Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in The British Library collection. 180 gram vinyl.

The Works -- one of the most famous pieces by brilliant American composer Alvin Curran -- was not created by will and direct purpose but, as the composer himself states, as a "providential accident" which is to say quite organically. Combining piano and voice with found sound and a custom-built Serge modular synthesizer, The Works is a slowly developing piece where space and ambient tape are eventually overtaken by raga-esque chanting and frenetic piano playing, where synthesizer washes become full-on workouts all leading to a coda where the listener is "finally carried off on the wheels of the Berlin U-Bahn." Curran -- whose initial training and musical education was as a pianist -- had been living in Roma, Italy, in the mid-70s returning to his roots and performing regularly in cocktail lounges on Via Veneto. It was this return to piano and vocals that became the genesis for The Works. In relearning the piano, a five-note "motive" took hold. Added to this was "a recording I had made of our 14 year old dachshund Caspar just before he died. It was, in fact, a love song which he persisted in singing all day after meeting a lovely bitch in heat in Piazza Navona. This I knew would be the beginning of the piece." As the piece expands further the listener will hear "cows munching grass, the Rome-Florence express train, a horse-fly caught against a window pane, my footsteps approaching a Roman fountain and later going up the steps of my old studio, cicadas, an Amsterdam calliope, a tin can being kicked, and a series of sounds from La Serra di Lerici." Though The Works has been performed in many incarnations over the years, it's this performance -- captured on February 24, 1980, and originally released that same year by the short-lived Italian avant-garde label Fore -- that is the definitive version, and one of the finest recordings ever made by the celebrated composer.

2021 repress. LP version. For those not following Bill Orcutt's drift into increasingly ear-friendly orbits in his recent live sets, Bill Orcutt -- his first solo electric studio album -- shocks with its space and sensitivity. On this eponymous record, Orcutt mines the expansiveness and sustain possible on the electric guitar, letting notes spin out and decay at the edge of feedback. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence. But here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others. From the first notes of Ornette Coleman's "Lonely Woman", there's a lucidity and slow-burning lyricism that make Orcutt's plunges into barbed-wire fingerpicking all the more striking. While no one's about to mistake Orcutt for Jim Hall, you could probably play this for your jazzbo friends (should you be unlucky enough to have them) without raising any eyebrows. Orcutt's track selection mirrors his obsession with American popular song in its most banal manifestations, as radically reimagined via acoustic guitar on a variety of releases, including 2013's exhaustive Twenty Five Songs 7" box set, and the Editions Mego album A History of Every One (EMEGO 173CD/LP, 2013). Many of the songs from those two releases are here -- but stretched into new arrangements that explore the upper regions of the guitar neck (hitherto unexplorable on his shakily-intonated acoustic Kay), and lighting up new corners of each arrangement with a sensitivity born from years of reinterpretation. The result is a languid, freeform drift through Orcutt's internal cosmos into galaxies unknown to their original interpreters -- and occasionally, Orcutt himself. Most striking is "White Christmas", its careening low-register melodies crashing into complex chords that transcend Orcutt's primitive four-string fretboard. Orcutt's original compositions are equally striking. One of them -- "The World Without Me" -- is unique to this album, and notable for its trebly flurry of Clapton-esque 12th-fret drizzle. "O Platitudes!" by contrast, spins ever-faster in the cadence of a hand-cranked music box, before grinding to a near halt, its higher-key electricity standing in for the moaning vocalizations on Orcutt's acoustic rendition as heard on his 2014 VDSQ LP. With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in Orcutt's form-destroying trajectory.

"Michèle Bokanowski's art is one of densities, much like the density of a given color, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds 'be', even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition." --François Bonnet, Paris, 2020.

"Rhapsodia" (two movements and one interlude) is dedicated to Marceline Lartigue. The piece was created in the composer's own studio; Technical collaboration: Jonathan Prager. "Battements solaires" is music for Patrick Bokanowski's film. Produced in the Kira BM Films studios; Production: Kira BM Films with ARTE France and CNC contributions. Mastered by Giuseppe Ielasi; Cut by Andreas Kauffelt at Schnittstelle, Berlin, November 2020; Translations: Valérie Vivancos; Layout: Stephen O'Malley.

Unreleased track "Oberheim SEM 8 Voice" (1979-80) with selected works circa 2000 by a key composer of Belgian electronic music, André Stordeur. Released in Sub Rosa'a Early Electronic series.

André Stordeur (March 01, 1941 - April 07, 2020): Belgian electronic music composer. His musical career started in 1973 with a tape composition for the soundtrack to a film on Gordon Matta-Clark titled Office Baroque. Later in the 1970s, he participated to avant-garde music ensemble Studio voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris De Laet. Since 1980, Stordeur composes exclusively on Serge synthesizer, either a Serge series 79 and a Serge prototype 1980, which was especially built for him by Serge Tcherepnin himself. In 1981, Stordeur composed the music of Belgian film director Christian Mesnil's documentary Du Zaïre au Congo. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control, a guide to everything modular.

Oberheim: While "Oberheim" is the centerpiece of this LP, Sub Rosa pressed for the first time on vinyl three pieces from the session André called Synthesis Studies, previously featuring on Complete Analog and Digital Electronic Music, 1978-2000. "I was helped in my studies by a must-have book: The Techniques of Electronic Music, by Thomas Wells and Eric Vogel (University Stores, 1974). That book aside, I learned synthesis on my own. After a trip to India in 1968, I discovered Indian music and took tabla and sitar classes in New Delhi; my teachers were students of Chatur Lal and Ravi Shankar. Later, in the 2000s, while living in the US, I tried to recreate through synthesis all the Indian musical instruments I loved so much.' 'Drone' is one of his most spectacular works."

Sides A and B originally released as Autechre & The Hafler Trio - æ³o & h³æ in 2003 by Phonometrography. Sides C through F originally released as Autechre & The Hafler Trio - æo³ & ³hæ in 2005 by Die Stadt. Sides G through N originally released as Autechre & The Hafler Trio - ah³eo & ha³oe (ae3o3) in 2011 by Die Stadt and Simply Superior. Limited edition of 500 (hand-numbered)

Four LP box set; includes 7"; limited edition (numbered). LPs titled: Anonym (Vanity Records, 1979), Divin (Vanity Records, 1981), Dose, Demos, and 7" Today's Thrill (Vanity Records, 1980).

2021 repress. Aguirre Records present the first official vinyl reissue of Fifty Foot Hose's Cauldron, originally released on Limelight in 1967. Cauldron is the legendary psychedelic jazzy rock and electronic album by Californian band Fifty Foot Hose. Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time, they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now. What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating Theremin, siren, audio generators, and other various electronic effects, as Cork Marcheschi, the band's original bass player, had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy", "Red The Sign Post", and "God Bless The Child", a Billie Holiday cover. Their sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them. Fifty Foot Hose's music leans more towards White Noise, Silver Apples, and especially United States of America, rather than to flower power movement. After only one album, the proto-cyber psych outfit passed as quickly as they came. Their only mention would be a name-check in Ralph J. Gleason's 1969 book, The Jefferson Airplane And The San Francisco Sound, published over a year after their demise. Ralph J. Gleason wrote: "I don't know if they're immature or premature." History has proven them to be the latter. Today, the original album is very collectable and considered a touchstone of avant-garde rock music. Cork Marcheschi on the record: "The concept was to expand what contemporary popular music was. I thought the avant-garde could have had a home with this new group of listeners but they turned out to be pretty conservative -- intellectually. Drugs were fine -- sex was fine -- stop the wars was good but when challenged with abstract art., they reacted like conservative people look at a Jackson Pollock painting." Cover reconstruction by Jeroen Wille. Remastered by Equus. Includes replica of the original insert. 180 gram vinyl.

Binding a deep social and political conscious with rigorous musical experimentation, the Brussels based, Italian pianist, performer, composer, Giovanni Di Domenico, delivers Downtown Ethnic Music, the fourth instalment of Die Schachtel's Decay Music series, focused on inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract music. Over the last decade or so, Giovanni Di Domenico has carved a deep path through a diverse number of discrete fields within experimental music, working in various ensembles -- Abschattungen, AufHeben, Bonjintan, Cement Shoes, Delivery Health, Going, etc. -- as well as producing a discography of critically heralded solo efforts, and intimate collaborations with Jim O'Rourke, Tatsuhisa Yamamoto, Akira Sakata, Arve Henriksen, Tatsuhisa Yamamoto, Alexandra Grimal, Nate Wooley, Chris Corsano, and others. Downtown Ethnic Music encounters Di Domenico reimagining the future of urban music, pluming the mysterious and emotive depths of self, to arrive at vision of sonorous utopia, radically divergent from those of the past. Hybridizing numerous forms of musical practice, while making a conceptual nod to Jon Hassell's notion of the "fourth world", as well as the cross-temporal transnationalism of Roberto Musci, Aktuala, Futuro Antico, and the Third Ear Band, Di Domenico's vision of democracy -- rendered through the creative metaphors of sound -- is a true to life, bristling conflict, as open-ended as it is ordered, and as dramatic and tense as it is beautiful, playful, and refined. A colorful tapestry of ideas, experiences, histories, and reference points, woven from a pallet of electronics, synthesis, and various acoustic sources -- the intervening rhythms of drummer João Lobo, vocals by Pak Yan Lau and Patshiva CIE women choir, the horns of Ananta Roosens and Jordi Grognard etc. -- across the length of Downtown Ethnic Music, the boundaries between idiom, expressive concept, collective, and individual blur, giving way to a visionary, forward-thinking rendering of electroacoustic music, that subtly reminds us of the social and political potential of art. Seamlessly incorporating bubbling electronic abstraction, sprawling ambience and long tones, throbbing kosmische, acoustic free improvisation, and the human voice, Giovanni Di Domenico's Downtown Ethnic Music represents a high-water mark in an already astounding career. 180 gram marble vinyl; one-time edition of 250.

Sylvie & Babs as a picture disc LP, with new Babs Santini artwork. Originally released in 1985. Was it always supposed to be this way? Who knows? But it won't be around for long. One pressing and that's it, buy or die -- you know the drill. "Sylvie & Babs is one of the most memorable, playful, and fascinating albums in the NWW oeuvre (though a decidedly unrepresentative one) ... few (if any) other artists could've woven capricious contrarianism, low humor, bad puns, endless non-sequiturs, and chaos into such a satisfying whole" --Anthony D'Amico.

Jowe Head's first post-Swell Maps recordings from 1980 and a further session from 1982 after his first LP Pincer Movement was released in 1981. Six tracks from these recordings were released on Constrictor in Germany in 1986 alongside tracks from Pincer Movement as Strawberry Deutschmark but the other 13 here are previously unreleased. Completely remixed by Jowe Head in 2020 for Glass Modern. "I recorded these tracks in my home at Londesborough Road, Stoke Newington, between 1980-1982, using a TEAC 4-track reel-to-reel tape recorder. All instruments played by me: electric guitar, fretless bass, electric fire, typewriter, sticks, a battered trumpet and an old harmonium. Overdubs recorded at GWBB in 1983. Remixed at Perch Street in 2020. Words and music composed by me." --Jowe Head, November 2020. Deep red vinyl.

A Place In The Sun is a vinyl anthology of Rubble/British Psychedelic Trip cult heroes Jason Crest, including a selection of their classic '68-69 psychedelic singles for Philips ("Turquoise Tandem Cycle", Black Mass", "A Place In The Sun", etc...) plus their unissued at the time studio recordings/demos. The result is a great British late '60s psych album, recommended if you like Tomorrow, Procol Harum, Moody Blues, Small Faces, The Move, The Who, et al. The origins of Jason Crest are in beat band The Good Thing Brigade. Originally from Kent, they made quite a stir in the London club circuit, supporting established groups like The Who and The Moody Blues. No wonder they caught the eye of en vogue producer Fritz Fryer (Open Mind, etc...) who got them a contract with Philips, changing their name to Jason Crest after one of their songs, "The Collected Works of Justin Crest". Between 1968 and 1969, the band released five singles and left behind a bunch of unissued demo recordings/acetates. Jason Crest's music run the gamut from brilliant psych-pop full of wah-wah organ to Mellotron/phasing fueled introspective numbers and even heavy acid-psych/proto-metal on the freaky "Black Mass". Sadly, due to lack of success and problems with the label and between the band members, the band split after releasing their last 45 in 1969. Vocalist Terry Clark joined hard-rock band Orang-Utan, whilst the remaining members formed High Broom (featuring ex-Mike Stuart Span/Leviathan guitarist Brian Bennett). In 1971, Clark, along with fellow Jason Crest members Derek Smallcombe and Roger Siggery, formed Holy Mackerel. Remastered sound. Includes color insert with liner notes by David Wells and rare photos.

Legendary pedal steel player Susan Alcorn presents her music as curated and arranged by cellist and composer Janel Leppin. This recording is from a live performance from her residency at Issue Project Room in July 2012. Leppin's arrangements and curation emotes the brilliance, transparency and resonance of the pedal steel guitar. Through this ensemble, the mastery of Susan Alcorn's compositions shine. Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country music. Having first paid her dues in Texas country and western bands, she began to expand the vocabulary of her instrument through her study of 20th century classical music, visionary jazz, and world musics. Struck by the music of Messiaen she began transcribing classical music from recordings and scores on her instrument. Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist 'deep listening' philosophies of Pauline Oliveros. As her records gained a cult following she moved to Baltimore, MD. She performs internationally and is a key figure in the free improv scene in the US. Janel Leppin is a core member of the Washington, D.C. experimental, jazz, punk and improvisational scenes and is a celebrated visual artist as a weaver. DownBeat Magazine describes her as 'An absolute virtuoso', NPR Music says 'instrumental intimacy swept up in arrangements that cluster around her voice, as delicate and as imposing as a sheet of falling ice' Janel leads and writes for her free jazz sextet, Ensemble Volcanic Ash . . . Leppin and Alcorn also recorded the composition 'Thick Tarragon' by Eyvind Kang from the album Visible Breath on Ideologic Organ. Leppin appears as a string arranger on many recordings on labels from Dischord Records to Sacred Bones. Personnel: Anthony Pirog - guitar; Janel Leppin - cello, modified cello; Jessika Kenney - vocals; Eyvind Kang - viola; Skúli Sverrisson - bass; Doug Wieselman - clarinet, bass clarinet. Gold vinyl.

Kalita Records announce the first ever official re-release of Mpharanyana & The Peddler's 1979 South African disco and funk recordings "Disco" and "Freak Out With Botsotso", backed by a devastating extended edit of "Disco" courtesy of Amsterdam-based DJ and producer Jamie 3:26. Born on November 15th, 1949 in Kattlehong, South Africa, Jacob "Mpharanyana" Radebe was one of South Africa's greatest ever musicians, releasing a canon of legendary soul, jazz and disco albums before his untimely death in August 1979 at the age of just 29. Here, Kalita select his highly sought-after disco and funk recordings "Disco" and "Freak Out With Botsotso", both selected from his 1979 invisible final album, Hela Ngwanana, re-releasing them for the first time in forty years. Including Paul Simon and Herbie Hancock session musician Bakithi Kumalo on bass and Themba Mokena of Dick Khoza "Chapita" fame on lead guitar, the recordings feature some of the country's top contemporary musicians joining forces to glorious effect. With the original album currently fetching eye-watering prices on the rare occasion that they turn up for sale, the time is now ripe to share this masterpiece with the world once more. Cut on a loud 12" single and accompanied by an extended edit of "Disco" courtesy of Jamie 3:26, this truly is another no-brainer from the Kalita camp.

"The Pink Fairies were and English Rock band in the London underground and psychedelic scene of the early 70s. Their first album Neverneverland, from 1971, is a mix of psychedelic, proto-punk ('Do It'), rock ('Teenage Rebel' & 'Say You Love Me') and even American R&B (on 'War Girl') sounds which shows their wide style. Also included is the b-side of their debut single 'Do It' which was later covered by The Henry Rollins Band on their 1988 Do It album. The 50th Anniversary edition includes an insert with extensive liner-notes by Mark Powell, credits, cutout pieces and photos."

Olindo Records launch sister label Música Infinita, with its inaugural release, a reissue of The Message by Gerry Weil -- a forgotten cornerstone of Venezuelan jazz, originally released in 1971 and greatly influenced by Bitches Brew-era Miles, Hendrix, Tower of Power and fusion of jazz and rock. The Message is packed with raw funk grooves, big band horns, and Gerry's gravelly Waitsian vocals. Gerry Weil decided to emulate Miles in 1971, but on Caribbean soil, gathering a dream team of 15 Venezuelan musicians to record an avant-garde album. The album opens with "The Joy Within Yourself", showcasing Gerry's dexterous organ playing within seconds, accompanied by stunning horn arrangements, a bluesy vocal by Weil himself and a killer electric guitar solo by Vinicio Ludovic. Continuing with "The Bull's Problem", the LP settles into a jazz funk groove with a nasty Rhodes and bass combination alongside a heavy drums and congas exchange between Alberto Naranjo and Freddy Roldán. Side A closes with title track "The Message", a sort of funky anthem or mantra that describes Gerry Weil's attitude towards life. On side B, "Johnny's Bag" kicks off proceedings on a spiritual tone. This time Gerry's on acoustic piano, accompanied yet again by a beautiful, but equally powerful horn section featuring a who's who of Venezuelan jazzmen, such as Benjamin Brea (alto), Victor Cuica (tenor), Rodrigo Barboza (trombone), and Luis Arias (trumpet). "What Is A Man" begins with a vocal duo between Vinicio Ludovic and Gerry before settling into a funky groove underpinned by Michael Berti's booming bassline. The album closes with "Little Man", a meditative, yet grooving piece that could easily be found on any of the best Blue Note albums from that same time period. Still active at the age of 81, Gerry is a living legend and a true testament to perseverance through music. Brand new artwork and an extensive interview with Gerry. Remastered by Frank Merritt at The Carvery. Edition of 500.

Celebrating 10th anniversary of Connan Mockasin's both debut album Forever Dolphin Love and career, Phantasy Sound release new editions of longtime out-of-stock Forever Dolphin Love and second album Caramel. Exclusive splatter 2021 edition. The second solo album by New Zealand psychedelic pop musician Connan Mockasin was originally released in 2013. "Taking his talents for strangeness and mood-making in a very different direction, Connan Mockasin's second solo album is a far cry from the whimsical psych pop he made with the Mockasins, and pretty far removed from his acclaimed 2010 album, Forever Dolphin Love. Yet Caramel does take musical and thematic inspiration from that album's poignantly woozy title track, which Erol Alkan reworked into an indie club hit. . . . the album overflows with sweetly sensual, acid rock meets-R&B songs and guitars so languid they seem to stretch and drip." --AllMusic

"Statistique Synthétique" (2020) by Hecker is a computer-generated sound with resynthesized situated texture recordings. Statistique Synthétique draws as much from the history of computer sound synthesis as from its latest developments. But well beyond developing simply as a proof of concept, this piece aims to transcend the abstract status of synthetic sound objects and lead them to a properly hallucinatory state, that is to say to a meeting point where the object and perception dissolve into each other, in a sort of transcendental field. Beyond, also, hylomorphism, to reach the world of matter-form fusions, where perception knows how to see "shoulders of hills", as Cézanne wrote. Written and produced by Florian Hecker, 2019-2020. Texture analysis and resynthesis algorithm: Axel Röbel, Analysis/Synthesis Team, IRCAM, Paris. Mastered by Rashad Becker. Location Texture Recordings, using DPA 4060, DPA 4017B, DPA 4021 and DPA 4060 microphones to Sound Devices 702 recorder; except segment 4:31-5:37, recorded by Luke Fowler, April 2019 using Sony M10.

Okkyung Lee's "Teum (the Silvery Slit)" (2019) was performed, recorded, and composed by Okkyung Lee (ASCAP). "Teum (the Silvery Slit)" is, as the title suggests, an overture, an opening to the game of multiplications, fragmentations, duplications. But it is also the opening understood as the void that blossoms between two borders, a break from which escapes a double tension, both the pulling force of these two edges which move apart and the opposite force of reconciliation, of compression. Okkyung Lee invites us to a truly telluric moment, a rare moment of expression where tectonic movements and shear stresses become music. If the earthquakes were, as we thought in the 18th century, due to underground thunderstorms, there is no doubt that this piece of music, both celestial and continental, could have been their audible manifestation. Mixed by Lasse Marhaug; Mastered by Guuseppe Ielasi. Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.

Roots Vibration present a reissue of Vivian Jones's debut album Bank Robbery, released in 1983 and backed by Undivided Roots. Heavy slow sparse rhythms (in a Roots Radics style) and floating keyboards. Superb roots by this inspired UK singer, including the well-known tunes "Flash It And Gwan" and "Third World Man". Born in Jamaica but raised in the UK, Vivian Jones is an important voice in the UK roots scene. Started in the '70s as deejay on local sound systems but also as a member of several UK roots bands. Disillusioned with the music industry he returned to Jamaica in 1982 and recorded some material. He returned to London, began recording again in his spare time and released his debut album Bank Robbery on Ruff Cut. He went on to work with Jah Shaka, Bobby Digital, Junior Reid, and many others. In the '90s he started his own Imperial House label. Vivian on the creation of the album: "At that time I never had a band to work with or anything so I spoke to Crucial Tony Phillips and he said I must come in. I went down to Ruff Cutt and they had some rhythms down there that they didn't know what to do with and I think they were even going to wipe some of them off the tape. They played me a few of them and I said, 'What? You gwaan wipe off this?? A me tek this!' so they say 'Alright, come voice it...' and the tune was 'Flash It And Gwaan'. When I heard that rhythm I said, 'Bwoy you mad???' and they said, 'we cyaan get nobody to sing 'pon this riddim' so I said, 'gimme the riddim'. And, in fact, before I sang it, when I heard the rhythm I went to a sound party. I went there and they gave me the mic and I started singing 'Flash It And Gwaan' right there and then . . . After 'Flash It And Gwaan' I sang about three more tunes that night and then they decided to make an album so they started giving me different rhythms and I kept voicing them until we had an album. That was the album Bank Robbery, because at the time the bank robbery was a real thing that happened on my birthday, 1st April, when they robbed some gold bullion or something like that."

Sommor Records present a first time reissue of Zarpa's Los 4 Jinetes del Apocalipsis, originally released in 1978. Spanish proto-doom/psychedelic hard-rock monster from 1978. A conceptual album featuring five long tracks with raw in-your-face sound and production, over-charged fuzz and wah-wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock/metal/heavy psych aficionado. Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals and lead guitar, Eduardo Feijóo on bass and vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock ("Claw Rock"), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero. Under Zeus Rock guidance, the band did their first recording: a conceptual album titled Los 4 Jinetes del Apocalipsis (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded "live in the studio" in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of heavy metal in Spain, they managed to release two more LPs which established them as a very popular band, even opening for Barón Rojo, true metal stars in the early '80s. Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist and vocalist from Zarpa. Heavy carboard sleeve and OBI.

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (EDRM 427CD, 1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson, and Hussein Chalayan, amongst many others. Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life. The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3). Each of the films is realized through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square meters in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera. Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic. Introspective and lyrical, Staging Silence offers listeners a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many feel disconnected from the surrounding world. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

"Van der Graaf Generator special! With a new box set of all Van der Graaf Generator's albums being readied for release in July, and its singer and songwriter Peter Hammill about to release an album of cover versions as well as a new collaboration with Amorphous Androgynous (aka Future Sound Of London), the cover of the June issue will be a two-part special devoted to these perennial outliers of UK underground art rock. In part one, Emily Bick talks to Hammill, and fellow group members Guy Evans and Hugh Banton, about 50 years of collaboration; while in part two, Mike Barnes, author of A New Day Yesterday: UK Progressive Rock & The 1970s, contributes an extensive user's guide to the group's back catalogue, as well as Hammill's parallel and prodigious solo output. Plus: Stephanie Phillips interviews and profiles Hyperdub label producer Loraine James; while long standing UK improvisors drummer Mark Sanders and trombonist Sarah Gail Brand test each other's musical knowledge in the next of our musician-to-musician Invisible Jukebox features."

LP version. Founded 1995 in London by Austrian trumpeter and band leader Franz Hautzinger as an ensemble for experimental music, the project developed over the years into a mixed style fusion band. Various musicians like Fennesz, Tony Buck, Otomo Yoshihide, Burkhard Stangl, Oren Ambarchi, Martin Siewert, and others were part of this long-time and often changing project. Strongly influenced by the electronic music genres of the 1990s, the band developed its specific "Regenorchester Sound" -- vigorously pulsating, continuously evolving sound structures with electric guitar power and strong brass melodies based on pushing rhythms. Relics was recorded live at the Klangspuren Schwaz Festival in 2019. Personnel: Franz Hautzinger - quarter tone trumpet; Christian Fennesz - guitar, laptop; Otomo Yoshihide - guitar, turntables, el. devices; Luc Ex - bass; Tony Buck - drums, percussion. Mixed by Martin Siewert/Franz Hautzinger. Mastered by Martin Siewert. Artwork by Lasse Marhaug. Liner notes by Reinhard Kager, translated by Mark Fisher.

5x7'" wooden box set. Controlled Death is the dark-side project by the Japanese noise legend Masonna that started with Symphony For The Black Murder as first official work released in April 2018 in a vinyl edition of 199 copies. The activities of Controlled Death are like archaic revival to the music experience before Masonna. You can also find the pathology image of the early industrial period and the shadows of Vienna activism such as Hermann Nitsch. The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure. Controlled Death's incredible new work is released on a fivefold seven inch. Ten new tracks, to be precise ten requiem, between five and six minutes each for a total duration of almost an hour. The selection of the format is perfect for this composition: the analog support highlights the lo-fi recording and the choice of seven inches allows you to listen to the same song several times, or more songs without a preset order. Thus, was born Requiem for the boundless flesh, a pulsating panorama of screams, Korg MS20 MK1 and EMS VCS3 The Putney synthesizers with the addition of the grand piano, electric guitar, tape and effects. Each piece is a short sound vignette, which fills the air with its otherworldly beauty and goes away with the same speed with which it arrived, where the presence of the Viennese master always hovers. Like a cosmic journey, without a precise destination, you enter a new evolution of Controlled Death's work. The sound is darker, the darkness envelops you with its ancestral echoes, the use of synths is accompanied by inhuman screams, sounds on the edge of psychosis are lost in the infinite expanse of the gorges "at the mountains of madness". A sound tunnel is created that leads to the depths of the earth. The myth of Cthulhu mingles with the mangled flesh of human beings. The legend moves towards the harsh reality. Rotten, worm-eaten flesh lies beneath thousands of tombstones: boundless masses of flesh! The rumble of the synths becomes thunderous. The use of the guitar and the grand piano are thus distorted, slowed down and overwhelmed once again by the slanted and dilated screams and the intertwining of the pedal's effects. The tape editing work is wonderful, with a mastery of machines that can be compared to the German cosmic duo Moebius & Roedelius. But the result is not as sugary as Cluster or Harmonia tunes. Honey has become blood and flesh in Maso's hands and harmony gives way to obscure and desolate side. But if it had been recorded in West Berlin during 1970, Rolf-Ulrich Kaiser would have certainly wanted it for his Ohr label! Fivefold seven inch comes with solid black wooden box with laser engraving, 700 gm black cardboard with gold letterpress hand numbered in 308 copies and postcard. Once again Controlled Death, with his new title Requiem for the boundless flesh, has raised the bar for the field of Urashima releases. A truly astounding piece of work.

Cinedelic Records present a reissue of Enrico Intra's Jazz In Fabbrica (Jazz In The Factory), originally released in 1972. Pianist, composer, arranger, and conductor, among the most important ones in the history of European jazz, Enrico Intra has developed a poetics aiming at the encounter between the most exquisitely jazz language and contemporary music of a cultured matrix, and for this reason he was among the first Italian musicians to develop a "European" concept of jazz. "Nuova Civiltà" suite, certainly one of his best-known compositions, often also interpreted by Gerry Mulligan, deeply combines blues and tradition, adhering to the most radical trends of the music scene. A challenge to established formal and expressive schemes. Personnel: Sergio Fanni - trumpet, flugelhorn; Giancarlo Barigozzi - tenor sax, flute; Enrico Intra - piano; Carlo Milano - double bass; Carlo Sola - drums. Recorded in Ratti's Factory in Guanzate (Como) on October 31, 1972. 180 gram vinyl; obi strip.

LP version. Patt Todd & The Rankoutsiders, the underground rock n' roll icons from Los Angeles, are back in top form with a new album. There's Pretty Things In Palookaville... is full of high energy that plays on the tradition of the last 75 years of American rock 'n' roll, complemented by exciting, fast and gritty chords.

2021 repress. One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A..

Goldie's groundbreaking album Timeless turns 25 (1995), and to celebrate Clifford Joseph Price -- the pioneering producer and DJ announces new remixes of his seminal album track and classic "Inner City Life". Diverse yet crucially characteristic, each remix brings out distinctive qualities that undoubtedly accentuated the 1995 classic -- an iconic collage of sounds that capture a fragmented and urbanized London in all its magnificent musical forms. Binary State executes restraints towards the dramatic and subtle notes of the original interweaving the late Diane Charlemagne's expansive and powerful vocal performance with a rubbery tech-house journey. It's a tightly knit and perpetually driving reworking with a the four-to-the-floor dancefloor pulse. Drum and Bass don dBridge is enlisted by Goldie himself to provide a seismic, unconstrained and at times amorphous remix; an uncompromising breakdown of the creative boundaries that we experienced in the 1995 original. Continually challenging a drum & bass records accepted norm, and the delicate eccentricities a classic remix opportunity provides, this year's package also embraces a poignant jazz rendition of "Inner City Life"; a cover that provides not only smooth relief and timeless lust for the original masterpiece. Alongside the relaxed silhouette of the (re:jazz) cover, both the original radio edit and Roni Size's legendary remix that donned the tracks initial 12" is entirely re-mastered. The enduring profile of Goldie rose to incredible prominence during the '90s through pivotal albums Timeless and Saturnz Return (LMS 5521265, LMS 5521276), collaborations with everyone from David Bowie to KRS-One and the launching of his (still operational) Metalheadz label. A complex debut album, Timeless founded a new chapter in the history of the electronic genre originally reaching no. 7 in the charts and since been celebrated for its unique blend of sublime strings, beautiful atmospheres and sophisticated vocals. Inarguably an ambitious blueprint at the time; Goldie's production in 1995 fashioned the edgy rhythms and bass of jungle into a newly futuristic model, now globally admired as drum & bass.

Psychedelic hard-rock/heavy blues with loud fuzz-wah guitar and powerful drumming by this power-trio from Arizona, originally released in 1969. Bliss was born from the ashes of garage band The Sect. Legendary radio DJ and producer Hadley "Who Loves You Madley" (the first black disc jockey from Arizona) took them under his wing and produced some recordings. By the end of 1968, the five members of The Sect graduated and decided to break up. Soon, they reformed as a trio with Martin (bass), Reed (guitar), and Aldred (drums). Reed came up with a new name, Bliss, which not only reflected his spiritual interest but it was also more in vain with the new psychedelic sounds of artists like Cream, Blue Cheer, or Hendrix. Under Murrell's guidance, the trio recorded a full album, released on L.A.-based Canyon Records in 1969. Canyon, home to artists like Doris Duke or Swamp Dogg, was a label more focused on R&B, soul and funk than psychedelia so, not surprisingly, the album slipped through the cracks. It wasn't until a couple of decades later that Bliss was re-discovered by psych collectors, who were attracted to the album's heavy and bluesy psychedelic sound, highlighted by Reed's hard fuzz-wah guitar and Aldred's powerful drumming. The album offers a mix of great self-penned tracks (including two by Murrell) such as "Visions", "Ride The Ship Of Fools" and "Cry Of Love" -- which bears a striking resemblance to The Zombies "Time Of The Season" -- plus a few covers (Joe Tex, B.B. King, Johnny Guitar Watson). RIYL: Cream, Stack, Banchee, Hendrix, Grand Funk, Jeff Beck Group. Newly remastered sound. Heavy cardboard sleeve and insert with liner notes.

Recorded several years ago before Rudimentary Peni engaged in another mysterious hiatus, Great War has finally emerged to kiss the gas-tinged light of a mustered morn. Expanding on the skeletal sounds and subject of 2009's Wilfred Owen single the band has seen fit to concentrate on a more mechanized approach doing away with even more of the humanizing aspects in their music this time delivering ten painful familiar shards fraught with brittle anxiety and anguished simplicity. Great War cements new phase in the ever-crawling metamorphic madness that is Rudimentary Peni. The record comes with brand new Nick Blinko artwork.

2021 repress. Soave present the first vinyl reissue of Roberto Musci's The Loa Of Music, originally released in 1984. The Loa Of Music is the debut recording project of Milanese composer and musician Roberto Musci, inspired by voodoo religion, Vever (the magical voodoo paintings), and Loas, the dark and magic spirits. The deep charm of non-western music led Musci to travel for many years across Africa, India, and Asia, studying rhythms, scales, performance, and interpretation of the most varied traditional and indigenous music. He made many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa Of Music. Recorded in 1983, the project originally had 80 minutes of music, but only half was released on the original LP. For the first time, Soave have pressed the complete recording sessions from the original tapes of this phenomenally ambitious masterpiece that entirely refuses the well-trod path -- distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work -- an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation -- harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci's interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since its original release, this will surely not to be around for long.

2021 restock. "Born in 1902 to a preacher near the small town of Bentonia Mississippi, Nehemiah Curtis Skip James became synonymous with the unique tunings and finger-picking style of Delta blues, later dubbed the Bentonia School. With fire and brimstone in his heart, and the Mississippi blues in his soul, James toiled in relative obscurity for most of his life but his dark, brooding songs were rediscovered in the 60s by rabid blues enthusiasts from across the pond, including one Eric Clapton who recorded James's 'I'm So Glad' for the first Cream album. This vinyl compilation contains not only that track but several of James's best known compositions, from the melancholic 'Devil Got My Woman' to the gospel 'Jesus Is A Mighty Good Leader' and a whole lot more."

Special 40th anniversary legacy CD edition of Whitehouse's legendary 1981 LP Dedicated To Peter Kurten. Originally released on fluorescent green vinyl, now a highly sought-after collector's item. Even more so than with the earlier Erector, its transgressive themes and wild electronic harshness became a critical defining influence on, indeed often template for, the noise and power electronics genres of the mid/late '80s and long beyond. This brand new Susan Lawly legacy reissue CD features a beautiful 12pp booklet packed with photos, information, plus the original LP inserts and artwork.

The Young Gods's classic debut album to be reissued on vinyl including a previously unreleased John Peel Session. Released in April 1987 on Organik and Wax Trax! Records, this sample-based record produced by Roli Mosimann is much more than an album, it is a phenomenon - a musical revolution which appears as a milestone in the alternative music scene. Hailed by international critics, The Young Gods received a unique attention from the British music press: "A firestorm, a total, catastrophic sweep across the scattered fragments of rock history and rock dilapidation, The Young Gods used sampling not out of some nostalgic sense of mischief but to whip up everything into a hurricane of charcoal. The ultimate in technology to release the most determinedly savage sound of the year. We repeat this is the future." --Melody Maker, Best Album of 1987. Remastered from the original recordings.

Sau Poler makes his return to Atomnation with Nocturno, a debut album that finds him pushing himself beyond his usual confines. The nine immersive, meticulously crafted tracks arrive in Spring 2021 and come with original artwork by New York artist Jane Dickson. Sau Poler is part of a so-called golden generation of Spanish producers alongside the likes of Pional, John Talabot, and Bawrut. He has put out three EPs on this label before landing on others such as Mule Musiq, Modern Obscure Music, and Fort Romeau's Cin Cin, where he honed his organic house, techno and ambient fusions. They're often bright but obscure, intimate and contemporary, with taut samples and shuffling beats that manage to be leftfield as well as nostalgic, and have had support from the likes of Kelly Lee Owens and Dixon. All that also plays out in his DJ sets which have taken him all over Europe to the likes of DGTL and Sonar. This new album was recorded between 2018 and 2020 in Poler's studio in Badalona. Two years of experimentation, expanding his methods of composition and moving out of his comfort zone eventually led to the concept of Nocturno. It's an album that draws on those special late-night feelings: introspective sounds, a middle ground between lightness and dark, euphoria and loneliness. It means the music is often hypnotic and mystic, with references to the conceptual movies, sonic obscurities and the video games of his youth. Two pieces of gear were also key to shape that sound: the Roland JD800 synth and the Roland Chorus Echo-301 tape delay, which help lend the whole thing a cohesive, immersive feel, with some first ever uses of an electric guitar and trumpet also adding further color and emotion.