The historical importance, influence, and stature of the Schlippenbach Trio was cemented long ago. Formed in 1970 by German pianist Alexander von Schlippenbach in the early days of European free jazz, the group also featured British saxophonist Evan Parker and German drummer Paul Lovens, and soon formed the core of the mighty Globe Unity Orchestra from that point on. As heard on its 1972 debut for FMP Pakistani Pomade -- reissued by Cien Fuegos back in 2015 -- its foundational music helped establish the group's feverish free improvisation as a dominant thread in the history of European free jazz. The intellectual and artistic curiosity of the group's members, to say nothing of their paradigm-shifting technique and collective sensibility, changed the course of free improv forever. Schlippenbach Trio soon snapped back into its working methodology on its follow up album, Physics, in 1993, which further elevates the singularity of Elf Bagatellen. The album captured a different side of the trio and helped inform the modern classical tilt in European improvised music. Cien Fuegos now reissues this undeniable classic, making it available on vinyl for the first time ever.

Wewantsounds continues its Yoshiko Sai reissue program with the release of Mikkou, the Japanese singer-songwriter's second album released in 1976 on Black Records. The album, produced by ace arranger Isamu Haruna, keeps the same formula as Mangekyou (WWSCD 096CD/ WWSLP 096LP, 2025) with Yoshiko Sai's beautiful songs and dreamy vocals over cool funky arrangements, this time featuring legendary guitarist Masayoshi Takanaka. This is the first time Mikkou is widely available outside of Japan, with remastered audio, original artwork and a four-page insert including new liner notes by Hashim Kotaro Bharoocha who interviewed Yoshiko Sai for this special occasion. Yoshiko Sai holds a singular place in Japanese music history. Since her 1975 debut Mangekyou, the Japanese singer-songwriter has captivated listeners with her ethereal voice, poetic lyrics, and enigmatic presence, earning a devoted cult following that endures decades later. Mikkou represents a bold broadening of her artistic palette, drawing inspiration from the Silk Road and the rich cultural heritage of her native Nara. Sai's compositions on Mikkou explore themes of femininity, freedom, and the passage of generations. Tracks such as "Kaasama no Uta" ("Mother's Song") and "Tenshi no Youni" ("Like an Angel") blend blues, jazz, and folk sensibilities with evocative instrumentation including tabla, sitar, and dulcimer, reflecting the album's Silk Road influences. The title track, "Mikkou" ("Secret Passage"), captures the sense of a hidden journey -- both literal and imaginative -- mirroring the adventurous spirit threaded throughout the record. Sai also created the album's artwork, inspired by her reflections on historical Persian travelers and the interconnected flow of cultures along the Silk Road. As Sai remarked in conversation with Hashim Kotaro Bharoocha about the title track, "That idea of sneaking off somewhere felt exactly right for the mood at the time -- it was like approaching everything in life as if you were stowing away along every path." This Wewantsounds release marks the first time Mikkou is available outside Japan, offering a rare glimpse into the fragile, dreamlike universe of Yoshiko Sai.

Wewantsounds presents for the first time on vinyl Brion Gysin's cult recordings, produced by Ramuntcho Matta in the '80s and early '90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin's legendary light art device into a mesmerizing audio experience, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. The recordings on Dreamachine reflect Brion Gysin's fascination with altered perception. Matta had returned to Paris after a late-1970s stay in New York following the death of his brother, Gordon Matta-Clark, and had already produced Gysin's album Junk and the single "Kick" featuring Don Cherry. At the center is the title track "Dreamachine" a hypnotic 32-minute piece built on minimalist repetition, echoing the stroboscopic effects of Gysin's iconic light sculpture. Slowly evolving grooves create a trance-like state, drawing on Afrobeat in the lineage of Fela Kuti and the laid-back, cyclical guitar patterns of King Sunny Adé's juju music. Conceived as a sonic extension of the eponymous visual device, invented by Gysin with Ian Sommerville, Dreamachine reshapes the listener's sense of time and perception. The record also includes "The Door," a striking collaboration featuring the legendary saxophonist Steve Lacy, adding further depth to the avant-garde jazz elements of Gysin's world. This vinyl features remastered audio and an insert with a striking photo of Gysin and Burroughs in front of the Dreamachine, shot by French photographer François Lagarde, alongside liner notes by Jason Weiss situating the recordings in historical and artistic context.

LP version. Wewantsounds presents the first vinyl reissue of Disappointment-Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto's first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto's early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta. Ryuichi Sakamoto is widely recognized as one of the most important artists of his generation. At the time of Disappointment-Hateruma, he was still a student at the Tokyo National University of Fine Arts and Music and active in Shinjuku's experimental music circles. He was busy contributing to Transonic Magazine, performing with the multimedia group Gakushudan, and working with musicians pushing the boundaries of jazz, free improvisation, and contemporary composition. On his side, revered Japanese percussionist Toshi Tsuchitori, who had recently returned from New York, brought influences from Milford Graves' approach to drumming, including African rhythms, ritualized performance, and a holistic approach that combined music, movement, and philosophy. Sakamoto and Tsuchitori had previously played together in Gakushudan, but neither considered those early encounters definitive. This recording captures one of the rare moments when Sakamoto's exploratory piano work met Tsuchitori's distinct rhythmic language in a studio setting. The album, originally released in 1976 on producer Yukio Kojima's highly influential ALM Records imprint, is structured across four tracks, with the first, "綾 (Aya)," filling the entirety of Side 1 on the LP, while Side 2 contains three shorter pieces, each exploring different combinations of instruments and sound sources. The recordings employ a wide array of textures, from prepared piano, bells, marimba, and gongs to EMS synthesizer and voice. Together, the tracks create hypnotic, ethereal soundscapes and rich sonic textures that highlight the interplay between Sakamoto's experimental piano work and Tsuchitori's percussive expertise. Remastered by renowned sound engineer Heba Kadry, this new edition highlights the detail, range, and clarity of the original album, making the ultra-rare Disappointment-Hateruma available worldwide for the first time. It stands as a key early document of Sakamoto's work and situates the recordings within the broader context of his formative years and Tokyo's mid-1970s cutting-edge music scene.

Wewantsounds reissues Music By Lee Mason, the cult classic from the Chappell Recorded Music Library, originally released in the UK in 1971. Credited to Lee Mason & His Orchestra, the album is in fact the work of renowned British composer and arranger Pete Moore -- best known for producing the iconic "Asteroid" theme in 1968 for the Pearl & Dean cinema advertising company. One of the funkiest library albums of its era, blending cinematic tension, funky grooves, and jazzy undertones, Music By Lee Mason features the track "Shady Blues," famously sampled by Madlib. Newly remastered and featuring liner notes by Kevin Le Gendre, this long-overdue reissue brings a lost classic back to vinyl for the first time since 1971. Recorded at the dawn of the prolific '70s UK library music boom, Music By Lee Mason was part of the successful Chappell Recorded Music series -- produced for television, film, and advertising professionals. Working under the "Lee Mason" alias, Pete Moore used the format to explore a wide palette of sounds: funky rhythm sections, fat horns, bumping bass lines, and catchy melodies that reveal both sophistication and swing. Across its eleven tracks, the album moves seamlessly between funky grooves, jazzy arrangements, and cinematic moods. "Shady Blues" in particular has become a cult favorite among crate-diggers, its slow-burning groove later sampled by Madlib for the Lootpack track "Answers" featuring Quasimoto, giving the piece new life in the spheres of hip-hop and digging culture. A prolific composer and orchestrator for television, radio, and film, Pete Moore (1924-2013) worked with the likes of Peggy Lee, Fred Astaire, and Connie Francis, bridging the worlds of orchestral scoring and modern jazz-pop arrangement. Alongside his celebrated commercial work, his contributions to the Chappell Music catalogue exemplify the depth and craft of British library composition during the 1960s and '70s. This reissue of Music By Lee Mason has been newly remastered and features exclusive liner notes by Kevin Le Gendre, who provides fresh insight into Moore's enduring influence of his music. With its sophisticated arrangements, catchy grooves, and unmistakable sense of mood, Music By Lee Mason stands as one of the defining statements of the British library era which Wewantsounds is delighted to reissue for the first time since 1971.

LP version. Wewantsounds continues its Yoshiko Sai reissue program with the release of Mikkou, the Japanese singer-songwriter's second album released in 1976 on Black Records. The album, produced by ace arranger Isamu Haruna, keeps the same formula as Mangekyou (WWSCD 096CD/ WWSLP 096LP, 2025) with Yoshiko Sai's beautiful songs and dreamy vocals over cool funky arrangements, this time featuring legendary guitarist Masayoshi Takanaka. This is the first time Mikkou is widely available outside of Japan, with remastered audio, original artwork and a four-page insert including new liner notes by Hashim Kotaro Bharoocha who interviewed Yoshiko Sai for this special occasion. Yoshiko Sai holds a singular place in Japanese music history. Since her 1975 debut Mangekyou, the Japanese singer-songwriter has captivated listeners with her ethereal voice, poetic lyrics, and enigmatic presence, earning a devoted cult following that endures decades later. Mikkou represents a bold broadening of her artistic palette, drawing inspiration from the Silk Road and the rich cultural heritage of her native Nara. Sai's compositions on Mikkou explore themes of femininity, freedom, and the passage of generations. Tracks such as "Kaasama no Uta" ("Mother's Song") and "Tenshi no Youni" ("Like an Angel") blend blues, jazz, and folk sensibilities with evocative instrumentation including tabla, sitar, and dulcimer, reflecting the album's Silk Road influences. The title track, "Mikkou" ("Secret Passage"), captures the sense of a hidden journey -- both literal and imaginative -- mirroring the adventurous spirit threaded throughout the record. Sai also created the album's artwork, inspired by her reflections on historical Persian travelers and the interconnected flow of cultures along the Silk Road. As Sai remarked in conversation with Hashim Kotaro Bharoocha about the title track, "That idea of sneaking off somewhere felt exactly right for the mood at the time -- it was like approaching everything in life as if you were stowing away along every path." This Wewantsounds release marks the first time Mikkou is available outside Japan, offering a rare glimpse into the fragile, dreamlike universe of Yoshiko Sai.

This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more. Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered. The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges River. Classical music in India was perhaps at its height during the 78rpm period as the raj era was ending and the world was globalizing. 2LP gatefold with 12-page full color booklet insert. Produced by Robert Millis (Climax Golden Twins/Victrola Favorites) and features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Millis from his collection of 78rpm records and ephemera.

LP version. sMiLes, the eleventh album by Canadian-Haitian musician Jowee Omicil, stands out as a vibrant manifesto of freedom and authenticity. Fearless and boundless, the album celebrates self-expression, the beauty of imperfection, and the courage to trust the music. Through eleven tracks and a bonus track featuring multi-award-winning singer Dominique Fils-Aimé, Jowee unfolds a uniquely rich soundscape. The album navigates between the legacy of Abbey Lincoln and the resonances of Miles Davis, Wayne Shorter, and Roy Hargrove, while asserting a deeply personal identity. Between Cap-Haïtien and 52nd Street in New York, between voodoo drums and cosmic vibrations, sMiLes illustrates the approach of an artist in constant search of innovation, faithful to his essence and his creative freedom. Also featuring Ludovic Louis, Mawuena Kodjovi, Malika Zarra, and Jonathan Jurion.

Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito's psychedelic cosmology, distinct from his better-known work with High Rise, Musica Transonic, and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there's only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo's longest-running, most mysterious outfits, Ohkami No Jikan's conceptualization -- as a psych outfit "that explores 'stasis' and 'motion,' both actively and philosophically" -- hints at the intensity of the music here. There's a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with arcing blasts of feedback, the group feels cosmically aligned with Nanjo's purity of vision. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990s. It released nearly 200 cassettes and CD-r's, all handmade in micro-editions and sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.

Corbett vs. Dempsey and De Plattenbakkerij collaborate on A Gentle Reminder, the new long-playing vinyl record album by These Things Happen. A transatlantic quartet featuring three Chicagoans and a pianist from Holland, These Things Happen have, with a slight personnel shift (switching bassists from Joshua Abrams to Jason Roebke), remained in existence since for more than a decade. This is the band's second release, following a recording made in 2016 (released by Astral Spirits in 2022), and it continues their dedication to the music of Misha Mengelberg and Thelonious Monk, as well as original material by Hoogland and Jackson. The sound is lean, self-aware, at times humorous, and its generosity suggests the common wellspring of ideas shared by Amsterdam's instant composition scene and the creative music community in the Windy City.

"Sur Drone's debut LP, T.I.T.S. is a collaboration by renowned graphic artist Raymond Pettibon and avant-garde composer Daniel Adams. Together, they created an unusual musical album full of lowbrow grit and high-concept levity. Raymond supplied the graphics, wrote the lyrics, and performed as lead vocalist. Daniel wrote and produced the music, played guitar, and recorded it to 24-track analog tape. When indie legend Geza X first heard the results, he gasped 'This is dynamite!!' and immediately signed them to Geza X Records. He reeled in his longtime friend Lisa Fancher (head of illustrious Frontier Records) to co-release this high-profile project. Pettibon's Black Flag and Sonic Youth record covers are well known to any record buyer. A self-taught artist born in Tucson, Arizona, Raymond Pettibon emerged in the late 1970s on the California punk-rock scene, designing covers and flyers for SST Records (founded by his brother, Greg Ginn). He began self-publishing his drawings, which adopted the DIY aesthetic of comics, flyers, and fanzines. His name became synonymous with punk art. Today, Pettibon's modern art museum pieces draw from a wide range of sources, including literature, art history, popular culture, religion, politics, and even sports. The other half of Sür Drone is Daniel Adams, a multidisciplinary conceptual artist who composed soundtracks for Roger Corman and others. He's a composer, producer and film director based in Los Angeles, California. Adams' guitar work covers a broad range of sounds, from surf-styled electric guitar and drones to circuit-bent noise. As a songwriter, his music is a whimsical, rollicking party featuring many guest artists."

2026 restock. Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition. Recorded in 1970 but never released at the time, featuring future members of Roky Erickson's backing band Bleib Alien/The Aliens. Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson's first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi/horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found. It was through Mike Waugh's friendship with Elevators drummer John Ike Walton that Billy Miller and the band hooked up with the local label/studio Sonobeat, who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller's strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller's house on Castle Hill (west Austin). Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. It wasn't until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print. For this new edition, Guerssen tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney. Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration/remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.

Experimental musician Greg Stasiw presents debut album of radiant, free-flowing electronics on Guesswork. Music for psychoactive exploration made over a four-year period, incorporating ambient, minimalism, intricate sound design and Japanese environmental music. Greg Stasiw is an experimental musician, visual artist and writer from New England, Northeastern USA. An itinerant polymath, Stasiw has spent time living, working and traveling in New York, Tokyo, Toronto, Paris, Boston, and Bratislava. As well as studying anthropology, animation and illustration, Stasiw has always had a close connection with music. With his debut album Guesswork, the aural and visual inspirations that underpin Stasiw's creative life intersect, in a pure, radiant soundworld of space, depth and immaculate clarity. Futuristic, pellucid soundscapes incorporating ambient, minimalism, intricate sound design, and Japanese environmental music are deftly arranged with evanescent chimes, serene tone float, suspended organ notes and curious sci-fi resonances. Like stepping into some space age meditation garden, if soundtracked by the likes of Hiroshi Yoshimura, Harold Budd, Norman McLaren, and Pauline Anna Strom, the thirteen tracks of Guesswork create an exceptional listening experience of wide-eyed wonder, sleek tranquility, gentle melancholy, and singular discovery. Initially inspired by a proposed collaboration with the visual artist Philippe Shewchenko, Stasiw was nevertheless compelled by Shewchenko's visuals. He continued dabbling with the sound pieces he had created for the shelved project, ultimately arriving at an unprecedented culmination. Opening with sonorous pulses of drone on "Signature," the album proceeds through the idyllic electronica of "Field" -- music for interplanetary flotation tanks -- and into the gorgeous sotto voce piano of "Plant." "Humidity" evokes verdant off-world wildlife with resonant percussive echoes and abundant bird song, while "Boutique" combines crystalline scales and enveloping ambient vapors. Like entering different zones in a strange new world, these tracks all seem to summon distinct environments; a slow-moving scene of underwater calm, a surreal wilderness, a fantastical garden, a playground, a sacred space. For Stasiw, Guesswork is the speculative outcome of his interest in how sound and space interrelate, as well as the result of channeling his inspirations. It represents a miraculously engaging, idiosyncratic soundworld from an accomplished (non-)musician, content to do guesswork; to see where it might lead and what wonders it might open up.

LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

LP version. David Zé's Mutudi Ua Ufolo/Viúva da Liberdade is a major milestone in Angolan music, intensely blending semba, rumba, and bolero, recorded at the height of the country's liberation struggle. Both soulful and political, the album resonates far beyond Luanda, carrying a universal spirit akin to that of Bob Marley. Originally released on CDA with Conjunto Merengue, it captures David Zé at his creative peak. Sung in Portuguese and local dialects, it combines rhythmic elegance with deep commitment, weaving links between Afro-Brazilian and Latin American traditions. After his assassination in 1977, the album was banned for several years, before being reborn as an essential work of resistance and beauty. In 2008, his legacy found a new echo when Damian Marley and Nas sampled "Undenge Uami" on Distant Relatives.

Double LP version. Daphni's fourth studio album Butterfly at first picks up where his last album, 2022's Cherry left off. Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single "Waiting So Long" (feat. Caribou). An unlikely duo -- in that both artists are the same man, Dan Snaith -- it is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong. Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like "Clap Your Hands" which picks up the energy of "Sad Piano House" and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile "Hang"'s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. "Lucky" is squirmy and elusively intoxicating, "Invention" skitters down meandering, inviting corridors, "Talk To Me" grumbles and broods in the murk, and "Miles Smiles" could roll on endlessly, so confident in its groove. Right from the inception of the Daphni alias, the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns.

Fully licensed, all tracks remastered. Earth Running, originally released in 1979 on the Tappa's Stars label, can be considered the Jamaican's toaster's maturity album. Lyrics here are rooted in the "ghetto life" as always. A work with an international flavor: On Side B, two convincing dance tracks, the anthemic funkfest "Freak" and "One More Chance," often championed by DJs in the following years. A work that explored new territories, a mandatory re-issue for all authentic reggae lovers.

Born at the turning point between apartheid and democratic South Africa, the Xitsonga bubblegum-disco duo Chibuku embodies the energy of a time of change, as Nelson Mandela was released from prison and kwaito began to emerge. Although they did not achieve the fame of figures such as Paul Ndlovu or Penny Penny, their only album Maxambe (1992) is now considered a precious time capsule, a raw disco treasure rediscovered by lovers of forgotten music. Behind the project is Dr Joe Shirimani, a guitarist, singer, composer and producer of genius from Tzaneen and Soshanguve, recognized as one of the major architects of South African disco and bubblegum. Long overlooked, Maxambe nevertheless bears witness to an era and a social perspective: migration ("Lekomfere"), debt and economics ("Xikweleti"), and family relationships ("Mhamazala"). The music is festive in appearance, but deeply rooted in the reality of its time. Released on Tusk/Diamond Music, an iconic label of the 1980s and 1990s bought out by Gallo Record Company, Chibuku is now emerging as a diamond rediscovered from the archives of South African disco. Its name, borrowed from a millet beer popular in several southern African countries, sums up the spirit of the group: popular, sincere and deeply rooted in local culture.

Repress on yellow vinyl. After two pandemically conditioned "reaction" albums, a few non-album singles, and a compilation album, a downsized and sleek Motorpsycho is back where everyone knows and loves them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety and diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3-minute-something pop-rockers, to 20-minute-plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis.

2026 repress! West Virginia Snake Handler Revival "They Shall Take Up Serpents" marks the arrival of a landmark record, documenting the last, snake handling church in Appalachia. Featuring hillbilly rock guitars, trance-like rhythms, and howling vocals, this album was recorded 100% live and without overdubs by Grammy-award winning producer and author, Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Zomba Prison Project). The first release of American music ever by Sublime Frequencies, Brennan states, "As much as I've traveled around the globe to remote areas such as Comoros, the southeast Sahara or up-river in Suriname, few places have felt more foreign or 'exotic' than this part of Appalachia. The recording represents in many ways a companion and counterpoint -- the other side of the Deep South, so to speak -- to the music that was explored on the Parchman Prison Prayer albums. The Snake Handler album was an attempt to listen across that divide -- a divide that's never fully healed and continues to haunt and imperil the USA to this day." The recording took place during a two-plus hour Sunday service in the West Virginia mountains. Brennan states, "I'd sworn to stay far away from the snakes at the service, but instead they were waved in my face as they coiled in the preachers' hands, and I crouched down at the foot of the altar tending to the equipment. The pastor soon was bitten and blood splattered, pooling on the floor. The female parishioners hurriedly came to wipe up the mess, and it instantly became clear just what the rolls of paper towels stacked on the pulpit had been for. You can actually hear this moment transpire towards the end of the track 'Don't Worry It's Just a Snakebite (What Has Happened to This Generation?)'. The congregation leapt to its feet and a mini mosh-pit formed. The tag-team preachers huffed handkerchiefs soaked in strychnine, as they circled like aggro frontmen and an elderly worshiper held the flame of a candle to her throat, closing her eyes and swaying. The church PA blew out from the screams as a bonnet-wearing senior whacked away at a trap kit that dwarfed her. It was the most metal thing I'd ever seen, rendering Slayer mere kids play." The flock claim to be the first church that merged Rock and Roll with firebrand preaching -- that the music was stolen from them by Satan, that they are the originators. Given that snake handling ministries can be traced back to at least 1910, there might even be a faint something to the claim. The pastor's father and brother both died after being bitten by timber rattlesnakes, and the pastor himself suffered greatly from one a few years back -- his forearm swelling to twice its size and turning slime green. As a result, he fell unconscious and his forearm had to be sliced open from wrist to bicep to relieve the pressure. Nonetheless, Pastor Chris steadfastly claims that "Jesus is our anti-venom." "Some people think we're Devil worshippers, that we're a cult. But snake handling is only a small part of what we do." In the 1970s there were reportedly five-hundred snake churches throughout Appalachia, but now there is only one -- in West Virginia, the only state where serpent handling remains legal. It's estimated that in the past century more than one-hundred preachers have died from poisonous snakebites inflicted while leading these services. This includes the founder of the first snake handling flock, George Went Hensley, who was illiterate and once convicted of selling moonshine during the Prohibition era. His death was officially ruled a suicide due to his refusing medical treatment. The local county's population has dropped by more than 80% in the wake of the West Virginia coal industry's globalization gutting, and the area now leads the USA in drug-related deaths per capita while also being the poorest in the state. Within minutes of launching into trance-like states during the service featured on this album, both preachers became drenched in sweat. More than strict scripture, the preachers are gifted improvisers able to vent for hours at a time. Brennan states, "Pastor Chris joked, 'You definitely don't want to hear me sing.' But, in fact, he is a gifted vocalist with singular phrasing." Like so much of the most classic music ever made, it sounds as if it is emanating from the past and the future simultaneously -- some parallel universe where instead of discovering amphetamines, The Damned found God (or maybe both) and became born again. The vinyl edition includes a long 13-minute bonus track and features a four-page booklet sporting stunning photos of the congregation's rituals in action.

A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the moment and revealing a long-ranging, intricate approach to free improvisation. By its very nature any time a working ensemble, even one fully devoted to improvised music, is joined by another musician its modus operandi can't help by change. While no performance the trio of Chicago bass clarinetist, drummer Adam Shead, and St. Louis bassist Damon Smith has ever been quite the same, since forming in 2021 the trio had forged a tight bond and developed a highly effective approach informed by fundamental elements of jazz tradition and a fiery desire to create anew with every gathering. On the other hand, the art of improvisation has always thrived upon new input, novel challenges, and changing circumstances. This performance is a sterling multi-generational project that uses instant communication to bridge experiences. Crispell has always worked with a wide array of collaborators, regularly embracing partnerships with musicians decades younger than her. Like Crispell, the members of the trio have their unique influences and sweet spots, but the act of spontaneous creation bridges any such differences. In June of 2023 the musicians gathered for a studio session along with performances in Madison, Wisconsin, and subsequently, in Chicago, where the group recorded Live at the Hungry Brain. While spiraling horn, the studio session releases in 2024 leaned toward shorter excursions built around a small array of gambits and ideas, the remarkable live performances captured two long-form pieces where the ensemble had the space and time to spread out and dig in. The interactions spin in multiple directions, leading the trio to occasionally veer a bit closer to the deeply lyric post-Coltrane wanderlust Crispell thrives within, unspooling gorgeously dynamic streams of tender melody. The music is given fierce propulsion, with Smith and Shead generating churning, kinetic energy. In some ways it's Stein that binds everything together, his endlessly fluid playing retaining an equanimity through serenity and chaos.

Limited edition, heavy 350gsm sleeve with obi. We Release Jazz presents the limited vinyl edition of Obad's powerful new album Suspended, a vivid document of the Tehran ensemble's endlessly evolving sonic universe -- now available as a limited LP housed in a heavyweight sleeve with an obi strip and featuring original artwork by Iranian painter Sadra Baniasadi. Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran's pulse, Obad's music is kinetic and intuitive -- an ever-morphing dialogue between rhythm and texture, emotion and message. With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another. Sadra Baniasadi's striking cover painting mirrors the album's energy -- bold, dreamlike, charged with movement, and extending Obad's world into the visual realm. Suspended stands as a major statement from one of Iran's most compelling contemporary ensembles, marking Obad's first release on We Release Jazz and continuing the label's commitment to boundary-pushing music born from profound listening, place, and collective intuition.

LP version. Opaque red color vinyl. "more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."

LP version. Cloud white color vinyl. "The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."

LP version. "Millions of Dead Cops is the first iconic, full-length classic record by M.D.C. This was first released in 1981 and quickly became an overnight sensation. Not only did M.D.C. deliver a record full of fast intense music, but this record would influence 1000's of hardcore/punk and bands of political nature to this day. The corruption of cops! Greed of corporations! Racism! The fact that not all people were the same, but so what -- that's OK! Are all addressed in this groundbreaking album. Many of these issues were quite taboo at the time and had not been addressed to this degree in punk before. Round it all off with this being fully restored and re mastered with the original mix. You have a definite must-have album!"

Miracle After Miracle After... is, in contrast to Jeff Clarke's (The Black Lips/Demon's Claws) previous solo work Locust (BRD 004LP, 2023), recorded in a single session in a forest, more beautifully embellished, but never overloaded. At its heart, this is folk music. Clarke could be mentioned in the same breath as Connie Converse, Daniel Johnston, and Atlas Sound, though such traditionally excellent songwriting makes comparisons both easy to make and inherently reductive.

Limited anniversary edition: hand numbered, yellow transparent vinyl, 500 copies available! From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so-called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. The influence of Tangerine Dream can clearly be heard on Romance 76, although the arrangements are comparatively minimalist -- a state of affairs for which David Bowie can be held partially responsible. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts. After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums, Baumann called time on his solo career with Romance 76. This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story. Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record Romance 76. Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on Romance 76, for example, along with a Mellotron. Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.

LP version. "Control was created during a phase of Schnitzler's work in which his friendship with Peter Baumann (formerly of Tangerine Dream) allowed him to try out and use new electronic sound generators and peripheral technologies. He never used these innovations merely for their own sake, but always put them at the service of his artistic flair for experimentation. His signature style is clearly recognizable on Control. The album seems to be a kind of compilation of different musical approaches. Tracks 5 and 9, for example, are classic Schnitzler: sparkling cascades of electronic sound particles, interspersed with longer and shorter glissandi, constant movement in all directions. But then there are tracks 1, 8, 11, and 12 -- and here I can only speculate -- where it seems as if Schnitzler wanted to combine a few elements of traditional harmony with his own sound aesthetic in these pieces. And why not? He was completely undaunted by new things. Most important was that the music remained within the framework of his strict overall concept. There is no spacing between the tracks on the original LP, released in 1981 by the DYS label in the US. The A and B sides are originally titled simply 'Control A' and 'Control B', and the thirteen pieces are strung together without interruption. Strange. About half of the tracks on Control are apparently faded in and/or out. This could indicate that Schnitzler either drew on 'overlong' archive material to extract passages suitable for the album, or that he shortened the newly recorded music. Speculation is pointless -- we can no longer ask Schnitzler. In any case, he opted for relatively short pieces averaging three minutes in length, some even shorter, others a little longer. All in all, this creates the impression of sketches. Sketches with sharply defined contours, however: as with almost all his albums, Schnitzler gives us listeners clear information about where he currently resides in his musical universe. For Schnitzler, too, the journey was its own reward, and there were many stops 'on the way to the complete Schnitzler'; he never lingered at any of them for long. His artistic restlessness and curiosity were his lifeblood. And to stay with the metaphor, Control is a strong dose of that elixir." --Asmus Tietchens, 2025

LP version. Berlin's experimental trio ZAHN returns with their most electrifying work yet. A lush fusion of heaviness, electronics, and hallucinatory color. Monolithic grooves meet synthetic shimmer. Purpur breathes tension and danger, pulsing with depth and density. Known for their intense, driving sound that echoes the relentless march of a world on the edge, the trio ZAHN -- Chris Breuer, Nic Stockmann, and Felix Gebhard -- are deepening their sonic exploration with a record that is simultaneously more electronic and more rock-infused than their acclaimed predecessors. Purpur takes its cue from the album's vivid cover -- a burst of grapes and berries that mirrors its lush, colorful sound. The record blends potent genres into something fresh and electrifying: heavy foundations meet rich electronic textures, creating layers of color, complexity, and a touch of hallucinatory sweetness. Recorded once again in Gyhum with recording engineer Peter Voigtmann (ex-The Ocean, Death By Gong, Heads), Purpur follows in the footsteps of the band's previous work but also marks a bold leap forward. Guest appearances by Fabian Bremer (Radare, AUA) and Kjetil Nernes (Ârabrot) deepen the record's sense of unease and allure, while Magnus Lindberg's (Cult of Luna) mix and master give it the depth of a subterranean pulse -- crisp, heavy and alive with microscopic detail. While Adria offered a vivid escape through Krautrock, dark jazz, noise rock and post-punk, Purpur draws listeners into a denser, more intricate and tightly woven soundscape. The band's third full-length is an intoxicating swirl of synthetic pulse and physical heft -- a record that feels like it's been fermented rather than composed.

"Arriving in 1984, Nobody Move Nobody Get Hurt was recorded at Channel One and mixed by Sylvan Morris at Harry J Studio. Produced by the legendary Henry 'Junjo' Lawes. There wasn't a weak number on this ten-song set and all backed by blistering riddims from the Roots Radics. The album's title track was a huge Jamaican and global hit."

LP version. Laurel Halo returns with an album of original soundtrack music, composed for the film Midnight Zone by visual artist Julian Charrière. Following the path of a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone -- a remote abyssal plain in the Pacific Ocean, rich in rare metals and increasingly targeted for deep-sea mining -- the film traces a descent into one of Earth's last untouched ecosystems. Charrière's film reveals the deep not as void, but as a luminous biome teeming with fragile life: bioluminescent creatures, swirling schools of fish, and elusive predators. The suspended lens becomes an abyssal campfire, attracting species caught in the tides of uncertainty, their futures hanging in the balance. Echoing this tension, Halo's compositions evoke a sensory freefall, where gravity falters and light and sound flicker in uncertain rhythms. Midnight Zone is a sonic drift through the space between what we seek to extract, fail to understand, and must protect. Halo's score evokes the life that exists beyond a physical airbound capacity. The material features long, subtle passages of electro-acoustic ambient, drone and sound design, slowly flowing and unfolding with rich detail. The music, composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano at the Yamaha studios in New York City, possesses an uncanny quality: that of synthetic waveforms being amplified and sung through the stringboard of the physical body of the TransAcoustic piano. Combined with stacks of violin and viol da gamba, the music on Midnight Zone possesses trace elements of a human hand in an otherwise sunken landscape. Patient, submerged, and alive. The album will be the third on Halo's imprint, Awe. The film is central to Charrière's current solo exhibition Midnight Zone. The exhibition engages with underwater ecologies, exploring the complexity of water as an elemental medium affected by anthropogenic degradation. Reflecting upon its flow and materiality, profundity and politics, its mundane and sacral dimensions, the solo show acts as a kaleidoscope, inviting us to dive deep.

Beat Records presents a reissue of Ennio Morricone's score for the cult western My Name Is Nobody, directed in 1973 by Tonino Valerii and starring Terence Hill, Henry Fonda, Leo Gordon, Jean Martin, Geoffrey Lewis, Piero Lulli, Benito Stefanelli, R.G. Armstrong, Alexander Allerson, Franco Angrisano, Mario Brega, Marc Mazza, Remus Peets, and Antoine Saint John. Ennio Morricone composed one of the soundtracks most beloved by his fans around the world, using elements typical of his genius, such as Alessandro Alessandroni's whistling, the voice of Edda Dell'Orso (and many other highly esteemed soloists), but also mixed with some sonic innovations, such as in "Mucchio Selvaggio," where the composer even ventures to include Wagner's "Ride of the Valkyries." This CD was created using the stereo/mono masters of the original session, with a total running time of 74:21. Mastering by Claudio Fuiano, production notes by Andrea Morandi, graphic layout by Daniele De Gemini.

LP version. Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Pioneering experimental electronic record receives first-ever complete vinyl pressing, featuring expanded content and exclusive liner notes. Editions Mego release the highly anticipated vinyl reissue of Get Out, the groundbreaking second album by Peter Rehberg under his influential PITA moniker. Originally released in 1999, this seminal work stands as a landmark achievement in experimental electronic music, praised for its revolutionary fusion of ear-splitting noise and melancholic melodies. Moving beyond the era's trend of pure abstraction, Get Out represents a pivotal moment when experimental electronic music began exploring new territories laying forth a path which many artists would subsequently follow. This expansive reissue marks a significant milestone for collectors and enthusiasts, presenting all 12 tracks from the 2008 eMego CD version on vinyl for the first time. The inclusion of the rare Detroit live recording (remastered by Jim O'Rourke) provides invaluable insight into PITA's performance practice during the album's original touring cycle, whilst new liner notes from Jim O'Rourke and Chris Clepper provide further personal and anecdotal insight. Since its original release, Get Out has been recognized as essential listening for understanding the evolution of experimental electronic music in the late 20th century. This authoritative reissue ensures that Rehberg's visionary work remains accessible to new audiences while providing longtime admirers with the definitive version of this crucial album. The vinyl comes with a DL code which contains a 20-minute live performance in Kyoto, Metro, 25.01.1999.

Double LP version. Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru's second release on Editions Mego, following on from the classic 2020 release Peel (EMEGO 289CD/LP). Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. It is a deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru's vision. Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in this immense new work. The charms within Kin lay as Easter eggs revealing the true identity behind the colorful sonics only after multiple deep listens. "With Trees Where We Can See" sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, "Blurred." A neat Mego/Editions Mego loop as such. "Blurred" arranges twangy guitar strums alongside glistening glaciers of shimmering drones. "They Are Here" represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. "Maybe" takes a detour into a bristling euphoric electronic storm whilst "We Are" screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. "By Absence" concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop. Kin is a trip that rewards close repeated listens as all the colors and textures, nuance and narratives unveil themselves.