stones, voices, that's how it starts and you feel protected by this music in a strange way and encouraged to gain insight. As soon as you have begun to really like a chunk of sound and develop an interest in it, it is multiplied or destroyed in some way and someone calls out "Ich." Ich. LSD is hopscotch compared to that. Later, steel rails are dissected. It is ringing in the ears. Everything trembles. It is obvious that you are being looked after, that someone really cares. You are never left alone, whether you like it or not. And then inevitably comes the moment of silence, after being sent through old telephone cables and the nightmares of your ancestors. Pretty much the exact opposite of a podcast. Nevertheless, hits are not left out. Seth is predominantly seen as a harmful god -- but by far not only.

"The Viceroys were a Jamaican reggae vocal group formed in the late 1960s. They were one of the numerous vocal trios that emerged during the rocksteady and early reggae eras in Jamaica. The group's lineup consisted of Wesley Tinglin, Neville Ingram, and Daniel Bernard. They gained popularity with their harmonious vocal style and catchy melodies. One of their most famous songs is 'Heart Made of Stone,' which became a hit in Jamaica and internationally. They worked with various producers, including Derrick Morgan, Clement 'Coxsone' Dodd, and Lee 'Scratch' Perry, recording songs that reflected the social and political issues of the time. While the original lineup of the Viceroys disbanded in the 1970s, Wesley Tinglin continued to perform under the Viceroys name with different members. Their music continues to be celebrated among reggae enthusiasts for its soulful harmonies and uplifting messages."

Double LP version. The Brand New Heavies revisit their seminal 1994 album Brother Sister for its 30 year anniversary. Replete with groove-driven, horn-splashed, hand-clapping funk, Brother Sister saw the band dig deep into their jazz grooves, with N'Dea Davenport in full flight as diva/lead vocalist. Featuring some of their best loved songs including the chart hits "Midnight at the Oasis," "Dream on Dreamer," and "Spend Some Time," Brother Sister debuted in the UK charts at #4 and went onto be a hit worldwide, the band rightly claiming their crown as acid jazz heavyweights, delivering knock-out punch after punch on this album. Freshly remastered, the 2LP vinyl/18-track edition features three bonus tracks, and is pressed onto one black and one white vinyl, and is signed by Andrew and Simon from the band. The remastered 2CD/31-track edition (LMS 1725112) features rarities and classic remixes from the likes of David Morales, Roger Sanchez, and a newly commissioned rework of "Back To Love" by Luke Mornay. And also includes two newly uncovered demos, "Pocketful of Bass" and an alternate demo of "Put Yourself In My Shoes," with vocals by N'dea Davenport.

John Davis is a sound artist and filmmaker based in the Bay Area. Active since the mid-aughts, he has published recordings on labels such as Root Strata and Digitalis, as well as on his own Bimodal Press imprint. Landlines sees a return to the SOD catalog for Davis, following a full-length release in 2013, and may be seen as somewhat of a spiritual successor to that album. In all of Davis' work, there is a specific pastoral sensibility that feels firmly rooted in the forests and coasts of Northern California, moving with the delicate and erratic cadence of dust motes rendered visible in bright sunlight. Opening track "Verichrome" articulates the soundscape wonderfully, stitching together Music Mouse-esque formant synthesis and meditative vocal sampling with an exquisite minimalist suite for prepared piano. Of these recordings, Davis himself writes, "In a general sense the conceit here is nostalgia, a desire to reflect on the importance of connection -- to ourselves and to the world around us. The title is, of course, a euphemism for the telephone, but I am also considering landscape, horizons, and infrastructure, as well as the invisible lines that connect us, the threads that bind us, and the communities that form us."

"On the cover: Keiji Haino. Inside: Shamica Ruddock, Seppuku Pistols, Jabu, Gregory TS Walker, Viktar Siama?ka. The Primer: John Butcher. Invisible Jukebox: Wolfgang Voigt. Epiphanies: Mark Webber on Spaceman 3. The Inner Sleeve: Céline Gillain on Leonard Cohen. Global Ear: Nicosia. Unlimited Editions: Nashazphone, and in the reviews sections: Wendy Eisenberg, Ivo Perelman, Yellow Swans, Meshell Ndegeocello, Tristwch Y Fenywod, Byard Lancaster, Zdeněk Li?ka, Dr John, Supernormal, Heroines Of Sound, and much more."

2024 repress; double LP version. Comes in a gatefold sleeve. 1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from The Stones, The Who, The Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the '60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler, and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries -- neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble Of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations. The group's stage appearance shocked as well. They wore boubous (traditional African robes) and war paint to venerate the power of their free, hypnotic music, directly linked to their African roots. They were predestined to meet up with the Saravah record label (founded in 1965 by Pierre Barouh), already at the vanguard of as-yet unnamed world music. Brigitte Fontaine's album Comme à la radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, substantiated the union of this heiress to the poetic and politically-committed chanson française with the Art Ensemble Of Chicago's voodoo jazz and the Arab tradition perpetuated by her companion Areski Belkacem. A UFO had landed on the turntables of French teens, who were discovering underground culture via publications like Actuel, Libération, Charlie Hebdo, Rock & Folk and a vigorous free press. For 20 year-olds in the early 1970s, making music was a political act; they grabbed a microphone to advance a cause, not to become rock stars. While the price of oil skyrocketed and Pompidou went overboard building horrible concrete apartment buildings for public housing and "adapting the city for the automobile," some took refuge in the countryside. Alternative communities formed all across France, giving rise to groups (or rather, collectives) with open-minded structures, cheerfully mixing music, theatrical happenings and agitprop, along with a good dose of acid. Projects bordering on the ridiculous were often tolerated (progressive rock was one of the primary banalities the era produced), while those who followed the route paved by spiritual jazz often ended up elsewhere. The vehemence (if not grandiloquence) of their declarations was carried and transcended by the finesse and brilliance of their musicianship. Simultaneously spatial, pastoral and tribal, the tracks in this collection represent an ideal intersection between a sort of psychedelic legacy, the space jazz of Sun Ra and Afro Beat (then being created by Fela in Lagos): they are as much incantations (often driven by the spoken-word), war cries or poems as they are polemics. 1978. Giscard was at the helm. Punk and disco were busily decapitating the last remaining hippies. Peoples' blood was still boiling, but it was already too late. The war was over, lost without anyone noticing. Nevertheless, people still tilted at windmills or talked tough in dead-end struggles; a dream is not so far from a nightmare. We knew that an enchanted era had ended, the hope for a brighter future was now behind us and that we would leave behind nothing for our children but a few records. Indeed, ghosts may still crackle from our speakers, as the 45 spins and Brigitte Fontaine asks Areski: "Hé mais je pense à un truc, on ne va pas mourir dans une minute?" (trans. "Hey, I was just thinking, aren't we going to die in a minute?"). Features artists such as Alfred Panou & Art Ensemble Of Chicago, Brigitte Fontaine & Areski Belkacem, Atarpop 73 & Le Collectif Le Temps Des Cerises, RK Nagati, Frédéric Rufin & Raphaël Lecomte, François Tusques, Mahjun (Mouvement Anarcho Héroïque des Joyeux Utopistes Nébuleux), Full Moon Ensemble, Baroque Jazz Trio, Michel Roques, Chêne Noir, and Beatrice Arnac.

LP version. Among the figureheads of French disco, Bernard Fèvre, better known as Black Devil, probably had the shortest-lived career but was the most brilliant and unique mind of them all. Although his first album Disco Club, released in 1978, went unnoticed at first, it has since become a must-have, a collector's item which has led a lot of listeners to further investigate into his extensive work. From rock music to music hall, sound illustration to disco, pop to reggae, through film music and advertising, Bernard Fèvre has experimented with so many genres that it has been hard not to lose track. One of his best albums even has such an unambivalent title as The Strange World of Bernard Fèvre. Please make your way to a cosmic dimension, verging on the unknown.