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2LP
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WHYT 083TR-LP
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Limited 2026 repress; double LP version. Transparent vinyl. New York-based artist James K returns with Friend. This album is full of electric pop anthems that blends ear-worming melodies with peak-time breaks, buzzing powerpunk guitars and a classic rave pulse, with K's signature enchanting vocals playfully spitting emotion. It's a hallucinatory pleasure, tearing through your body and mind. "Play" rushes with a rebellion of friends -- an electro fever daydream waking up everywhere you go. Hot off extensive tours worldwide, playing the likes of Pitchfork Festival, Dekmantel, iii Points, and Mutek, following in the footsteps of her last two critically acclaimed singles Friend comes on AD 93. RIYL: Cocteau Twins, Yves Tumor, Prodigy, Oklou, Grimes.
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BV 002CD
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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.
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BV 002LP
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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.
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BELA 007-107LP
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Black Editions presents the first ever vinyl and digital editions of Rotting Tapes II by Rotting Telepathies, the free-punk trip of spectral poet Michio Kadotani and High Rise founder Nanjo Asahito. Recorded live in 1982, and originally issued as a limited cassette edition by the notorious label of the Tokyo underground, La Musica Records. Kadotani's music has previously only been documented on a 1991 CD on P.S.F. (entitled Rotting Telepathies), and the recently rediscovered '87 KAD 3:4:5:6 set, which makes this disinterring of a highly limited 1990s La Musica cassette edition particularly significant. The unrelenting dunt of the rhythm section here, locked-in and revolving around Nanjo's bowel-rumbling bass, is the perfect foil for Kadotani's guitar -- sometimes cutting, sometimes spindly -- and the stream of babble that was his vocal style. It's frazzled but underpinned by viciously sharp logic. A beautiful representation of Kadotani, the man Nanjo once called "the only real punk in Japan." Available for the first time on LP or any physical form aside from a small run of hand assembled cassettes on the Japanese La Musica label in mid '90s (LA-107). 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 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.
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BFR 049LP
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"The continuation of a multi-dimensional journey, Astral Voyager Vol. 2 picks up with interstellar bounty hunter Mica evading pursuit by The Nine as she traverses time and space to bring in her marks. An infectious blast of sci-fi metal and soaring desert anthems, Astral Voyager Vol. 2 is a record about the dangers of manipulation and struggling for individuality against the unseen powers who try to keep people compliant and controlled. Powerplay Magazine called Astral Voyager Vol. 1 'a storming, righteous, red-hot hunk of stoner-psych,' while Witching Buzz said, 'Kal-El don't just gaze at the stars; they chart them' and Slightly Fuzzed proclaimed the album 'A must-hear for stoner rock disciples and cosmic doom wanderers alike.'"
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CD
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BPCD 25001CD
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Time Out, a pause, like an injunction to suspend the course of events in order to project oneself into a more serene future, is the title of Malted Milk's eighth album. From the haunting Afro beat of the title track to the decadent boogaloo of "I Feel Numb", via the ballad "What a Night" and the funky "It's Alright", the band demonstrates its mastery of arrangements, its creative ability and its talent for revisiting the soul/funk genre. As with the previous album, 1975, Marco Cinelli is back on writing and production duties, bringing undeniable added value to the band's sound and aesthetic. The live translation of this album bears Malted Milk's trademark precision, energy, instrumental talent and group cohesion. Malted Milk once again demonstrates its musical strength and affirms the special place the band occupies on the current soul scene. Also featuring Benin International Musical and Ben L'oncle Soul.
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LP
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BB 048LP
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2026 restock. Vinyl release. Dieter Moebius and Conny Plank got to know each other through their work on Cluster's 1971 album and remained close friends until Plank's death in 1987. They made a congenial pair as musicians, as amply demonstrated by their first album as a duo, Rastakraut Pasta, originally released on Sky Records in 1980. On this album, drums, electric guitars and bass are the cornerstones of every track; they provide the framework to which Moebius adds fresh color and life with his synthesizers. Thanks to the technical merits of Plank's studio, the keyboards sound barely distinguishable from one another. No samples -- strictly analog from start to finish. Holger Czukay (Can) plays bass on three pieces and his consummate professionalism sees his virtuosity finely-tuned to the concept of Moebius and Plank. Moebius has a predilection for surrealist cascades of noise, heard throughout the album, grotesque yet playful. An enigmatic form of pop music came into being on this LP, a breakneck, elegant mix of diverse elements: a touch of Krautrock, some avant-garde pop, new German electronica, even sporadic echoes of reggae. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens.
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2LP
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CF 031LP
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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.
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CVSDLP 015LP
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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.
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DIS 117LP
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"Lungfish's seventh album, released in 1999. This pressing of the LP is on translucent lime green. Featuring Daniel Higgs (vocals), Asa Osborne (guitar), Nathan Bell (bass), Mitchell Feldstein (drums). Recorded at Inner Ear Studios. Mixed by Ian MacKaye and Lungfish."
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DAD 144LP
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2026 repress. Down At Dawn present a reissue of Miles Davis's Kind of Blue, originally released in 1959. One the most beautiful and essential albums of all times. The 1959 Miles Davis masterpiece is one of those rare pieces of art beyond ages and genres. A must have for any musically sensitive human being on earth. Personnel: Miles Davis - trumpet; John Coltrane - tenor sax; Cannonball Adderley - alto sax; Bill Evans and Wynton Kelly - piano; Paul Chambers - bass; Jimmy Cobb - drums.
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LP
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ESPDISK 5024LP
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2026 restock; LP version. Robbie Basho (1940-86), who died young after a stroke, never got his due in the culture at large, but steel-string guitar enthusiasts have known for decades that he was one of the greats of "American Primitivism". Technically adept and compositionally imaginative, fusing the music of many cultures into a mesmerizing solo style, he has been an inspiration for many; his music has generated a surge of interest in recent years. This 1982 concert was part of a four-show Italian tour. It took place at the 18th-century Palazzo Gaddi that housed the local music high school and was mostly used for classical concerts, in an intimate space co-organizer Mario Calvitti (whose memories of the events surrounding this concert make up the bulk of the liner notes) says Basho called it "one lovely little room where I could play all night." Only previously released incompletely as a download, this show can now be heard in its full glory. This release is in cooperation with the Official Robbie Basho Archives. No. 2 in the RB-Archives-Live series. Produced by Buck Curran; Co-released with Obsolete Recordings.
"American musician Robbie Basho (1940-1986) is without doubt one of the greatest pioneers of world guitar music. To this day, his songs and compositions for the acoustic guitar remain wholly unique, contemporary, and otherworldy. Though largely unknown in Italy when he toured there in 1982 (in the company of Italian acoustic guitarist Maurizio Angeletti), the small to medium size audiences who attended his performances were overwhelmingly sympathetic to his musical vision and deeply entranced in the glow of his musical presence. From what is documented on this recording from Forlì, we are given witness to Basho's idiosyncratic spirit and musical artistry. Wielding only a six and twelve-string guitar and his powerful voice, we hear rapturous fingerpicking and singing. As the concert evolves, Basho's spirit rises high above terra firma as he transforms into a wild mythical winged stallion, riding waves of colour and sound ... charging across plains of cosmic light towards the outer regions of space and time." --Buck Curran, September 11, 2017, Bergamo, Italy
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2LP
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FAITBACK 012LP
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2026 restock. On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colors and paints). On double-LP vinyl for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek's home studio in Berlin at the time. The farben project has its roots in Jelinek's love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music's most extravagant stock phrases about various states of love. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall, you hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of color, are dissolved into details and abstractions. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking, and speculation. Gatefold sleeve; includes download code.
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LP
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FTR 798LP
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"Finally the second release on the Unknown Province sublabel of Feeding Tube records and it's a doozy: the self-released 1988 LP Delusions by Corpusse. Well known to deep-underground scenes in Canada, few know about the Canadian 'King of Rock N Roll' elsewhere. Corpusse was still a teenager in the Park-Ex neighborhood of Montreal when Delusions was released. The photo on the back tells you all you need to know featuring the young man standing on the city's shittiest back-alley snowbank. Nothing has really ever come close to the sheer cathartic energy -- some might say insanity -- of Corpusse's lyrics, toeing the line between Shakespearean monologue and GG Allin rant. Beneath him rumbles a Korg Poly-6 ('best fucking synth ever' he says) and a Welson organ. Somebody would probably call it Dungeon Synth now but this was 1988. The decrepit, burned-out city being delusionally painted by a bald and bearded artist on the cover is certainly the location in which Corpusse's gothic dramas are set. Most surely a metaphor for Montreal in 1988 -- a veritable Gotham by all accounts. Includes liner notes by Corpusse himself, describing the scene vividly. I've always felt Delusions formed a holy-trinity of self-released Montreal LPs of the 1980s alongside Carlyle Williams' Gotta Go For It and the American Devices Decensortized LPs. All three possess brain-fried, maverick visions of rock n roll which sometimes border on psychosis." --Alex Moskos, Montreal Jan 2026
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LP
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FTR 819LP
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"First vinyl offering by this fine Barcelona improv trio featuring Mark Cunningham (trumpet), Pablo Volt (trumpet, flugelhorn) and Andreu Serra (many forms of strings). C/V/S's two previous cassettes include 2022's Ad Hoc, and the work on Introspective Movement is as brilliant as always. While there's much utilization of effects, pedals and delays, the music here is definitely in the jazz realm. Mark's floating clouds of trumpet capture the futuristic Chet Baker vibe he so often explores, but Pablo's approach to trumpet and flugelhorn puts me in mind of the more brambly work of the Italian brass master, Enrico Rava. Andreu is a multi-instrumentalist, but here he is focused on guitars and their cousins, playing in an abstractly expressive mode that can recall the most reflective passages created by Keith Rowe. Which is not to imply that C/V/S's music is in any way mimetic. Expatriated to Barcelona for 35 years, Mark has developed the habit of making music with some of the best musicians that city's underground has produced. His many projects can seem related insomuch as they usually rely on sophisticated textural juxtapositions rather than high energy blasts to create their frisson, and so it is with C/V/S. The dozen pocket-sized compositions on Introspective Movement rarely combine elements in jarring ways, although the pieces can be dizzyingly unbalanced at times. This results from the way the trio presents multiple points of melodic/sonic focus, emphasizing the multiplicity of equally weighted individual voices, rather than the smoosh of purely collective aktion. It's a great way to do things, and allows the three to introduce some very weird electronic elements without disturbing the music's beautiful sonance. The results here are as fucking boss as anything Mark has done yet. And that is saying something." --Byron Coley, 2026
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FTR 821LP
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Some bands make it obvious from the first few notes -- a single tone, a specific push on the tempo, the way the air moves around the instruments -- and you know it's them. Abronia is one of those bands. From the first thud of their 32-inch bass drum to the coil of pedal steel winding through the haze, the sound of this Portland-based six-piece is unmistakable. Over the past decade, Abronia has been refining their singular blend of widescreen psychedelia, desert noir, Eastern drone, avant-jazz, doom, post-punk, and acid-folk -- channeling something that feels at once ritualistic and cinematic. Now, the band presents their fourth studio album, Shapes Unravel. Sonically, this is Abronia's most ambitious and compositionally daring record to date -- the album moves with a strange gravitational pull, layering grief, haunted memory, and flashes of transcendence into something emotionally expansive and structurally bold. Moments of crushing weight give way to eerie stillness, held together by an urgency that feels vital, not calculated. It's a record that doesn't politely wait for your attention; it pulls you into its orbit whether you're ready or not. Listeners' first glimpse into Shapes Unravel is the single "New Imposition." The track opens with echoing guitar plucking and eerie pedal steel and unfolds quickly into a cinematic score, transporting you instantly into the world of Abronia. When asked about the song, singer/saxophone player Keelin Mayer says, "Going into a Fred Meyer (Pacific Northwest one stop shopping) during the pandemic -- walking around the store while your drug addicted boyfriend shove racks of ribs, ice cream and deodorant down his pants, while people are shooting up in the bathroom. We think someone steals his iPhone at the self-checkout, but it turns up shoved between two bags of chips. You only realize your boyfriend was shoplifting when he pulls the stolen things out of his pants in the car. The guilt and shame you feel as you watch so many people succumb to addiction. That Fred Meyer location is now closed because it couldn't sustain the wave of crime. Watching the fruits of unbridled capitalism and the greed of the ruling elite bloom into full technicolor. Try to run away before the wave gets you too."
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FRO 31085LP
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2026 restock. Originally released in 1979 on Dangerhouse Records. "Limited vinyl LP repressing. Pass the Dust I Think I'm Bowie was the only full-length wax put out on the short-lived but highly influential Dangerhouse Records in late '79 and it's full of short, sharp funky revue style tunes with some avant touches here and there, with Black Randy reminiscent of a punk rock David Peel. Numbers about sleeping in arcades, Idi Amin, narcs, laundromats and sperm banks plus anything else to do with the messed -up life he was living needles and too much alcohol. This great version of 'Shaft' has to be heard to get a full understanding of the workings of Randy's thought patterns. Dig the budget organ sound that fits right in with the overall sleazy grooves that his Metro Squad is laying down (it was made up of the cream of LA punks on sabbatical from their own combos such as the Eyes or Randoms) all played with a tight but loose abandon. (Black Randy & The Metro Squad appeared in 1981 satirical punk rock film Ladies and Gentlemen, The Fabulous Stains, performing 'I Slept in an Arcade'.) Black Randy is one of the lost voices of the punk revolution, though by no means is he any way near a punk in the accepted commercial sense. Black Randy (John Morris) died on November 11th, 1988. He still has no peers, amen to that."
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2LP
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FR 006LP
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2026 restock. Double-LP version, black vinyl in gatefold sleeve -- on vinyl for the first time, in a revelatory new remaster by Jim O'Rourke. In 2016, Finnish label frozen reeds published the première release of Julius Eastman's Femenine, for chamber ensemble. Laying unheard for decades prior, the release documented a 1974 performance by the S.E.M. Ensemble with the composer himself on piano. Lauded in Pitchfork (awarded "Best New Music"), The New Yorker, and The New York Times, the first release of Femenine served as the catalyst that propelled Eastman's music into the mainstream. Articles on Eastman's music and its immediate disruptive impact on the classical canon began to appear in every major news organ in the English-speaking world and beyond. His music began to be programmed in major concerts and festivals, several of these entirely themed around his life and work. New recordings sprang up from a fresh generation of musicians engaging with his ideas and interpreting them for a modern audience hungry to hear more. But the raw, emotionally cascading spirit of the original performance continues to inspire listeners. Joyous, insistent, and immersive, Femenine bathes the listener in surges of tonal color from intertwining winds, piano, violin, pitched percussion, synthesizer, and -- uniquely -- the composer's own invention of mechanized sleigh bells, which provide the 72-minute piece with its characteristic pulse. Femenine was recorded live by Steve Cellum -- co-producer of Arthur Russell's World of Echo -- and the new vinyl reissue has been remastered from the original high-definition tape transfer by Jim O'Rourke at his Steamroom studio in the Japanese mountains. Illuminating sleeve notes are provided by composer and author Mary Jane Leach, key figure of the Eastman revival and co-editor of the Gay Guerrilla collection of essays on his life and music. Gatefold. "Eastman's stated aim with Femenine was to please listeners, saying of the piece that 'the end sounds like the angels opening up heaven . . . should we say euphoria?" --Mary Jane Leach
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LP
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FR 024LP
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2026 restock, last copies. Frozen Reeds presents the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian -- two longstanding pioneers of distinct strains of improvised music -- came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen's JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians. The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, which is included free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert. Each player bringing decades of crucial experience to their encounters -- with histories taking in vast swathes of the development of jazz and free improvisation -- these fleeting shared moments provide some of the most riveting playing in the career of either. There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian's palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian's rhythmic and textural transitions as to beggar belief. The guitarist's duos with percussionists (Jamie Muir, Han Bennink, John Stevens) arguably provide some of the highlights of his discography. Duo in Concert represents a strong addition to the list. An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.
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FTH 597LP
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"In a bid to escape real world news, Nashville-via-Romford pedal steel master Spencer Cullum holed himself up in his shed to complete his Coin Collection trilogy. Leaning on his musical community for company (Rich Ruth, Oisin Leech, Allison De Groot, Erin Rae, Annie Williams, Dominic Billett, Jim Hoke) who sent in recordings that he then pulled together in his make shift garden studio. The result is a much more stripped-down album -- a kaleidoscope of languid blues, psychedelic country and sleepy folk, that thematically leans on British folklore and the resistance of nature. File next to Ted Lucas, Iain Matthews, and Robert Wyatt. A student of B.J. Cole, Spencer has played/plays pedal steel for Angel Olsen, Kesha, Dolly Parton, Miranda Lambert, Caitlin Rose, and more."
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HH 012LP
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Music spontaneously composed (improvised) by all members of the group. Recorded at Threshold Studios in Hamilton, Ontario, Canada, Meditation Music Beyond The Unsleeping Psychopathic Mind is a raw, deep free-jazz exploration where synth, voice, saxophone, and percussion dissolve into a single, unfiltered sound world. No boundaries, no polish -- just presence and freedom for sonic expression. Produced by Devin Brahja Waldman and wrapped in hypnotic cover artwork specially crafted by renowned Vancouver-based artist Boone Naka. Strictly limited to 200 hand-numbered LPs, housed in thick old-style tip-on cardboard sleeves. Each copy is packaged with love, dedication, and care.
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HH 013LP
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Best tunes for your answering machine is the debut album of oblique, introspective electronic music by the mysterious solo artist Tekamolo. Fusing melancholic synth pop and absurdist trip hop, Best tunes for your answering machine is a special assemblage of pitch-modified vocals, retro-futurist samples and freeform electronics that coalesces into music both outlandish and bittersweet, playful and profound. Produced by a renowned artist, opting to conceal their identity under the guise of a new pseudonym, Tekamolo presents a series of curious, incognito confessionals. An album led by a voice like a sentient, heavy-hearted android, the nine tracks collected here contend with themes of inertia, solitude and longing, revealing an inspired, affecting stream of messages from an unknown caller. Without preconceptions tied to provenance, this is music liberated from the burdens of biographical detail. Music that eschews ego and the cult of the self. An album that can be heard purely for the strange, poignant sounds unfurled throughout. For Tekamolo, the album signifies an attempt to navigate aesthetic reductionism, as well as an absolute sense of seclusion: "An audio diary of a lonely soul. Broken, wounded mantra-songs. Memories of things that never happened. Dreams that never had the chance to be dreamed. Disassembled songs. As if testing the limits of emptiness -- how much void can a song endure while still remaining a song? How much can be stripped away, how bare can it be, and still, the groove lingers, the melody pierces the memory, sinking into the listener's mind. These are the skeletons of songs, an attempt to assemble music from the bare minimum -- words, sounds, fragments of memory. The songs are filled with desperate calm. They are not sung to the world, nor to anyone tangible, but solely to oneself and to the unseen. In a way, they could be considered songs of the end of the world: you wake up, and there is not a single person left in the world. At least, no one you can see. You wander through empty streets and deserted shopping malls, humming softly to yourself, hoping that someone -- anyone -- might hear you." Best tunes for your answering machine is a sui generis conception of warped 21st century blues from an enigmatic figure, a work filled with surreal, indelible songs of modern isolation. Lost contemporary hymns, now recovered. Voicemails worth hearing.
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HH 015LP
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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.
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2LP
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HHLT 001LP
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2026 restock. Valentina Goncharova's double-LP fundamental conceptual musical work released in full uncut form as part of Hidden Harmony Lost Tapes series. Restored and mastered from the original 6.3mm analog tapes. A large-scale work comprising eleven parts of varied, brooding, mystical reflection in which the author alters the instrumentation to fit both programmatic and musical character of each section.Ultra deluxe archival release from Hidden Harmony Recordings, based in Tallinn, Estonia. 2x12" 200-gram vinyl records in poly lined inner sleeves, 33RPM, black vinyl. Thick old style tip-on gatefold outer sleeve. Includes a 12-page booklet, which detailly explain the album conceptual basis, background and creation context, and provides insights into unique sound recording and technical solutions adapted during album recording in 1988. Created and written with direct involvement of V. Goncharova and I. Zubkov.
Liner notes: "My task is to allow the listener to penetrate deeper into the music. The music is wholly improvisational. It has no concept in the rational sense of the word. Its concept is purely intuitive. It presumes The Law of Analogies: 'As above so below. Man is the same as the Universe. The Universe is the same as Man.' ('Emerald Tablet' by Hermes Trismegistus). This intuition is a kind of rephrased logic which uses many more symbols which contain not only philosophical but also imaginative meanings/visionary interpretations. This music is a stream of consciousness in its purest form: not an imitation of a stream, as in the 'suggestive poetry' of the 20th century, but a stream where one flow is superimposed on another (a multilateral passage of recording). And, if we think this flow of music will be better understood under the influence of a verbal flow, then the verbal flow should also be more intuitive and associative, as objective for this short write-up you are currently reading. Ocean did not appear within the coordinate system of logical scientific thinking of the last four centuries. It can be said that it is based on an intuitive concept of representations of the world which are captured in music figuratively. Similar to how myths were created in time immemorial with only partial support from verbal associations. Ocean is an experience of passing the human, soul, and mind through the different states of the material world: birth, development, and achievement of perfection, transformation at the points of 'The Way' and 'Silence', the manifestation of the harmony of the world (Om), which until then had remained in a latent state. It is averse to both mainstream contemporary physics and fringe scientific research. It exists outside their explanatory power. Ocean is the source of all forms that can receive their life within time and space. Here it is. It has everything: beautiful and terrible, good and evil, self-sacrifice, and betrayal. Boundless love and inspired creativity. But contact does not happen immediately. The memory of a bygone civilization is still fresh, and of the dearest things left with it."
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CD
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HC 088CD
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Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation. Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean. One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow. Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom. Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through -- reddish, orange, violet. Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai's wave.
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