LP version. Newly remastered version of Oren Ambarchi's long out-of-print classic Hubris, originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now. From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section. After a short second part, in which Ambarchi, O'Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.

Were you to tap the lifeblood of Chicago music, you would find Josh Berman flowing liberally through its veins. Active on the scene for more than a quarter century, the cornetist, bandleader, and composer has helped retain the unique flavor of the city's soundscape, with particular attention to the music of its jazz past -- groups like the Austin High Gang and the Oliver-Armstrong lineage and Freddie Keppard, as well as more recent figures from Lester Bowie to Wadada Leo Smith. But Berman is more inter-stylistic synthesist than moldy fig, a fact nowhere better demonstrated than in his powerhouse trio. On Everybody Else's Life, Too, the group's second record, Berman has found the perfect percussionist for his compact-yet-expansive compositions. Chris Corsano, who plays in a staggering array of contexts from voluble free jazz to timbral sonic experiments, is in turn ideally complemented by Jason Roebke's bass playing, which is equally adept in all areas melodic, swingful, and textural alike. A sharp studio recording captures the rapport and playfulness, as well as the adventure, inherent in the threesome's dynamic interaction.

Continuing its faithful documentation of the early years of Monolake, Field Records present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record -- and created an electronica landmark in the process. Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behavior of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures. There's a house-like undulation to the low-end driving "Tangent-I" and "Tangent-II," but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum and bass driving "Ginza," but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart. After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner -- but no less pioneering -- sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

2026 restock. "Ancestral Swamp is the 20th full-length album by legendary rambler, cartoonist, 'outsider' folk singer, and guitarist Michael Hurley. It arrives just in the nick of time for the rabid Snockophile. A batch of new vittles and encores of some of his classic tunes, Ancestral Swamp bubbles with laid-back ease and tre-molodic goodness. Most songs have the simplest of arrangements: Hurley singing solo, accompanied by his guitar, Wurlizter organ, or fiddle. Tara Jane O'Neil helps lend a nice touch to 'El Dorado,' and Snock calls upon frequent past accomplices Dave Reisch and Louie Longmeyer for their graceful touch on sleepy winners like 'New River Blues' and 'Gamblin' Charlie.' As with all Hurley's albums, once one sets the needle down, one is put in a certain peace and place. His voice and songs are unique, shuffling with characters and visions clear and wild. With Ancestral Swamp, it seems Snock has left his front door open a bit wider than usual. If you lean in close, you can inhale a little of the vapor rising off the water, and enjoy a tale or two."

LP version. "Los Angeles musician Cate Kennan's self-produced second full length unfolds with the poetry and immateriality of its title: Shadows. Ten vignettes of keys, strings, reverb, and voice, the songs sway and lope between dream and lullaby, rose-colored but remote. The album was inspired by the dislocation Kennan felt upon returning, after several years away, to the rustic neighborhood northwest of L.A. where she'd grown up: 'Wandering through a place where my life once existed but where everything had quietly shifted with time.' The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes ('The Lone West,' 'Romantic Strings') to sepia-tone torch songs ('Shadows,' 'Reverie') to oblique keyboard meditations ('Moonlight,' 'Rain'), Kennan's soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled: 'What began as a period of nostalgia for me turned into a longing, not for the past, for a place that might exist somewhere beyond the horizon.'"

2026 repress. Please welcome: It's the Arps! Oslo's magic music-maker Todd Terje has already gained a wunderkind-like reputation on top of being one of the best remixers money can buy. The first release on his own label was created from scratch and solely on the mythical synthesizer ARP 2600. Towering over the assortment is the laser crime scene called "Inspector Norse," which is the finest goosebumps dance music. "Myggsommer" gives away Terje's secret love for quirky exotika, whereas "Swing Star Pt. 1" and its brother have a (Balearic) brilliance and witchery to them. Housed in a beautiful sleeve courtesy of Bendik Kaltenborn.

Rock för kropp och själ stands as the final, definitive statement from Träd, Gräs och Stenar during their original tenure with the legendary Silence label. By 1972, the band had reached a breaking point. After five years of relentless touring -- defined by marathon three-to-four-hour performances delivered four or five nights a week -- the collective was physically and creatively spent. The weight of expectation had become a burden; the band felt pressured to deliver "maximum ecstasy" and total psychic immersion at every single gig. This period of high-intensity "flipped out" performances culminated in their final appearance at the Falun prison in July 1972, after which the members dispersed to refocus and recreate their individual artistic paths. Expanded content: Includes a bonus LP of rare live material from Denmark and Gothenburg.

Spiritual World presents Ashleigh Ball's Center of the Universe, a transcendental flute journey from the singer and flutist of T3al. Center of the Universe is a 32-minute improvisational odyssey recorded inside the Dominion Astrophysical Observatory (DAO), a National Historic Site on Vancouver Island, in British Columbia Canada. Inspired by the pioneering work of Paul Horn and his Inside series, the recording channels a similar spirit of reverent exploration within a space rich in history and resonance. Completed in 1918, the observatory is home to the Plaskett Telescope -- once among the largest and most powerful in the world -- playing a key role in mapping the Milky Way. Following months of coordination, three hours of private access were granted on the morning of August 25, 2025. Beneath the observatory's towering telescope, Ball performed a wordless meditation, moving between alto flute and soprano concert flute, allowing each note to merge with the chamber's vast natural reverb. Tones bloom, linger, and return, carried along the massive curved steel walls. Captured using a minimalist recording approach, Center of the Universe preserves the purity of the moment -- its warmth, stillness, and the architecture's subtle mechanical resonance. Here, the observatory itself becomes an instrument, shaping the sound into something elemental, timeless, and deeply human. RIYL: Paul Horn, Pauline Oliveros, James Newton, Kali Malone.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of Vibrations by Roy Ayers Ubiquity -- a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers' sound at its peak. Originally released in 1976, Vibrations stands as a cornerstone in Ayers' catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide. Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the "Godfather of Neo Soul," Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and Vibrations is one of its purest expressions. The album flows effortlessly between moods: from the jazz-inflected elegance of "Searching" to the irresistible funk pulse of "The Memory," the dancefloor-ready "One Sweet Love to Remember," and the laid-back, atmospheric title track "Vibrations." Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment. Beyond its original impact, Vibrations has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture. After almost two decades out of print, Vampisoul present this much-needed vinyl reissue of an essential album in Roy Ayers' career. Whether you're discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

2026 repress. "Water Damage is ten people from one town and one sound from twelve people. For Instruments, the plus two are guitarist David Grubbs and saxophonist Patrick Shiroishi, neither of whom blunt the angle or confound the aim. The tempo? Slow and low. Four tracks, averaging twenty minutes each, the pace never above a comfortable walk. The damage creeps, a forest becomes a mountain, and the faithful move forward. The album is named after Fugazi, in a manner, and 'Reel 25' takes after the Shocklee Brothers, in a cry. Stop asking the lord how many drummers this band has and ask him how much of your mind, babe. Some people say drone and same people say trance and some people say invocation through patterned unity. Some people just say rock and we let them set their clocks back. Lie down and let these holy treads flatten you. Just because Water Damage know what they are doing doesn't mean you have to. Fix your hearts or die!" -- Sasha Frere-Jones

"Helmets Off can be described as an honest attempt at honesty. Although all options are open at the moment of conception, the end result often remains bare. Instruments come in when they are needed, but the songs apparently don't need that much at all. Every word and every strum sounds like it's placed in exactly the right moment. Perhaps it is this bareness of the songs, that makes it feel as if The Hobknobs are speaking to the listener directly. It is clear that they don't want anything to cloud this human interaction. Yaël Dekker, whom you may also know as the singer of The Klittens, and Arie van Vliet, who used to spread his word through the band Lewsberg, were once described as loving misanthropes. Listening to Helmets Off, this description seems rather accurate. A consoling song like 'The Mind' sounds haunting. Even words seem to have lost their meaning in 'Dictionary.' Songs that seem cheerful and naive at first appear to be pleadings on second listen. And is 'Enarmoured' a pro-war protest song? What war do they want to fight? Dekker and Van Vliet's voices seem to know each other well, in a way that magnifies the songs on Helmets Off beyond their deceptive simplicity. Together with the minimal production by Jaap van der Velde, it makes that the album hits the sweet spot somewhere in the middle of 'instantly familiar' and 'no one else sounds quite like this.'"

"Birdman Records reissues Invisible Men, the early space explorations of electronic music pioneer F/i. In the mid-80s F/i was on the cutting edge of electronic bombast, producing cassette tapes of late-night interstellar sessions to be traded world over with the handful of heads that were plugged into similar perambulations. As a link between Throbbing Gristle and the Spacemen 3, this period of F/i has been woefully forgotten, until now. Later in the '80s, F/i would morph into Vocokesh continuing their space rock explorations. The 2LP set features founding member Richard Franecki, Brian Wensing, and Steve Zimmerman, and includes the ultra-rare recording 'Air' (produced around the same time as Invisible Men). For the first time on vinyl, a limited run of 500 copies."

"With their second LP Veld, Sick Gazelle take their cosmic and instantaneous group communications to new levels of clarity and structure, without losing the spark of the jam. The band expands from longtime Chicago underground players Eric Block on guitar (Veloce) and vocalist/saxophonist Bruce Lamont (Yakuza) with drummer Steve Shelley (Sonic Youth) to include Douglas McCombs (Tortoise) on bass. Though these five tracks are sculpted from improvisations, they've been refined into song forms that illuminate the strengths of both the individual players and the chemistry of the quartet version of the combo. This comes through in Veld's moments of reflective subtlety on tracks like 'I'll Come Running,' in the foreboding tension of the cinematic 'Ocean Always Wins,' as well as in the charged grooves and dubby undercurrents of the sideways rocker 'Hippies.'"

Australian composer-performers Judith Hamann and James Rushford have worked together in countless projects for two decades, perhaps most notably in Golden Fur, their trio with Sam Dunscombe. Black Truffle presents Midmeste, their first work as a duo. Its title is Middle English for "the middlemost point," alluding to how the piece builds on the points of overlap between the highly personalized musical languages Hamann and Rushford have developed in recent years. Performed on cello and a variety of pipe organs, Midmeste is a spacious, sometimes unsettling exploration of their shared interest in alternative tunings, psychoacoustic phenomena, the physical properties of their instruments, and the usually peripheral sounds generated by the performing body. Beginning with a sequence of austerely vibrato-less harmonics from Hamann's cello, trailed by Rushford's whistling portative organ tones, the music soon expands into a slow-moving melodic wander, pausing at times to linger over an uncomfortable harmony or particularly resonant cello tone. Hamann and Rushford have long histories of engagement with pre-Classical European musical traditions, having in past projects performed and radically extended the work of Solage, Louis Couperin, Johann Conrad Beissell and other composers. Here they use a 15th century song by John Dunstaple, "O rosa bella," which returns throughout the piece, distorted, aerated and splayed into new forms. Developed while the two shared residencies at Akademie Schloss Solitude, Stuttgart in 2020 and La Becque on Lake Geneva in 2023, Midmeste integrates recordings made (at the invitation of the Biennale Son) on the organ of the Basilica St Valere in Sion, Switzerland. Played by both Rushford and Hamann, the instrument's idiosyncratic features, including bellows pumped manually using massive wooden beams, are integrated into the music through amplification. Moving through a series of distinct episodes across its forty-minute span, Midmeste makes space for near-silent duets of high harmonics and hissing air, moments where twittering high tones and rumbling sub-bass could be electronic, and static fields that unexpectedly blossom into almost Romantic harmonies. Listeners familiar with Hamann and Rushford's work will find many familiar features here: the stunningly rich cello tones, their patient sustain allowing heightened awareness of the inner life of sound and its interactions with the environment; the care with which acoustic space is activated, becoming at times a third instrumental voice; the attention to fragile, unstable sonorities that sometimes have a comic edge. A major work from two key figures in contemporary experimental music, Midmeste synthesizes rigorous exploration of fundamental questions of sound and performance with an unapologetic embrace of beauty.

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic introduced international listeners to the magical sound-world of Alit's Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit's work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit's music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, "Baur Bentur," which translates as "mixing and smashing," points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions. "Sukat Tacara" is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release. The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the "blend and crush" of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer's thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit's radical combination of tradition and innovation.

"Lenny Kaye (Patti Smith Group, original Nuggets LP compiler) took his all-star Nuggets Band featuring Rat Scabies (The Damned), Dave Treganna (Sham 69, Lords of the New Church), Marty Love (Johnny Moped, Wingmen), Doctor Clive Jackson (Dr & The Medics), and Jim Jones (Jim Jones All Stars, Thee Hypnotics) to the BBC to record a session for Marc Riley and Gideon Coe at 6Music and here it is on 10" colored vinyl."

A year after PINGPONG, the 2LP compilation with unearthed music from 1980-2000 by Walter Verdin, Cortizona presents Minimalize Your Reworks, a collection of 12 reworks and interpretations of the 1981 composition "Minimalize" Verdin originally created for a video art installation. 12 totally different versions by 12 musicians, producers, DJ's and artists blowing the dust of this visionary track Verdin made at night in the studios of the audiovisual services of the university, somewhere in the Belgian city of Leuven. Minimalize Your Reworks features contributions from a wide range of musicians: Peaking Lights delivers a motorik manifesto for lost '80s kids with nostalgia for coin up games at a desolated Luna Park. Stripped down demented disco to keep the heartbeat in a trance. Jlin injects the old school vibe with a shot of firing future footwork reshaping it in a dazzling abstract bass buzzer. Céline Gillain sculpts Verdin's mantra into a brand-new story dribbling between deadpan bubblegum dance hall and tongue in cheek wordy rappinghood. A slow burning technicolor dream fading into a throbbing new ecstatic reality is maybe the best way to describe Transistorcake's translation of the original composition. Electronic body music of a Blade Runner generation chasing a Stranger Things reality in an upside -down world: Sagat's version explores new horizons for sure. Beton Brut goes for the short sharp shock and flips Walter's analogue tape advice into an insane grimey gabbercore classic for the year 2525. That's around the same time era where you can find the spirit of Legowelt's goofy robotic interpretation of "Minimalize": Star Trekking across the universe, boldly going forward with the vocoder and the 808 until everyone's dancing or at least moving their feet. Together with his vintage echodeck, Ossia exploring and pushing dub and Mego boundaries here. DJ Marcelle takes bass to another level in her "Space Invaders Remix," deconstructing and splicing sound into a new form of what could be an anchor point for inzane Johnnies testing and fine-tuning their boombox car sound system. Patrick Stevens slams your brain with an industrial stomper - banging like a 1984 anthem The Hafler Trio knocks on the doors of perception and enters your sonicsoul with hidden subliminal messages like only Andrew McKenzie can. Annelies Monseré transcends cosmic minimal frequencies from another dimension into an unknown maximalized spectrum. Just with her voice and harmonium she delivers acoustic shoegaze and a hauntingly hypnotizing mantra of 8 minutes and 10 seconds.

For the first time, this five CD box set brings together the work around Music For Real Airports. Long admired by listeners, the collection includes Music For Real Airports, Music For Airport Lounges, Music For Dead Airports, Live At The Millennium Galleries, and The One Escape Bar. It features a substantial amount of new unheard material, alternate mixes and live recordings taken from our archive. This second box set reflects a long and uneasy relationship with airports. Airports present a controlled fiction, a managed calm built on delay, surveillance and routine. Across five hours of music, much of it previously unheard and available for the first time, the box set confronts the modern reality of travel and the corporate structures that shape it. The music documents these spaces as they are experienced rather than as they are sold.

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition. Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music. Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track "I Feel Space" has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as "Boney M Down" and "Lovesick." Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025. 180gram heavyweight 3x12" vinyl. Includes OBI strip. Features original artwork by Ole Martin Lund Bø and original liner notes by Daniel Wang.

Since 2003, Philadelphia-based improv ensemble Kohoutek -- founded and directed by percussionist Scott Verrastro -- has forged a dynamic, visceral range of sound, consisting of textural drone, atmospheric rock, abstract harsh noise freak-outs, clattering percussion, guitar heroics and alien electronics, all congealing to form a multihued psychedelic extravaganza. Inspired by such varied musical entities as Can, Amon Duul 2, Trad Gras Och Stenar, Dead C, Sun City Girls, Hawkwind, This Heat, Sun Ra, Art Ensemble of Chicago, and King Crimson, they inhabit a world of murky terrain where drone, musique concrete, and noise coalesce with cosmic folk, where doom and sludge metal merge with fiery jazzoid polyrhythms. All Kohoutek performances are rituals channeling untapped energy transmogrified through pure expression and response to the immediate environment. Akvoturo was recorded in April 2022 at Strange and New Sounds in Richmond VA with JK Kassalow (Cough/Caves Caverns), and unveils the band as a sextet featuring longtime core members Verrastro (Bitter Wish/Heavy Lidders/Henbane), bassist Craig Garrett, guitarists John Stanton (The Redeemers/Kuschty Rye Ergot), and Jeff Barsky (Insect Factory/Time Is Fire/Bed Maker) and electronics wizard John Simler (Cash Slave Clique). Kassalow augmented the ensemble with violin and analog electronics and edited and mixed the album with Verrastro. The unparalleled James Plotkin did the mastering. With Akvoturo, Kohoutek is delving into a more experimental form of their brand of US psych/space jams, a loose concept album sonically examining the consequential role that water has played in nascent civilizations, starting from our ancestral habitats. The title is in Esperanto, in theory a language as universal to humanity as water is to its diet, as well as an homage to the label ESP which is a substantial inspiration on the Kohoutek ethos, informed by revolutionary free jazz and outsider psychedelia. This release consists of four tracks. Side A starts out with "Pluvobaro," a combination of Eastern inspired components, including repetitive gamelan-esque marimba and other rhythmic work, with an insect-like drone. The side continues with "Inundo," a more traditional sounding American psych jammer. "Disfalo" starts side B, sparse and loose, like rain drops falling on various ephemera in a scrap yard, while the hum of machinery drones and squeals in the background. "Irigacio" returns to classic Kohoutek form, starting from a spacey/slide guitar based, mid-tempo head- nodding jam. It eventually builds into an ecstatic and faster single-note (almost surf) melodic guitar journey, before finally returning to the slow-head-nod tempo from the start of the song.

Gold disc CD housed in a digi-pack. Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Striking the sweet spot between sampledelic downtempo and Earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humor. Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing, newly mastered from the original mixdowns. Also available as a limited edition, 4LP edition (FRVR 002LTD-LP) including bonus tracks plus an exclusive print of Catherine Brennand's watercolor painting that graces the front of the album. All editions also feature liner notes by veteran music journalist John McCready.

Shânti (1972-73) for electronic and concrete sounds. Electronic music studio, WDR, Cologne, Germany, 1972-73. Digitalized and revised version from 2001. "The term 'meditation music' triggered many conflicting comments including positive ones. Others, wondering at the strong sound presence of the piece, consider such aspect as hardly helpful to their own meditation. What meditates here is the composer. He is the one who takes you on his journey and guides you through his work like in a classic or romantic symphony. As a listener you are invited to follow 'his' meditation. The composition is the meditation."

Justus Köhncke is a unique voice in the history of Kompakt -- and far beyond. He has contributed so many unforgettable tracks to the catalogue that it was difficult to make a selection. His sound has often been copied, but remains incomparable. From his deep knowledge and understanding of the history of pop, schlager and disco, he distilled not only official club hits such as "2 After 909" and "Timecode," but also countless poetic gems. Both sides of Justus Köhncke's work are united here on this record. Justus' music knows no boundaries, only "weiche Zäune (soft fences)." Special attention should be paid to the included bonus 10". Here you will find two of his most enchanting, hard-to-find cover versions. His immortal version of Jürgen Paape's evergreen "So weit wie noch nie" and the monumental adaptation of Round One's "New Day," originally released under the nom de guerre Kinky Justice.

Released at the end of 1966, Los Mockers' debut album stands as one of the defining rock and roll records to emerge from South America in the 1960s. While often compared to The Rolling Stones because of Polo Pereira's unmistakable vocal swagger, the band built a sound of its own: rooted in the bluesier side of the British Invasion, yet rougher, fiercer, and unmistakably rioplatense. Recorded in Buenos Aires under modest technical conditions, the album transformed limitations into creativity. The result is a collection bursting with urgency and inspiration -- from swaggering rhythm and blues and explosive rock and roll to infectious pop melodies and unforgettable ballads. More than fifty years after its original release, the album remains as youthful, vibrant, and essential as ever.

LP version. Purple color vinyl. Truthdare Doubledare marked a significant change in the direction of synth-pop trio Bronski Beat's as a band, with vocalist Jimmy Somerville leaving and being replaced with John Jøn Foster. Whilst maintaining a clear voice in support of gay rights and political activism, the production gave way to a rougher and rawer style, featuring more real instruments, ever-powerful lyrics and more variety in genre. This never-before re-issued album features the #3 single "Hit That Perfect Beat," a full remaster, new remixes from the likes of I. JORDAN and Ted Carfrae and rare, unreleased studio and live versions. All editions feature full album remaster, updated artwork with rare and unseen photos. 1CD version includes 2026 Remixes from I. JORDAN and Ted Carfrae and exclusive liner notes from vocalist John Jøn Foster. Purple LP version (LMS 1725750) includes B-Sides & unreleased rarities. 3CD collector edition (LMS 1725749) includes B-Sides and unreleased rarities plus live versions and unheard studio sessions, BBC Radio 1 Session, 2026 Remixes from I. JORDAN and Ted Carfrae, as well as exclusive liner notes from vocalist John Jøn Foster and exclusive detailed timeline by project consultant Barnaby Ashton-Bullock.

Reissue, originally released in 1960. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ), and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP Glue on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beat melodies, Jimi Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. Glue is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Recommended if you like similar classic bands such as Traffic Sound, We All Together, Black Sugar, and Telegraph Avenue. 180 gram vinyl LP in tip-on jacket and insert with liner notes.

Reissue, originally released in 1971. In 1970, after four fantastic singles under the name New Juggler Sound, the Peruvian band formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ), and Manuel Cornejo (drums) changed their name to Laghonia and recorded their debut LP Glue for the MAG label. It was an album influenced by the British rock of the era to which they added fiery guitars full of fuzz and wah-wah, the omnipresent and hypnotic Hammond organ sound and Latin American percussion and rhythms. A perfect mix of the British beat melodies of the mid-60s, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. Laghonia returned to the studio in 1971 to record a new LP for MAG. Packaged in a clearly psychedelic gatefold sleeve designed by the band's drummer, Manuel Cornejo, Etcétera shares all the elements of the first LP although on this occasion the compositions, while keeping their immediacy and featuring strong melodies and choruses, have a more complex structure, ranging from psychedelia to progressive rock through superb dark King Crimson-esque passages and shining moments of pastoral folk. 180 gram vinyl LP in tip-on jacket, includes bonus 7" single and insert with liner notes.

2026 repress. ESP-Disk present a vinyl reissue of Henry Grimes Trio's The Call, originally released in 1966. It has occasionally been assumed that Henry Grimes got this December 28, 1965 recording date as a reward for his long service in the avant-garde of jazz. Having already honed his musical conception with a varied range of players, from Benny Goodman and Arnett Cobb to Lee Morgan, Gerry Mulligan, and Sonny Rollins to McCoy Tyner, Steve Lacy, Albert Ayler -- including Spirits Rejoice (ESPDISK 1020CD/LP)--, Don Cherry, and Cecil Taylor (to name just a few), the service was certainly there, but he got this gig fully on his merits. For The Call, Grimes teamed with highly original clarinetist Perry Robinson (as label owner Bernard Stollman has noted, "a virtuoso who merits far wider recognition...and this recording reflects both of their contributions, in equal measure") and stalwart drummer/ESP-Disk' regular Tom Price. As a bassist, Grimes's melodic style is well up to the task of being co-equal voice with a horn, resulting in a thoughtful and texturally rewarding LP with a level of quality far above the rote sideman session cliché, and far away from equally clichéd ideas of unrelentingly full-bore free jazz. It offers the sound of three excellent musicians listening to each other and responding superbly. The Juilliard-trained Grimes appeared on six other ESP LPs besides those already mentioned. He retired at some point after the last of them, 1967's Marzette Watts LP, and went so far off the scene that it was rumored that he had died. Happily, that was not the case, and he reemerged in 2003, moved back to New York, and returned to his prolific ways until illness slowed him down and then took him from us earlier this year (2020). Standard weight vinyl featuring original artwork.

2026 repress. Legendary Sun Ra bassist (Ronnie Boykins 1935-1980) stepped out on his own for his first and only release as a leader on The Will Come, Is Now. He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins's solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins's six originals create a variety of moods and textures that not only evoke the music of Sun Ra but also reflect Boykins's own sensibilities as an artist. Original pressings, made just before ESP-Disk' went on hiatus for forty years and thus less common that other ESP LPs, often go for upwards of $150. 180 gram vinyl features original artwork.

After paying his dues with bluesmen Albert King and Bobby "Blue" Bland and jazzman Jaki Byard, Michael Marcus had his first album released in 1991, when he was 39. He's been prolific since then, co-leading Cosmosamatics with Sonny Simmons, SaxEmble with Frank Lowe and James Carter, Blue Reality Quartet with Joe McPhee, Warren Smith, and Jay Rosen, and Duology with Ted Daniel as well as Marcus's many albums as sole leader. Marcus had his debut on ESP with Abstractions in Lime Caverns in 2022. As Cisco Bradley writes in his liner notes, "One of the unique features of this record is Marcus's use of the tarogato. This woodwind instrument is better known for its roots in Hungarian music. The tarogato has a crisp, pure sound that allows for the precision and sensual beauty of these pieces that will leave the listener in a state of euphoria as Marcus ascends the mountains and glides across the vast valleys of these sonic landscapes." Bradley writes of the other players, "Williams, who has worked with David Murray, Cassandra Wilson, Dewey Redman, and Olu Dara in addition to making several albums of his own for Muse and elsewhere, is especially crucial in bringing to life the funky Monk concepts in these tunes. Mednard, who in recent years has established himself through associations with Guillermo Klein, Arthur Kell, Brandee Younger and others, meshes well with Rodriguez (whose credits include Alvin Batiste and Dafnis Prieto) to create tight rhythms from which these compositions and arrangements spring forth."

"Marcus joins the ranks of such visionary jazz clarinetists as Don Byron, John Carter, Jimmy Giuffre, and Perry Robinson." --All About Jazz

"Marcus writes some of the finest tunes on the avant-garde scene." --Time Out New York

"Michael Marcus is a passionate player and a fluent composer of themes that inspire improvisers." --Bob Blumenthal, Boston Globe

"He plays on that Dolphy-esque knife between inside and outside that makes for joyous listening." --Ben Watson, The Wire

2026 repress. LP version. Far Out Recordings present a reissue of Azymuth's Outubro, originally released in 1980. Following on from their seminal album Light As A Feather (1979), Outubro ("October") began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members's performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully coloring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics. The album hosts a wonderful mix of tempos and styles, from Alex Malheiros's earth-shaking slap-bass on "Dear Limmertz", which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece "Un Amigo", while Ivan "Mamao" Conti's signature swing on "Maracana" exemplifies the root of Azymuth's "samba doidoi" ("crazy samba") philosophy. The two cover versions on the album consist of the title track, which was originally penned by Milton Nascimento, and Chick Corea's "500 Miles High", both of which magically re-imagine the originals and further demonstrate the immense virtuosity of this cult recording. This reissue was mixed and mastered from the original tapes.

Broadly speaking, the music of Stella Kola could be labeled psychedelic folk, although the term feels limited and pedestrian when one encounters the elegant majesty of the work itself. While drinking from the same well as Shirley Collins, Fairport Convention, C.O.B., Pentangle, Anne Briggs, Bridget St. John, and the like, not for a second does it play as a retro exercise. The music wears its influences comfortably, swimming in the atmosphere of its forebearers without feeling beholden to stylistic conceits or overt reference. If you're looking for flashy hipsterism, you've stumbled into the wrong tavern. It's a dream band, impossible to place, arising from somewhere beyond the individuals responsible. Stella Kola is an entity larger than all that. A small tear in the fabric of time allowing some light from The Land of Timelessness to come dancing through. RIYL: Bridget St. John, Slapp Happy, Broadcast, C.O.B., Julie Tippetts, Myriam Gendron, Tia Blake, Julee Cruise, Blossom Dearie, Vashti Bunyan, Kevin Ayers and the Whole World.

"Robert Thomas is known for raising a wide variety of rackets inside the Sunburned Hand of the Man multi-verse. He has also shown himself to be a dab prog hand with Dalthom, his duo with Gary War. But this project -- Stella Kola -- a duet with the great Beverly Ketch (Bunwinkies, Jow Jow, Weeping Bong Band) has a sneaky genteel vibe that is new for him. Bev and Rob wrote all the material together, having decided to collaborate in the early days of the Plague. Things came together at their own pace, with lots of friends enlisted to help. These include P.G. Six, Jeremy Pisani, Wednesday Knudsen, Willie Lane, Jen Gelineau, Gary War and others. But the shape of the material was determined by the prime movers, and possesses a shocking amount of charm and beauty. Admittedly, this is often the case with Bev's endeavors, but Rob was able to get a new flow going that compliments her calm. And the results are boss. I was a bit surprised how 'pro' the arrangements are -- strings, horns and keys are employed as though this was a big budget slab. But it manages to create a certain whiff of left field early '70s major label albums that sailed under the radar. And that is a beautiful bed in which to rest. Let Stella Kola cradle your heavy head for a bit. You'll be glad you did." -Byron Coley, December 2022

20th anniversary edition of what began the electronic era of Prurient. Subtle alternate layout with mini poster. New audio restoration for vinyl. Presented on clear smoke vinyl. Digital download code included.

"The Definite Article captures the Scientists 'Weird Love' lineup (Kim Salmon, Boris Sujdovic, Tony Thewlis, Leanne Cowie) performing live at the peak of their powers at The Triffid in Brisbane on November 4, 2017. The Australian rock legends run through twenty of their best loved songs and captures them at their raucous, swampy, noisy best. The band were so happy with the performance and the recording that they decided to release it on cassette on Emmett Kelly's Ha Ha label and sell it on tour. With the tape long sold out, In The Red is happy to bring this incredible performance to vinyl for the first time."

Alden Hellmuth is a saxophonist, improviser, and composer "out of the ordinary" and currently based in New York. Her newest project Tether propels a two-bass acoustic jazz quartet into thrilling new low-end territory. With two of LA's most wildly inventive and radical bass players, Logan Kane and Miller Wrenn, and acclaimed drummer Justin Brown delivering a landmark performance, this band truly goes beyond the guard rails. Hellmuth, a Herbie Hancock Institute graduate with both serious compositional vision and jaw-dropping chops has carefully and creatively crafted a new sonic realm, equally at home in a jazz festival and punk rock show. Featuring appearances by Paul Cornish and Yakiv Tsvietinskyi, the album is a bold statement from a group of musicians redefining the genre. For Fans of: Herbie Hancock, Ambrose Akinmusire, Steve Lehman.