Robert Aiki Aubrey Lowe's incredible experiments with Harry Bertoia's sound sculptures are here documented on this beautiful new edition for Demdike Stare's DDS imprint, coinciding with his appearance on Semtember 2017's issue of The Wire magazine. Lowe is something of a polymath; having started out as part of math rock outfit 90 Day Men and doom metal trio Om, he progressed to forge his own solo work (often under the Lichens moniker), as well as a whole slew of collaborations, including work with Johann Johannsson on scoring both Arrival (2016) and Sicario (2015), an acclaimed album with Ariel Kalma for RVNG Intl's FRKWYS series, plus active involvement in site-specific video art and sound installations. His most recent work under his own name has seen him release diverse music for Type, Latency, More Than Human, and, of course, DDS who have, with this album, presented what might just be the most beautiful Robert Aiki Aubrey Lowe artefact thus far. In 2016, Lowe was commissioned by New York's museum of Arts and Design to contribute to a Harry Bertoia exhibition, which he undertook alongside video director Johann Rashid. He was asked to create sound recordings with Sonambient sculptures; metal rods and gongs that produce highly distinct, resonant sounds when struck, brushed, or touched. Beginning in 1968, Bertoia set up an eighteenth-century stone barn on his property in Barto, Pennsylvania, to house these sculptures and from which he would go on to record works for his highly collectable Sonambient label, as recently documented on Important Records' breathtaking box set (IMPREC 419CD, 2016) and reissue series. Lowe was given full access to the barn, beautifully filmed footage of which can be found on YouTube. Lowe's work with these sculptures is quite unlike anything you might have heard from those original Bertoia recordings. Instead of serendipitous improvisation, Lowe weaves his way through the sculptures on a path that was mapped out in advance, imbuing them with a more "composed" and arranged feel. As well as that familiar and distinct sound palette, he subtly manipulates and feeds in vocal layers that take proceedings into ever more ethereal and haunting dimensions. Mastered and cut by Matt Colton.

Faitiche present a new Ursula Bogner record. Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner's tape archive, Recordings 1969-1988 (FAITICHE 001CD, 2014). A second followed in 2011, compiled this time by Andrew Pekler Sonne = Blackbox (FAITICHE 005CD, 2011). For Winkel Pong, the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.

Harbinger Sound present a vinyl reissue for the long-lost and scarce UK hardcore classic, Chaos U.K.'s One Hundred Percent Two Fingers In The Air Punk Rock. Originally self-released in a very small run in 1993, original copies now command over $100 on the collectors market. This reissue collects the original material on the album, alongside tracks from that same period that were only released in Japan. This new edition was put together by the band themselves. It features an extensive collection of unseen photographs and sleeve notes, and it comes housed in a swanky gatefold sleeve. The same iconic front cover used on the original album graces this edition too. Edition of 500.

Dominick Fernow's Vatican Shadow returns with a new double-pack for his own Hospital Productions imprint following on from the recent Rubbish Of The Floodwaters 12" for Ostgut Ton (OSTGUT 104EP). Luxor Necropolitics was once again produced by Joshua Eustis of Telefon Tel Aviv, and it includes a super rare remix from Female of Sandwell District fame. Clocking in at almost 40 minutes, this is the most substantial Vatican Shadow release since 2016's Media In The Service Of Terror LP (HOS 472LP) and further develops Fernow's creative collaboration with Eustis, who provides a much more lean and dynamic sheen to those highly atmospheric foundations. The opening, title track provides evocative exposition; this is Vatican Shadow at its most cinematic and unreal; before "Intel War" jolts with increased propulsion and bass pressure and a killer soundsystem focus deployed with precision and depth. "Crown Prince Hamza" is much more squashed and feral, before a new "Red Headband" version of "More Of The Same" takes the original into even more anthemic terrain; this is surely the most memorable, enduring, and club-focused Vatican Shadow track of all. As if to further etch it on your mind, the vinyl edition offers a final exclusive track, a reworking of "More Of The Same" from Female, who takes the original and duffs it up, completely discarding that synth hook and instead intensifying the menace, heading down a Sandwell-shaped cave that will reminds you why you've loved pretty much every Female production. Cut by Matt Colton at Alchemy. Edition of 700.

Double LP version. The artists on Invenciones: La Otra Vanguardia Musical En Latinoamerica 1976-1988 come from an intermediate period between the high-point of diverse artistic currents influenced by the hippie movement and the advent of punk -- a watershed between the expansion of the industry and the emergence of a new DIY distribution system. They also belong to an intermediate period in terms of the development of electroacoustic music labs and the arrival of synthesizers and samples available for mass audiences. They hail from that decisive stage of technological socialization, when small studios and home recording studios were set up. Above all, what these artists have in common is that they are Latin Americans and as such, share the difficulties of belonging to a time in history when ideological polarization resulting from the Cold War was rife, when they would witness complex social processes, military coups, dictatorships, and radicalization, and when the legitimacy of music that spoke about the territory was also disputed. It was a time when native sounds were introduced, either linked to the use of poor or austere technologies or to the local context. Many of the artists on this record have acquired cult status and are key figures in regards to understanding the cultural periods they belong to in their respective countries, but as such they have also been atypical figures and reflect a sensibility that was spreading across Latin America back then: a spirit of experimentation that was redefining musical directions in the region. More than a movement, it was a group of individuals who worked on counterculture projects. Notwithstanding this mosaic of different sounds, several trends can be identified: free use of folk, open compositions, explorations of the boundaries of rock and experimentation with technology. However, imagination is perhaps what connects the artists brought together here for the first time the most. Because all of them needed to imagine a new space, where they could forge a new scene that punk and technology would go on to consolidate. All these artists did things for the first time. They represent the breaking point between clearly defined periods, despite the difficulties and isolation that many suffered when creating their compositions. Features: Manongo Mujica, Banda Dispersa De La Madre Selva, Miguel Flores, Amauta, Autoperro, Malalche, Decibel, Jorge Reyes, Grupo Um, Carlos Da Silveira, Musikautomatika, Quum, Vía Láctea, and Miguel Noya. Includes booklet with liner notes by Luis Alvarado and artist photos.

The Water We Drink is the debut album from Khalil, a close confidante of Posh Isolation, and, naturally, a project close to the label's heart. With an iridescent shower of auto-tuned vocals and encrypted synthetic forms, Khalil presents a luminous route into a future of cadences pitched to a crushing intensity. As the new project of Nikolaj Vonsild, best known for his pop endeavors in the synth quartet When Saints Go Machine, as well as his acoustic duo Cancer, Khalil is his strongest vision to date. The collaborative platform for Vonsild's searing angelic and alien vocals is produced with Simon Formann, better known as Yen Towers and formerly of Lower, along with Villas Klint. With water, people feel differently. Indifferently of course, it approaches a sense of touch quite unlike any other matter or form. It slips and caresses, appealing to a sensuality so intuitive it barely registers beyond its immediacy. It's an urgency that always arrives. The ocean tells this through the shore; a perennial pleasure, a forgivable obsession. That the coast, its container, the edge of where people safely stand and where water waits, is a form just as much as it is a dissolving place, then considering a design such as that of an Evian natural spring water bottle amounts to staring at the stars. Thematically, Khalil draws constellations and cites emotive signals with this kind of deep union between form and touch. Finding perhaps a place undiscovered. Across The Water We Drink, the impulses of the romantic lyricism are diverted through artificial mechanisms and unnatural vocal terrains. Set against a melodic chorus of fractured pop, there is a certain sense in which the aching wane of Khalil feels like an ensemble of identities grasping for a form, as water may grasp for land. If there's reason to feel that bottled water is a portable piece of something greater than everything, then Khalil distributes high definition pop tropes with that same logic. The radio is an ocean, and Khalil's longing a hydrating force.

We Release Whatever The Fuck We Want Records present a reissue of the highly sought-after electronic/sci-fi disco/proto-techno/ambient masterpiece Voice Of Taurus by Swiss music pioneer and synth super wizard Bruno Spoerri, available on vinyl for the first time since its original release in 1978. Surrounded with a formidable family of legendary synthesizers, primitive modulators, and audio gear -- transformed and customized à la Spoerri --, armed with an extraordinary talent for improvisation, and deeply inspired by the likes of Wendy Carlos, Pierre Schaeffer, and the then freshly released Close Encounter of the Third Kind (1977), Bruno Spoerri envisioned Voice Of Taurus as "electronic pop conceived using an experimental and jazz approach". The result is an out-of-this-world sonic adventure where early techno sounds blend with synth-based sci-fi soundtrack vibes, krautrock explorations, and retro-futuristic disco madness. It's unique, catchy, cosmic, and meditative -- it's a must have for all record collectors of the galaxy... welcome to Planet Spoerri. Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians -- even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.

Richard Davis is a gentleman with a proper musical history moving from London to Berlin in the late '90s and having some spectacular releases under his belt as a producer, composer, and a singer. As a vocalist, Richard has collaborated with, among others, Swayzak, Trentemøller, and Bomb The Bass. On Safety Net EP, he turns his composing skills back to the future and his voice and songs sound like post new wave meets 1980s Scott Walker. Alongside fantastic remixes by Hamburg's Ada, as well as Norwegian Berlin dude Jarle Bråthen, this EP is a masterful piece of modern pop music.

The first vinyl edition of Craig Armstrong and Scott Fraser's Rosa Morta, released on CD in 2016 (CMAR 001CD). From the outset, Craig Armstrong and Scott Fraser decided their collaboration would be based on an electronic aesthetic: "We intentionally limited ourselves almost entirely to using vintage synthesizers, modern hardware synths and soft synths. The use of electronic bass and piano were the only exception to this rule. As a composer who regularly works with orchestras this was of course liberating and fun. Out of mutual fascination with early synthesizers from a young age this was often the catalyst for the beginning of each track. Each track was composed within one day often without much change thereafter. This gives the tracks an improvised feel. We also gave no limitation to the length of the tracks; they are as long as felt necessary or as short as they demanded. The direct melodic and immediacy of impact was purely the result of each working day and what felt right at the time. Musically we are influenced by electronic music from throughout the decade but only subconsciously after a lifetime of listening and playing. As composers, we have written in several genres and feel all musicians should feel free to express themselves whether in the abstract, tonal, experimental, song improvisation etc." Two tracks were used in the soundtrack to Peter Mullan's 2010 film NEDS, a film about gang culture in the 1970s in Glasgow. Includes download code.

"The 1970s in Nigeria were an age when mighty bands walked the earth. In Lagos, Afro-rock stalwarts such as BLO and Monomono ruled the roost; eastwards, it was deeply funky groups like The Funkees, The Apostles and The Friimen. Up north you had soulful ensembles such as The Elcados and The Moonrakers. And in the southeast, you had Foundars 15. Foundars 15 were not the only rock band operating in the southern city of Port Harcourt, but they were without question the tightest and most eclectic not just in Port Harcourt but perhaps in Nigeria as a whole. Formed initially as an army band in the wake of the Nigerian civil war of 1967-1970, Foundars 15 released a string of singles in the early seventies, followed by four albums of heavy, jittery funk-rock between 1976 and 1978 before splitting up to pursue solo careers. 1977's Fire Woman is perhaps the finest (and rarest) of Foundars 15's albums, offering a spicy buffet of groovy pop, reggae, native rock and dense, off-kilter funk. Long sought after by aficionados, Fire Woman has been an LP that is more often heard about than actually heard. That is about to change. Comb & Razor Sound is proud to present a new, fully-authorized reissue of Fire Woman, featuring eight crucial cuts representing the gold standard of the golden age of Nigerian pop music. Here's your chance to catch the fire!"

2016 release. A reissue of Jimmy Lyons's Push Pull, originally released on Hat Hut Records in 1979. Long known as Cecil Taylor's most reliable and loyal colleague, alto saxophonist Jimmy Lyons has a select discography as a leader, and among its best entries is Push Pull, originally issued by Hat Hut Records as a massive three LP set. Recorded during a single marathon performance at the Collective for Living Cinema in New York in 1978, Push Pull features five extended pieces, all by Lyons, with his working quintet that included his wife Karen Borca on bassoon, Hayes Burnett on bass, Munner Bernard Fennell on cello, and Roger Blank on drums. Jolting, quicksilver free jazz with terse themes and brilliant interplay, the music is quintessential Lyons -- searching, pliant, and sincere. Remastered from the original tapes, this first reissue of Push Pull compiles the original tracks -- two of which were split to accommodate the 20-minute limit of LP -- into their original full-length, fitting the whole program onto two CDs, lovingly repackaged featuring the original Klaus Baumgärtner cover. Recorded by Karen Borca on May 6, 1978 at the Collective for Living Cinema in New York. Photos by Ken Brunton and H.L. Lindenmaier; Cover by Klaus Baumgärtner. Remastered at Experimental Sound Studio, Chicago, 2015; Tapes transferred at Chicago Mastering Service, 2015; Reissue produced by John Corbett.

Collection of two thoughtful EPs by Cairo based artist Bosaina. Bosaina is a Syrian/Egyptian singer, songwriter, and producer known for her work in the Kairo Is Koming collective, as well as her involvement in music-space-turned-club-night VENT. Her autobiographical work takes on a magical insular quality through field recordings and sentimentally driven compositions that unfold in stolen time. On both EPs, presented here, her love affair with cinema, interrupted by decaying urban life -- New York April-July 2013 -- and literature -- Two Names Upon The Shore -- serve as the focal points for her intimate productions; fragmented and wistful soundscapes that combine her affection for the piano with ambient textures from sea-shore to life underground. A unique album to get lost into on long summer nights.

BJNilsen is a composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. Recent work has explored the urban acoustic realm and industrial geography in the Arctic region of Norway and Russia. His original scores and soundtracks have been featured in theater, dance performances, and film. Celebrating 27 years as a recording artist, Massif Trophies is his first solo release for Editions Mego. In 2015, he set off on a month-long hiking trip in Gran Paradiso to explore the acoustic environments in the alpine landscape. Drawn to the monotonous and physical effort that mountains and high altitudes contribute, this became one of the main inspirations for Massif Trophies, reflecting upon the perception of the landscape during several hours of physical difficulty, let alone rapid weather changes, horizontal thunderstorms, and rock avalanches. Massif Trophies is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place. The five pieces contain narratives based on experiences and recordings from the trip. All source material recorded in Gran Paradiso, July 2015; Engineered at Odd Phasing and Echoes, Amsterdam NL; Photography by BJNilsen. Includes download card.

Get ready for some true wonkiness, courtesy of Neil Landstrumm. This is techno purely for those rock-solid psyches who lack that element of the deranged, the off-kilter, and the strange -- on the dancefloor and in their own mental constitution. If you're even slightly in doubt of your sanity, stay well clear of this cut. The fact that Neil's been using Elektron instruments probably means it's even more important to have that straightjacket at the ready. Even that won't stop you from dancing, though. Neil has been making wonky techno since antiquity, hell, he's the progenitor of the genre, but what you probably didn't know is that he's also been doing graphics for Rockstar Games, the software house that brought you Grand Theft Auto.

The Doomed Bird Of Providence's third album Burrowed Into The Soft Sky follows the acclaimed Will Ever Pray (2011) and Blind Mouths Eat (2013). On this occasion, they have discarded Mark Kluzek's vocals in favor of two twenty-minute instrumentals that continue Kluzek's obsessive and singular foray into early colonial history, while also being a significant departure in terms of approach. The underlying themes for each track are contrasting yet tie together via their historical context; a period where indigenous Australian belief systems and day-to-day lives were irrevocably assaulted. The song "Burrowed Into The Soft Sky" is based on a passage from Patrick White's novel Voss (1957). The book is very loosely based on the final journey through the northern regions of Australia by explorer Ludwig Leichardt. Kluzek took a passage from the book where a comet passes over and Voss, his team, and a tribe of Australian Aboriginals engage with and interpret the experience until it is "burrowed into the soft sky". "The Blood Dimmed Tide Is Loosed" takes a significantly darker turn, shining a light on a pattern of atrocity that took place in the north east of Australia at a time where a dynamic of back-and-forth, invariably initiated by colonists, took place, culminating in a "dispersal" of a tribe.

Double LP version. Cut and mastered by Matt Colton at Alchemy; Comes on one black vinyl and one yellow vinyl; Made at Optimal-Media, Germany. Alec Storey has been having a fantastic couple of years. In terms of his solo output, he's released an EP on the rhythmic powerhouse Nervous Horizon (2016), along with several releases as Al Tourettes, and he has also released several collaborative EPs with his trusted chap Appleblim on R&S Records. Now, Second Storey returns to his home label, Houndstooth, and is back with Lucid Locations. Lucid Locations is a collection of irrevocably personal productions that were written between his movements between Suffolk and London, all whilst the label's dad, Fabric, was closing down and Brexit had become a reality. Lucid Locations winds down paths that explore breakbeat, electro, IDM, and techno. For any listeners wanting to sink their teeth into something far-reaching and familiar at the same time, this is definitely worth checking out. "Barrel Roll" is a perfect entry point, not only because it captures the essence of Second Storey as a project in 2017 (as well as his growth from the excellent Al Tourettes releases), but it also emphasizes the perseverance and poise that Storey carries over from his personal life into the tracks that he creates. Keep on, carry on, and rave until the lights come on.

2017 repress of Hauschka's debut album Substantial, originally released in 2004. Piano music is highly personal music, which is the reason why piano solo albums occupy a particular place of importance in a musician's work -- not that Volker Bertelmann wants to hype his first foray to that extent, hence the pseudonym. Nevertheless Hauschka is personal music, simply because it has accompanied him for so long, because it has always been there in some shape or form, because it has always been important. The title points to the fact that it is dealing with something of importance, not just a few finger exercises or background ivory-tinkling. Substantial is a snapshot of a life spent with the black-and-white keys, and is simultaneously both moment and history, thought and feeling, yet without turning into a unduly meaningful concept album. Rather, Substantial is based upon the least conceptual of all concepts: Improvisation. Each track is based upon an opening sequence, the theme of which is extended, modulated, and varied with, as far as form or length is concerned, no specific objective in mind. What has come out is music of a differing, well, substance: Eleven atmospheric pieces in which a variety of different techniques overlap and rhythmical images with narrative depth unfold; in which further instruments, such as double bass or vibraphone make a fleeting appearance, at once lending a hint of pop, but at no time detracting from the piano as central instrument; in which experimental and electronic music is accessed without compromising the directness and ease of the improvisational approach. The confluence of Bertelmann's multiple musical personality can be apprehended here: Whilst the pop-oriented musician plays the melody, the electronic producer gently experiments with sounds, leaving the pianist quite literally to manipulate the piano -- plucking the strings with a plectrum, dampening them or bowing them lengthways to achieve a variety of percussive effects. Following the recording, the tracks were adapted, supplemented, and finalized. Using multi-tracking, up to four piano tracks were superimposed, electronic sounds from the laptop added, as well Stefan Schneider's bass (Mapstation, To Rococo Rot, Music A.M.) on three tracks. Substantial is a recollection of the foundation of a musician's life, drawing upon the roots of diverse projects and releases over the past fifteen years. Hauschka is yet another facet of Bertelmann's palette, not a change of direction. Includes download code.

So you think you've heard everything when it comes to rare and wild '60s rock n' roll, right? Oh well, you're dead wrong! Leave it to Mexico when it comes to rowdy, crazy, and catchy-as-hell, as this ass-kicking set of rare cuts proves to be without a doubt. Throw this piece of dynamite at your next lame party and prepare to see the universe go ape-shit. There's no way anybody with a minimum taste for untamed '60s music is not gonna love this one to death. Features: Los Polivoces, Los Geminis, Los Aragon, Los Boing, Luis Vivi Hernandez, Los Cuatro Mosqueteros, Los Six Kings, Los Rebeldes, Los Strwcks, Esteban Ramon Y Los Cuadros, Los Teddy Bears, Los Reno, Los Juniors, and Los Gueros. Edition of 500.

Label bosses Frank And Tony return to Scissor & Thread with Odes, their strongest productions to date. "Procession" takes no time demonstrating the duo's keen ability to craft undeniable dancefloor vibes, with a hypnotic percussive groove that's sure to turn heads. "Odes" epitomizes the Frank And Tony sound with an early morning nostalgia and a nod to Detroit. "This Time" sees a collaboration with Darand Land, combining the dancefloor drive of the duo's sound with the intricate melodies synonymous with Land's sound. "Surface Prelude" sees a raw, but deep warehouse atmosphere reminiscent of early '90s house.

Who the hell is the devil? As we all know, God (that old slowcoach) is commonly known and allowed to have but one name (or none). As his everlasting archenemy, however, of my names there are plenty: Allow me to introduce myself: Satan from Arabia! Devil, El Diablo, fiend, deuce, Old Nick, the one that bedevils everything -- these are only a few of my names in Western cultures! Lucifer -- the one who brings the light -- or, as seen through the eyes of my grumbling competition, the one who was exiled from the light! Beelzebub, Azrael... Satan on the release: "I am the outlaw, the one nobody likes to talk about but the one that everybody likes to hail, the one that is always to the fore when you need me: You can find me wherever guilty pleasure celebrates its goatish feasts. You can find me at the tables of a gambling den, at the counters of hellish bars, promoting artistic careers at crossroads when the clock strikes midnight. I'm riding the highway to hell in a chromium-black limousine and steam along diabolic train tracks in black locos. I travel as the eerie wanderer or the eldritch hitchhiker. You can meet me in many shapes on the world's and life's big stages as the salient seducer in classy, noble twine and pointed leather shoes. I am especially dangerous in shape of a bombshell woman! Thus, it's no wonder that artists have been erecting memorials in my honor since the beginning of time. I have been idolized in arts, literature, and especially in music. I hereby present you a small selection of satanic songs and maleficent melodies from my infernal jukebox. Let me seduce you!" Features: The Louvin' Brothers, Sonny Burns, Joe Carson, Gene 'Bo' Davis, Jessie Floyd, Anita Carter, Johnny & Dorsey Burnette with The Rock`n´Roll Trio, Marty Robbins, Billy Barton, Johnny Horton, and Harry Choates.

Four Tet presents a new 12" on Text, SW9 9SL/Planet.

Follow up to 1999's The Swinging Reflective album. It features an array of Steven Stapleton's favorite releases that are either his own remixes of other artists, collaborations, or have been co-written with individuals who have worked extensively with Nurse With Wound. All tracks are remastered and some have been slightly or comprehensively remixed. Features: Colin Potter, Faust, Freida Abtan, Graham Bowers, David Kenny, Band Of Pain, Andrew Liles, Christoph Heemann, Aranos, Sunn O))), Lynn Jackson, Sand, Larson/Fritz Müller, and Blind Cave Salamander. Packaged in a heavy board, gloss laminated six-panel digipak.

Vinilisssimo present a reissue of Mutantes' Ao Vivo, originally released in 1976. Those who fell in love with Os Mutantes after listening to their Tropicália work in the late '60s, embracing both psychedelia and Brazilian music influences, should be aware that only one of the original band members, Sérgio Dias, is responsible for this late album, and when it came out the band's sound had changed enormously after almost ten years since their debut LP was released in 1968. The good news is that Ao Vivo is actually a great progressive rock record and also the first time we can see the name of Os Mutantes printed on the sleeve of a live album. The quality trademark of the band was still there despite the personnel changes over the years and the fade out of the Tropicália movement, which in many cases evolved towards the progressive genre. Ao Vivo was recorded in 1976 during a show at the Museum of Modern Art in Rio de Janeiro. Rita Lee and Arnaldo Baptista were not there, but the very talented Paulo de Castro, Rui Motta, and Luciano Alves had joined Dias and delivered a brilliant shot of live rock music with lots of quality keyboard solos and guitar licks. Paulo was at the time a very skillful multi-instrumentalist, so it is not surprising that he was hired as arranger and studio musician for artists such as Gerson Conrad and Zezé Motta on their 1975 LP on Som Livre. This album features 13 new songs and appears to be the last recording of Os Mutantes until the 2006 reunion show in London. An essential addition to any '70s Brazilian music collection. Presented in facsimile artwork and pressed on 180 gram vinyl.

Vinilisssimo present a first time vinyl reissue of Silverhead's self-titled debut album, originally released in 1972. You can tell a band has reached cult status when they are asked for reunion shows several decades after being dismantled. And this is exactly what happened to Silverhead, despite not gaining much commercial success during their short two-year career. They were part of the UK glam scene in the early '70s, as clearly stated through the picture on the LPs front sleeve (platform-soled boots, massive flares, and make-up), and released just two albums. The self-titled Silverhead saw the light in 1972 and is the band's first studio effort, sporting a sound that lays somewhere in between late The Who and the original heavy rock. "Ace Supreme", one of the strongest tracks on the LP, perfectly shows their devotion for furious guitars, stories of bikers and energetic vocals, while the opening track, "Long Legged Lisa", reveals some solid foundations in blues music, obviously mixed with the expected glam sounds. There is also room for very inspired melodic songs like "Johnny" or the very Rolling Stones-esque "In Your Eyes", one of the highlights of this brilliant album. Although Silverhead was a confessed source of inspiration for many UK bands in the 80s, they only managed to release two full studio albums before the group disbanded in 1974 and its members took different paths in the following years... Michael Des Barres was the front-man but most people will remember him for his work on several films and TV series, mainly as an actor for playing Murdoc on the television show MacGyver. The other group members would later join bands such as Blondie or play for artists like Robert Plant. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.

The annual Cocoon Ibiza mix is back with another bang with the essential 2017 edition mixed by two top talents, Nastia and Einzelkind. Nastia is one of the hottest DJs in the world right now. The Ukrainian is headlining clubs and festivals around the globe and showcasing not only great technical skills, but also a real breadth and depth of techno knowledge. Focusing on DJing rather than production, Nastia has also run her own festival, Strichka, and has been resident at key clubs Arma17, Fuse, and Ampere. As such she is a perfect fit for this job. Kicking off with vital veterans 100 Hz, she wastes no time in getting down to a thumping, jazz-tinged groove. From there, techno pioneers like Luke Slater sit next to d&b don Calibre and Detroit legends like Terrence Dixon. The resulting mix is tight and cohesive, and journeys through acid, jacking drum tracks, and driving stuff that never lets up. Taking care of the second disc is Einzelkind, the German who runs three labels including JAX and Pressure Traxx, and for more than a decade has been releasing on Get Physical, Playhouse, and Cécille, amongst others. He is a no-nonsense DJ who has played the likes of fabric and Space, and as such, has helped put his hometown of Frankfurt on the underground dance map. His selections call upon plenty of his own tracks, both solo and produced, with the likes of Ricardo Villalobos, Robin Scholz, and Markus Fix. The resulting 70-odd minute mix is more stripped back and cerebral than the first. It is always married to a slick underlying groove and is embellished with minimal synths and brain-melting pads that work perfectly in the late night and freaky hours in the club. Always keeping you on your toes, it ducks and dives, bobs and weaves in fluid fashion, and is a nice heady yin to the more physical yang of disc one. Once again, both of these mixes embody what it is to head to the legendary Cocoon party at Amnesia each Monday of an Ibiza summer. Also features: Theorem, Plastic, Slam, Sanasol, Bernard Badie, Oscar Schubaq, Kuniyuki Takahashi, Cobblestone Jazz, Pacou, Present Perfect, Differ-Ent, DJ Bone, John Daly, Implosive Inc., Hot City Orchestra, Charlotte T., and Rhythm Factory.

The frontier for French electroacoustic mystical music has traversed much ground since Pierre Schaeffer shuffled on the past and laid out a map without borders or designated ground. Seventy years in this land of the fried, there are a plethora of Ideas and ongoing potential coming from all corners of the globe. Inheriting the wisdom of past masters whilst forging a signature style of his own, Kassel Jaeger sits as one of the premier explorers of these unknown worlds today. Comprised recently recorded tracks, Kassel Jaeger presents a work of revisits and re-workings, one which acts as a hinge in both closing this particular chapter, whilst opening up the windows to a new sound world. In Aster, rich deep music is replete with dark ambient sonorities swirling amongst intense buzzing tones. Often chilling and ominous, this is a fearless music with abstracted corners and dynamic leverage. Unafraid to embed itself in the ongoing whirlpool of sonic progress. Jaeger's output remains a thrilling body of exploration and ongoing transformation. Photos by Ende Wieder; Design by Stephen O'Malley.

"Second boss LP by this bossest of Western Mass trios. Comprised of Jenifer Gelineau on violin & electronics, Omeed Goodarzi on guitar, and Edward 'Ted' Lee on bowed cymbal, Donkey No No create the sort of instrumental hallucinations you'd expect to hear in the background of a film by Jodorowsky or Arrabal. It's very cool, because they use the very instruments you'd hear in some shitty Ken Burns documentary, in order to play music that would make Ken's sallow head explode if he tried to wrap his noggin around it. With sometimes scratchy violin as the ostensible lead instrument, theoretical comparisons to old timey music are inevitable. But Donkey No No's sound is old timey only in as much as its tendrils are as timeless as smoke. Every note they generate heads in such weirdly trippy directions you can immediately suss why these guys are such a favorite of Gary Panter (king of the hippies). Much of their flow is an unstoppable lateral gush, reminiscent of mid-points in long sets by classic-if-lost Bay Area bands like Patrick Kilroy's New Age trio or Serpent Power. They create an aura that is filled with breath and light in a way that few other bands have ever mustered. It's crazy to think that because they're a new band, on a label not known for its psych releases, that it's gonna take heavy duty psych heads YEARS to find the damn thing. Only when it is no longer in print, and Feeding Tube is an empty brush warehouse once again that the big boys will figure this one out. Which gives you a chance to get a jump on these turds. So do it. If you appreciate the sound of sliding through golden portals, this record was made for you. Whether you like curry or not." --Byron Coley, 2017. Edition of 300; Silk screen fold over covers by Neil Burke.

Nachthexen are a band -- possibly a coven -- from Sheffield, making fresh, fiery, and eminently danceable synth punk. This record follows on and includes re-released songs from their cassette The Other (2015) and self-titled 7" (2016). With themes of social anxiety and isolation, feminist protest, and sanctuary in sisterhood, Nacthexen's sound involves outsider occultist eeriness with classic punk ferocity and '80s post-punk and new wave catchiness. Reminiscent, at times, of Goblin, Gary Numan, and Siekiera, it also recalls the punchy attitude and hooks of women pushing punk forward in the late '70s and '80s, think Kleenex or Suicide Squad.

The independent, South African record label Mushroom Hour Half Hour present Open Letter To Adoniah, a moving album by talented guitarist and songwriter Sibusile Xaba, who improvises the musical legacy of KwaZulu-Natal into an exciting, genreless future. A lynchpin in South Africa's new generation of jazz musicians, KwaZulu-Natal born guitarist and vocalist Sibusile Xaba has all the makings of an acoustic guitar master. With a vocal style that is part dreamscaping and part ancestral invocation, Xaba divines as opposed to plainly singing. Combined with a guitar style that is rooted in expressive picking, Xaba's music shatters the confines of genre, taking only the fundamentals from mentors such as Madala Kunene and Dr. Philip Tabane and imbuing these with a mythology and improvisational intensity all of his own. Open Letter to Adoniah is an album reverent of life and its connectedness to a higher source. The music emanates from dreams revealed to guitarist Sibusile Xaba over consecutive days. With percussionists Thabang Tabane and Moahanganai Magagula, the trio coalesces both geographic and spiritual influences, hinting at Maskandi (a music style dominant in Xaba's native KwaZulu-Natal) and the improvisational culture of South Africa's jazz avant-garde. Collectively, the musicians remold these influences, situating them within rhythms that span the continent. Thabang Tabane's influence over the project gives it a spiritual sensibility allusive to Malombo which his father Dr. Philip Tabane originated in the late 1960s. Mushroom Hour Half Hour is a Johannesburg based, independent record label and a mobile recording studio that unearths and records unique music from the African continent. Xaba's debut project is Mushroom Hour's first international release. Produced by Thabang Tabane. Double CD version includes the album Unlearning as disc one.

Denver's Gila debuts on Benji B's Deviation Music with Pick Six EP. Building on the territory explored on Genkidama EP (XLT 774EP, 2016), Pick Six EP sees Gila continue to toy with hard-body US rap production techniques and sound palettes. From the sino tones of fluttery opener "Swirl Suit" to booming, 808 heaters like title-track "Pick Six", this is an EP redefines the boundaries of rap-inspired club music. Gila plays with atmosphere too, none more so on ghoulish and pensive "Psycho Dabber" or the rippling "Frost On Leaf", spotlighting a deftness in and around the rougher edges of his work.

Radiation Roots present a reissue of The Paragons' Return, originally released in 1977. One of the most important harmony groups in the entirety of Jamaican music, the Paragons have a long and complicated history. First formed in the ska years by Bob Andy and Tyrone Evans as the duo of Andy And Ronnie, the group soon expanded to a quartet through the addition of Howard Barrett and John Holt, the latter naturally assuming lead duties; following the subsequent departure of Andy, Holt, Evans, and Barrett made the Paragons the quintessential rock steady trio. They had an incredible run of hits for Duke Reid and Coxsone during the mid-to-late '60s, and also issued some self-produced work, before Holt's solo career skyrocketed, leaving the group on the back-burner. Then, in the mid-1970s, the Paragons reformed, cutting material for New York-based labels such as Clocktower and Clintones, which led to this intriguing album, which saw material recorded in Jamaica at Harry J for Bunny Lee mixed with work cut at Bullwackie's studio in the Bronx; along with re-workings of classics such as "Left With A Broken Heart" and "Memories By The Score" is a whole range of new material, dealing with contemporary themes.

Double LP version. With his ice-cold debut album, Pessimist delivers a defining work which represents the culmination of nearly a decade of collective research and development in underground drum'n'bass. It is hard to think of any producer, past or present, who has so skillfully and successfully bridged the sonics and sensibilities of d'n'b and techno. In fact, Pessimist makes drum'n'bass work as techno: combining the monotone, infinite-horizon quality of the latter with the rhythmic swerve and soundsystem heft of the former. Cutting edge techno-d'n'b hybrids form the backbone of this, his first LP, but there's more to it than that. Out of its relentlessly noir, paranoid, smoked-out dubscape, emerge fierce, Babylon-shall-fall jungle tear-outs ("Through The Fog"); zoned, acidic rave ("Peter Hitchens"); downtempo breakbeat excursions ("Glued"); sleek and rude "Balaklava"-esque steppers ("Spirals"); and passages of bleak, bombed-out industrial ambience. At times it feels like the missing link between British Murder Boys and Source Direct, or what might have happened if late '90s UK jungle-ists had listened more closely to Chain Reaction. The ruthless minimalism, and the tension which comes of that restraint; the swing and propulsion of the drum programming; the abyssal reverbs and long trails of delay; the deep and body-numbing sub-bass; the uncompromising palette of blacks and blues. Features Loop Faction and Overlook.

Boomkat Editions offers the first-ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais, originally released on CD by David Sylvian's Samadhisound label in 2004. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais's self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century's greatest musical enigmas and could be said to presage contemporary obsessions with processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others. Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version, allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical -- both temporal, spatial and timbral -- nature of the record's ethereal vestibules and elusive, illusory sonic specters. In remodeling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material -- dead as in hardly anyone knows or plays them in the modern age -- imbuing them with a contemporary relevance through the process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now nearly a millennia old -- so old you can't even call it classical music. Spellwauerynsherde has set a benchmark for experiments with ancient composition and computer music -- each immersion in this vinyl is akin to floating through the mists of time and will sends shivers down your spine just even thinking or writing about it, never mind listening. Spellwauerynsherde is one of the most magickal, perplexing, and strangely life-giving records that you'll ever hear. Photography by Jacqueline Roberts; Design by Michael Worthington. Lacquer cut at Dubplates & Mastering.

On November 17th 1961, John Coltrane played at the Granada Theatre in Walthamstow. On November 23rd, 55 years later, free jazz legend Evan Parker made this six track recording in the same space with John Russell and John Edwards. This recording has personal resonances for Evan: he attended Coltrane's performance 55 years ago at the Granada. Evan Parker: "John Russell, John Edwards and I are going to record in that same cinema. It has had the usual chequered life of classic old cinemas of the post war era in the meantime, but the resonances of that day in 1961 will be an inspiration." Beautiful cover artwork by Oliver Bancroft. Presented in a 3mm spine case.

LP version. The Aggrovators were one of Jamaica's finest session bands put together by the hit-maker from Jamaica, Bunny Striker Lee. The group would produce some of the hardest rhythms cut at the legendary Channel 1 studio. These tracks would provide the backbone to songs that were usually voiced over at King Tubby's own studio. These cuts here represent a selection of some of those fine rhythms selected together for the first time. The Aggrovators were a group of reggae musicians that usually featured Carlton "Santa" Davis on drums playing alongside Robbie Shakespeare on bass with other musicians added like Earl "Chinna" Smith on guitar and Tommy McCook, Vin Gordon, and Lennox Brown added for horn arrangements, with keyboard and organ duties normally left to Ansel Collins and Bernard "Touter" Harvey. Jamaican Recordings have compiled some great tracks recorded by this fantastic group of musicians and focused on those cut on Channel 1 studios to give you a feel of what those times were like. Dubs of songs from Johnny Clarke, Delroy Wilson, Paragons, Ossie Scott, Roy Shirley, and Pat Kelly.