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

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

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

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

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

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

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

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

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

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

"The Murder Collection, the new LP compilation of classic horror tracks written by Goblin and Simonetti, rearranged by the band Claudio Simonetti's Goblin. The compilation contains the classic soundtracks from Dario Argento and George Romero's films (Suspiria, Deep Red, Dawn Of the Dead, Phenomena, etc.) Here the songs are performed masterfully by Simonetti and band with the original '70s arrangements played with powerful energy. Claudio Simonetti: keyboards; Bruno Previtali: guitar; Federico Amorosi: bass; and Titta Tani: drums. Limited red vinyl plus CD."

2020 restock; 1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.

Originally released in 1993 on cassette, Thirdorgan has remained one of the most elusive yet constant figures in Japan's acclaimed noise and industrial movement. Despite having worked with nearly every cult label of the '90s cassette scene, Thirdorgan has scarcely been presented on vinyl and CD, as this special set shows the awesome and challenging long form relentless feedback paths and synthesizer psycho erotic gain staging. Momentous appearances on classic labels such as Skin Crime's inimitable Self Abuse records, Harbinger Sound, and yet another on the influential "Japanese American Noise Treaty" edifice on Release Entertainment. Thirdorgan's base of synthesizer noise cemented him with a deeper connection to the European noise scene ahead of many of his peers. The emphasis on wild and insane analog synth cacophony sets him apart from the more traditional Japanese noise pallet. Painstakingly restored by Kris Lapke, the breadth of this triple-LP gives a new life to the nearly impossible to obtain original cassette on classic Pittsburgh label SSS. Included inside this deluded heavy red paper wide spine jacket is a bonus cd of unreleased master class perfection from the era that was unknown until now. Inquisitive minds may not find answers on The Pornogrpahy of Despair but receptive bodies will find painful pleasure. Red vinyl.

2020 repress; 2013 release. Edward Artemiev's re-recording of his scores to Andrei Tarkovsky's classic films Зеркало (Mirror) (1975) and Сталкер (Stalker) (1979), reissued on 180-gram vinyl. When Artemiev recorded these scores in Moscow in 1989 and '90, there were no legitimately available releases of the original soundtracks. Artemiev chose to fill that void himself with these recordings, released on Torso Kino in the Netherlands as part of a 1990 double-LP set also containing re-recordings of Artemiev's score to Солярис (Solaris) (1972). This set is now long out of print, and Mirumir is pleased to present the collection on two separate LP releases, remastered, with new artwork, and officially licensed by the artist himself.

Be With Records present a reissue of Fuzzy Duck's self-titled album, originally released in 1971. A memorable name with an outstanding cover, Fuzzy Duck is a classic slice of underground London art rock and melodic psychedelia. Originally released on MAM in 1971, it's truly a musical force of infectious riffs and fiery solos, sharp tempo changes, a tight rhythm section, and heavy, Hammond-drenched grooves. With echoes of Spencer Davis Group, early Grand Funk, and Vanilla Fudge, it comes on like a heavier Soft Machine or Caravan. No wonder Fuzzy Duck's cult appeal has endured. The album features Mick Hawksworth (Five Day Week Straw People, Andromeda) on bass, acoustic 12-string, electric cello, and some of the vocal duties, and also Roy "Daze" Sharland (Crazy World of Arthur Brown, Spice) on organ and electric piano. Accompanying those two were Paul Francis on drums and percussion, and Grahame White on guitars and the rest of the vocals. Originally released in an edition of 500, Fuzzy Duck became legendary all over the world through a holy trinity of scarcity, personnel, and its sheer brilliance. The album kicks off with a heavy, bass-fueled, Hammond rocker titled "Time Will Be Your Doctor". This is pure hard-edged blues rock, brilliantly played. Its drum break intro was sampled by DJ Premier for Gang Starr's "Mostly Tha Voice" on 1994's legendary Hard To Earn. At nearly seven minutes long, "Mrs. Prout" follows incorporating more psych-leaning guitar and drawn-out keyboards à la Ray Manzarek. "Just Look Around You" is propulsive folk-rock with a soaring, proto power-pop chorus, backed by frenetic organ and heavy bass. Back comes the heavy, strung-out psych to both close out side one with "Afternoon Out" and kick off side two with "More Than I Am". "Country Boy" quenches the thirst for rhythm and melody, only the lyrics and vibe are wonderfully creepy. The groove suddenly cuts and drops into a more sinister tempo before the band pick up speed and toss you back again into the opening jam, this time with organ. The final, fully fleshed out track is the majestic "In Our Time", which oscillates between endless organ-driven boogie and heavenly, genuinely moving vocals. Infamous instrumental cut "A Word from Big D" rounds out the album. Yes, that's the band jamming with duck quack sound effects accompanying the music. Mastered by Simon Francis; cut by Pete Norman. Remastered from the original analog tapes.

Compilation album curated by Kaitlyn Aurelia Smith. The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where "breathing" is more motif than object of emulation. From hushed pulsations and distant vocals in Kathryn Shuman's "Objects" to Julianna Barwick's blissful "Newborn", the tracks give sonic form to the experience of emerging from the womb. There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Sprague's "Flew" to Cool Maritime and Kaitlyn Aurelia Smith's dew dripped "Daybreak". Meanwhile the undulating seascape of Geotic's "Uncaught" conjures moments of Evening Star by Fripp/Eno (1975), but supplants that album's crystalline production with the warm crackle of vinyl. If you learn only one thing from Breathing Instruments it is that we are inextricable from the natural world. Also features Dim Arc, Sunmoonstar, Fools, Constant Shapes, Jeremiah Chiu, Kacey Johansing, Mary Lattimore, Andy Strain, Bana Haffar, and Ulfur.

Black Truffle announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray (BT 039LP, 2018). Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the "Japan Supernatural" exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging. The two side-long parts of Hyakki Yagyō feature layered synthesizers, acoustic instrumentation, recited verse, and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman, and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka ("mad poetry") with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future. As Ishibashi's liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture -- as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions, and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi's underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions. The album was produced with regular collaborators Jim O'Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū's satirical tanka. O'Rourke's immersive mix creates a three-dimensional effect, with Ishibashi's various sound sources enmeshing and interacting in captivating ways. White vinyl; inner sleeve featuring artist portrait and liner notes from Eiko Ishibashi. Cover and label design by Shuhei Abe. Back cover design by Lasse Marhaug. Mixed and mastered by Jim O'Rourke.

Black Truffle announce Undercurrent, the new LP from the long-running Milanese duo of Giuseppe Ielasi and Nicola Ratti. Following on from high-profile releases on Boomkat Editions and Shelter Press ((SHELTER 080LP, 2017) in the last few years, the eight untitled pieces making up Undercurrent continue the pair's hypnotic and disorientating practice of improvisation based on tape loops. Often sitting halfway between electro-acoustic technique and beat-based production, the music of Bellows obliquely recalls aspects of hip-hop, dub, and techno while skewing their rhythmic foundations. While consistent with the distinctive language the duo has developed over the last decade, Undercurrent moves away from the explicit references made to club music in their recent releases. It presents a suite of pieces that are markedly more minimal, at times reminiscent in their haunted introspection of the legendary Tolerance records on Vanity Records. The pieces here often dwell for minutes at a time on single repeating tones, reverberating like distant bells in desolate landscapes of looped tape hiss. Where previous releases were primarily based on samples, Undercurrent uses recordings of the duo playing various instruments (guitar, drums, synthesizer) cut into tape loops and then used as the bases for song-length tracks, each of which establishes a central repeating motif while also opening up on close listening to reveal multitudes of improvised detail and subtle shifts in tone, texture, and tempo. Beginning with the mournful sliding tones and obscured fragments of field recordings on the opening track, the album moves from lush synth pads to super-minimal pings and haunted drone. On "6" and "7", spacious, hanging guitar figures give the music an elegiac quality recalling the work of Dean Roberts and Ielasi's own earlier guitar-based music (such as the classic Gesine (HAPNA 021CD), released on Häpna in 2005). The record subtly builds to its final track, which works the barest of elements -- a slowed-tone loop of steel drums, a distant whistle, beeping electronics -- into a piece somehow imbued with a quiet grandeur, a fitting conclusion to a record that, like all of the duo's work, is both sonically exploratory and immediately accessible.

Double LP version. Ellen Allien emits a powerful Auraa on a new longplayer. Ellen Allien -- one of Berlin's most ardent techno ambassadors -- proudly unveils her latest full-length expedition into the realms of underground electronica. Brimming with creative energy, Ellen's new album Auraa follows her 2019 release Alientronic (BPX 001CD/LP), and is her third album in three years. Raw, emotive, and capable of transporting you from reality to an electro-fied fantasy, Aurra explores the notion of unseen energies controlling our planet. Beginning with the faintest hint of trance euphoria on the downtempo "Hello Planet Earth (Breath Mix)", the album soon moves into more bumpin' territory with "In Music I Trust" -- Ellen's signature use of vocals-as-melody entrancing the listener. "Walking In The Dark" takes things up a notch further with jabbing percussion and mesmerizing atmospherics, followed by "Confusion", a masterclass in heady hypnotic composition. "Human" is a deeply affecting beatless segue with its drone-esque soundscape. "True Romantics" taps into your emotional center utilizing hard beats and wistful synth lines. Lastly, "Traum" ("Dream" in English) takes you out of your body and into the infinite realm of vibration, as waves of beautifully composed pads and bubbling analog bass encourages you to transcend into the next astral plane.

Vestals is the avatar of Los Angeles based artist Lisa McGee, who's debut album Forever Falling Toward the Sky was released by Root Strata in 2012. She has also discreetly operated in US underground music for the last decade as a member of the dream-drone duo Higuma with Evan Caminiti, while making vocal contributions to acclaimed albums by Jefre Cantu-Ledesma and Sarah Davachi. McGee is the sole producer and performer on her sophomore effort, Holy Origin. Since her last offering she has evolved her sound and process, placing a new emphasis on electronic processing, carving out negative space where slow burning rhythms and spectral melodies ebb and flow. Her songcraft is built on the foundations of atmosphere and experimentation that have defined her collaborative outings, but here she has meticulously built up her arrangements into a fully fleshed-out vision of luminous dub informed avant-dream-pop. Sinuous vocals and desolate guitars are rendered in crisp 3D, swallowed by viscera rattling bass and sizzling clouds of synthesizers. Hypnotic melodies and shimmering harmonies nestle within disorienting digital manipulations, conjuring a boundless, smoky twilight. Passages hover and undulate, sustained in trance states before crashing down into lush chorales that comfortably dwell in the space between euphoria and heartache. Fusing memoir with contemplative inquiry, McGee traces the blurred boundaries between the self, the other and the world, capturing various states of desire-ambivalence and surrender. Each track is a meditation on the tension between opposing forces: the ideal and the real, the essential and the cultivated, the erotic and the ascetic. Through the exploration of these dialectics, Holy Origin unfolds as a darkly sublime reverie. Includes download code; edition of 300.

LP version. There's really no other place like San Diego. The weather's balmy all year, there's 70 miles of the finest coastline California has to offer, it has one of the most ethnically diverse populations in the US and -- most importantly -- it's currently the epicenter for heavy psychedelic rock. Bands such as Earthless, Astra, and Radio Moscow have paved the way for an astounding number of bands, creating a tight knit community of musicians. On this session Denmark's Jonas Munk (Causa Sui) joins forces with San Diego native Brian Ellis (who's not only a prime mover in the psychedelic scene, but has also been active in California's jazz and funk circuits for several years), and an assemblage of prime musicians from the area, including members of Astra, Psicomagia, Monarch, Radio Moscow, and Sacri Monti. The result is an intoxicating brew that's hard to put a label on. Fueled by the furious drumming of Paul Marrone, and led by Jonas Munk's fuzzy lead guitar and the multicolored keys of Brian Ellis, there's an unmoored, floating quality to the music the large ensemble was creating at these sessions. It's the kind of record you can put on and just let it wash over you. The closest references would be Miles Davis circa Bitches Brew (1970), Hendrix at Woodstock, or perhaps Can at their most blazing and levitational. The music flows like an electric river of vintage keys, percussion, and fuzz guitars. And it's glowing with life. Art by Alan Forbes. Liner notes by Jonas Munk.

LP version. Grey vinyl. Following a steady stream of ultra-limited 7" singles, that were collated together in 2019 for the Pre/Post: A Collection 2016-2018 (HARB 204LP, 2018) on Louder Than War, Girls In Synthesis's highly-anticipated debut album arrives. Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting, and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house. Now Here's An Echo From Your Future is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album's ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track "Arterial Movements" in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerizing look into aging and dying in "Human Frailty", to the aggressive attack on the rise of the right-wing in "They're Not Listening" shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper. The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the Pre/Post compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John's S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.

LP version. THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N. <3 is a collection of material in the genre of "hard code pop". It was produced by Atom TM interacting with x1n, an entity for generating human voice and natural language content. <3 is an alphanumeric pre-echo, arisen from a 2019 number dream, cutting through the haze of meaning. <3 is music made by machines, with machines, for machines, reality as useful fiction. Read 0.999... as the mantra of death, the ongoing chain of cycles, going down one by one. #hardcodepop.

THERE IS NO FUTURE WITHOUT TEARS DANCE ON YOUR DEBRIS HASHTAG DEATH HASHTAG TIME.
THE R3VOLUTION WILL NOT BE ONLINECLICK, CLICK, CLICK...I'M HERE TO FOLLOW*
X1N IS:
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X1N - UNKNOWN INTELLIGENCE NETWORK -> TRANS HUMAN OBJECT (THO)
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THE SUPERIOR FUNCTION* X1N SAYS:
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IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH.
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"I TALK IN ALPHA NUMERALS"* ### denotes "end". No more messages to follow.

Double LP version. If Motorpsycho's The Crucible (MPCD 103CD/MPLP 303LP, 2019) -- both visually and musically -- started where The Tower (2017) ended, one can argue that The All Is One starts where The Crucible ended and thus finishes the so-called "Gullvåg trilogy". That said, The All Is One is so much more than a sequel, and very much a standalone album in its own right. While The Crucible took the band a step further out than The Tower, the new one explores new frontiers, especially with the dark, brooding landscape of the 42-minute epic centerpiece that is "N.O.X.", possibly the most ambitious piece of music they have recorded. Eight shorter tracks, clocking in between two and ten minutes, make up the rest of the album and bring some balance to the proceedings. Lyrically, The All Is One takes up the threads from the previous albums. While there is no thematic red line as such -- and not being overtly political -- it is difficult for a socially conscious writer like Bent Sæther not to observe and reflect on what goes on in an increasingly unstable world. They have also found strong inspiration and common ground in the paintings of Håkon Gullvåg, the artist responsible for the cover art. The album was recorded in two major sessions, the first took place in Studio Black Box in France with long-time collaborator and guitarist Reine Fiske. Here they mainly focused on material with more or less traditional song structures. The second session was at Ocean Sound Recording in Norway and basically dealt with the long "N.O.X." suite, developed from the commissioned music they wrote for, and performed at, the St. Olav Festival in Trondheim last summer with two of their favorite Norwegian musicians, Lars Horntveth (Jaga Jazzist) and Ola Kvernberg (Steamdome). The whole album was mixed by Andrew Scheps at his Punkerpad studio in the UK. Artistically searching as ever, and in their own way joyously stretching the rock format as out of whack as they can, Motorpsycho neither can nor will align themselves fully to any scene or genre. Traveling their own path in their own tempo, it might take longer to get anywhere, but that is just fine when the journey itself is the whole point. And what a journey it has been; this band is still peaking after more than 30 years in the business.

Isolating is the industrial solo alter ego of London-based, Stephen Hindman, one half of The Golden FIlter. Coming off of their moody 2020 debut EP on Optimo Music, Isolating will release an analog, lo-fi, gritty full-length LP called Perennial on their own 4GN3S label. Disquieting and dystopian, the album shifts from the beatless drone of "Mortification" to the IDM inspired electro in "Sacrament", each track melding into each other with an unsettling anxiety. The LP mirrors the concepts behind The Perennial Philosophy (1945) by Aldous Huxley. Solitarily created in London room on a modular system, Perennial tackles the perspective in spirituality that views all of the world's religions as sharing a single, metaphysical origin, with a nod to the Lucretius quote; "To such heights of evil are men driven by religion." The album photography of Stephen is by Agnes Haus.

2020 repress; Double LP version. Includes CD. Gatefold sleeve with printed inner sleeves. Because Music presents a 20th anniversary remaster and reissue of The Three EPs, a compilation of The Beta Band's early music, dating from 1997-1998. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs that they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band's catalog in 2017, Because Music are reissuing a series of releases, starting with The Three EPs. Two-panel digipack with 32-page stapled booklet.

Endless Happiness present a reissue of Ornette Coleman's The Empty Foxhole, originally released in 1966. Coleman's most controversial album back on vinyl. The Empty Foxhole marks the recording debut of Ornette's son Denardo, who was ten years of age at the time of the recording.

Reissue for the 1969 masterpiece by Arthur Lee's Love, Out of Here, originally out on Blue Thumb. A true milestone in psychedelic rock, on double vinyl set.

Two decades. Twenty years. Twenty compilations. Over 400 tracks. Over two days of total playing time and countless colored dots. If someone would have told Kompakt in 1999, when they put together Total 1 (KOM 010LP/KOMP 003CD, 1999) that this would turn into one of the longest standing compilation series in techno world, they would have laughed out loud. But here they are -- in the year 2020 which will probably go down in history as the most difficult period ever for club culture. But Kompakt won't stop doing what they're doing. Music is our oxygen. We'll dance together soon again. The Total series has always been like Kompakt's yearbook and to say it with the late Frank Sinatra: It was a very good year. The label's family of artists delivered a strong heterogeneous mix of uplifting sounds, from the lush reveries of Robag Wruhme and Soela to the stark primetime bangers of Marc Romboy or Anna & Kittin and everything in between. Notable new entries to our crew are the Londoner Kiwi with his wonderfully careless "Hello Echo" that picks up the camp disco vibes Justus Köhncke made a staple in our repertoire. Amsterdam's David Douglas delivers an appetizer for a full course meal. His quirky pop approach sits comfortably between fellow dutchmen Weval's abstract beats and Agents Of Time's opulent Italo disco. Yotam Avni blends Detroit techno with new age jazz that reminisces the sound of ECM artists like Jan Garbarek or John Surman. The man with the hat, Kölsch also picks up jazzier notes in his very own big room style. Youngblood Jonathan Kaspar appears twice, fortifying his status as one of the hottest beat smiths of our hometown Cologne. Total wouldn't be Total without our permanent staff present in full force. May Total 20 become your trustworthy companion in these uncertain times. As per tradition, Kompakt's founding fathers, Voigt & Voigt, Jürgen Paape, Jörg Burger, Michael Mayer, as well as our Berlin outpost Sascha Funke all deliver exclusive gems that also feature on Total 20.

2CD version features Robag Wruhme, Soela, Michael Mayer, Jürgen Paape, David Douglas, Kiwi, Sascha Funke, Jonathan Kaspar, Voigt & Voigt, Steve Moore, Weval, Jörg Burger, Agents Of Time, Kölsch, Enzo Elia, Aldebaran, Quique, Yotam Avni, Anna & Kittin, Christian Nielsen, Marc Romboy, and Blackrachas.

Originally released in 1984. Manoel Germano Filho (better known as Germannu) started his foray into education by following in his family's footsteps, earning his agronomy degree at the Federal University of Viçosa in the state of Minas Gerais. Yet it was music rather than soil that held his heart, and after a chance meeting with Milton Nascimento, one of Brazil's biggest musical icons -- both back then and today -- he threw himself into the Minas music scene, burgeoned as it was by student movements and local music festivals. In 1984, Manoel, now Germannu, met the composer, arranger, vocalist, and guitarist Jorge "Jóia" Olímpio at a show in Linhares, and a month later threw caution to the wind, moved to Rio and found himself crashing at Jorge's house while putting down his roots. Over the following days and weeks, the recording of Germannu's debut LP began in earnest, starting with his songs "Lavoura", "Fale De Mim", and "Hei De Amar". Jorge's help was crucial. Although Germannu had certain melodies in mind and chord structures around which he wanted to build the songs, he hadn't yet developed how the melodies would play out, nor decided how exactly the chord sequences would go. The pre-production was done at Jorge's home, before they moved over to the now-defunct Estúdio Rio near the Laranjeiras viaduct to flesh things out. Jorge Jóia called on his contacts and brought in musicians he was sure would work, including a bassist and former bandmate named Borjalo, with whom he had previously played with in a band that was put together by the legendary organ player, Lafayette. Drummer, Paulinho Black (ex-Banda Black Rio), and pianist, Moisés Pedrosa, were also part of the team, as was the fabulous Jorge Cardozo -- who transcribed Jorge Jóia's arrangements. 180 gram vinyl; Old School Tip On cover; includes download card.

Optimo Music presents Vanessa 77 the debut album from New Zealander Vanessa Worm. After entrusting Optimo Music to release three much loved singles, it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene -- it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody's dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Vanessa's thoughts on the album: "Vanessa 77, like most creative endeavors, is a journey of self-discovery. Mentally, emotionally, and creatively. I spent most of my time alone in winter 2019 -- focused solely on personal development and self-realization via the creation of this album. It was a way for me to put my mental state onto a plate -- the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too -- I intended for Vanessa 77 to help others to heal, self-realize and alchemize. It was a nine-month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration, and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!"

Double LP version. Includes CD. Gatefold sleeve. Following contributions from Carl Craig (PEDL 002CD/LP), Stacey Pullen (PEDL 001CD/LP), and Wajeed (PEDL 003CD/LP), Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late '90s when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Loko is also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career. Mirko's selection offers a taste of Detroit that intermingles emerging talent and the deepest cuts from established heroes. Mirko has loaded the mix with exclusive productions and remixes including new collaborations with Derrick May and Ursula Rucker; an updated version of his classic recording with Stacey Pullen, "Tronic Illusion"; an exclusive remix of Japan's Takuya Yamashita; and a new track under his Bel-Air Ltd alias. Each of these comes alongside tracks from Phase Force, Lady B, and a heretofore unreleased Carl Craig edit of DJ Deep & Romain Poncet's Sergie Rezza project. "The influence of Detroit on music all over the world is immeasurable. Like so many others, my relationship with music was inspired and forever marked by the talent and genius of Detroit and midwest USA's musical pioneers, and we all owe the city and its cultural legacy a huge debt. This mix is my small way of saying thank you to the city." --Mirko Loko, 2020 Double-LP version features Mirko Loko, Derrick May, Ursula Rucker, Stacey Pullen, Bel-Air Ltd, Sergie Rezza, Carl Craig, Takuya Yamashita, Phase Phorce, and Lady B.

"When Bandcamp announced that they will be holding a special fundraiser on June 19th 'that is specifically focused on racial justice, equality, and that they will donate their share of revenues that day to the NAACP Legal Defense Fund', we thought to put out a special sampler that contributes to that cause. All profits of the sales of Music for the NAACP will go exactly there. Due to the lack of time, it seemed knocked together, but old and new friends, from near and far alike did their best, to set it up. So, special thanks to everyone involved: especially to Lopazz at Mixmastering, Heidelberg, Rand Muzik Leipzig and the SST cutting house in Frankfurt, who did their part to also make this available on a 2x12" compilation (same destination for its profits). Thank you for listening, helping and donating." --Gerd Janson

Features KiNK, Session Victim & Iron Curtis, Gerd Janson, Genius of Time, Katerina, Robert Dietz, Roman Flügel, Dinky, Bella Boo, Tiger & Woods, and Todd Osborn.

LP version. An incomparable world of bug-eyed, harmony-rich folk-pop-psych-alt-country-rock lies in wait for intrepid listeners as the best Welsh band the world nearly forgot, El Goodo, return with only their fourth album in a 20-year career, Zombie. The first single to be revealed, "The Grey Tower", is an expansive, five-minute trip through the '60s heat of Lauren Canyon and Haight-Ashbury via the picturesque Vale of Neath. The result of a rapid-fire period of easy-come recording at the legendary Rockfield Studios in the company of experimental producer, Tim Lewis (aka Thighpaulsandra, a Julian Cope collaborator and former member of Spiritualized), El Goodo's 13-track long player gathers loose ends from the band's stop-start lifespan, as well as brand new songs exploring parenthood, losing parents and -- tangentially -- Spanish surrealist film. Featuring over 20 musicians -- including core members Pixy Jones (lead vocals/guitars/keys), Elliott Jones (drums), Jason Jones (vocals/guitars), and Andrew Cann (bass) -- the album welcomes contributions from Sweet Baboo/Stephen Black (clarinet/bass clarinet/flute) and Welsh Music Prize-nominee, Eugene Capper (violin/slide guitar). The Grey Tower itself is assembled of 17 players, finessing the ride between bright, sun-dappled hippy pop and intense, squally fuzz with saxophone, harmonica, heavy strings and a Baldwin Electric Harpsichord. As well as recording Zombie direct to tape, El Goodo dug around in Lewis' rich archive of analogue equipment at his Aeriel studio in Carmarthenshire, including a rare Univox early synth used by Joe Meek in the recording of his 1962 game-changer "Telstar" (now used by the band on "I Can't Leave"). The result of their journey is a rich tapestry of valve-powered sound, recalling the White Album (1968), Scott Walker, The Troggs, Gene Clark, the Beach Boys and numerous other "golden-age" sonic explorers. The album is named after Lewis's sadly-departed dog -- etched in the band's memories and nasal passages as a vegetable-loving creature, with noxious after effects. Forming in the late '90s, El Goodo (named after the Big Star song, "Ballad Of El Goodo") emerged with intent as not only a support band for Super Furry Animals on their 2006 UK tour, but also as label mates as the Furries released the band's self-titled debut on their Placid Casual label in 2005. The next 15 years saw El Goodo blip contentedly on the radar as a gently persistent musical jewel cherished by knowing audiophiles.

"In the mid-70s, Mariangela Celeste signed to a major label (Polygram) at the age of 13. She would then go on to record her self-titled album with rising European superstar Vangelis. Though tragically overlooked upon its release, Mariangela is a gem of early electronic pop with sparkling synths, drums machines, and lush arrangements, propelling the songs of an unapologetically strong-willed Adolescent. By 1972, Vangelis' band 'Aphrodite's Child' had earned widespread acclaim for their lavish psych- prog masterpiece, 666. Though still years away from the Chariots of Fire and Blade Runner soundtracks, that would make him a household name also in North America, Vangelis had already released three solo albums, and was well on his way to becoming a worldwide celebrity. Polygram hired him as a producer to work with upcoming artists of their list, and he handpicked the teenaged singer-songwriter Mariangela. Mariangela's most successful songs are the ones she wrote herself, coupled with Vangelis' forward-thinking production. The heart-pumping beat of 'You Are The One' sounds like a teenage impression of ABBA or sonic forerunner to The Carpenter's song 'Calling Occupants of Interplanetary Craft'. Floating head and shoulders above all else is Mariangela's wave ballad 'My Dear Life', reminds of the fusing the spellbinding vocals of Wendy and Bonnie's 'Genesis', combined with the dazzling futurism LP of Roberto Cacciapaglia's The Ann Steel Album. The sophisticated ballads 'Alone With The Day', and 'Memories of Friends', consist of impressively orchestrated, heart touching melodies that give a powerful and moving experience to the listener. Its sound is years ahead of its time, with Vangelis' decisions to wrap the song's dreamy melodies in sundazed synths, popping drum machines, and cavernous guitar effects, confounding even its creator. When the album hit the shelves in 1975, its release was confusingly limited to Greece, Canada, South Africa, and Holland. Why Polygram would choose to make it nearly impossible to find it in Western Europe or England, where Vangelis' star was rising, remains a mystery up to this day."

In the wake of Young Marble Giants' breakup, two camps were created, with Stuart Moxham taking the band's minimalist, geometric play to extremes and Alison Statton adding more warmth and feeling to the same basic template and creating something stunning but based in popular forms. Those two opposing -- almost knee-jerk -- means of forging new paths away from one of music's most astonishingly unique debuts both happened to include Stuart's brother -- Alison's former boyfriend -- Phil Moxham. Without a real template to guide him, Stuart's new form of music -- as The Gist -- was widely regarded as wildly uneven. Stuart admits that he didn't know which way to go, so in perverse style, he decided to take all directions at once. The Gist's original discography stood at a scant 18 songs, but only seven featured Stuart's own voice, often in heavily processed and oddly mixed form. So, while The Gist's label, Rough Trade, had the widest array of unique voices in popular music, Stuart buried his own voice. Sales disappointed. The Gist were dropped. A decade later, starting with a critical reevaluation of The Gist's sole album, Embrace The Herd (1982), in an issue of Mojo, the tide begin to turn. Ambience in pop music had enjoyed a cult following from Eno on, but the non-linear structure of many of The Gist's songs had certain parallels with the rise of artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France. The Gist's story could have been different. Recent discovery of a trove of unreleased songs, versions, and demos showed that Stuart had ample material on a par with his YMG work, sometimes in rough demo form, but often in five or six complete, entirely different arrangements. With the 2017 album of unreleased material by The Gist, Holding Pattern (PICI 009CD/LP, 2017), a new audience discovered the band and the release sold out quickly. Interior Windows adds 13 new performances or alternate versions to the band's catalog, and does the service of finally making both sides of The Gist's first 7" 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the Rough Trade/NME classic compilation C81, and in keeping with The Gist's tradition, at least one song on which Stuart does not appear.