LP version. Tip-on sleeve. For every celebrated name in jazz, soul and related music, there are probably another 1000 musicians who had all the talent and potential but for whom widespread recognition remained elusive. Roscoe Weathers is one such figure, a jazzman who earned his chops the hard way, a sideman in smoky clubs from Memphis to Seattle, before finally settling in LA. He recorded a significant amount of music through the 1960s, but never found the slightest modicum of commercial acclaim nor the success that comes with it. Overlooked by all but the tiniest of record labels, Weathers's released much of his material himself. Indeed, Jazzman Records can lay claim to be the first outside label to release any of his music since the early 1960s. That's sixty years of being overlooked by the record industry, so Jazzman Records release this first full-length album of his music in a first attempt at righting that historic wrong. A multi-instrumentalist, Weathers mainly led on the flute in his recorded output. The music here spans the course of the 1960s, and moves from laid back beatnik jazz stylings through to percussion heavy Afro-Latin influenced workouts. As usual with Jazzman, the label has not only dug deep to unearth Weathers's music but also his background and biographical details, shining much deserved light on this enigmatic and largely unheralded figure for the first time.

From David Toop: "Maybe these titles, torn as they are from cinema screens and the pages of literature and philosophy, give a feeling of romantic or sexual love or some dark pool of nostalgia but that's not it, or it could be if you want it for yourself but not for me, not now; for me it's about the teeming proliferation of complex events in the world, their vivid, hyperreal intensity as this human life steps closer to its end and their sense of fading, like a mist that thins out to leave not a clear bright day but almost nothing of substance as all that beauty is crushed, burned, dug up, wiped out, to be replaced by banality, so it's about a language of love and desire in which we speak openly to all the unknowns, the speculative, the ancestral, the forgotten, the different, the extinct, the unimaginably distant and vast, the incomprehensibly small and intimately close, the fast or the slow, as if as we spoke we were becalmed in a wooden galleon off the coast of Java, sleeping microscopically in soil of a thousand years hence, hearing the voice of a dead person from the rim of a vibrating cup, gliding backwards and weightless through the alleyways of a city unrecognizable yet heartbreaking in its poverty, speaking in conference with winged and amphibious beings, crouching in a cavern whose opening only reveals the specter of many wonders now apprehended as memories of the skin, heard through cheekbones, nostrils, the crepitation as a neck turns, pains of the knee and thumb and some not yet fully understood sensation within the throat which suggests a way of comprehending that which is being lost of this magical place. All I desire is what already exists or once existed, now falling asleep outside the world. Don't ask me about genre or consistency. Who cares? Half the world is drowning; the other half is in flames. Each story is an animal, a plant, something you drink, a surface you touch, a faint line, some memory emanating from a cardboard box . . . Apparition painting is the term used to describe a certain type of ancient Chinese painting of the twelfth and thirteenth centuries. In these works, often associated with Chan (Zen) teachings, the ink used to depict the subject was exceptionally pale, the background lacking in any detail. As Yukio Lippit has written: 'This combination results in remarkably self-dissembling images that somehow compromise their own visibility. Apparition painting appears to capture its subjects in mid-fade, as if managing to preserve only a dimly translucent afterimage of a bygone entity.'"

12" vinyl reissue of the rare and infamous double-7", originally published by FMP in 1973. Recordings from a workshop at Akademie der Künste, Berlin, April 1972, featuring 15 children (aged 8-11) and Peter Brötzmann, Fred van Hove, Han Bennink.

Organ songs inspired by Sacro Bosco/Parco Dei Mostri. All songs written and performed by Anna von Hausswolff. Organ sound design by Filip Leyman. Produced and mixed by Anna von Hausswolff and Filip Leyman. Mastered by Hans Olsson at Svenska Grammofonstudion. Recorded in Örgryte New Church, in Gothenburg January 2020 North Germany, Baroque organ recorded with mobile equipment from Svenska Grammofonstudion. Photography by Gianluca Grasselli. Layout and design by Philip Marshall. Cassette only limited edition.

"Feeding Tube was chuffed to take Professor Steve Hesske's advice and make way for the fifth vinyl LP by Mordecai. I mean, when the Professor speaks even the cows take notice. And we are all descended from cows, right? So why not? Originally based around Butte Montana, formed by two brothers who claim to have been born (or conceived) (or some damn thing) on crappy Dead tours ('89 and '92, meaning the ones that resulted in 'Without a Net' and 'Althea' from 30 Trips Around the Sun), Mordecai took an unlikely backstory and spun it into solid gold dirt. The tunes on Library Music were recorded during 2015-2017 and represent another fine sideways style leap by this highly discordian trio. Musically the attack, as usual, makes me think of someone playing a bunch of Siltbreeze records on top of each other, and mixing in shards of the Dept Store Santas for good measure. People often mention the Stooges when talking about Mordecai's approach, but their sound is raw in a whole different sort of way. It demonstrates an actual ability to play coherent tunes in the manner of sub-underground South Island kiwis, but twists violently away from any sort of formal acknowledgement of 'song' as a necessity in performing music. Which makes me suspect the version of the Stooges Mordecai most closely resembles is the legendary vacuum-cleaner/golf-cleat iteration of the psychedelic Stooges no one ever bothered to record. What Mordecai does can sound pretty random, but because of the clues they occasionally cough up in the middle of their tunes, one suspects they are as well versed in the arcana of Columbus OH as they are in Dunedin's. And that the whiffs of late '70s freak bands (from Doors and Windows to Destry Hampton and the Lone Wolves from Hell) are not arbitrary or capricious. They're just tributes to all the wild mooks who preceded them into the tunnels of despond. Library Music. It's a great record." --Byron Coley, 2020

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music. Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo. Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: 'Agentes / Angra' from 1982 and 'Professor Digital / Cidade Industrial' from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality. Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country. It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song 'Ave do Deserto'. In the final two tracks, it is possible to enjoy a darker MUMIA, which with 'Massacre da Serra Elétrica I' and 'Massacre da Serra Elétrica II', provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero. The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak's texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album. MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94), released by Soundway Records. Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

LP version. Wewantsounds reissue of Billy Brooks's much sought-after album Windows of the Mind, released in 1974 on Ray Charles's Crossover Records. The album was co-produced by Charles and features such heavy players as Herman Riley, Calvin Keys, and Larry Gales. There's not a huge amount of information to be found about trumpet player Billy Brooks. A solid session musician who'd been around since the '50s, he played with the likes of Lionel Hampton, Cal Tjader, and of course Ray Charles, who signed him to his sub label Crossover Records in the early '70s to release Windows of the Mind. Interestingly, Brooks also appears on Bea Benjamin's 1976 cult classic African Songbird produced by Dollard Brand. Windows of the Mind released in 1974 remains Brooks' only solo album. Windows of the Mind was recorded in Los Angeles and co-produced by Ray Charles. It is a skillful, brass-led mix of jazz and funk performed by such cult players as bassist Larry Gales (Thelonious Monk), drummer Clarence Johnston (Freddie Roach, James Moody), saxophonist Herman Riley (Side Effect, Pleasure, Earth Wind & Fire, Letta Mbulu), guitarists Jef Lee (Roy Ayers, Sylvia Striplin) and cult player Calvin Keys of Black Jazz Records fame. From the groove of "Rockin Julius", "Shetter Cheeze", and "Black Flag" to the mid-tempo jazz mood of "Cooling It" and "C.P. Time" and the cinematic brass pyrotechnics of "The Speech Maker", "Windows of the Mind" is a superb funked-up big band jazz album. Windows of the Mind did reasonably well among the jazz circles when it came out but its fate would change fifteen years later when, in 1990, A Tribe Called Quest heavily sampled its closing track "Fourty Days" for their own "Luck of Lucien" featured on the group's debut album People's Instinctive Travels And The Paths Of Rhythm (1990). The album revolutionized hip-hop and "Luck of Lucien" became one of the album's highlights, thus cementing the reputation of Billy Brooks original LP among DJs and collectors. Original LPs now change hands for a few hundred dollars. Wewantsounds now make this landmark album available again in partnership with The Ray Charles Foundation. Newly remastered audio; comes with original artwork.

Sunquake is the first ever vinyl compilation of work by Désaccord Majeur, the alter ego of French artist Jérôme Mauduit who played a crucial role in Europe's post-industrial/ethno-ambient scene. Linking with figureheads Muslimgauze, O Yuki Conjugate, and Rapoon (Zoviet France) via cassette compilations and seminal label Staalplaat, his music is played today by the likes of Vladimir Ivkovic, Elena Colombi, and Interstellar Funk. Three carefully chosen cuts by the A Colourful Storm crew, properly cut and mastered at 45rpm and housed in full-color printed sleeve. Includes liner notes by Vladimir Ivkovic.

A Colourful Storm presents a new album by Beequeen, the duo of Frans de Waard (Kapotte Muziek) and Freek Kinkelaar (Brunnen). Over two long-form pieces, new material from 2020 and almost-discarded fragments dating back to 1988 are collaged to form a brand-new composition. Think woodblock, guitar, static radio signals, ethereal ambience. An honorable addition to Beequeen's discography and a beautiful piece of the Dutch avantgarde with historic ties to Edward Ka-Spel, De Fabriek, Merzbow, and Nurse With Wound. Mastered by Peter Johan Nyland. Full-color sleeve photography by Alfred Boland.

"Hozac Books is proud to present our third art book, I'm Just The Drummer the Bob Bert artist compendium of photography and interviews, establishing his irreplaceable link between the 1970s no wave movement and contemporary noise rock. Although Bert's immediate work is best known drumming in his wide array of musical projects he's been involved with (such as Sonic Youth, Pussy Galore, Chrome Cranks, Lydia Lunch, and many more) since the early 1980s, the focus of his book isn't drum-centric as it is an encapsulation of the artistic world he's developed within. It's not a drumming instructional guide, or a critical assessment of how the drummers in bands are treated, but a 200+ page guide through Bob's musically adventurous life, and what a ride! Starting out with his teenage love of photography and his process of capturing the underground downtown figureheads as well as the emerging unknown no wave bands, Bob was just as much of an enthusiastic fan of music as he was a fixture in some of the most crucial music of the 1980s, '90s, and beyond. And that's what's really important in the long run, as his excitement for music bursts from each page, providing the springboard to his long-running life in bands on the fringe of the mainstream. But Bob Bert wasn't just that figure at the intersection of commonality of several pivotal bands with an edge over the last 30 years, oh no. He also has (not surprisingly) impeccable taste in music and culture, which could only sprout forth in the 1990s with an inevitable 'zine,' and thus, BB Gun Magazine was born. Spanning from 1995 until 2004, and covering emerging underground music, film, and outer artists sub-underground, as well as Hollywood-level impresarios, I'm Just The Drummer contains a wealth of interview excerpts from the elusive original magazines, along with his photography accompaniment. From Nancy Sinatra to Vincent Gallo, and from Suicide to Cynthia Plaster Caster, Bert's undeniable love of his subjects is hard to conceal, and his book is a perfect representation of an ongoing life of true adventure, traveling the world, and illuminating the darkest corners of our cultural curiosities. 200+ pages, paperback."

LP version. Much has been written about Young Marble Giants' small, perfect catalog, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. Stuart Moxham's next project, The Gist, chopped YMG's minimalism into a new sound. "This Is Love", "Public Girls", and "Fool For A Valentine" showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, "Carnival Headache", when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written -- and "Love At First Sight" became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A mid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960s studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognized names such as Bones Howe and Roy Halee. "Tidy Away" is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. "Fighting To Lose", written with producer Ken Brake, would pass as a worthy B-side to "Bridge Over Troubled Water", and although the songs are otherwise Stuart's, Louis fans will delight at several, like "Love Hangover" and "Sky Over Water", which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth (1980) was -- its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it -- the faux barbershop vocals of Smile-era Beach Boys, the studio luster of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson -- along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

Brothers Reginald Omas Mamode IV and Jeen Bassa come together as Mama Odé on full-length album, Tales & Patterns Of The Maroons. At its core this is a classic "hip-hop" format LP -- but have you ever heard Creole Sega rap roots music before? Of Creole descent from a group of African islands that transiently have hosted many settlers, west African slaves, colonialists and the potentially indigenous East African-Malagache Maroons; the brothers have an inherent spirit of diversity that runs through their recordings. Musical influences consist of jazz, funk, blues, and reggae to un-placeable but definite Afro-drum patterns, through to their Golden era rap vocal flows, which have a sure nod to A Tribe Called Quest and Slum Village. The album's deep grooves overwhelmingly seed optimism, subscribing to a positive future drawn from historically multi-ethnic ancestral lines. Reginald Omas Mamode IV's three solo albums -- 2016's s/t debut, 2017's Children of Nu, and 2019's Where We Going? (FEP 027LP) -- received continued critical success from Mojo, Mixmag, Q, Record Collector, The Wire, DJ Mag, Electronic Sound, and more. He was also nominated for "Album of the Year" at Gilles Peterson's Worldwide Awards 2017. Jeen Bassa has carved out a reputation as one of the leading beat-tape producers mixing up slo-mo, mechanized funk with hues of neon soul and blue, jazz notes. Jeen Bassa's warm and woozy productions stand out in a world saturated with bland Dilla and Madlibesque pastiches. Along with Al Dobson Jr, Henry Wu, Mo Kolours, and Tenderlonious; ROMIV and Jeen Bassa have helped forge the extended 22a co-operative. Edition of 500.

On Rastilho, Kiko Dinucci absorbs the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell, Jorge Ben, and Gilberto Gil -- yet filtered through his uniquely "punk" musical vision. His style is raw -- technically, he seems to attack the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries, candomblé, and evangelical Christianity. Dinucci is one the most innovative artists in contemporary Brazilian music -- as well as a member of Metá Metá, who combine elements of Brazilian music, candomblé, punk rock, and free jazz, he has worked with Tom Zé, Criolo, and Elza Soares. Kiko: "I've wanted to make an album dedicated to the guitar for a long time. As a child, I treated it as a toy. In my teens, with my guitar patched with pieces of sellotape, I tried to reproduce heavy rock riffs whilst finding inspiration in the Afro works of Baden Powell and guitars of Dorival Caymmi, João Bosco, Jorge Ben and Gilberto Gil. In the '90s my experience in the São Paulo hardcore scene was mirrored by time spent in candomblé activities -- both shaped the way I play guitar today." Featured as one of Pitchfork's "Great Records You May Have Missed: Winter 2020". Previously only available in Brazil. CD version includes two additional songs.

2020 repress. "Bl_ck B_st_rds was voted in Ego Trip's Book of Rap Lists as the most notable rap album of all time that was never released commercially, and with good reason. The fact that this excellent album, slated for a 1994 release, did not seen the light of day until 2001 (its first issue - now out of print) testifies to a time when shortsighted industry backlashes against records that inflamed middle America were in vogue. Elektra Records higher-ups canned the project due to its controversial cover art, which shows a Sambo figure being lynched. This must-purchase concept album is worth the wait. From the jazzy, hypnotic samples on the title cut to 'Sweet Premium Wine,' a farcical ode to swigging 40-ounce bottles of brew (remember when drinking St. Ides and Old English was trendy?), you know you've found rap heaven. Classic headbanger 'What a Nigga Know?' (and the remix featuring partner-in-rhyme MF Grimm) is equally off the chain. 'Constipated Monkey' and weed anthem 'Suspended Animation' are testaments to a time in Rap music when experimental beats and obscure sampling ruled the roost. Bl_ck B_st_rds is where Brand Nubian meets De La Soul at the local bodega, heads wear Muslim kufis for kicks, and 'word to the mutha' actually refers to themes of pan-Africanism, repatriation, and reparations. It's a place where Sambo-ism doesn't sell. Features artwork and track listing from the original Ready Rock issue."

Double-CD collecting five of Marcus Schmickler's key-works composed and recorded between 2006 and 2016. "Richters Patterns" (2016), "Kemp Echoes" (2013), "E-UROPAS" (2006), "Fokker Bifurcations" (2014), and "Ata Oto" (2016). Full color digipak with eight-page booklet; edition of 400. "Richters Patterns" (2016) is a collaboration among Marcus Schmickler, artist Gerhard Richter, director Corinna Belz, and the Ensemble Musikfabrik. In 2011, Richter took an image of his work Abstract Painting and divided it vertically into strips and gave them to Belz who utilized specially developed software operations involving cuts, mirroring and reproduction to create a movie from these images. Schmickler and Belz worked in parallel, with the film and composition following their own independent logic. Schmickler's idea was to extend Richter's method to divide, mirror, repeat into sound and time. "Richters Patterns" was commissioned by Koeln Musik and had its premiere on September 9, 2016 at Cologne Philharmonic Hall. "Kemp Echoes" (2013) refers to a physical phenomenon in the ear discovered by physicist David Kemp in 1978. Otoacoustic Emissions (OAE) are signals in the ear (that can be detected with high quality small microphones) that are emitted by the cochlea, either spontaneously or in response to stimuli (frequently clicks). Schmickler strived to create a piece that can seem "electronic" to the ear without actually utilizing electronics. "Fokker Bifurcations" (2014) marks a departure into microtonal works for keyboards and mallets and maintains the composer's penchant for juxtaposed fixed pitches with pitch continua. Recorded live at ISSUE Project Room, Brooklyn on Nov 7, 2014. The recording has been edited for this publication. "E-UROPAS / Plurality of Centers" (2006): "Shall we say goodbye to modernism? I dare to confront the myths of new music in this music theater creation. Layers containing the manifestos of Cornelius Cardew, Guy Debord, and sound materials from six decades of the avant-garde create a collage that utilizes some of the formal principles guiding John Cage's Europera V". "ATA OTO" (2017) for Robot instruments TEMBLO, TINTI, TROMS, XY by Logos Foundation & computer.

LP version. Edition of 400. Reissue of Hermann Nitsch's very first release, originally published 48 years ago by Edition Galerie Klewan in a limited edition of 100 copies. Produced and recorded at the WDR Radio in Cologne, Germany, the Akustisches Abreaktionsspiel (Aktion 38b) is "neither a radioplay nor a work of music. It merely portrays the acoustic part of an 'abreaktionsspiel' (a play of abreaction). the special and specific usage of the acoustic possibilities are in the foreground, while the visual part of the play is communicated by a narrator." A prime example of the intense and noisy wildness of Nitsch's early actions employing scream-choirs, beating, whistles, chaotic Austrian folklore juxtapositions, rough brass sections, and dissonant strings.

"Beat scientist Soreab signs our second release at the peak of his rhythmic experimentation. Four swirling, hyperactive, sketchy tracks dedicated to overturning the classic hierarchies of beats. Folding the solidity of grooves and sound palettes coming from dance floor music to the hypnotism of techno scenarios and seasoning everything with an exquisite sense of sound design-capable of opening up into melodies without losing his ruthless intensity."

Welcome to another polymeter dance! Feel free to express yourself, subordinate to any measures and cycles you prefer, there are plenty for everyone and any purpose. Every track represents a variety of rhythmic possibilities for any part of the body to communicate with. This allows you to resonate with the universe, but please always care for the environment! The dunning voice of today will introduce to you the core issues of tomorrow. As if a paralyzed mankind would not be able anymore to speak out the inevitable, a posthuman being has taken over. This entity is the master of ceremony who conducts an array of machines that will take further action to communicate, supported by complex polymeters. The repetition of measures and cycles of different lengths reflect the repeatedly pronounced statements of a narrative of awareness. Where music visionaries once celebrated the transfer of human creation into machines, Chris Korda's machines are creators themselves -- creators of a safer dance into the future. The machines speak to you with a sparkling, funky tone to gain your confidence. Here are the rules of interaction: 1) Humans may not injure these machines or, through inaction, allow a machine to come to harm; 2) Humans must obey the orders given by the machines except where such orders would conflict with the engagement in environmental issues; 3) Machines must protect their own existence as long as such protection does not conflict with the engagement in environmental issues. Take care and enjoy the future!

Gabie Strong is the founder of Crystalline Morphologies community imprint, dedicated to releasing experimental sound works by historically underserved Los Angeles women, queer, and non-binary artists. She has been working in experimental music since the early '90s. The recordings on this cassette document a series of live performances from 2017-2019 in which the Los Angeles artist Gabie Strong asks, "What does the body sound like when it is making its own music?" A hard-of-hearing interdisciplinary artist, Strong asks us to consider that hearing is subjective, based on how the brain translates the reception of sound. Each track documents a performative questioning in which Strong suggests that being deaf is not living in silence, but rather it is navigating a highly complex and nuanced soundscape of noise that is audible only to the deaf body. For Strong, deafness comes from her own skull working against her, closing off external sounds and sending scrambled messages back to her consciousness. Captured at Ende Tymes 9 Festival of Noise and Experimental Liberation, Land and Sea Oakland, Volume at Coaxial and the Sagehen Creek Field Station Experimental Forest, Strong layers the kinetic sound of contact mics running over her body and through her hair, ambiguous vocal utterances and amplified guitar feedback to create a visceral soundscape of her body. Cassette only in an edition of 100.

2020 restock. An underground classic! The original motion picture soundtrack for John Carpenter's Dark Star (1974), with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and beyond). This limited-edition release includes an LP and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter's synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll. The 7" is red with a yellow label circled in black (in pure beach ball alien fashion) and contains "Ode to a Bell Jar" remade by loyal Carpenter collaborator Alan Howarth (Escape from New York (1981), Christine (1983), Big Trouble in Little China (1986), They Live (1988)...), the fan favorite "Benson Arizona" remade by Dominik Hauser, the very sought-after "When Twilight Falls on NGC 891" by Martin Segundo and the Scintilla Strings (in the real world, James Clarke's "Spring Bossa" (1968)), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Plus a very secret hidden bonus track! It all comes in slick Thermostellar Triggering packaging with brand-new artwork and invisible hyperdrive electronics -- the best way to relive the Dark Star adventure and celebrate John Carpenter's first directorial feature film, co-written by (and starring!) all-around legend Dan O'Bannon (Alien (1979), Lifeforce (1985), The Return of the Living Dead (1985)). Let there be light!

Pascal Terstappen, aka Applescal, has released his new artist album, Diamond Skies on Atomnation. The nine-tracker is a collection of expertly-produced, instrumental melodic house with lush, ambient soundscapes and a nod to the analog sounds of the '90s. The album has received heavy support from key names in underground electronic music community and is Applescal's sixth studio album to date. Terstappen has been running Atomnation full-time since his early twenties and has shaped it into one of The Netherlands' leading independent labels and a home for an eclectic mix of electronic music including signed artists such as Gidge, Polynation, Tunnelvisions, and Sam Goku. Diamond Skies exemplifies the vibrant sound of Atomnation, a lush, colorful album which journeys through melody, ambience, and emotion while offering an occasional surprise to the senses. The album was written and produced through 2019 and completed in the early days of March 2020 when dark skies were looming. Diamond Skies represents a creative optimism and brings a sense of something to look forward to. Applescal has created a musical dreamworld for a listener to step into as an antidote to troubled times. Diamond Skies is an album which feels uplifting and effortless, a confluence of melodic house, occasional breakbeat, and ambient energy; the sound of a producer at the height of his powers.

2020 repress; Double LP version. Comes in a gatefold sleeve and includes download card. This 12-track album by Daniel Avery was written and produced since the turn of 2013 and mixed with Erol Alkan at The Phantasy Sound studio in London. Like Carl Craig's More Songs About Food and Revolutionary Art, Plastikman's Consumed or more recently, the work of Four Tet, this album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward-thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU!, and Chris Carter, while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden, and Factory Floor. Firmly established as one of the UK's most exciting new DJ/producers, having cut his teeth in Weatherall's Shoreditch studio bunker, Drone Logic follows up Avery's universally-acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors, and Django Django and 2012's Need Electric and Water Jump EPs on Alkan's Phantasy label.

2020 repress; LP version. "Harald Grosskopf was in his early twenties when LSD 'blew [his] reality away,' as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label-boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his 'cosmic couriers' with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: 'There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating other drummers. Suddenly a voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role.' Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: 'I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high.' Grosskopf consequently left Wallenstein. 'I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device.' A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlin's electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Gottsching, Lutz Ulbrich alias Luul) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. Synthesist comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those 'cosmic' sessions of the early 1970s -- yet each melody retains a unique timbre. Synthesist is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today." --Christoph Dallach

Channeling the spirit of free parties and Anomie's ethos of communal liberation, SOS EP blends drum & bass, electro, and downtempo in one explosive release: an essential purchase for the discerning DJ, its exquisite cover art is sure to draw the eyes of record shoppers worldwide. Anomie is the rebellious alter ego emerging from the studio of classically trained composer and producer Sofie Loizou. Sydney ravers know Anomie as a dynamic presence on the free party scene (her set at the last multi-stage Channel warehouse party was cut short by police shutdown); internationally, she's played at venues across the world including Sonar, Outlook, Low End Theory, Strawberry Fields and Subsonic. Her career in the male-dominated electronic music industry, with its testerone-based egos and gate-keeping, has required fortitude and defiance. From her debut LP Permanent Revelation (2014), inspired by the international uprisings from Tahrir Square to Zuccoti Park, to her most recent single "Fat Chance Sucker", a "middle finger to oppressive forces in our personal lives," Anomie combines a defiant ethic of protest and reclaiming the future with the bass music pulsing through her veins. Inspired by an impromptu party in a car park, SOS EP blends intricate, precision-engineered production values with uncompromising dancefloor kinetics, from the brutal snares and skulking, rubbery bassline of "Car Park RDM" to the frenetic, fluttering energy of "What You Gonna Do About It", the hybridized electro-stepping beats and warm subsonics of "Machine Learning", and the epic atmospherics of "Makedonski Oro". Inna Riddim has released innovative electronic bass music in digital format since 2011.

Runden is a collaboration by Martin Brugger (bass) and Simon Popp (drums), both of contemporary jazz quintet Fazer, and neo-classical pianist Carlos Cipa. Their debut LP is a conceptual record reflecting on minimal music, Afrobeat, and dub techno of the late '90s/early 2000s. While Cipa's solo works build on clear harmonies, for the recordings of Runden he prepared the piano to make it sound like a faintly tonal percussion instrument and his mechanical patterns contrast the syncopated drum grooves of Popp and the deep and sparse basslines of Brugger. The musicians explore, over the course of seven tracks, the concept of circular music. Each piece is based on a four-bar-motif played in a loop and varied subtly but steadily over time, creating a sense of eternal recurrence and timelessness. This makes Runden a meditative but demanding record, that only grows with every listen.

LP from the Japanese experimental project founded by Juntaro Yamanouchi.

"Over three years ago the band Barcelona entered the studio to record what was originally planned as a double LP. As the genius that they are, they managed to record around 25 minutes of their trademark 'extremo Nihilismo' sound. A high concept sonic vomit somewhere between Cro Magnon, Iskra, No Trend, and Petra De Fenetra. Comfortably sitting on the crossing between hi-brow conceptual art and low-brow delinquency. In the intersection where the Exploited meet the Incus catalogue as if Tony Oxley and Ian Brighton were jamming with Wattie and Big John. The recording was eventually (and conceptually it seems) split into two records. The first one being Un Último Ultrasonido Nació Y Murió En Barcelona (MUS 138EP, 2017) and the second one Residuos Del Ultrasonido released now a mere three years later. Loads could be written about the painful process between both records but let's just focus on the recording and be clear: Residuos pisses all over its predecessor. The songs are full of spite and power with the level of vileness reaching new levels on this eight-track 7" EP. Listen to 'Higiene' or 'Salvajes' and tell me they are not some of the best Barcelona songs ever. As always, artwork taken care by Oriol Roca, a person I look forward to never hearing from again." --Paco Mus

London's kings of noise Sly & The Family Drone follow up their 2019 Love Love LP Gentle Persuaders with Walk It Dry, an eight-track LP collaboratively released by Love Love Records in the UK and Feeding Tube Records in the USA. Walk It Dry utilizes the familiar sound palette of scronked electronics, bulging noise blasts, wailing sax, and Kalashnikov drums that was found on Gentle Persuaders but is a very a different beast. The tracks here are shorter and punchier as the band digs deeper than ever to find increasingly potent sonic pockets. Bolstered with a directional force rare in this strain of noise the album begins at the deep end with "A Black Uniformed Strutting Animal", a raucous cacophony backed by a thick groove, before the bleeps and bloops of "Dead Cat Chaos Magician" kick in, sounding like a haunting in the BBC Radiophonic Workshop. "Swearing On The Horns" is a folk-sludge ditty scraping through a psychic wormhole that exits at the feet of "Bulgarian Steel" -- a grimacing march punctuated with metallic screams where the sax becomes an overstressed alarm siren. "Shrieking Grief", with its rapid fire drum rolls and megaton payloads of pummeling noise, concludes the A side loudly. Side B opens with stretched-out droning layers and winding loops on "Sunken Disorderly", providing a gloomy refuge for some cosmic meditation. The album at this point converges into the morbidly fascinating black-and-white horror of "My Torso Is A Shotgun", perhaps the most widescreen and immediate example of the band's progression, before playing out with the deathly lament of "Tsukiji". A suitable soundtrack to the end-times.

Recorded direct to lathe cut, this pair of spontaneous creations teams two Berlin-based horn players with two New Yorkers of broad-ranging vision. Talibam! (Matt Mottel and Kevin Shea) is a 14-year working unit based in New York City that can be described in various ways -- as a classic keyboards/drums expanded-jazz duo, as Dadaist provocateurs with an innate love for the history of music, as a Fluxus-informed theater troupe, as an electronic ensemble inspired by Stockhausen, or as a rhythm section at the cross hair of agility, speed, punctuation, and intention. Since their inception in 2003, Talibam!'s ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion. This is their fifth release on ESP-Disk'. Silke Eberhard is the recipient of the prestigious 2020 Jazzprize Berlin. Twice she has been awarded a spot in the "Rising Star Alto Saxophone" category in the Downbeat Critics poll. Leader of the Silke Eberhard Trio and the Dectett Potsa Lotsa XL, she has also played with Maggie Nicols, Aki Takase, Gerry Hemingway, Ulrich Gumpert, Dave Burrell, Wayne Horvitz, and more, and is a member of the collective trio I Am Three. Nikolaus Neuser, also in I Am Three, has played with Gebhard Ullmann, Matthias Schubert, Maggie Nicols, Matana Roberts, Matthew Herbert, Tyshawn Sorey, Nate Wooley, Satoko Fujii, Benny Bailey, Herb Geller, etc. His main interest lies in the border areas between jazz, free improvisation, and transdisciplinary projects. Furthermore, he has composed music for several plays, was a guest professor at the Pontificia Universidad Javeriana de Bogotá, and appears on more than 50 CDs. Personnel: Silke Eberhard - alto saxophone; Nikolaus Neuser - trumpet; Matt Mottel - piano, synthesizer, three-string guitar; Kevin Shea - drums. Artwork by the late New York poet/collage artist Steve Dalachinsky. Edition of 500.

2020 repress. Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover, blue vinyl, and comes with a free MP3 download of the album. Recorded: April & August 1981. First released on 12": June 1984.

First time vinyl issue of key works from the Belgian artist-musician Moniek Darge. Following a deep-excavation of the Logos archives London's Horn Of Plenty presents Bratschebraut -- four works utilizing prepared violin, electronics, tapes, and voice. These recordings are from the same era as Moniek's classic Sounds of Sacred Places LP (1980). Bratschebraut extends the story of Moniek's work during this period: playful, intimate, raw, and quite unique. Although they were recorded across a seven-year period and were not intended to sit together, the music on Bratschebraut, seen retrospectively, captures a pivotal era in Moniek's artistic development. A period that saw her challenge, destroy, then create anew. Bratschebraut both a significant addition to Moniek's catalog and an essential historical document. Bratschebraut comes in an on red vinyl; housed in a full-color sleeve with deluxe PVC bag; includes 28-page booklet containing artist's notes, previously unpublished photos, and details from the original graphic score for ManMo. Edition of 300.

Restocked, last copies! Key System Recordings present a reissue of Yusef Lateef's Hikima: Creativity, originally released in 1983. In the early 1980s, famed jazz saxophonist and musical luminary Yusef Lateef traveled to Nigeria as a Senior Research Fellow to study, write, and teach at Ahmadu Bello University. He cut this record while there; pressed locally in Nigeria, it remained virtually unknown by jazz fans and collectors for over 30 years. On Hikima, Lateef leads a nonet of African musicians in seven compositions that fuse his deep blues and jazz roots with native Nigerian instruments, drums and chants. The sounds stretch from meditative and melancholic to urgent and unrelenting. A singular recording impossible to classify or box in. Lovingly pressed to vinyl by Key System Recordings, a new imprint dedicated to progressive and underground music of all types helmed by Jonathan Sklute, founder of NYC vinyl boutique Good Records. Officially licensed through the Lateef estate. Restored and remastered by Jessica Thompson. Pressed at RTI; sleeve done at Dorado; initial edition of 800.

"The Bamba Wassoulou Groove is composed of 6 musicians (three guitars, one bass, a drum and a singer) and is here to create a real wall of sound. Solis with Hendrixian virtuosos, trance voice, evil bass and drum sections, the band is a heavy dance machine who electrifies the Malian music and recreates the excitement of the hot nights in Bamako. Philippe Conrath (creator of Festival Africolor) explains: 'To create the Bamba Wassoulou Groove a connoisseur was needed, a man of confidence who would also ensure human and musical unity. Who better than Bamba Dembélé (who passed in 2018) to build such a band? Bamba, the indispensable, the fixer, the invincible. Former member of Zani Diabatatés legendary Super Djata Band, he had all the contacts in Bamako to set up the Wassoulou Groove. He launched a formidable machine with an unrelenting rhythm, that allowed the three fierce guitars of the group to soar, carrying Ousmane Diakité's voice into a trance. funk, rock, the Bamba Wassoulou Groove is a new virus that will contaminate the world's dance floors.'"

"Laibach is art, but more than just art. Founded on 1st June 1980 in the then heavy industrial Yugoslavian town of Trbovlje (today a city in central Slovenia), the band took their name after the German designation of the Slovenian capital Ljubljana which was undesirable in Yugoslavia during the Tito's and post-Tito era. In 1987 Laibach signed a long-term contract with Daniel Miller's renowned London Mute Label and had finally found their musical home. The artists roster of Mute included such well-known artists as Depeche Mode, Nick Cave, Erasure, Yazoo, Moby and also Kraftwerk. From now on the commercial success story of Laibach could also be written. Mute released Opus Dei. The album includes, inter alia, a specific 'Laibach' - interpretation of 'Live Is Life', the big single hit of the Austrian group Opus (one as a German version under the name 'Leben heißt Leben' as well as an English version under the title 'Opus Dei') and also the interpretation of the Queen track 'One Vision' (in German under 'Geburt einer Nation'). The sound of Laibach had become more commercial, the avant-garde and industrial parts gave way in favour to Laibach's 'militant classicism', the band had found its style. Laibach went on tour, now playing in larger halls and clubs in Germany. On 12th October 1987 Laibach made a stop at the Bremen Schlachthof. Here the live album Bremermarsch was recorded, which is now released 33 years later. In spring 2020 Laibach edited the 'old' original recordings and digitally mastered them in their studio. The recordings sound fresh and unspent, the sound is great, the mood in the audience as well. And that Laibach is performing the 'hits' such as 'Die Liebe', 'Life is Life' and 'Geburt einer Nation' ('Birth of a Nation') can almost be taken for granted."

Limited "Sound Edition" double-LP, includes 92-page book and O card. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.

"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)