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viewing 1 To 25 of 70 items
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12"
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ACR 019EP
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Contours brings together New York-based producers and DJs Abby Echiverri and Clay Wilson for a four-track 12" on Acid Camp. The record moves across acid house and techno, unified by a clear craft for pressure, pacing, and machine-driven tracks, with moments of restraint that hold up far beyond the dancefloor. Together, the four tracks understand acid not as a fixed formula, but as a flexible language. These are the songs of the underground clubs on Arrakis. See you at the front of the speakers.
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12"
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AUS 211EP
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Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties. Swedish artists pbeatgirl and Joakim Åhlund and Jockum Nordström feature on one track each Axel Boman has brought playful charm to the underground for nearly two decades. His colorful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.
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CD
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BMC 379CD
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"One of the world's greatest improvisers, double bassist Barre Phillips, passed away just over a year ago. Togetherness pays tribute to his memory with the edited version of an improvised duo concert: in 2014, Phillips celebrated his 80th birthday and György Kurtág Jr., one of the leading figures of experimental electronics, celebrated his 60th birthday by playing together at Opus Jazz Club."
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CD
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BM 012CD
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Laid Back in top form. After 47 years together, the iconic Danish duo continues to defy expectations, entering a new and remarkably productive creative phase. Born to Fly captures their unmistakable sound while showcasing a renewed sense of energy and inspiration. Long known for their unhurried approach to releasing music, Laid Back now find themselves in unfamiliar territory. John Guldberg describes a surge in creativity that has turned their process on its head. "It's kind of funny -- Laid Back has always taken its time making records. We've been behind schedule for most of our career. Now it's the opposite: I'm actually starting to worry about whether I'll have time to release everything I've got in me," he says. Their current workflow reflects this momentum. Guldberg develops initial ideas, which he shares with Tim Stahl, who then brings them to life with vocals and instrumentation. The duo's creative output has accelerated to such an extent that even ahead of the release of Born to Fly, they already have enough material prepared for more than a double album for their next project. "It's about making the most of the time you have left. I used to feel there was plenty of time and no need to rush. Now time feels much more valuable," Guldberg adds. Alongside their creative resurgence, Laid Back are also seeing a shift in their audience demographics. Streaming data and live performances indicate a growing younger fanbase -- a development that has taken the duo by surprise.
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LP
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BMVI 011LP
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LP version. Laid Back in top form. After 47 years together, the iconic Danish duo continues to defy expectations, entering a new and remarkably productive creative phase. Born to Fly captures their unmistakable sound while showcasing a renewed sense of energy and inspiration. Long known for their unhurried approach to releasing music, Laid Back now find themselves in unfamiliar territory. John Guldberg describes a surge in creativity that has turned their process on its head. "It's kind of funny -- Laid Back has always taken its time making records. We've been behind schedule for most of our career. Now it's the opposite: I'm actually starting to worry about whether I'll have time to release everything I've got in me," he says. Their current workflow reflects this momentum. Guldberg develops initial ideas, which he shares with Tim Stahl, who then brings them to life with vocals and instrumentation. The duo's creative output has accelerated to such an extent that even ahead of the release of Born to Fly, they already have enough material prepared for more than a double album for their next project. "It's about making the most of the time you have left. I used to feel there was plenty of time and no need to rush. Now time feels much more valuable," Guldberg adds. Alongside their creative resurgence, Laid Back are also seeing a shift in their audience demographics. Streaming data and live performances indicate a growing younger fanbase -- a development that has taken the duo by surprise.
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LP
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BB 027LP
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2026 repress; LP version. Bureau B reissues Wolfgang Riechmann's Wunderbar, originally released in 1978 by Sky Records and an absolute gem of German electronic music. This album, however, is beautiful and tragic in equal measure, as Riechmann became the random victim of a knife attack just three weeks before the LP went on sale. Wolfgang Riechmann's career as a musician went all the way back to 1969, which was roughly when he met Michael Rother (Neu!, Harmonia) and Wolfgang Flühr (Kraftwerk), who would be his colleagues in the Spirits Of Sound Group. Later on (1973 to 1976) he played with Phönix, before going on to record two albums with Streetmark, who enjoyed great popularity at the time. From November 1977 onwards, he devoted his full attention to the Wunderbar LP. On his first and, regrettably, last recording as a solo artist, Riechmann went eclectic. Distant echoes of the so-called Berlin School (Tangerine Dream, Klaus Schulze, and the like) can be detected on Wunderbar, as well as the clear influence of the so-called Düsseldorf School (Neu!, Kraftwerk, La Düsseldorf) -- not that Riechmann was attempting to copy their styles in any way. While contemporary influences need not be denied, Wunderbar hints at the direction he would take in terms of sound and composition, reflecting a powerful, independent musician's personality, one which would have caused quite a stir, had it been given the chance to unfold. This optimistic music is characterized by simple sequencers and drum patterns, with Riechmann adding his own individual layers of harmony. And then there are the melodies: simple, sometimes to the point of being simplistic, but never naive. Wunderbar is modern, electronic pop, perfectly and permanently frozen in time. Printed inner sleeve featuring rare photographs and liner notes by Asmus Tietchens, one of the original pioneers of electronic music.
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BB 332LP
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2026 restock; LP version. Sammlung (BB 236CD/LP, 2017) compiled by Stefan Schneider first introduced a selection of previously little-known exponents of 1980s Duesseldorf electronic tape music. A further remarkable example of the Duesseldorf underground tape output, 1986's Singende Drahte originally circulated in a minuscule edition among aficionados only is now finally available as a CD and vinyl re-edition. Deux Baleines Blanches was the name of Stefan Schneider's avant-pop-project who concurrently with his studies of photography at Duesseldorf's Kunstakademie had begun his musical explorations in the early 1980s, which also led him to cofound the bands Kreidler (1994) and To Rococo Rot (1995). Singende Drahte showcases some of his early work in the field. The somewhat sketchy and abstract character of these 14 tracks, "Draehte" (wires) is slightly reminiscent of the esthetics of contemporary labels like Les Disques du Crépuscule or early 4AD, yet they sound surprisingly modern even 30 years after they were first released.
"The music on this album has originally been recorded in an attempt to recreate an electric drone emanating from an overhead electric power line which I had noticed by chance on a humid day in May 1986 whilst on a bicycle tour across the rural outskirts of Düsseldorf. The surprising discovery of this static yet tender hum which filled the air was a completely overwhelming listening experience . . . The very next day I borrowed a recording device from a friend (it was a Sony Walkman if memory serves) and went back to the same spot right underneath the huge wires of the power line, eagerly anticipating the chance to record this particular hum, my future favorite album onto cassette tape. Yet weirdly, on this day the hum was nowhere to be heard . . . Back at home I took my guitar and my amp and tried to imitate what I could not record in the field. The more effort I put into these attempts the worse it got, however I was convinced . . . A couple of weeks later, however, I listened back to these sketches and was surprised that there was something quite uniquely intriguing within these recorded fragments. You simply had to disregard the original intention -- to imitate the sound of an electric hum. I chose to liberate myself from the constraints of the experiment and subsequently recorded my sketches on a 4-track cassette. The nished cassette was released in November 1986 in an edition of maybe 15 copies." --Stefan Schneider, October 2019
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12"
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CLR 139EP
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Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the Schema EP. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels. Schema opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are offset by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged. On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework.
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LP
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COSMR 050LP
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Vince Martin was a prominent member of the folk circle -- in New York Greenwich Village -- which included Fred Neil, Dino Valenti, Len Chandler, Richie Havens, and others. If the Jasmine don't get you?, Vince's 1969 solo debut, captures the essence of his music. Recorded by the legendary Nick Venet in Nashville with the same pool of musicians that Bob Dylan and Bergen White were using this is an essential folk-rock classic!
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COSMR 051LP
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The Common People are perhaps the greatest remaining enigma of the '60s US rock music. Their sole album has belatedly acclaimed as one of the most distinctive recordings of its time. Produced in 1969 by "Lord" Tim Hudson (The Seeds) and arranged by David Axelrod, it's a superb blend of garage rock and orchestrated psychedelia!
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LP
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CNT 104LP
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"Songs Album II is LA musician Aaron MF Olson's Country Thyme Records debut, his second 'songs for singing' album in just over a decade of releasing music. His songs mix satiric, confessional and experimental lyric modes and his music's cut from a fine cloth of head-informed, classically sweet and soft pop/rock modes. Most of all, Songs Album II is music for listening. To listen to and to play music; that's been his highest aim, for most of his life. He's released four albums of 'Baywatch Krautrock' with LA Takedown, and played and recorded in many other projects, including but not limited to his experimental Music Tracing Ensemble, exotica collective Other Delights, Bedouine, Coffin Prick, Papa M, Tommy Peltier, Vetiver, and 'L.A.'s Most grateful Dead cover band,' Richard Pictures. If all this implies a wide palette of input/output, Songs Album II has it in reserve, framed scrupulously in a sequence of nice, light folk/rock ditties, their spacey-yet-precise arrangements colorfully blowing up the songs' personal values: by definition, perfect listening! It's Aaron, on most acoustic and electric guitars and basses, keyboards, harmonica, synth and vocals, Robin MacMillian on drums, Tara Milch, flute; Michael Sachs, clarinets; Luke Csehak, bassoon and trumpet; additional guitars and vocals from Blue Broderick, Bart Davenport, and Wayne Faler; keyboards and vocals from Andrew Dorsett and vocals by Matt Popieluch, making Songs Album II a collection of widescreen, hi-def songs and sounds. Aaron's voice is light-toned, gentle and tunefully raspy, falling somewhere between Jack Nitzsche, Van Dyke Parks, Robert Wyatt, and personal inspirations John Simon, Stephen Pastel, Jim O'Rourke and Kermit's nephew, Robin. Without trying to, Aaron came around to Songs Album II after another bout of demon COVID. He's a singer/songwriter who's been known to dream musical passages, with a couple on this record in delightful proof -- welcoming the hand of the mystic upon him. The 'no particular theme' implied by the title is only part so. It's no concept album, unless the concept is 'album, of songs,' but there ARE themes to be found here, feels and emotions crystalized around this lifetime of listening. With moments of sound laced into song, functioning both as toe-tapping sweet melodies and near-Joycean full-function index of personal reference, Aaron MF Olson's Songs Album II is music meant for listening to in the spirit of listening, and higher calling. And singing along!"
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12"
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DEF 2603EP
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Boogie Vice and N-You-Up return to Definitive Recordings with Decadisco EP. Following their 2025 collaboration Come On Closer, the duo returns to the label with a fresh collection of groove-driven club tools that balance modern energy with classic house foundations. The EP opens with "Game Concept," a driving house cut built on percussive drums, a rolling classic house bassline, and catchy vocal samples. "Wurkin Like Dat" follows with a disco-infused house vibe, stacking groove upon groove as vocal snippets and disco elements take center stage, delivering pure dancefloor momentum. Rounding out the EP are two DJ-focused versions of "Wurkin Like Dat." With Decadisco, Boogie Vice and N-You-Up once again showcase Definitive Recordings' ability to deliver modern house weapons that honor the genre's past while pushing the sound firmly forward.
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CD
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STEP 004CD
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2026 restock; domestic reissue, originally released in 2004. " Vashti Bunyan's lone 1970 solo release features contributions from British folk royalty including members of Fairport Convention and preeminent producer Joe Boyd. Vashti was recently heard singing alongside Devendra Banhart on the title track of Rejoicing In The Hands. The songs were written over two summers and one winter of travelling. After a chance meeting that winter with Derroll Adams (noted Woody Guthrie era folksinger and banjo player) who told her not to 'hide her light under a bushel,' Vashti took the songs of her journey to Joe Boyd. A year later he recorded Just Another Diamond Day, inviting Robin Williamson of the Incredible String Band, and Dave Swarbrick and Simon Nicol (who also played on Nick Drake's records) from Fairport Convention to accompany Vashti on some tracks. The album was released late in 1970 to little attention. The music was abandoned by the singer in favor of further horse journeys and complete obscurity. However, over the years all the recordings have succeeded in finding their own way to the notice of music collectors. The master tape of the album lay in a London warehouse for thirty years before being unwisely taken across the city in an underground train and getting wet in a raging thunderstorm, but has survived almost intact. The four additional on this edition are from well traveled old vinyl, acetate demos, and home recorded tape." -- Paul Lambden.
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Cassette
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DC 976CS
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Cassette version. "On Stash, the absolutely energy-drenched second album from BCMC, the guitar and keys duo soars through waves of pleasant rhythmic turbulence on the way to show listeners just what they got. Needle down: increased activity dubs and baubles the sonic surface of BCMC's Stash planet. Waves from Arabian, Indian, Flamenco and Soul groove in alliance under the expanse of an all-world flag, representing a borderless pursuit of cosmic music moments in the hand, of/by/for all the people of folk, rock and jazz, psych, west coast psych, prog, DIY, experimental, traditional, programmatic, impressionistic, liturgic, electric! Maybe it's in the DNA between Cooper Crain on organ and synth and Bill MacKay on guitar -- BCMC's groove-based understanding/space-based alignment of purpose is two-headed (four-handed) intuition in music, aurally forming whenever playing, composing, improvising, or all the above. Stash is part guitar and keyboard recital, part unbridled electroacoustic assembly of spontaneous international deep and wide sounds. Happening between them, somehow. Like the time: guitar and keyboard pushing, then pulling back in space. The sound of two people agreeing on this. Patterns emerge, units form, and then, we feel BCMC alive in the wide-open air of the room. Also in Stash: written things, shorter strands, riffs, prog/funk/church organ breaks, psychedelic blues-rock soloing on synth. Echoes of Floyd/Doors/Deep Purple/Iron Butterfly/Velvets/Can wove into a jangly nest, then trembled with an occasional British folk peregrination. Insistent chord/rhythm discovery: jam it out. Having taped, take a second pass in places. Improvisation, layers, inner-player dialogues revolve the flow, open it up. Drop the needle down into Stash anywhere. You find one sonic widescreen or another in time. Vivid, judiciously-tripped minimalist songs; tropical soundtrack capacity and time, horizons and water flown in from the border, fine frontier and mellow high. Stash was recorded on half-inch 8-track tape by Greg Norman at Electrical Audio, then recorded more and mixed to 1/2" 2-track tape at Sweat Loge by Cooper and Bill. Stash's different textural feel is down to wondering about, then dialing details in the sound, getting good signal in a few good spaces with a few new (old) machines in the chain. And in the mix, not a digital module was stirring: Stash is straight AAA, student!"
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DC 976LP
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"On Stash, the absolutely energy-drenched second album from BCMC, the guitar and keys duo soars through waves of pleasant rhythmic turbulence on the way to show listeners just what they got. Needle down: increased activity dubs and baubles the sonic surface of BCMC's Stash planet. Waves from Arabian, Indian, Flamenco and Soul groove in alliance under the expanse of an all-world flag, representing a borderless pursuit of cosmic music moments in the hand, of/by/for all the people of folk, rock and jazz, psych, west coast psych, prog, DIY, experimental, traditional, programmatic, impressionistic, liturgic, electric! Maybe it's in the DNA between Cooper Crain on organ and synth and Bill MacKay on guitar -- BCMC's groove-based understanding/space-based alignment of purpose is two-headed (four-handed) intuition in music, aurally forming whenever playing, composing, improvising, or all the above. Stash is part guitar and keyboard recital, part unbridled electroacoustic assembly of spontaneous international deep and wide sounds. Happening between them, somehow. Like the time: guitar and keyboard pushing, then pulling back in space. The sound of two people agreeing on this. Patterns emerge, units form, and then, we feel BCMC alive in the wide-open air of the room. Also in Stash: written things, shorter strands, riffs, prog/funk/church organ breaks, psychedelic blues-rock soloing on synth. Echoes of Floyd/Doors/Deep Purple/Iron Butterfly/Velvets/Can wove into a jangly nest, then trembled with an occasional British folk peregrination. Insistent chord/rhythm discovery: jam it out. Having taped, take a second pass in places. Improvisation, layers, inner-player dialogues revolve the flow, open it up. Drop the needle down into Stash anywhere. You find one sonic widescreen or another in time. Vivid, judiciously-tripped minimalist songs; tropical soundtrack capacity and time, horizons and water flown in from the border, fine frontier and mellow high. Stash was recorded on half-inch 8-track tape by Greg Norman at Electrical Audio, then recorded more and mixed to 1/2" 2-track tape at Sweat Loge by Cooper and Bill. Stash's different textural feel is down to wondering about, then dialing details in the sound, getting good signal in a few good spaces with a few new (old) machines in the chain. And in the mix, not a digital module was stirring: Stash is straight AAA, student!"
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2CD
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DC 989CD
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"Totality! Automaginary! The in-studio convergence of Natural Information Society and Bitchin Bajas: two albums made over a decade of time, brought ye now together on CD. Congenial and organic, individual and ensemble inclinations incline in crafting new rhythm 'n gravity pieces. Invisible force meets ancient object: unique passages in time by two ensembles in shared and separate forever arcs."
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LP
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BMV 771699LP
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Best known as one half of Kiasmos alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer. As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date -- Inert. The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.
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ESPDISK 1034LP
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2026 restock; LP version. 2013 reissue; originally released in 1966. The first North American release of the "electric newspaper," an archetypal '60s counterculture "happening" from August 6, 1966, this is also the first edition anywhere since the original vinyl to include the lengthy closing track, "Interview with Hairy." A legendary all-star cast of performers got together to make an anti-war collage of words and sounds that defies mere track listings -- one of the elements is "Silence" by Andy Warhol, which, contrary to at least one wrong-headed European reissue, is not actually a separate track (so don't write in complaining about its supposed absence). For some period of time, while the radio played and/or other performers did their things, Andy stood in the studio silently. Hey, it was the '60s. It's a concept, man. Track listing includes plastic clock radio; Steve Weber; The Velvet Underground; Gerard Malanga and Ingrid Superstar; Marion Brown, Scott Holt, and Ron Jackson; Allen Ginsberg and Peter Orlovsky; Tuli Kupferberg; Ishmael Reed; Andy Warhol; and Ken Weaver and Ed Sanders. RIYL: Revolution, The Fugs, owning EVERY Velvet Underground track.
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LP
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FTR 834LP
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"Messrs. Corsano and Dorji are both familiar names in the Feeding Tube discography. Chris has played drums on eight FTR LPs (and recorded two other), and Tashi has played guitar on six (details upon request if you are lazy.) But this is the first time they have appeared on vinyl as a duo, and we are damn proud to have them. Over the past years Chris has recorded with a lot of the era's best guitarists -- Bill Nace, Ben Chasny, Thurston Moore, Nels Cline, David Vanzan, Bill Orcutt, Rick Bishop, Glenn Jones, Jim O'Rourke, Flo Stoffner, and onward. And Tashi has worked with some fine-ass drummers -- Thom Nguyên, Tyler Damon, Michael Zerang, Dylan Fujioka, Susie Ibarra, Marshall Trammell, etc. So perhaps this team-up was inevitable. They played their first live duo show at a one-off in 2023 and it went so well, they set up a four date tour for 2025. This set was recorded at the tour's inaugural date in Tashi's hometown, Asheville NC, at Ritual Botanica, a space run by Tashi's pals, Potion. And it is a corker. Chris runs through a panorama of his playing styles. Sometimes he flashes polyrhythmic jazzoid explosions across every available drum head. At others he lays into a slightly off-kilter backbeat like some sort of prog rock lumberjack. Simultaneously, Tashi lays out lines of space-oid feedback, drives through angular chunk-riffs ala early John McLaughlin, or spirals into psych flairs worthy of Japan's sub-underground masters. Together, they make a powerful argument for the divine mastery of drum/guitar duos, a non-standard format first introduced (to me, anyway) on Randy Holden's Population II. Live at Ritual Botanica is a different animal than Holden's classic LP, but a stone by any other name, y'know?" --Byron Coley, 2026
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12"
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FIGURE X053EP
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French producer Arkan returns with Mad Race, a four-track EP that further sharpens his distinct vision of mental techno. Balancing hypnotic restraint with driving intensity, the release finds the artist navigating deeper into textured, immersive territory while maintaining a strong sense of propulsion throughout. With Mad Race, Arkan continues refining his own blend of deep, atmospheric and cerebral techno, further cementing his place within the evolving sound of Figure.
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CD
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FRVR 001CD
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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. Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).
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12"
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FM 12079EP
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Amateur forever? Oh yeah! Amateur Hour celebrates 15 years of Frank Music -- still running on pure DIY energy, with Johannes Albert happily admitting he's got no master plan, just a deep feel for house music. And somehow, nearly 80 releases later, that instinct still hits. Volume I digs into the archives: forgotten cuts, long out of print, quietly becoming cult favorites. David Jackson's "Broken Heart" returns to wax, alongside J.A.'s own "Giovanni Frizzante" if Italo is still your thing. Flip it over and it gets deeper: Shan reworks "Wing House" into something massive, while Max Lessig closes things out with the understated, timeless glow of "Jupiter Hymn."
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12"
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FM 12080EP
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Amateur forever? Oh yeah! Amateur Hour celebrates 15 years of Frank Music -- still running on pure DIY energy, with Johannes Albert happily admitting he's got no master plan, just a deep feel for house music. And somehow, nearly 80 releases later, that instinct still hits. Volume II dives into the digital archives -- bringing these cuts to wax for the very first time. Tom drops the vocal house bomb "Watch Me"; New Zealand's Eden Burns flips "Sounds" into something seriously special, and Claus Casper brings the sunshine with "Piano Italiano" (exactly what you think it is). And then there's Amount's "Feel You" -- the one that's been moving bodies since Fusion Festival 2023 and hasn't really stopped since.
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12"
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FREQ 001EP
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2026 repress. FREQ Records is the record label accompanying the manga FREQ, created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others. The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes. FREQ001, called Super Freq, is composed by none other than Machine Girl, known for their breakcore-inspired sonic adventures and highly energetic live shows.
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LP
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GLOSSY 025LP
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A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP. Barcelona-based duo Iro Aka present Memories Exploration, a record that marks the closing of a creative chapter. The LP unfolds as a personal archive -- tracing ideas, influences, and emotional states shaped over time. The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea," the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward -- sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation. On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L," "Ozadene," and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close. The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone. Rather than a definitive ending, Memories Exploration feels like a transition -- an understated way of closing one chapter before the next begins.
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