Glitterhouse present the first collaboration album from David Eugene Edwards and Alexander Hacke entitled Risha. The two have had a connection since the early days of 16 Horsepower and collaborated on the reunion album American Twilight by Australian indie rock outfit Crime & The City Solution (2013). Finally, they found the time to record this astonishing piece of an album. Hacke on their relationship: "David and I have been admirers of each others work for some time. We first got to play together for The Glasshouse, a movie project initiated by my wife Danielle de Picciotto and during the brief resurrection of Crime & The City Solution all three of us were involved with. Shortly after I worked on Wovenhand's Laughing Stalk album as a mixing engineer (2012). We became close friends during these very diverse collaborations and started talking about creating music together, which would combine electronics with ethnical instruments and overdriven guitars with oriental rhythms and scales." Over the last two decades, Edwards's prolific work in both bands, 16 Hosepower and Wovenhand has influenced and inspired a generation of musicians. Alexander Hacke is primarily known as a longtime member of German industrial music group Einstürzende Neubauten and one of Germany's most influential experimental artists. For Risha, David Eugene Edwards recorded all vocals, guitars, and string instruments; Alexander Hacke played keyboards, bass, drums, and electronics. Together they created an astonishing and hypnotical soundscape and atmosphere on their first full-length album. Risha cannot be described in traditional terms. This sound is a sweeping tapestry of Americana, neo-folk, industrial, ambient, electronic, and Arabic music. Risha -- which means "Feather" in Arabic -- contains ten parts: Beginning with the mystic "Tryptyc" which is followed by the furious beat of "All In The Palm". Hacke and Edwards keep the pace with "The Tell" and its driving industrial rhythm and break it down completely with the fourth track, "Helios". "Kiowa 5" is shaped by fascinating drum patterns and the shamanic vocals of David Eugene Edwards. "Lily" is the song that is inspired most by early Wovenhand, followed by the dark and hypnotic "Parish Chief" with its almost Suicide-like vintage drumbeat, the drone excursion "Akhal", before the memorable "Teach Us To Pray" and the final and epic "Breathtaker". Each one a piece of the puzzle; made to be listened in its entirety.

Acid Test reissues the highly sought-after Acid Acid LP from Tin Man, originally released in 2005. Now titled Acid Acid Acid, it includes a fourth disc of unreleased material recorded from the period. Remastered by Stefan Betke.

Many years in the works, Ōgon Batto finally unleashes his album Hedoro. A journey into Japanese soundtracks and '90s adventure-gaming. Ōgon Batto is Bent Von Bent from Antwerp, Belgium. Besides working as a visual artist around archiving systems and collections, he is also the co-runner of the Hare Akedod label, together with David Edren, aka DSR Lines. Following his debut release (2014), Ōgon Batto secretly started working on a second album Hedoro, meaning "slime" or "chemical ooze". Bent is immensely fascinated by Japanese traditional and contemporary culture ever since he first visited the country. Mixing his European background with these Japanese influences, he shifts easily between abstract electronic tracks and pieces with a more classical Japanese tool kit. Think Oneohtrix Point Never or Mica Levi composing a soundtrack to a fantasy game. With an amazing sense for detail Hedoro's musical story -- entirely composed with synthesizers -- is reduced to a collection of situations and drama, with space for suggestion and imagination. Every track, how short it may be, is essential to the whole, maximizing the general dramatic effect. The album was mixed in Sapporo, Japan with the typical sounds of cicadas on the background (not on the album though) and some glasses of sake. The ceramic sculpture on the front cover is a reinterpretation of Rolls Royce's "Spirit of Ecstasy" and is created by Benny Van den Meulengracht-Vrancx. Remastered by Kris Delacourt. High-glossy sleeve; Edition of 300.

Produced in collaboration with the legendary Jac Berrocal's label d'Avantage, More Intra Musique is the second LP in Alga Marghen's series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. While the furious Intra Musique free jazz first LP (ALGA 043LP, 2017) was centered on a live recording with Michel Portal, Eddie Gaumont, and Mimi Lorenzini at the Faculty of Law in Paris, on an evening in 1969, it is an unexpected Jacques Thollot that you encounter on this second LP, vivid and blazing even more than you might have already known. Jacques Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen. Starting from 1971 he released Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer or Watch Devil Go on Futura and Palm Records, or some of the most relevant and revolutionary sonic masterpieces in France. More Intra Musique is free improvisations of course, but also synthetic jitters, musique concrete, and loop experiments, sketched pop songs, minimalist trances with African accents, or simply the promiscuity of a lullaby or the voice of a child posed like a bird in a Norman garden. These long-lost visionary recordings featuring Eddie Gaumont on prepared piano and Jacques Thollot on drums, piano, prepared piano, synth, and tapes are an absolute revelation which make you rethink everything you know about French free improvisation. Tape manipulation created as a potential background for a live set... Bursting rehearsal with Eddie Gaumont... Is the piano well prepared? Besides the stingy mention Intra Musique sticked on the reel, nothing is known of this recording. Edition of 350 copies.

Alga Marghen present recordings from Luc Ferrari's Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. "Exercices D'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou Donc Est-T-On?", a very complex piece forthcoming on Alga Marghen including both "Dance", issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by Alga Marghen in 2010, as well as the "Labyrinthe De La Violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe De La Violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP). These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time. Obi strip; Edition of 500 (numbered).

The legal age of majority and the right to vote. 1<3 : chronology and timing is mandatory to make things happen supposedly.. After the terrible plague of awful doppelgängers, it is time to smoke out the disgusting trolls, using the best ingredients possible.

2018 repress; LP version. Originally released in 1974 on Mamba, Flesh Of My Skin Blood Of My Blood is the most hallowed of all those reggae albums which remain unavailable, and Keith Hudson's key achievement in a career launched when, as a fourteen-year-old, he recorded members of The Skatalites on his "Shades Of Hudson" rhythm. After a series of solid-gold productions for Ken Boothe, Delroy Wilson, John Holt, U-Roy and the rest, this album projects Hudson's removal from Jamaica to London and New York studios and transatlantic audiences, and inaugurates a sequence of albums -- classics like Pick A Dub, Brand, Playing It Cool, Playing It Right -- which show his troubled experimentalism better suited to the LP than the cardinal 7" reggae format. Anchored here by Santa Davis and George Fullwood from the Soul Syndicate -- alongside musicians like Augustus Pablo, Count Ossie and Leroy Sibbles -- Hudson's mood is tormented and dazed, as on titles like "Darkest Night," "My Nocturne" and "Testing My Faith," where he struggles for Black senses of commitment --political, existential, religious -- at its breaking point. Magnificently and deadly serious, hauntingly unique, unmissable and unforgettable.

Intra is Mark Fell's fascinating study in computer generated rhythm, performed by Drumming Grupo De Percussão on the Sixxen metallophone system: a set of six microtonally tuned instruments originally conceived by Iannis Xenakis for use on Pléäides (1976). Commissioned by Porto's Fundação de Serralves, the eight-part Intra develops from Fell's Focal Music series and his projects with Indian Carnatic musicians. It probes the perceptive difference between ideas of simplicity and complexity by instructing acoustic instrumentalists via electronic triggers relayed through headphones, an idea previously explored on the Time and Space Shapes for Gamelan installation Fell made in collaboration with Laurie Spiegel (Sheffield, 2017), as well as earlier collaborations between Fell and noted virtuoso improvisors Okkyung Lee, Laura Cannell, Sandro Mussida, and Aby Vulliamy. It is important to acknowledge Fell's ongoing interests in the systems of Carnatic music, the Southern form of Indian classical music whose mathematical sound rules are practically inseparable from musical expression in a way that's difficult to comprehend from a Western perspective. In terms of rhythm, Carnatic musicians perform within a set of rules, or tala, whose seven structures each have five variations, resulting in 35 possible combinations -- many more than the usual Western structures of minor and major scales. Heard in context of Carnatic systems, Intra becomes a crafty and even wittily playful piece of sound art, one which undermines deeply entrenched conventions and perceptions of music, both composed and improvised, generated and performed, in a way that's entirely pleasurable, even strangely soothing in its stilted trickle of off kilter tones. Artwork by Joe Gilmore. Edited by Rian Treanor. Mastered and cut by Matt Colton.

In 1982 The New Blockaders self-released their debut LP Changez Les Blockeurs in an edition of only 100. Steven Stapleton was the very first person to purchase/hear the album and subsequently distributed copies via United Dairies. The LP has since attained a somewhat mythical/legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited Steven Stapleton to rework the original which is now available in all its glory here. The LP cover features brand new artworks by Steven (aka Babs Santini). It comes with an insert including a TNB/NWW article by Paul Hegarty, author of the much-acclaimed Noise Music: A History (2007). The cover is printed on heavy 550mcn matte laminated board, and the insert on 250 gsm art board. Edition of 300.

After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 -- until 1991 mostly together with Johan Goedhart --, each installation made specifically for the site where it was displayed. Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre. The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a three-LP box set edited on Apollo Records in 1986. This new three-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gatefold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos. Regular version comes in an edition of 250.

"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book Long Strings 1982-2011)

LP version. Includes download card. Efficient Space share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land -- Bobby Bunnungurr, Jimmy Djamunba, and Peter Milaynga (d. 2007) -- working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony. A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi's mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that "the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas". What developed was sonically unique -- sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell. On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well-known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three-year investigation to meet the people behind the music. Waak Waak Ga Min Min ("Black Crow, White Cockatoo") combines the previously unreleased "Gandi Bawong" with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.

Repress in vintage-styled tip-on hard cardboard sleeve. Guerssen Records present a reissue of Dave Bixby's Ode To Quetzalcoatl, originally released in 1969. Since its discovery in the late '90s, Dave Bixby's legendary $2000 private press album from 1969 is considered by all serious record collectors as the king in the loner/downer folk genre. After being involved in '60s Michigan folk and garage-rock bands such as The Shillelaghs and Peter & The Prophets, Bixby started playing acoustic guitar and experimenting with LSD. After a year of drug abuse, he felt broken. Starting a soul-searching, spiritual journey, he wrote Ode To Quetzalcoatl and most of the material for his second album, Harbinger's Second Coming (1970) in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded Quetzalcoatl using an echo-laden four-track machine in a flat's living room. The sound is lo-fi and sparse: just acoustic guitars and some occasional harmonica and flute, added to Bixby's haunting, emotional vocals, spiritual lyrics, and solid songwriting. The opening cut, the eerie and painful "Drug Song" sets the mood perfectly for the rest of the album which contains more tormented titles like "666", "Lonely Faces", "Open Doors", "Secret Forest" -- never has an acoustic folk album sounded so intense. Carefully remastered sound from vinyl (no master tapes exists) done at Shadoks Music Studios. Includes insert with detailed liner notes by Matvei Procak, who found Bixby in 2006, plus some rare pictures.

Pressed in Detroit. Next in the string of Metroplex reissues is Nature Of The Beast, a total classic by duo Mike Grant and Damon Peterson as Black Noise. Another techno essential. Originally released in 1997.

Nicolas Jaar's Other People present a new solo record of guitar and live custom electronics from artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the ensemble Zs, which is said to be one of the strongest innovative bands in New York. His work as a composer traverses the styles of the European avant-garde styles with the post-minimalist sounds of New York. Dossier is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in style but builds to an intimate and introspective finish. The material was developed over a two-year period and finished at the end of 2016. Cover art is by Alfredo Jaar.

Francis Harris is one of the most interesting figures on the American electronic music circuit and beyond. His output has gone from tightly-wound tech house cuts as Adultnapper in the early days, sublime deep house as Frank & Tony, intricate and expressive musical journeys as evident in his two solo-albums Leland (2012) and Minutes Of Sleep (2014), and ambient shoegaze with two Aris Kindt albums, co-produced with Gabe Hedrick. Most recently Harris branched out with a new label -- Kingdoms -- a home for his love of a more adventurous sound. Up until now his most notable milestones remain the two solo-albums Leland (2012) and Minutes Of Sleep (2014) who became essential albums of the genre. Both albums have been out of print for a long-time and due to public demand, Scissor & Thread present new vinyl editions of both albums. Carefully restored from original masters and artwork the albums now appear in gatefold-sleeves. Leland spans over three vinyl discs, just like the sold-out original. Leland features Danish vocalist Gry on three tracks including "Lostfound", the first single and video which was remixed by Mathew Herbert. Also featured throughout are Emil Abramyan, whose poignant performance on cello evokes comparison to Arthur Russell, and Greg Paulus (No Regular Play, Matthew Dear Band), whose improvisational free jazz inspired trumpet accents converse thoughtfully with Harris's own tonal melodies performed on piano and guitar. Determined to produce electronic music with warmth and true dynamic range, Harris recorded and mixed Leland with Jordan Lieb on an analog SSL and then enlisted legendary engineer Joe Lambert to master the project. Originally released in 2012. Gatefold sleeve; includes download code.

Sorcerer Records present a reissue of Lubricated Goat's debut LP Plays The Devil's Music, originally released in 1987. It's been out of circulation for over two decades, and Sorcerer Records presents this classic slice of underground Australiana in all its glory. Recorded over two recording sessions in mid-1986, one in Perth and one in Adelaide, Plays The Devil's Music wasn't really seen by LG founder/mainstay Stu Spasm (ex-Beasts Of Bourbon, Salamander Jim, and much more) as a part of any grand musical plan. He recorded these tracks with his friends Martin Bland, Brett Ford, and Pete Hartley and went back to Sydney with the tapes. John Foy of Black Eye Records loved the results and the band known as Lubricated Goat was born. Over the course of several more full-lengths and an EP or two, the band made themselves a reputation as one of Australia's finest purveyors of post-punk noise-rock before relocating to the US. The musical scene centered around the Black Eye label in Sydney at the time, with bands such as the 'Goat, Thug (featuring a young Tex Perkins), No More Bandicoots, Box The Jesuit, etc. remains one of Australia's richest, weirdest and most inventive conglomeration of musicians and artists, and Stu and company were right in the thick of it. Lubricated Goat were (perhaps correctly) often compared to the Butthole Surfers at the time, and their mix of punk, post-punk, noise, and a taste for the absurd puts them firmly in the same camp. Throw in a little bit of Stooges/Birthday Party-style grunt and a distinctly Australian sense of humor and you're getting close to the magic of early Lubricated Goat. This edition comes remastered c/o Mikey Young. Comes in original artwork and inner sleeve; Includes download card; Includes new liner notes from Stu Spasm detailing the history of the recording. Recommended for fans of: Butthole Surfers, Killdozer, Pere Ubu, Big Black, Birthday Party.

Sunbeam Records present a reissue of Fresh Maggots' Hatched, originally released in 1971. This legendary album combines gentle, pastoral songs with violent fuzz guitar to stunning effect. Though it sank without trace on its original release, it has since acquired a major reputation amongst acid folk fans. Presented here with rare photographs, detailed sleeve notes, and seven bonus tracks (including the duo's rare non-album single and a previously unheard 1971 radio session). This is the most comprehensive collection of their music ever assembled.

"The British folk-rock duo of Mick Burgoyne and Leigh Dolphin were just 19 years of age when their sole, self-titled album came out in 1971. Comprised entirely of original material, the LP has an admirable array of textures, adding some heavily distorted electric guitar and orchestration around an acoustic guitar base." --Richie Unterberger, All Music

"There are no weak links on this consistent album, which is thoroughly recommended." --The Tapestry Of Delights

The trio of Alan Wilkinson, John Edwards, and Steve Noble continue to plot their course ever outward and ever upward. These new songs, recorded in South London at that wonderful performance space -- at the heart of the improve scene here at this moment -- Iklectik, are the very beating heart of improvised music. It's not that they are good, or even representative -- such relative terms fail to express the continuum of which these sounds are a key part. This is music that evades the strictures of scientific measurement or critical theory. It just is. Wilkinson is a master of the tribal, balls-out approach to sax playing. He lets it all hang out. But there is great subtlety in what he does with his horn, in the range of inflection, the space between the phrases, the singing tone. At times he sounds like a tight knit sax section in a swinging big band all on his own. There is definitely jazz in there. Edwards and Noble form the rhythmic base for much that is good and beautiful in the improv scene today. Years of playing together and individual brilliance mean they mesh like the gears of a micro-tuned machine. Together the trio make music. And that is all that needs saying. Personnel: Alan Wilkinson - alto, baritone saxophones, bass clarinet; John Edwards - double bass; Steve Noble - drums.

Heroin In Tahiti is a duo from Rome, Italy hailing from the Roma Est scene, a sort of local community based in the crumbling and deteriorated neighborhoods which were already eternalized by Pasolini and Neorealist Cinema (think of Pasolini, De Sica, Visconti, etc.) The duo plays a variety of cheap guitars, analog synths, drum machines, and pedals, achieving a dirtiness which is tragically lo-fi and out-of-time at the same time: a "Spaghetti Wasteland", as they call it. In 2012 they released on Boring Machines their debut album Death Surf, a title which spoke for the music played on the record. The label said of the album: "Think of drinking a frozen daiquiri on a solitary beach while watching a poorly tuned TV broadcasting loops of If You Meet Sartana Pray for Your Death (1968), while Mururoa tests are happening at the horizon." When mentioning Italian occult psychedelia, Heroin In Tahiti seems the best choice to sum up the sound and the references that stay at the core of this all-Italian scene. With albums like the mammoth double LP Sun And Violence (2015), the minimalist Canicola (2014) and the monolithic Remoria (GRA 001LP, 2017), Heroin In Tahiti became a cult band for their particular signature. Casilina Tapes 2010-2017 is the latest (and probably last) output from the cult Italian duo. It's a collection of unreleased tracks recorded in their basement studio in Rome in the last seven years while building up their thematic albums. The label listened to the single tracks at once and they found out there's a coherence between them even if they have been created in different periods. Actually, they show a coherence that only Heroin In Tahiti, with their kaleidoscopic vision of how Italy secretly sounds, can properly conjure up. Boring Machines calls it "total music". You may find elements which reminds of long lost Morriconian soundtracks for cheap westerns or giallos, library music to accompany documentaries on Superstudio radical architecture, urban tribalism, beat poetry festivals on the seashore, and house music. Recorded in Rome, 2010-2017. Artwork by Francesco de Figueiredo. Screen printed covers by Legno, Milano.

Earlier this century, Spencer Clark, aka Monopoly Child Star Searchers, created a sound phantasy with Skaters and after that he pursued a new alchemy under various aliases (Charles Berlitz, Fourth World Magazine, Monopoly Child, Typhonian Highlife, etc.) and projects (like Egyptian Sports Network, Tarzana, or The Temple Defectors). The different aliases aren't a mode of dispersion or to create confusion, they're setups for the different possibilities he imagines for music. Make Mine, Macaw -- previously released in 2010 as a limited CDR on Pacific City label -- references a large long-tailed parrot and is part of a trilogy about birds, Spencer's Tropical Bird Romance Audio, which also includes, Bamboo For Two (2010) and The Garnet Toucan (2012). A deep dive into this record makes it clear why it should be re-released. In the field of experimental-tropical-cocktail music, no one does it like Spencer Clark, especially through his output Monopoly Child Star Searchers. Make Mine, Macaw explores the best cocktail recipes through five colorful pieces, using Clark's premium technique of blurry repetition and dreamy percussions. A tropical fantasy that starts in your ears, feeds your brain, and changes your life. You won't know what a pacific city sound vision is until you see one. Make Mine, Macaw makes you see one clearly.

LP version. Espacial Discos present the first ever, legit vinyl reissue of Hot Pepper's Spanglish Movement, originally released in 1978. This obscure cosmic disco/Balearic/Afro gem from Mexico, originally released as a private pressing in 1978. Hot Pepper was a studio project created by Mexican drummer/producer/arranger Jesús Muñoz "Tilico" who decided to record an album in a disco-funk vein, helped by some of his friends who were top session musicians. Spanglish Movement was the result, written and produced by "Tilico", released in 1978 as a tiny private edition housed in a fabulous Afro cover. Being "Tilico," a giant drummer who appeared on countless recordings and accompanied famous figures like Paul Mauriat and Carl Tjader among many others, you can expect here lots of heavy drums, congas, and percussion, surrounded by crazy space synths, male-female vocals, Latin horns, Afro touches, and occasional fuzz guitar. Four superb long tracks including the cosmic underground club classic, "Ritual Song". Includes insert with liner notes and rare photos.

"Considered by many as 'the Motown of salsa,' Fania Records is probably the most transcendental label in the history of Latin music. By bringing together the eclectic vision of Dominican bandleader Johnny Pacheco with the business savvy of impresario Jerry Masucci, Fania created a sound: the apex of tropical music, combined with the swing of big band jazz and the gritty vibe of American R&B. The label provided an artistic heaven for a young generation of musicians who were inspired to experiment with new musical formats. The albums recorded by Willie Colón, Héctor Lavoe, Rubén Blades and Eddie Palmieri from the early '70s to the mid-'80s went beyond the parameters of so-called 'salsa' -- taking Latin music to unsuspected levels of sophistication. When you think Latin soul you relate to a mélange of R&B and mambo rhythms intermixed culturally by and for the youth of America. It was 1974, and a brash youngster by the name of Ralfi Pagan walked into the offices of Fania Records and demanded to be heard. Fania President Jerry Masucci allowed Ralfi that opportunity, and Ralfi auditioned for Jerry right there in his office. It took only a few moments for Masucci to realize that he was in the company of his newest recording artist; he put Ralfi in touch with recording director, Johnny Pacheco, who hurried him into the recording studio for Ralfi's first Fania recording session. A little James Brown mixed-in with Hector Lavoe. Inside, a heart full of Latin soul. The Latin voice of New York City: Ralfi Pagán was the young man behind some of the grooviest Latin fusion albums ever to be put down on vinyl. His early seventies Fania recordings stand out as consummate examples of Latin soul at its very peak. To paraphrase the name of Ralfi 's signature song, his sound was pure Latin soul. Very few artists possess the natural talent to dominate the music from two different cultures but Ralfi Pagán was not an average singer. Gifted and open minded, Ralfi was always hip to the music that made his Manhattan the cultural melting pot of the seventies. On songs like the hot Latin soul and the fantastic El Hijo de Mama, Ralfi swings freely from raw R&B, to straight-up salsa. Always giving his R&B that precious Nuyorican flavor, Ralfi was known as Fania's go-to man when it came to time for that funky Latin soul vibe. Ralfi's albums were lovingly produced by Fania's co-founder, the eminent Johnny Pacheco and featured the best R&B and Latin music players in New York City. Ralfi was one of the few artists that had the vocal gift to conjure the stylistic leanings of Curtis Mayfield and combine them with the raw barrio energy of Hector Lavoe. Now remembered for his sweet falsetto, Pagán's voice remains one of the most cherished treasures in the history of Latin popular music. Regrettably, Ralfi is no longer with us, but it is our good fortune that he has left us a wealth of fine music for our enjoyment and consumption; a mixture of Latin soul classic ballads for romancin' and an assortment of up-tempo jams for partyin' down."

Istanbul based multi-instrumentalist Umut Çağlar founded the Turkish free jazz band Konstrukt at the beginning of 2008. Since then the band went through many line-up changes and collaborated with the likes of Peter Brötzmann, Joe McPhee, William Parker, and Keiji Haino, continuously evolving its sound. The band is currently formed by Çağlar, Korhan Futacı, Apostolos Sideris, Erdem Göymen, and Berkan Tilavel and Oryantal -- recorded at Hayyam Studio in Istanbul in 2017 with two drummers and a double bass player on board -- shows a more melodic and groovy side of the band. The session explores their rhythmic roots with the use of traditional instruments such as bendirs, tefs, and double reeds, trying to carry these sounds to the future with the help of electronics. Edition of 300.

2018 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. Poet, composer, street musician and cosmologist Moondog (Louis Thomas Hardin, 1916-1999) learned rhythm from American Indians and counterpoint from J.S. Bach. Many of his recordings feature instruments he built himself: trimba, yukh, tuji, oo. Sometimes you can hear in the background the streets of New York, where Moondog often slept. In addition, he was blind, due to an accident when he was 15. Sometime in the 1950s, fed up with being mistaken on the street for Christ (his regular busking spot was uptown on Sixth) Moondog put on a Viking costume, with spear and horned helmet; and he dressed like this until the late 1970s (by which time he was working with orchestras in Germany). Moondog's renown was extensive: Igor Stravinsky lobbied a judge on Moondog's behalf. Charlie Parker wanted to play with him, Julie Andrews DID play with him, and he was feted by the likes of Bob Dylan, Marlon Brando, and Steve Reich. Andy Warhol's mother designed one of his covers, and Weegee took photographs of him (included in the booklet). Janis Joplin covered him, Mr. Scruff owes him badly, and Antony and the Johnsons covers his songs. This is the first retrospective of Moondog's music -- 36 tracks from 1949-1995, most of them exceptionally rare, all of them miraculous.

Charlotte de Witte continues to establish herself as a driving force on the contemporary techno scene with The Healer EP. Charlotte's fresh and innovative sound is immediately laid bare on opener "The Healer", with eight minutes of spine-tingling, hypnotic techno. "Silence" is another slice of tunnel vision techno with perfectly designed drums rolling on and synths peeling off the groove. Then comes "Kuda", a track built on monstrous kicks that hit hard and drive forward with real force. "Song Of The Wood Nymphs" shows another side to the producer with three minutes of suspensory synths and expansive ambient sounds.

Following on from the previous iterations of the series, particularly the widely acclaimed Nordic Flora Series Pt. 3: Gore-Tex City (2017), the cast of collaborators remain familiar. Some faces are more prominent on this occasion, while others were folded into the series for the first time at last year's Berlin Atonal festival where Varg's Nordic Flora program was unveiled. The album's most tender moments arrive when the acoustic instrumentation and ambient ascents cross and tangle with the spoken word performances from AnnaMelina and Chloe Wise. They speak in lullabies of decadence. And the sincerity catches you out, tapering the rush, awakening the crush. When working with both AnnaMelina and Vanity Productions, the gentle details get scaled up for bigger arenas, the track signaling a kinship with last year's Yung Lean collaboration. Not surprisingly, Varg configures this side of Crush alone, perhaps letting this stormy intensity out just the once in a mournful piece with Ecco2k. True to the Nordic Flora Series, the artwork comes from American multidisciplinary artist Cali Thornhill DeWitt. Features Morning Star, Ecco2k, AnnaMelina, Chloe Wise, Matti Bye, Christian Augustin, Henrik Söderström, and Vanity Productions.

Previously only available as part of the Haircuts DVD (2008). Remastered for vinyl by Helge Sten. Recorded at the Paradiso Club in Amsterdam in 2002. The club streamed its own recording of the show at the time but presented here is Motorpsycho's own recordings, meaning properly mixed from 24 audio tracks. The centerpieces of the concert were heavily extended versions of old warhorses such as "Hogwash" and "STG", showing a band more concerned with exploring the furthest reaches of their improvisational abilities rather than trying to recreate the detailed arrangements for string-quartet and pop-group that had dominated their three previous albums. It's worth mentioning that Baard Slagsvold is on keyboards, his fearless approach to improvisation taking the music well into uncharted territories. Double-LP; Comes on 180 gram vinyl; Includes CD.

"For years, the only way to hear the music of John Saint-Pelvyn was to search him out in one of Minneapolis's notorious underground venues, or unearth one of his long out-of-print cassette releases. Finally, this double 10-inch record, a co-release between Seeland and Electro Motive Records, brings his idiosyncratic and very personal music out into the open air. Primarily a guitarist, the root of his playing is akin to traditional stride, but rich with quivering whammy bar wobble and shimmering feedback. He often plays the tailfin strings of his archtop like one would play harmonics, or retunes seamlessly mid-stream to create a shifting temperament across the length of a piece. An affinity for the likes of John Fahey, Loren Mazzacane-Connors and Sandy Bull can be heard, but the comparisons quickly fall away as one takes in his ambidextrous musical sensibility. He will sing otherworldly vocal duets with the Theremin, while simultaneously accompanying himself fingerpicking, or will throw modulated feedback tones across otherwise inviting harmonic landscapes based on blues and folk motifs, overshadowing them with clouds of squelch that loom like an approaching post-noise squall, but ultimately swell and punctuate more like the tone clusters of Henry Cowell or the lyrical saxophone of Frank Lowe. Despite Saint-Pelvyn's penchant for playing multiple instruments simultaneously, he is accompanied here by notable guests including Naomi Joy of Mother Of Fire, and Ka Baird of Spires That In The Sunset Rise. At its heart though, A Clerical Error is a solo album. With the death of a close childhood friend as its inspiration and backdrop, the album fixes on an unshakable desire to re-imagine the very nature of fate. Saint-Pelvyn explains: 'If I've learned anything from music, it's that there are experiences in this world that are neither real nor imaginary. I'm always searching for those places, and sometimes I get just about half way there.' Cryptic perhaps, but when he is wandering the stage singing into the f-holes of his electric arch top, bringing forth arpeggios of feedback, or waving the neck of his guitar in the vicinity of a howling Theremin, indeed, he seems to be playing the very air itself."

LP version. Pink vinyl. Swedish shoegaze trio Echo Ladies release their debut album Pink Noise which comes just a few months after their self-titled EP (SCR 134EP, 2018), which got the attention of BBC Radio 6 Music, Radio X, Beats 1, The Line Of Best Fit, and Clash, to name but a few, and sold out immediately upon release. The album mixes A Place To Bury Strangers-style total sonic annihilation with skewed synth-pop and the band cite the Cocteau Twins and The Jesus And Mary Chain as the main musical influences, but there's also a nod to The Cure's Disintegration (1989) and even Saint Etienne. Lyrically, it's all about teen angst, which explains their perfect mixture of melancholy, euphoria, anger, and tenderness. A sense of emotional confusion that is echoed by the title.

The London producer is in absolute banger mode for this one, get ready to see this one tear up dancefloors across the world. Combining ideas from his previous, more cerebral records, Ploy finds his stride with these frenetic gun finga-ready assaults, both as fun and playful as they are playful and rude.

Restocked. Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigue's Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening.

Bugs is Aus Music label owner Will Saul's first solo EP since 2014 and follows his inaugural release on new Aus Music compilation series, Inside Out. Here's Will: "'Bugs' is inspired as much by dancing at Plastic People/Co-Op to the Bugz In The Attic as is it is by Carl Craig's Innerzone Orchestra track 'Bugs In The Bass Bin'. Hopefully I bring my own twist to these key influences... 'The Map Room' tumbles with big, swinging drums as a fervid sense of tension burns throughout before Matt Karmill takes 'Bugs' off on a linear dubbed-out excursion..."

First legit ever vinyl reissue of this Italo-disco/funk anthem from 1983 produced by Tony Carrasco and originally released on Proto Records. File next to Klein & MBO. Master tape sound and original artwork.

The legendary 1967-68 recordings by UK mod band The Action, registered when they were in transition from mod-beat to full-blown psychedelia, just prior to becoming Mighty Baby. Originally recorded as a set of demos with the intention of obtaining an album deal which inexplicably never materialized, Rolled Gold is a collection of brilliant songs, melancholic yet powerful. The Action's classic line-up of Reg King, Alan "Bam" King, Michael Evans, and Roger Powell is augmented with the inclusion of new members Martin Stone on guitar and Ian Whiteman on flute/organ. All of them are playing their hearts out: superb harmonies, great guitar work, and clever arrangements which show the influence of bands like The Byrds and the psychedelic sounds that were coming from the west coast and UK as well as jazz giants like Coltrane. Always the stuff of legend, the Rolled Gold tapes were shelved at the time, not released until 1997 when the Dig The Fuzz label discovered them and did a limited LP/CD run. Out of print on vinyl for many years, Guerssen Records present a new vinyl edition. If you dig the psychedelic era of Small Faces, Pretty Things, The Who, Plus The Creation, Nazz, Tomorrow, Blossom Toes, The End, or Traffic -- look no further. Digitally remastered from the master tapes. Includes insert with photos and detailed liner notes by Jason Barnard (Shindig!).

"It's as if Paul Weller time-travelled back to 1967 and wrote the best songs of his career. Every track is a fully realized melodic and lyrical statement." --Matt Collar, All Music

"I could imagine, if they had been able to do them 'properly,' Rolled Gold stood to be thought of as their Ogden's Nut Gone Flake." --David M. Snyder (Popdiggers)

"We were really excited about what we were doing and felt we were creating something fresh and new."--Alan "Bam" King

"The Action never became stars, but Rolled Gold justifies the legend." --David Fricke (Rolling Stone)

Special vinyl reissue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Trentemøller's debut album remains one of the few genre-defining and groundbreaking albums in many regards. It's still being praised for its composition and sound design alike, and sounds as fresh and breathtaking today as it did when it was originally released in 2006. The Last Resort is a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks, and driving groove-excursions. An ever-changing kaleidoscope of colors and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass, and other acoustic instruments like celesta, glockenspiel, melodica, and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade -- alongside an array of awards for best production or best album. Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to "public demand", and simply because this album deserves a proper vinyl release, Poker Flat present, for the first time, the full album on vinyl. The recut has been carefully crafted from first generation, original masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No "digital remastering" or any other alterations have been applied. Triple-LP edition comes in a gatefold sleeve; Includes download code.