For his premiere recording on God Records, Phill Niblock confirms his minimalistic musical approach and composes two monumental pieces for flutes and additional voices, respectively. Commissioned by Erik Drescher and Natalia Pschenitschnikova, Niblock again delivers an almost stripped, uncompromising one-way sound monolith. Tremendous, straight, and to the point... Personnel: Phill Niblock - composition; Natalia Pschenitschnikova - bass flute, voice; Erik Drescher - glissando flute.

Tapes 1 represents the first ever sound recordings to be released from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you may have heard -- dream-like, disjointed, disturbing, peculiar, sexy, unexpected, and totally unique. Frans Zwartjes is famous for his art-house films. A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed, and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognized by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 1 were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued in 2014 on cassette, in an edition of 50. Don't bother trying to find one of them. The music, sound, and speech have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient, and unlike any other soundtrack. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Includes download; Edition of 500.

Psalmody, small bells, big cymbals, gongs and drums -- this puzzling collage of Tibetan Buddhist rites recordings is hypnotizing. It opens the way to the state of trance. The slight electronic arrangement reminds the listener that reality is not so far. The two twenty-minute tracks instantly convey an unknown and fascinating universe. Mantra chanting accelerates, horns become more insistent and a mystical atmosphere arises. With Tibetan Buddhism Trip, Akuphone starts to explore ritual and ceremonial music, here with a subtle mix of field recordings and electronic handlings. Over the years King Gong, aka Laurent Jeanneau, has specialized in the recording of ethnic minorities, particularly from South East Asia. He has recorded over 160 albums and his work is now largely well-known around the globe. An impressive collection allows him to manipulate, assemble, and reconstruct his field recordings in order to create new sound landscapes. Recorded in Tibet and Yunnan (China) between 2006 and 2013. Recomposed in Berlin in 2016. Includes unseen pictures.

Double 10" version. "Newest release from the Fall contains 11 new tracks recorded at various studios in the UK and produced in conjunction with Mark E Smith. The band, now in their 41st year, have proven a major influence to many a band in both the UK and around the world (bands such as Pavement, Hole and even Faith No More). New Facts Emerge is their third studio album for Cherry Red and adds to the list of over 100 live and studio albums released by the band over the years. Formed in 1976 by Mark E Smith, the band has gone through numerous line ups but retain a consistency that many other bands would envy. The audio has been mastered by long time Fall engineer Andy Pearce (assisted by Matt Wortham) and art by designer Becky Stewart."

Astral TV is a new project from Causa Sui synth- and electronics-wiz Rasmus Rasmussen and fellow inner-space traveler Keith Canisius. On Chrystal Shores, they create fluctuating aural landscapes, ranging from subtle and earthy, to celestial and downright paranormal. Inspired in part by classic synth-scores, vintage European "kosmische", and modern drone, the duo has created the soundtrack for a heady, sonic trip. Like with the best new age music, these sounds can provide solace and regenerative energies in the listener, but ultimately the moods the duo creates are too open and ambiguous to be neatly categorized. The bright analog synths and delicate Stratocaster notes occasionally conjures images of rushing water, slowly passing cumulus and weightless, orbiting satellites. But there are more mysterious undercurrents in this music as well, periodically pulling it into peculiar, hypnagogic realms where ghostly digital presences awake. Chrystal Shores is awash in layers of tonal perfection, and while it constantly evolves, there's a unified feel to each of its gorgeous vinyl sides.

Everland Jazz present a reissue of Pharoah Sanders's Izipho Zam (My Gifts), originally released in 1973. "Popular and increasingly in demand, Izipho Zam (My Gifts) falls into the 'rare' category among record collectors and is a gift to fans of master Pharoah Sanders. This demand is partially galvanized by the fact that 'Prince Of Peace' has become an inspirational mine to hip hop artists and is much loved by samplers. Izipho Zam is Pharoah Sander's third album, initially recorded in January 1969, it was originally released on the Strata-East label in 1973. On Izipho Zam, Sanders and his band take you on a journey into another world providing an amazing experience! Passionate, intense and free, Sanders saxophone especially, is exquisite, pouring out its soul telling a story of its own. Hailed by peers as the best tenor saxophonist in the world, Pharoah Sanders is a legend in jazz music. He is regarded as one of the pioneers of free jazz and is the mentor of jazz giant, saxophonist Robert Stewart. Born in 1940 into a musical family as Farell Sanders in Arkansas, he first played the clarinet before switching to tenor saxophone in high school. After high school, he moved to California to study music and art. In 1961, Sanders moved to New York where he often played gigs with a number of free jazz dignitaries including Billy Higgins, Sun Ra and Don Cherry. His name 'Pharoah' was given to him by Sun Ra, who was his bandleader then. It was during one of these gigs that he met John Coltrane who became his mentor. While playing with Coltrane, Sanders inevitably rose to prominence due to his very distinctive tenor saxophone sound." --Rachel Kinoti Licensed by Strata-East Recordings.

"Recorded on a trip to the East Coast in August 1979, this album documents Gary Wilson's semi-triumphant return to his home base. Raised in Endicott NY, Gary moved out to San Diego after recording a series of records that would eventually create his legend. We have been fortunate enough to reissue three of these albums: 1974's Another Galaxy by the Gary Wilson Trio (FTR 232LP); 1977's You Think You Really Know Me (FTR 236LP); and the 2003 comp Forgotten Lovers (FTR 065LP); as well as adding a newly discovered abstraction to the early Wilson canon: Music for Piano (FTR 192LP). In August 1979, You Think... was the primary record for which Gary was known, and about half the material here is drawn from that masterpiece. The rest of the songs are in a similar mode -- prog-damaged lounge music powered by deep obsessions and ass-wide hooks, presented amidst truly bizarre stage elements. What's extra weird about this set is how rockin' the Blind Dates make the stuff sound. The band, although San Diego-based, was actually a bunch of NY State-expats Gary had played with before, whose westward drift has proceeded his own. And CBGB was one of the few clubs at which Wilson's music had been welcome from '77 on, so it really was a homecoming. Recorded through the board, the sonics are great, the music is mesmerizing . . . At the end of side two, someone intones, 'Blind Dates rule.' And if you don't agree by that point, you are a goddamn square. Be gone." --Byron Coley, 2017

A strange confluence of sound that sounds part krautrock synth label Brain records, part Hyperdub techno haze and synth wormholes, with spectacular sound design that has banged at Berghain and sound-tracked winter night drives. Jeremy Greenspan is known mainly for his work with Junior Boys and Jessy Lanza. Taraval is a longtime touring member of Caribou, but both have released several 12" and EPs of electronic exploration over the past few years. Inspired by synthesizer minimalists like JD Emmanuel, Cluster, and John Carpenter, the two attempted to create a type of dance music with hardware that was indebted to their influences, but did not feel intrinsically retrogressive. The idea was to make a type of raw synthesizer and drum machine music that could be listened to beside the hypermodern techno of Pearson Sound or Actress. The cover art is a tribute to a mysterious mural that looms over the Hamilton, Ontario area where the album was recorded. Each of the five tracks were edited down from much longer recording jams which were done with hardware sequencers in real time. The recording was done completely off-the-floor with no overdubs or added material after the fact. As this release might appeal to synthesizer hobbyists and enthusiasts, it seemed appropriate to compile a list of the instruments used in the original recordings: ARP Odyssey, Pioneer Toraiz SP-16, Eurorack Modular System, Roland JX8P, DSI Tempest, Simmons SDS-8, Roland SH101, Roland Jupiter 6 Yamaha CS50, Oberheim OB-XA.

2017 repress. Originally released in 2008. This is the third in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. Honest Jon's spent two years delving through more than 150,000 78 records in the temperature-controlled steel vaults of EMI's Archive in Hayes, Middlesex. An eccentric survey of the Hayes shelves, Sprigs Of Time is a thirty track compilation featuring material recorded between 1903 and 1957, everywhere from England (Percy Grainger's recording of the title song, sung by Joseph Taylor in 1908) to Japan (the bewilderingly beautiful "Seigaiha", by the Japanese Imperial Palace Band, five years earlier). Organ rolls from Georgia run alongside Tamils impersonating motorized transport, and rumba from Beirut; '40s fado sits next to the songs of Bengali beggars. As with the other Hayes releases, all tracks have been restored at Abbey Road and are beautifully presented here with extensive contemporary photographs. There are recognizable names (Joseph Taylor, the incomparable Fairuz, Mighty Sparrow and an uncredited Rubén González, singing lead vocals on "Rumba Negra") and extraordinary oddities (Vengopal Chari's rather unfunny "Laughing" and the peculiarly affecting hand bells of "Gas All Clear"). Taken out of the library and put back on the turntable, every track here is remarkable; every one worth the saving. Also features: G.U. Hsu, Gamelan Gong, Rizeli Kemenceci Sadik, Ochieng Wa Odinga, Sacasas, Jean Mpia, Jonuzi Me Shoket, Fernando Vilches & Ramon Montoya, Cliff Edwards, Benodini Dassi, Imperial Palace Band, Mr. Ero, Fatma Ben Meddah, Noubar Bey & Party, Ben Simmons, Cantonese Opera, Sam Mayo, Fernando Farinha, Gopal Chunder Singh Roy, Fatma El Chameya Sudaneya, Surat Band (Mr. Razak's), Si Said Ben Ahmed, Malijo & Party, Sexteto Habanero, and A.R.P.. Comes in a deluxe gatefold sleeve with two booklets of photos and notes.

Akkord return with RCVR/XMTR, their first original music since 2015's Obelisk (HTH 045EP). Over the years, Akkord have become known for their bloodied and brutalist, steely precision, focusing on sculpted, visceral sound design. Akkord's critically acclaimed, self-titled debut album (HTH 015CD/LP, 2013) charted high in XLR8R's end-of-year list and was awarded 9/10 and 4/5 by XLR8R and Resident Advisor respectively. File under: Demdike Stare, Haxan Cloak, Special Request -- one for the 'ardcore crew. Artwork by plusyes.com. Cut and mastered by Matt Colton at Alchemy; Comes on 140 gram vinyl.

Since releasing his last album on Hypercolour in February 2016, You Exist (HYPE 005LP), DMX Krew has not for one moment rested on laurels, releasing two further LPs on the Ekster and Abstract Form labels, as well as EPs and singles for Central Processing Unit, Shipwrec, Revoke, and more. Continuing to remain faithful to the roots of electro, IDM, and the deeper shades of techno, and without compromise, DMX Krew cranks out emotive and brain scrambling electronica at a mighty rate, and never disappoints. Strange Directions is album number 21 from DMX Krew, and lands once more on Hypercolour, the British label that continues to make heady waves in the music scene with genre shifting releases from the likes of Matthew Herbert, Luke Vibert, Gary Gritness, The Cyclist, Outboxx, and A Sagittariun since the release of You Exist. You'll know what kind of ride you are in for from the first few bars of album opener "Snowy Blue"; hypnotizing bass and spatial keys float over dusty micro breaks, produced with an infectious aesthetic that continues over the long player's fifty-five minute tenure. Experimental and expansive joints such as "Odd Chill" and "Strange Directions" sit comfortably alongside funkier techno jams such as "Thin Hype" and "Zero Sum", whilst the melancholic synth sensibilities of tracks like "Hip Hopeless" and "Axial Mode Beat" catches DMX Krew in fine form. Another fine set of highly polished and visionary electronic goodies from one of the scene's most dedicated and consistent players. Comes in a full picture, reverse board jacket; Includes download code.

Double LP version. Color vinyl version. Includes poster. Edition of 300. International Deejay Gigolo are pleased to announce DJ Hell's fifth album Zukunftsmusik, his first album in eight years. The techno revolution 30 years ago, where boundaries, walls and our own guarded natures came crumbling down... The archaic establishment-challenging attitude and forthright energy of the punks... The long-awaited eruption of gay culture that had burned and yearned since the dawn of mankind... Dare you travel even further back? Rewind two hundred years to the romantic revolution where men like the blitzed Berloiz helped us transcend our physical limitations for suspended moments of fantastic disbelief... All of these moments have shaped us, our music and our culture. Each movement comprising artists who -- like us right now -- are trying to make sense of the uncertain world, the chaotic present and the fearful future. Artists like DJ Hell. Welcome to the future... Reflecting over his participation and contribution to a myriad of cultural movements since the late '70s, his passion of ever-evolving musical form and our current socio-political landscape, Hell taps into our collective rich histories, our combined fears and our mutual desires to create his most personal, ambitious and thought provoking body of work to date: Zukunftsmusik. His fifth studio album, Zukunftsmusik fuses some of Hell's strong signature motifs -- his passion for subversion, his great kosmische canvases, sudden throbbing bursts of dancefloor dynamism, subtle song-craft -- yet it sounds unlike anything Hell has ever created before. There are very few big club singles. A delicate balance of classical dramatic orchestral tension and evocative futuristic synthesis runs throughout. Dark and light, hope and fear, fast and slow, day and night... Over the course of one hour, Helmut Josef Geier invites you on a musical trip of a lifetime; his lifetime, your lifetime, music's lifetime.

"Wherever they perform -- whether at the legendary hippie Burg Herzberg Festival or at the Leverkusener Jazztage in Germany at the end of the 90s, the Nancy Jazz Pulsations Festival in '76. Or the renowned Bell Atlantic Jazz Festival in New York -- French cult ensemble Magma has always left their fans as well as the curious 'uninitiated' stunned and in awe. Led by their drummer and 'master of ceremonies' Christian Vander, the band has consistently poured their tonal magic potion, a substance brewed from 20th century classical music (Stravinsky, Orff, Bartok) and radical tendencies in '60s and '70s jazz and rock, over a spellbound audience for over 45 years. Despite their more jazzy leanings, Magma has always been able to attract a more rock-oriented, young audience from the very beginning. The latter due to Vander's fascination by the cathartic nature of rock music's optimistic spirit in the late '60s, similar to many of his famous jazz contemporaries including John Mclaughlin, Chick Corea, and Miles Davis. As a result, he decided to orchestrate his up-to-one-hour-long suites with all the ingredients electric rock music had developed by the turn of the century. This 2LP documents a live performance recorded at Magma's first concert in Germany on February 6th 1974. This official, professional and sonically improved Radio Bremen recording of this rather short-lived line-up contains a slightly shorter than usual version of 'Mekanïk Destruktïẁ Kommandöh', and with the remaining tracks 'Sowiloi', 'Drum Solo' and 'Theusz Hamtaahk' representing an indispensable supplement to Magma's other live albums released on their own label, Seventh Records."

"It's difficult to miss James A Smith, he's about 6'7" for one thing. His music is packed with hooks and one-liners that are hard to forget. Thirty-eight years after the songs on this album were recorded, they are being released into a world that is finally ready to receive them. When he moved to London in 1977, you would often see James at the Marquee club, especially if Wire were playing, or at the Roundhouse for Elvis Costello, Split Enz, or the Buzzcocks. A couple of years later you might have caught him on stage during The Containers brief period of gigging. He was back in 1980, solo mostly, but called The Beach Bullies; maybe you saw him at the Hope & Anchor... or even supporting an early incarnation of the Thompson Twins. Like so many keen young musicians, he really worked at it. He tried longer and harder than many, but the breaks didn't come, apart from one solitary flirtation with vinyl. The 1980 release, We Rule The Universe, by The Beach Bullies, delightfully augmented by singer Jill Fricker, was released thanks to Armageddon Records. His astringent wit-inflected songs were stripped back to their minimal core. A simple drum machine, an electric guitar, no frills -- not even any bass! It picked up a couple of encouraging reviews, found a tiny audience of fans, and then went to sleep for a long, long time. It wasn't always like that. The Containers had played many of the same songs, but their versions had the swagger of a gang instead of pared down charm, along with distinctive dual male/female lead vocals, a full rhythm section, and the encouragement (and even participation) of Robyn Hitchcock in his full Soft Boys majesty. They had the good fortune to record the demos that make up the bulk of this album at Spaceward Studios, in the center of Cambridge, an innovative sixteen track that hosted Gary Numan, the Raincoats, and the Soft Boys at around the same time. What came out of the sessions was greater than the sum of the parts, on both their visits to the Victoria Street basement. For several decades the tapes either were missing or on unplayable formats, but a couple of years ago copies of the sessions showed up on cassettes carefully preserved by bass player Adrian 'Hots' Foster. A quick scrub up, and one session was on YouTube. The boss of Captured Tracks heard the session, and very soon James A Smith's musical renaissance, and recognition for The Containers' and The Beach Bullies was on its way!"

Meander Music turns ten! Family Jubilee II, with previously unreleased music, is a beautiful representation of the past ten years. The label celebrates their first decade with their second compilation, five years after the initial Family Jubilee (2012). Family Jubilee II is a collection of three 180 gram vinyl records. All discs are available individually, with limited special artwork. As a package, it forms a distinctive reflection of Meander Music's momentum. Part 1 features Ion Ludwig and Vlad Caia.

Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 releases with her debut album Pariah. Jana Rush received attention for her mind-bending drum acrobatics on 2016's MPC 7635 EP, also released by Objects Limited. Jana started DJing aged just 13, releasing her first record on Dance Mania back in 1996, but having a hiatus from music between 2000-2013. With Pariah, she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz, and house, developing her sound on from MPC 7635. Pariah kicks off with "Midline Shift" whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims, creating a shimmering robotic effect. Moving on, the frantic "Beat Maze" confuses the mind with white noise rushes and interlocking snares. Changing the scene, "Divine" is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with "??? ??", whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of "Break It" give one room to breathe before the croaking bass and distorted acid of "No Fuks Given". "Old Skool" is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both "Rapid Fire" and "Acid Tech 2" are bangers, hitting you deep in that sweet spot. Jana brings it back down with "CPU"'s computer noises and sub-bass hits. "Chill Mode" gives time for reflection after all that fire, but it's no ambient track?there's still that Chi-Town vibe. Pariah finishes with "Frenetic Snare" whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Recorded live at OTO in May 2015, The Elephant Clock Of Al Jazari comprises four typically genre-defying and sonically dexterous pieces from one of the UK's best pianists. Pat Thomas began playing piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980, he became a member of Oxford-based group Ghosts with Pete McPhail and Matt Lewis. He has worked with Mike Cooper, Jimmy Carl Black, Thurston Moore, Mats Gustafsson, Evan Parker, Alan Silva, John Zorn, and more. Pat Thomas received the Paul Hamlyn Foundation Award for Composers in 2014. Mastered by Giuseppe Ielasi. Edition of 500.

In Thomas's own words: "The title for this album, was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven meters high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this Muslim genius is found in his remarkable water raising devices, particularly water raising device number '4' where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by three centuries. 'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well-known standard."

What constitutes an unidentified sighting, the rarely heard "alien" clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press present My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, New York, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation's New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brötzmann, Evan Parker, Raymond Boni, among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music's outer limits. "His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he's reaching for jazz's outer limits" --Time Out, New York. Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique. Personnel: Joe McPhee - B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer; Bryan Eubanks - Open-circuit electronics (sinetones). Artwork by Jerry Starpoli; Liner notes by Joe McPhee; In memory of Jerry Starpoli. Edition of 499.

Public Possession Serie is here to combine music by label artists and friends, showcasing a broad spectrum of audio entertainment. Serie A features trance inducing collage, pop build-up, an homage to the almost forgotten communication medium Telefon, and a heavy acid tool. Artists include: Tambien, Rhode & Brown, Mr. Tophat, and Obalski.

LP version. Sommor Records present the first reissue of Claude Lombard's Chante, originally released in 1969. Presented in the original French edition gatefold artwork. Produced by Roland Kluger (Chakachas, Free Pop Electronic Concept), arranged by Willy Albymoor and recorded at the legendary Madeleine Studios in Brussels. Insert with liner notes by pop connoisseur Don Sicalíptico. RIYL: Stereolab, Broadcast, White Noise, Delia Derbyshire, Astrud Gilberto, Roger Webb Sound.

"If you know the 1968 Eurovision song, or the TV kids cartoons tunes which Claude Lombard sang, it will be hard to believe what's happening there... Beautiful pop songs sung in French by this Belgian maverick (who worked with Luciano Berio) swirling upon wonderful '60s abstract-expressionism orchestrations: chimes and ondes Martenots among lovely dream basslines and organ drifting, with a dreamy use of echoes, reverbs and sometimes electronics. There are incredibly beautiful songs here, and probably one of the unique examples of French songs with really gorgeous, untypical sound work, closer to some UK and US proto-psychedelic orchestration in pop world. It was by the time a complete commercial flop... A shame of course considering the quality of compositions offered here by Claude Lombard herself, who have no shame to feel if one compares the elegance of her work to an inspired and electronic version of Michel Legrand... Any serious fan of Broadcast or Stereolab will fall in love forever with this true secret gem, to say the least... And no need to mention the kaleidoscopic design of the cover, mesmerizing and perfectly illustrating the content. Masterpiece here? Hell yes! And you can forget about the cartoon tunes of your lazy childhood..." --Emmanuel Holterbach

Juan Atkins and Moritz von Oswald -- the two vital proponents of Detroit-Berlin axis -- return to the mothership following their 2016 full-length effort Transport (TRESOR 285CD/LP). Angles is the result of a new conversation between the founding father of electronic music and his German counterpart. The serene source of captivating musical ideas that is Borderland (TRESOR 262CD, 2013) keeps on flowing and vibrating with subtle energy. Both parts of "Concave" are the ungraspable manifestation of the wild quietness in which the duo finds itself. Predicting at once, possible outcomes for the craft of electronic sound, while respecting their origins.

"This 3LP set contains a selection of seven early works by American composer Carl Stone, all previously unpublished except for 'Shing Kee,' which appeared on the 1992 New Albion CD release, Mom's. Notorious, formerly elusive recordings like 'Sukothai,' 'Shibucho,' and 'Dong Il Jang' exemplify how Stone masterfully guided his art through the transition period when New Music exited the loft scene of the 1970s for a stab at commercial presence in the 1980s, satisfying both impulses by fusing his compositional ambition with systems of live performance that were simultaneously pop savvy, commercial suicide, and technologically and aesthetically forward thinking. His live performance practice, documented here in a carefully restored archival recording of 'Kuk Il Kwan' at The Kitchen in 1981, has merged seamlessly with today's computer-driven methods. The earliest works of this collection, 'LIM' and 'Chao Praya,' realized on the Buchla 200, date to the early 1970s while Stone was a student of James Tenney and Morton Subotnick at CalArts, a rare glimpse of Stone working with purely electronic source material. Liner notes by Carl Stone, Jonathan Gold, Richard Gehr, and Marc Weidenbaum accompany on a gatefold sleeve. Download card is included with a digital-only bonus track, 'Unthaitled' from 1978. Mastered and cut by Rashad Becker. 'Of the serious composers to come out of 1980s California, Carl Stone is the one who has always performed in nightclubs as well as concert halls, for spiky-haired punks as well as the Ph.D-and-ponytail set -- his brand of electro-acoustic bricolage was probably better known among jazz musicians than it was to the blue-haired Monday Evening Concerts crowd.' --Jonathan Gold, from the liner notes."

Esmark, named after a glacier at Spitzbergen that debouches into the Ymer Bay, is a collaboration between the sound architect Nikolai von Sallwitz (Taprikk Sweezee, Karachi Files) and the experimental artist Alsen Rau (Scheich In China, On+Brr). Both have worked on various experimental and performative projects together since 2001. Alsen Rau is also known as one half of the German Duo On+Brr. He recently released under the name Scheich In China and he is one of the founders and curators of the Hamburg-based club Kraniche, which gained attention as an experimental art and music place in Hamburg. He's curated exhibitions, performances, and readings. Nikolai von Sallwitz, known as vocalist and producer Taprikk Sweezee, has composed music and sound design for film, theater, and a various number of art and pop projects, and he has collaborated with visual artists such like Chris Hoffmann, Andreas Nicholas Fischer, and Robert Seidel who crafted a real time performed video piece for one of the tracks. In late 2016, in Scandinavian solitude, quite a number of tracks were recorded by Esmark and some of the work is presented here over two parallel albums named Māra I and Māra II (BB 273CD/LP), released on Bureau B. Esmark's musical setup is mainly build analog. Instruments like drum computers and synth boxes have been connected in constantly changing chains of FX and filters. Some were recorded on tape and fed back into the compositions. Track names are partly reflections of bio-geography and cartography of the place where the material was recorded. The dark and hidden polyphony of their debuts, Māra I and Māra II, sound like a dystopic science fiction movie, and it is a fundamental ground element and origin on which these haunting minimal compositions are based on.

Everland present a reissue of Obtala's self-titled album, originally released in 1977. "This well produced strong disco funk album is a hidden gem. The original is on many wants lists and rarely turns up. Heady disco funk from the glory days of the Miami soul scene in the '70s. This smoking album by the group Obatala is tight in a good way. Core funk energy mixed with some added strings and horns. A mode that's funky club, but never straight disco at all. Titles include 'April', 'Shades Of September', 'Disco Party', 'Funk-A-Fried', 'Tight Rope', and 'Work It Out'. A killer set throughout!" --Marc Janssen Licensed from Henry Stone Music.

TLC Fam are a 23-strong crew from the township of Newlands West in Durban, South Africa. Their sounds represent a strong, powerful Zulu culture. The main producers Resto and DJ Magic create a very unique and original style of gqom -- loud and powerful. TLC Fam are the originator/creator of the "Taxi Kick" style of gqom which has a very particular distorted, multi-layered hard kick made with some specific techniques on fruity loops. The kick is made specifically for taxis in the townships. Limited edition 12" with special 3D graphic designs on the cover. Features Bhunu Da Deejay.

LP version. Comes with insert. Tony Williams Lifetime, featuring John McLaughlin, live from New York, November 1969. Having fearlessly merged rock rhythms with jazz during a close association with Miles Davis, in 1969 the great Tony Williams founded Lifetime, featuring John McLaughlin at his innovative best, and the mighty organist Larry Young. The trio instantly won acclaim for their fiery, uncompromising improvisations, which are typified on this amazing performance. Recorded for radio broadcast in New York at the close of the year, the FM entire broadcast is presented here, digitally remastered, with background notes and images.

2017 repress. "Compilation of great recordings by Jesse Mae Hemphill. Mississippi Hill Country blues at their finest. Jessie Mae rocks out on the electric guitar with minimal percussion. By far some of the best blues recorded in the '80s. Jessie Mae is the granddaughter of the great Sid Hemphill and the torch bearer of one of the most beautiful traditions in the world of music. Co-release with Moi J'Connias. (This LP was previously released by them with a silk screened cover)"

In February 2015, Japanese producer and sound designer Kuniyuki Takahashi, sometimes known as Koss, released the EP Newwave Project #2 (MUSIQ 183EP), a record that tapped some roots of his musical education: new wave, German electro punk from bands like Deutsch Amerikanische Freundschaft, EBM from acts like Front 242, as well as industrial music, all styles Kuniyuki claims are his "favorite music". Nearly two years after his first Newwave Project EP, he drops an album that is leaning towards his musical love from the past. Compared to his former work, which was rooted in worlds of classic, jazz, house, ambient, and electronic song-writing, his new tunes are full of melodic drifts and rhythmical shifts. As usual, all is loaded with tones and rhythms straight from the heart that filter and modulate human emotions without losing their natural source. To get a sound that is fresh but still leaning to the '80s, he used some old synthesizers, like Roland Jupiter 8, Juno 60, Korg MS 20, and an old tape echo machine, but he also used newer instruments, like the Roland AIRA. His modular synthesizers talk too. Sampled voices, and other alienated sound sources of unknown origin, inject otherworldly atmospheres into his new tunes. It is also evident that he is a fine instrumentalist, as Kuniyuki also plays piano, percussion, and flute on the album, if he felt their warm sound was needed for his freely grooving tracks. Some dance in house or techno outfits; other slam like a mix of funk and EBM. Tunes like "Puzzle" or "Body Signal" are twisted treasures that bemuse deeply. In-between, you hear the echoes of cosmic spheres, the darkness of the Cold War days, and some bewitching tribal jungle vibes; A new, moving, unorthodox, yet catchy side of Kuniyuki Takahashi. It is not totally novel to him, as he already released some industrial, EBM, and electronic with the project DRP. But for his listeners that know him for detailed house, jazz, and classic, or even his collaborations, the Newwave Project sheds a light on a different artistic side of Takahashi. It is diversified, with many rhythmical and atmospheric turns, but stays stirring and compelling throughout. A true new wave, formed, played in, and envisioned, with a view on the past that was filtered through the now while feeling the future. Cover art by Swiss artist Augustin Rebetez.

PMG present a reissue of Goldfinger Doe & B.M.S.'s Let's Dance Together, originally released in 1979. "William Onyeabor wasn't the only Nigerian experimenting with synthesizers in the '70s and '80s. Goldfinger Doe was twiddling knobs too, no more so than on Let's Dance Together -- a prime slab of cosmic Afro boogie funk, recorded with legendary percussionist, Mike Umoh (aka B.M.S.) Goldfinger met Umoh playing with Bongos Ikwue & The Groovies. Bass player Bashiru Musa, was a fellow Groovie too, and when the three hit the studio to record Let's Dance Together, the groove was already tight and hot. The title track, 'Let's Dance Together', is an urgent boogie monster, peppered with cosmic synths. 'Funky Africa' is an irresistible floor-filler, driven by the 'funk in the black soil and the soul in the air.' 'Jah Help Us' is a reggae-tinged reworking of the Lord's Prayer, with added squelchy synth. 'B.M.S. Bowl'? It's just an excuse for Umoh to show off his preposterous percussive skills. Goldfinger's extraordinary synth skills are always front and center. They transform 'Jane', providing a humorous commentary in an otherwise straightforward romantic lament, and propel the funkier tracks to become the heartbeat of the album. Let's Dance Together is an Afro funk space ship, fueled up and ready to take off." --Peter Moore

Once again, Jennifer Cardini's label have recruited a seriously on-point rollcall of friends and family to contribute to its distinctive cosmic, deep, groove-laden, and comprehensive fifth compilation. This second sampler features four startling future-shocks from the forthcoming collection, featuring Red Axes and Javi Redondo, kindred spirits such as Fort Romeau, and new friends like Colli Alban, it's the perfect set-up for the total knockdown that is the album. Guaranteed to be soundtrack summers, dancefloors, and souls for a long time to come.

Following on from The Lister, The Bomber Jackets' debut for Alter (ALT 014LP, 2013), Kudos To The Bomber Jackets has a restlessness that takes broader strokes. It finds and holds a register of meandering hope by setting the perverted detail of domestic minutiae against an acutely self-conscious melancholy that cynically daydreams its way into an awkward middle-ground between profundity and platitude. At times they give it a bit of a desaturated garage bump, other times there's the throb of marching mono-synth wave. "Deranged Sauce Mum" comes off as a chopped and screwed hardcore, though with Russell Walker's vocals, it's less gurning glee and more furrowed brow. There are very many disparate elements across Kudos To The Bomber Jackets that come to give the new album a kind of uneasy grace, which is perhaps the group's singular force, the unchaining of an ingenious familiarity that's dizzyingly bizarre and equally bleak. Lyrically and musically the album contains the traces of many surfaces, both interior and exterior. Its dream-like qualities are formed through a kind of musical frottage, always preserving the trace of the hand, arriving at its surreal heights through fidgety non-sequiturs of an aesthetically acerbic persuasion. In this way, it never quite replicates anything that you feel to be present in its parts.

The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all time, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Walter Branchi, one of the original founding members -- alongside Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini, and John Heineman -- the tapes were then restored in their entirety. Only a part of them were published in a CD-only boxset in an edition of 500, titled Azioni 1967-1969, which also featured a DVD with the original film Nuova Consonanza shot by Theo Gallher during the rehearsal and concert that the group held on March 19th and 20th, 1967, at the Galleria d'arte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds, their music was -- and remains -- one of the most dynamic, original, and uncompromising expression of a period defined by intense experimentation and musical bravery, anticipating experiments to come in years following. Or, to put it simple, "They were utterly unique," as per the words that John Zorn, who expressively wrote for this edition. To mark the ten-year anniversary of its original release, Die Schachtel present Azioni/Reazioni 1967-1969, the complete cycle of improvisations -- which includes thirteen additional, never before published pieces -- taken from the original tapes. Remastered by Giuseppe Ielasi.

Available in three versions. All versions include a 64-page, sewn-bound, LP-size book in English and Italian, complete with essays, memories shared by the group, a new article by Valentina Bertolani exploring in detail the techniques of the group, a chronology, a collection of original reviews by Maurizio Farina, and a set of unpublished black-and-white photos of the group playing in Venice's Teatro Della Fenice in 1968, taken from the archives of the Venice Biennale. All versions also include a DVD (PAL 5.1 audio - region free) with the original film Nuova Consonanza shot by Theo Gallher. CD version includes four CDs, DVD, and book -- edition of 300

2017 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."

Truth is the new album by Asimov, the incredible heavy-psych duo from Portugal. Asimov are famous for their storming live shows at famous festivals like Reverence Valada and Barreiro Rocks and for supporting big neo-psych names like The Cosmic Dead, Pink Mountaintops, and Endless Boogie. You won't believe how just two guys can create such a brutal sound. Echoes of Blue Cheer, Hawkwind, Tractor, Black Sabbath, Iron Butterfly, and Pink Fairies, spiced with doses of kraut, doom, drone and space-rock. Comes in a gatefold sleeve.

EAN (best known for his work with folk band Stick In The Wheel and electronic pioneers Various Production) gives two pieces from Eliza Carthy's most recent album The Big Machine (2017) a new, and more urgent context, then The Memory Band's "Children Of The Stones" sink into a new rhythm for tomorrow. Static alumni himself, EAN (with Geoff) has been cooking up a remix project for a while. His two musical worlds collide to make new forms.