Having already unearthed three collections of archival 1970s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer's music by turning to more recent work with this first-time vinyl edition of Hennix's Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis, a 2014 piece first released as a CD in 2016. The double album captures the April 22, 2014 premiere of the composition by the Chora(s)san Time-Court Mirage, Hennix's expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the origins of the blues in the Eastern musical traditions of raga and makam, Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis has its roots in Hennix's 2013 realization of an Illuminatory Sound Environment, a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix's own The Electric Harpsichord. As Hennix explains in Other Matters, Blank Forms' 2019 collection of her writings: "Rag Infinity/Rag Cosmosis presents fragments of 'raga-like' frequency constellations following distinct cycles and permuting their order, creating a simultaneity of 'multi-universes.' When two such 'universes' come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated -- the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically 'transfinite' Poincaré cycles (cyclic returns to initial conditions). As with Hennix's best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Over this mesmerizing ebb and flow, vocalists incant an Arabic-language devotional poem written by Hennix that features quotations in praise of Allah from the Quran. Also reproduced on the album's gatefold jacket is Hennix's elegant reduction of the sacred text, represented as the first letter of its first line gradually paired down to a single dot, which invites the contemplator to bring their inner knowledge to the composition for use as a meditation prompt. Listeners without spiritual inclinations, but who are willing to immerse themselves in the music, will find the work's serene intensity to be its own reward."

"Interstellar Overdrive" is an instrumental composition written in 1966 and is on Pink Floyd's 1967 debut album, The Piper at the Gates of Dawn, clocking in at almost ten minutes in length. "Interstellar Overdrive" was one of the first psychedelic instrumental improvisations ever recorded by a rock band. It was seen as Pink Floyd's first foray into space rock. It has also been described as an experimental and psychedelic as well as an example of proto-prog. Waters once called the song "an abstract piece". Not connected to pop music, a long improvisatory quality. The stereo version of the song has an organ moving from speaker to speaker, the effect is not on the mono version of the song, where it gains extra organ and guitar sounds, in fact the organ is very prominent during the first minute of the mono version-along with some special effects-but inaudible in the stereo mix. You will find both mono and stereo versions off the LP plus a rare edit (French only released at the time) and a long freak out version that clocks in at 16:49.

"Wipers tour 1984 features tracks from the first three Wipers albums. Recorded live on Tour February-March '84. Originally released on cassette by Greg Sage and on vinyl on Enigma Records in 1985. First time reissued on vinyl. Included 3 wipers songs unavailable anywhere else. Pressed at RTI for maximum fidelity." Pink florescent vinyl.

"The Dead Boys hailed from Cleveland, Ohio and relocated to New York to become one of the first US punk bands. Originally signed to Sire Records, the Dead Boys were notorious for their edgy attitude and songs. After frequent shows at CBGB, the club owner of CBGB became their manager. The Dead Boys debut studio album Young, Loud and Snotty was recorded and released in 1977 and quickly became one of the definitive US punk rock albums. Rolling Stone's "Best Top 10 Punk Albums of All Time". Sourced from the original mater tapes. Pressed at RTI for maximum fidelity." Yellow vinyl with red streaks.

Minneapolis psych-rockers Magic Castles are back with a new album, Sun Reign, making an exciting return after founder and songwriter Jason Edmonds suffered a near fatal car accident in November 2019. Magic Castles are well-versed in the ways of psychedelically-inclined folk-rock. Edmonds's smooth vocal harmonies float above the guitars, creating a lush, almost Byrds-esque soundscape. The layered arrangements incorporate Farfisa organ, synths, and dreamy string arrangements. Sun Reign is the band's fourth release on Anton Newcombe's label A Recordings Ltd. Ironically similar to Brian Jonestown Massacre, the Magic Castles have been plagued by lineup changes over the years. Due to this and other factors, in 2016, Edmonds, a single father, decided to take a short hiatus from regular live shows and touring to focus on his family. During that time, (2016-2019) Edmonds, an introverted multi-instrumentalist, continued to record new material in his studio, and also record with a new band at Neil Weir's studio Blue Bell Knoll, in Minneapolis, Minnesota. The results of these sessions are the current release, Sun Reign. In November of 2019, tragedy struck and Edmonds was seriously injured in a car accident that required hospitalization and surgery. Friends started a GoFundMe that raised over $20k USD for the uninsured musician's hospital bills, showing an incredible outpouring of love and support for him and his family. Fortunately, Edmonds has made a complete recovery from his injuries and has bounced back remarkably well. In early 2020, Edmonds managed to finish the remaining work on the album Sun Reign, including a previously unreleased song, "Surmise", penned by guitarist Jermiah Doering, and a rare cover of a moody 1966 garage rock song "Ode to the Wind" by Danny and the Counts. Edmonds also began working with a booking agency, planning a return tour to Europe with the band to support the new album. Unfortunately, it was not to be. Due to the global pandemic crisis of Covid-19, the album was delayed until 2021, and the promising tour was cancelled. In May of 2020, Minneapolis police killed George Floyd two blocks from Edmonds's home, which incited riots across the country. The protests led to the burning of Minneapolis, where a long-time music venue and many other buildings were lost. Edmonds' studio was not destroyed although many nearby buildings were. Edmonds is a known supporter of Black Lives Matter.

2021 repress. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."

The new magic compendium of Ariel Kalma: a box with four-LPs, including different color inner sleeves, a large booklet with credits and beautiful unreleased photos, illuminating perfectly the depth of his traveling soul. Few, like Ariel, have really been able to dedicate their life to a tireless experimentation in music. In according to a subtle plot, between his experiences in the World and the restitution of them, he has always found multifaceted combinations of sounds. Kalma uses anything that can stimulate his impressions, expanding his action without boundaries: church bells, dilated flutes, tape machine, drum machine, Revox loops, flanger, reverberations, War drums, modular and wasp synth, Yamaha Ps.20, Farfisa. etc. Through the 4Lp of the collection, his mind undergoes significant changes, almost corresponding to 4 different moments or states of consciousness. In Delirium GRM he paints his personal dark side of the trip, operating for crazed de-temporalizations and de-specializations: obsessive hallucinations, wastelands of spectral visions, fractals of darkness or alien caverns. Conversely, in Dream Stars, the galactic ascension (Schulze/Ash Ra Temple) becomes happy and luminous in its take-off and landing phases. The cosmic electric-Gnawa, in Rue De la Gaite, reveals an even more calm spirit, with amazing stylistic intersections between India, Turkey and Morocco, and makes use of some exceptional guests including Loy Ehrlich (Hadouk Trio). Kula Confidential translates the vibes of his journey on the island of Maui, between mantra sax and ocean waves, memories of primitive and ancient populations and silent archaeological atmospheres.

Restocked. "'Time OutTakes features seven tracks that have never been heard before. These newly discovered recordings feature wonderful performances that are every bit as compelling as those on the original Time Out. We discovered that during the original 1959 sessions the Quartet also recorded 'I'm In a Dancing Mood' and an unlisted trio jam with a major drum solo that included snatches of the melody from 'Watusi Drums.' Two tracks from Time Out, 'Pick Up Sticks' and 'Everybody's Jumpin,' were achieved in one take so no alternates exist to include here. These seven new performances (and bonus track) are fascinating finds.' --Chris Brubeck 'We've all heard Dave Brubeck's Time Out -- but never quite like this. You'll hear Dave Brubeck's signature pieces afresh and anew. Listening to this album will make you rediscover why you fell in love with The Dave Brubeck Quartet featuring Paul Desmond, Joe Morello and Eugene Wright. This is mesmerizing music.' --Kabir Sehgal, Grammy Award Winning Producer 'Once the Dave Brubeck Quartet released Time Out in 1959, the world of jazz was never the same. Every note of the seven original compositions soared with wild originality and trained musical genius. 'Take Five' became the best-selling jazz single of the twentieth century. I've often wondered how this work of genius came to fruition in the studio? How did Brubeck develop such chemistry with alto-saxophonist Paul Desmond? Now the mysteries are solved with the historic release of Time OutTakes (alternative takes to the masterpiece that blew the hinges off the doors of jazz). What a high privilege it is to be able to be in the studio with the quartet as they innovate using 9/8, 5/4 and 2 bars of 3/4 alternating with 2 bars of 4/4 on such classics as 'Blue Rondo a la Turk' and 'Three to Get Ready.' All listeners of Time OutTakes will experience the Cold War era jazz revolution as it unfolded. What joyous music for the ages!" --Douglas Brinkley, CNN historian and Grammy-winning jazz producer

Double LP version. First released by Cazzo Film in 2001, ebo hill's Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill's vision was both ahead of its time and a playful distillation of '90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks, and drag queens as they fuck, party, and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film's narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city's former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise/industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub, and electro. It's a sonic spectrum that connects Berlin's queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film's cast and crew) to the more industrial, breakcore and noise-oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk. CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000. AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal. Remix by Stellwerk.

"Those awaiting", the name chosen by the musicians of Sabreen, still rings true forty years after the foundation of this group in Jerusalem. Voice of the hopes as well as the anger of the Palestinian youth, this group has recorded four self-produced albums. With the weapons of poetry, they will embody the voices of resistance against the occupation but also the desire for emancipation from tradition. Emblematic of this state of mind, their second album Death Of The Prophet was released on cassette at the beginning of the first intifada. It will be the soundtrack, while providing the tuning fork of the future generations. Whether meditative beaches or collective outbursts, joyful outbursts or more serious moments, the band goes through the range of feelings, drawing its inspiration from the sources of classical Arabic music and popular folklore. The result is a unique style, irreducible to any category. All that makes that forty years later, this cult album, never released on vinyl, remains very current. Includes 10" booklet with extended liner notes by Jacques Denis and rare photos. Edition of 500.

LP version. Includes insert and download code; edition of 300. arbitrary presents the 2020 remaster of PM016 by Danish musician Mads Emil Nielsen. Originally released as limited edition C30 tape on Plant Migration Records in 2014, the four pieces on Nielsen's first solo release are based on short orchestral and percussive samples manipulated by various synthesizer modules and effects processors. Variations are created by emphasizing different frequencies, harmonics, sections of short loops and the various surprises that result from the idiosyncrasies of each machine. This vinyl reissue is part of the Black Box series of releases with music and audio originally made for theater pieces, performances, installations, radio soundtracks, compilations, and remix collaborations. The series showcases a more melodic side of Mads Emil Nielsen's work, who, during recent years, has been focused on more abstract electronic/acoustic material -- such as his collaboration with Andrea Neumann and Framework series (graphic scores and recordings). Written and produced by Mads Emil Nielsen, Copenhagen, 2013. Originally released as limited edition C30 tape on Plant Migration Records (US), 2014. Remastered and cut by Kassian Troyer, with cover artwork by visual artist Dane Patterson.

Black Truffle announce Backfire of Joy, a previously unheard recording from Phew, John Duncan, and Kondo Tatsuo, documenting a concert at Tokyo's Hosei University in 1982. Though the fertile exchange of 'zines, tapes and records between the Japanese underground and the Los Angeles Free Music Society meant the artists were familiar with each other's work, this performance (occurring on Duncan's first visit to Japan) was their first meeting and only performance as a trio. Duncan is heard on his signature shortwave radio set-up, while Kondo performs on synth, tape loops and echo-drenched piano, providing a spacious backdrop for Phew's astonishing performance of spontaneous, free-associative song moving between Japanese and English. A testament to the unhinged exploration of the 1980s experimental underground, the trio careen wildly between crashing percussive tape loops, deluges of shortwave noise, insistent piano figures and playful synth melodies. On the B side, you are treated to a remarkable ten-minute sequence moving organically from spaced-out synth and radio textures to a stunning finale of improvised balladry centered on piano and voice, unexpectedly broken up by electronic interjections. Beautifully recorded in crunchy vintage fidelity, Backfire of Joy arrives accompanied by archival photographs and newly authored liner notes from all three participants. Vinyl only; comes with printed inner sleeves.

"Cinema Paradiso Recordings is proud to announce the release of the soundtrack to the motion picture The Parallax View, on vinyl for the first time ever. Based on the book by Loren Singer, The Parallax View is directed and produced by Alan J. Pakula as the second installment of his 'political paranoia' trilogy -- alongside Klute (1971) and All The President's Men (1976). With cinematography by Gordon Willis (The Godfather trilogy, Annie Hall) and starring Warren Beatty, this political thriller from 1974 is perhaps even more relevant today than it was back then. The legendary score by composer Michael Small is regarded as a benchmark in the sound of paranoia thrillers that dominated cinema in the 1970s, with revered film critic Pauline Kael hailing the film as an essential for all fans of the genre. Now, forty-seven years later, the soundtrack will finally be available to own on vinyl. The CPR edition of The Parallax View soundtrack includes for the first time the infamous brainwashing scene, an influence on countless films and TV shows over the years. Notably, most recently with the Watchmen series and shows Mr. Robot and Homecoming even using the music from the film. Whilst researching to gain approval for this usage we discovered from Jon Boorstin, (assistant to Pakula on The Parallax View), that the unaccredited disembodied voice from the 'Parallax Test' scene belonged to director Pakula himself. This single LP, deluxe gatefold limited edition in colored vinyl, comes with liner notes that include two essays by Scott Bettencourt and Alexander Kaplan (of Film Score Monthly), which provide a fascinating insight into the making of the film and an analysis of the score." "Michael Small's score raises the spectre of all that is hidden in American history, and superimposes them in a collage that reveals itself to be the unseen hands that shape it." --Jim O'Rourke

Limited restock. The Boston Tea Party set from July 1969 on double vinyl. Excellent quality recording for all Velvets fans.

Monster grooves, driven by a perfect symbiosis of fiery oriental rhythms and the deep, relaxed heartbeat of the bass line, with virtuosic, intoxicating solos on bouzoukis, Farfisa organs, clarinets and violins. This is the sound of laika, Greek-oriental pop music from the '60s and early '70s that sets every dancefloor on fire. These 20 carefully selected songs serve as an introduction to this mind-blowing music for the non-aficionado, as it is the first album of its kind to be released outside of Greece or the Greek migrant communities. The extended and illustrated liner notes take you back to the heyday of Greek pop music and put this cultural movement into an historical perspective. Features Vassilis Vassiliadis, Stelios Kazantzidis, Litsa Diamandi, Stratos Dionisiou, Dimitris Xanthakis, Michalis Menidiatis, Panagiotis Michalopoulos, Podromos Tsaousakis, Katy Grey, Vangelis Perpiniadis, Ria Norma, Manos Papadakis, Babis Tsetinis, Charoula Lambraki, Vassilis Tsitsanis, Panos Gavalas, Sofia Kollitiri, Theodoros Sinaidis, and Giota Lydia. Includes a 16-page booklet with illustrated liner notes. Gatefold sleeve.

2021 repress, available in March. Soave present the first vinyl reissue of Giusto Pio's Motore Immobile, originally released in 1979. One of the most striking documents of Italy's minimalist movement, Giusto Pio's Motore Immobile is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view. Emerging on vinyl for the first time since its original pressing, Motore Immobile now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970s and early '80s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina, and Raul Lovisoni. An exercise in elegant restraint - note and resonance held to the most implicit need. Everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by piano, violin, and voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of 2017.

Narcotic is perhaps one example of an album in both camps of the Muslimgauze spectrum, it denotes the expertise acquired in oriental percussion by Bryn Jones after a crescent development and practice through action, part tribal, part ambient with shades of texturized noise, glitch details and field recordings, as result the listener is inside this intoxicant atmosphere of exotic madness, where the basic musical premise constituted by the consistent tribal beats from darbukas and tambourines contrasting radically with the eerie sounds from organic noise, distortions, and minimal jams. The opening track "Medina Flight" bangs on with a metallic sounding looped drum track that blares with distortion at some points while background voices chant out vocals nearly throughout. The track is flavored with other harsh sounds and even a few woodwind sounding instruments before subsequently breaking down and starting back in several times. "Believers Of The Blind Sheikh" is a ten-minute Middle-Eastern sounding dub track sprinkled with live drum sounds and more occasional vocal samples of unknown conversation. "Saddams Children" leans more toward traditional instruments, but one can hear the gurgle of electronics lightly in the background. The instrumentation of the album is amazing. Narcotic is a solid piece of work that covers quite a chunk of the electronic music spectrum, although a lot of the rhythms tend to fall on a little harder side. It manages to blend ethnic and electronic sounds into quite an interesting mix. The images of a surrealistic desert land inhabited by the bizarre and general strangeness abounds in between the strong rhythm usage and cinematic atmosphere unbound, subsequently the decisive progression from the album increases this sensation. The listener easily gets submerged into this opium like state, succinctly guided by the beats and echoes from oriental sounds that wander in and out of the speakers and far away and so close from the mind. Interesting and attractive the album keeps a middle ground status, half experimental and other half adapted for the tribal and linear structure common to Muslimgauze, the listener will find quite another of the many faces of this enigmatic artist. The D side contains two bonus tracks taken from the Iran CD. Recorded, engineered, mixed by: John Delf. Previously released as CD.

Gyropedie, Anne Guthrie's third record for Students of Decay, takes us further into her hermetic practice, wherein expertly captured field recordings, French horn, and electronics are woven into potent and richly imagined electroacoustic environments. In Guthrie's own words, "Quite literally a record of pilgrimage from East to West. Remnants of Midwest and East Coast soundmarks, instruments sold to lighten the travel load, sketched out and then buried under the new. Winter birds and crunching snow, frozen playgrounds, broken synths -- I spent a year decoupaging over this, but of course it's still there. A second moon appears occasionally in the daytime, and there are frequent, murky transmissions. California has something alien about it I'm still trying to grasp. Primarily vintage, unabashed, corny, I find myself becoming an impressionist." Anne Guthrie is an acoustician, composer, and French horn player. She studied music composition and English at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where she completed her Ph.D in 2014. Her music combines her knowledge of acoustics and contemporary composition/improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Her composition has focused on the orchestration of non-musical sounds, speech in particular. Her French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Her acoustics research has focused on the use of ambisonics for stage acoustics. Includes download code; edition of 300.

"The end sounds like the angels opening up heaven... Should we say euphoria?" This is Julius Eastman himself, speaking about Femenine, a piece that remains as a big and slow breathing, with something informal driving the listener to a near-hypnosis state. J.E. (1940-1990): There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic -- undoubtedly also one of the most powerful. And it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy. Performed by ensemble 0: Variable geometry group created in 2004. It interprets the compositions of its members and pieces by other composers. The group works with many regular and invited collaborators, being able to change, increase or reduce its lineup at will according to each project. Ensemble 0 has now become one of the most significant ensembles of a new sound vision. For this piece, ensemble 0, including this time Melaine Dalibert (piano), Sophie Bernado (bassoon), Cyprien Busolini (viola), Jozef Dumoulin (Fender Rhodes, synthesizer), Céline Flamen (cello) Stéphane Garin (percussion, artistic co-direction), Ellen Giacone (voice), Jean-Brice Godet (bass clarinet), Amélie Grould (vibraphone), Alexandre Herer (electronics), Tomoko Katsura (violin), Julien Pontvianne (saxophones, orchestration, artistic co-direction), and Christian Pruvost (trumpet).

Abelardo Carbonó, despite thinking "outside-the-box", recorded two brilliant albums in 1980 and '81 for Codiscos' imprint Costeño, as well as several other labels, his first being Africa llama (1978) under the band name Grupo Abharca for the Sonolux imprint Caliente in 1978. Guitarist, singer, songwriter, and one-time policeman Abelardo Carbonó (b. 1948, Ciénaga, Magdalena) hails from Baranquilla and his early work was different from his contemporaries. It was definitely not salsa, nor was it really cumbia. Rather, it was novel and genius polyglot stew of diverse musical strains with African roots but never before blended in this way. Styles like Afrobeat, soukous and highlife were effortlessly stirred together with elements of the Cuban son, touches of Latin rock and funk, with a pinch of calypso, a hint of Haitian compas and even a dash of rock and roll, not to mention a foundation of local coastal Colombian varieties like vallenato and porro. Carbonó himself has admitted that Venezuelan psychedelic Afro-rock outfit Grupo Bota was a big influence as well, and his father Abelardo Sr. was a famous porro and cumbia guitarist in Los Tigrillos. The particular blend Carbonó and his bandmates created sounded unlike anything else at the time, and is still refreshingly unique and hip today. It's as if Abelardo Carbonó Y Su Conjunto were the missing link between the 1950s pan-Caribbean acoustic guitar-led sounds of Bovea Y Sus Vallenatos and the more electronic and Africanized genres of champeta and terapia of more recent years. Joined by the crucial nucleus of his brothers Abel on lead guitar and Jafeth on bass, Carbonó's debut record Guana Tangula has a pleasingly easygoing, deceptively simple sound with a tropical, African vibe that features lilting acoustic guitars, pleasant but slightly odd vocals and snappy percussion that would change later with the addition of amplified electric guitars, drum machines, and loops. At the time it came out, it was a popular record. However, soon after he recorded his second disk for Codiscos, La Negrera Del Negrerío, things changed in Colombia due to the ascendancy of the drug cartels and "payola" was the name of the game, so Carbonó's brief chance at big label mainstream popularity lost out to huge bribes by the marijuana traffickers who wanted their preferred artists to rise to the top. Presented in its original artwork and pressed on 180 gram vinyl.

When Acid Mothers Temple and Richard Pinhas visited Lima for the first time, in November 2017, to participate in the experimental music festival "Integraciones", Luis Alvarado, the director of Buh Records and curator of the festival, summoned the Japanese and the French musicians to Manongo Mujica's studio and invited Juan Luis Pereira (El Polen) to join them for a recording session. The result was this album which finally comes to light, and where a variety of instruments and sensibilities are combined. The guitar sound of Kawabata, the leader of Acid Mothers Temple, merged with that of Pinhas, the leader of Heldon, creates a dreamlike atmosphere, which is supplemented with Mujica's Indian bells and drums, Pereira's pututos, moceño, violin, and charango, and the cosmic electronic sounds of the classic Roland synthesizer played by Higashi, from Acid Mothers Temple. Everything flows between quietness and abstraction, an atmospheric music that gives way to inspired melodic developments, which are fused with sounds coming from the Andean tradition, as well as with the classic textural and melodic explosions courtesy of Kawabata. All this is enhanced by the meticulous mixing and post-production work done by the Peruvian artist Ale Hop. Alturas ("Heights") is edited in vinyl format and is destined to become a milestone in the catalog of Buh Records, a label that has also released albums by El Polen, Acid Mothers Temple and Manongo Mujica.

LP version. Includes download code. New album by Jimmy Tamborello aka Dntel aka James Figurine aka one half of The Postal Service. Hailing from Los Angeles, Jimmy Tamborello has been a key figure in refining what today is considered electronica for over 20 years. The Seas Trees See is the first of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus: a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant, vocals and lyrics. Away, its counterpart album, will follow later in 2021. It will showcase Dntel's unapologetic love for pop music from a long-gone era, presenting yet another aspect of his multi-faceted personality. Dntel has always covered many musical grounds -- from the pop-infused hits on Life Is Full Of Possibilities (2001) to his much more abstract works on Aimlessness (2012), Human Voice (2014), and his electronics for The Postal Service. Whatever his style -- Tamborello has retained his very own musical voice. When it comes to producing music, it can be a good idea to get away from the studio and find a more relaxed environment. Inspiration does not necessarily require huge bass bins. Fewer pieces of gear make it easier to really focus on ideas first and let them be. After recording Hate In My Heart (LAC 013LP) -- his most recent album, released in 2018 -- this way, Tamborello continued working in that fashion, mainly jamming and getting ideas together for upcoming live shows. One of the first results of this creative process was the opening track of The Seas Trees See -- a cover version of "The Lilac and the Apple", originally recorded by Californian folk singer Kate Wolf in 1977. Tamborello turns the acapella song into a vocoder-like extravaganza. Working with the original recording, the track perfectly sets the tone for what The Seas Trees See turns out to be a quiet yet mesmerizing journey through sound and emotion, bringing together his very own sound design, disguised samples and an incredible feel for moods and atmospheres. Despite its perfect and gentle flow, it is worth digging deeper, to surrender oneself to all the painstakingly placed details. Whether the beautiful and haunting piano work on "Movie Tears" or the almost sidechained-sounding "Yoga App" --every aspect of this album has been beautifully crafted. Small things add up to something great, diverse and riveting. The subtlety of his latest endeavor is fascinating. It opens up a new world, in which small musical sketches mean at least as much as perfectly produced pop anthems.

DJ, producer, and Dial Records co-owner Lawrence produced his fourth album for Mule Musiq. The Berlin-based artist wrote nine new arrangements specifically for Studio Mule, the new audiophile listening bar that Mule Musiq's head-honcho Toshiya Kawasaki recently opened in Shibuya, Tokyo. "Toshiya's wine and listening bar was the inspiration for the project. I followed the idea of listening to music in this (for me imaginary) place on a magic vintage sound system, slightly drunk with an always special drink in my hand! The music is therefore also very eccentric and 'tipsy', improvised on acoustic instruments, synthesizers and computer, combined with recordings I did in Berlin's Central Tiergarten Park." Lawrence acknowledges the imaginative superstructure above his new album and his mode of operating during the recordings. Birds On The Playground features deep pulsating music that unfolds its true absorbing character when the auditor listens carefully to the detailed storytelling of Lawrence. Like always, his tunes have a special, radiant pulse, that somehow is a signature sign of most of his productions. Playful cosmic grooves, light-hearted, crafted with love and yet freshly unsettling in some moments. His arpeggiated melodies remind partly on the music of Hans-Joachim Roedelius. In other seconds, they display a jazzy spiritual character and drift into meditative areas, that sound to a degree like long forgotten Japanese folk music spheres. As Birds On The Playground isn't aimed straight for the dancefloor, the overall coating of the music is a relaxed, cautious one, that goes beyond the average definition of ambient music. Each track builds up gracefully, in order to present a mesmerizing musical architecture, that offers new sound dimensions with any fresh listening turn. As the record is made for Mule Musiq's latest public space enterprise, everyone who is closely connected to the label was involved. Mule Musiq's core artist Kuniyuki was in charge for the mastering. And the labels visual artist Stefan Marx painted the cover artwork.

In 1968, Los Shain's magnificent saga of beat, garage and psychedelia came to an end with the dissolution of the band. Pico Ego-Aguirre, the band leader and lead guitarist, embarked on a journey through the hard rock music that made its way to South America courtesy of Vanilla Fudge, Led Zeppelin, and Deep Purple, releasing a record with several tracks in this style with his brand-new line-up Los Nuevos Shain's. In those days, Peru was governed by a two-sided military dictatorship. On one side, it implemented progressive measures to defend popular sectors that had been ignored for decades by the State. But, on the other, it deported detractors of the regime, censored the media and, in the name of combating alienation, expressed strong views against the hippy movement, hitchhiking, and psychedelic parties, often cancelling gigs. Amidst the comings and goings of the so-called Peruvian revolution, rock bands latched on tight to sounds that were as harsh as the era they were living through. The elegant beat of Los Jaguar's, Same People, Los Sideral's, Los Benton's, and Los Zany's soon made way for the energetic rhythms of Cooking Morning, Elemental Music Group, Catarsis, or Los Comandos. Pico Ego-Aguirre travelled in a similar direction. An ardent fan of The Beatles, in 1971 he looked for musicians committed to following in the footsteps of his favorite British hard rock bands. By the end of 1971, Pico, his brother and guitarist Fernando and the vocalist Manolo Montenegro (all former Nuevos Shain's), together with the drummer Ricardo Macedo (ex-Mads) and bass guitarist Carlos "Oso" Torres (former Dr Wheat) were already rehearsing under the name of Pax, but nobody remembers who christened the band. In February 1972m Sono Radio presented them to the press. They started recording the first tracks straight away until disagreements surfaced about song credits. When "Oso" Torres quit, this exit signaled the end of the group. Pico closed the chapter on this initial line-up and went in search of what would become the classic Pax line-up. Three young Peruvians and a North American, all under the age of 23, put together an album with lyrics in English, vigorous guitar solos, double bass drum set and a record sleeve suffused with symbology, which the future Peruvian heavy metal movement would consider foundational. Original gatefold sleeve and artwork; includes an insert with extensive liner notes.

The Mickey Finn may not have notched up hit records, but their sixties adventures took them from the East End of London to trendy clubs in the South of France and the Bahamas. This collection of their work is an impressive tribute to their maverick, hedonistic spirit, comprising all their released recordings plus some "unissued at the time" 1966 tracks that have never been available on vinyl before. Guitarist Mickey Waller and drummer Richard Brand formed the earliest incarnation of the group in London's Bethnal Green in 1962. By late 1963 they'd added bass player John Burkett and lead singer Alan Mark and changed their name to the Central Sound. In 1964 the Blue Beat label had just released a single recorded by members of the Checkmates but credited to an as-yet fictional group, Mickey Finn & the Blue Men. After adding a new member, John "Fluff" Cooke on keyboards, the group began its real recording career in March 1964 when Oriole released a single featuring hip bluebeat arrangements of two R&B numbers, Bo Diddley's "Pills" and Jimmy Reed's "Hush Your Mouth". For the recording session at Regent Sound, they were joined by their friend Jimmy Page on harmonica. Page also played a handful of gigs with them and also blew harp on their next single, a version of Chuck Berry's "Reelin' and Rockin'" backed with an excellent punk R&B original, "I Still Want You". Shel Talmy took over production duties for their next single, released on Columbia in March 1965. On "Night Comes Down" Mark's brooding vocal is underpinned by a tense descending bass line by new member Mick Stannard, atmospheric keyboards from Fluff, and some wild, dissonant guitar work from Mickey Waller and Jimmy Page. Another Talmy-produced track, "It Ain't Necessarily So", also dates from this period. Although the group was kept busy with live work, they went out on a package tour with the Kinks, the Yardbirds, and Goldie & the Gingerbreads, the next Mickey Finn single didn't appear until July 1966. The Polydor release found singer Alan Mark backed by session players for a cover of Billy Stewart's "Because I Love You" and a number by American songwriters Pam Sawyer and Lori Burton, "If I Had You Baby". It's the real band playing, though, on two solid soul numbers, Lloyd Price's "Stagger Lee" and Bobby Bland's "Poverty", cut at Regent Sound in 1966 but unissued at the time. By 1967 Bernard Jory had replaced Mick Stannard in time for the explosive "Garden of My Mind", backed with the raucous Equals-style mover "Time to Start Loving You".

"Daughters of Darkness is a 1971 English-language Belgian horror film. Directed by Harry Kümel this cult erotic vampire film stars Delphine Seyrig, Danielle Ouimet, John Karlen, and Andrea Rau. The film was well received, and a retrospective poll by Time Out in the early 2010s placed the film at number 90 in their top 100 horror films. Its score was created by multiple award-winning composer François de Roubaix. It has long been a much sought after title, with De Roubaix' son Benjamin commenting that the 'composer achieves a perfect balance and the result is a bleak and eerie soundtrack that stands on a par with the music of Ennio Morricone in A Lizard in a Woman's Skin or -- in a different style -- that of Isaac Hayes for Shaft'. Parts of score would eventually be sampled by several hip-hop artists, including American rapper Lil Wayne on his song 'President Carter'. With the help of director Harry Kümel and Patricia and Benjamin de Roubaix, the soundtrack is available on vinyl for the first time. This 50th anniversary edition of 666 numbered copies is pressed on blue vinyl and contains an exclusive poster as well as a printed innersleeve. Plus, the package includes a 7-inch single (on red vinyl) featuring 'Les Lèvres Rouges' and 'Les Dunes D'Ostende, Flagellation'."

Finally, available on vinyl, 47 years after its original release on the Chilean label IRT, here it is Los Jaivas' La Ventana, the iconic album that includes the anthems "Todos Juntos" and 'Mira Niñita". Los Jaivas has often been considered one of the most important rock bands in Chile and South America. This influential Chilean band formed in 1963 mixes psychedelic rock and progressive rock with Latin American folk instruments and rhythms. In this album Los Jaivas shows many different artistic facets from improvisation and song writing to the first steps of symphonic creation. Original master tapes have been used for this reissue, following the reels find at the IRT vaults after years unavailable. State of the art technology has also been used to guarantee a top-quality remastered sound that shows music details barely noticeable in the original pressing. The artwork restoration process has been undertaken by Martín Uribe, a member of the band's team, with great attention to detail, by using several copies of the original issue. According to Felipe Domínguez (Al Albordaje Muchachos SPA), supervisor of this reissue project, "we aimed to publish a top-quality release, improving on previous rather average reissue editions. So, when we opened the box containing the tapes of 'la Ventana' and found the reels with all the annotations made at the time, we knew we would be able to make a difference." This is the first in a series of various projects that will make the musical heritage of Los Jaivas available again, including recordings that have remained archived for years and the reissue of other historical titles of the band. This is the aim of the Los Jaivas Cultural Foundation: "to pass on its experience to new generations, along with encouraging a love for music without distinction of race, faith, political color or gender," highlights Mario Mutis, bassist and vocalist of the band. Original artwork and complete tracklist. Gatefold sleeve; includes insert.

2021 repress. Feedback drenched noise for the classic "France" Demos from Japanese psych noise legend, Les Rallizes Denudes.

Punctual like a Swiss watch, Driftmachine presents a new album that once again astounds and delights. Spume & Recollection is the sixth Umor Rex album by the Berlin duo. Regarding Nocturnes (2014), their debut album, Umor Rex described their sound as precise and symmetrical, identical concrete blocks mounted and articulated in a random order. Their already obsessive style continued to evolve with their third record, Colliding Contours (2016), now pushing further into abstract dub, ultra-tense grooves, and even more kinetic loops, moving further away from conventional musical structures. Between these two albums they released the remarkable Eis Heauton (HG 1601LP, 2015), a kind of hypnotic experiment informed by shadowy atmospheres, chance, and an intuitive dialogue with their musical machines. A similar map was explored with Shunter (UR 113LP, 2018), a superb secret meeting between avant-garde phantasmagoria and concrete experimentation. Radiations (2017) offered B-sides and bonus tracks, in addition to collaborations with Shackleton and The Sight Below, a kind of preamble that united Driftmachine's different expressions and leanings. When Andreas Gerth and Florian Zimmer come up with new material, one listens with high expectation. Looking back on their discography, one could safely anticipate a high-quality album densely layered with their familiar leitmotifs. Yet, Spume & Recollection takes you by surprise and finds a new way to transfix. Fresh methods and ideas are introduced to their dynamics and formula. You can still expect a healthy dose of kosmische, a dominant feature in Driftmachine's DNA; but this is now entwined with novel materials, semi-material patterns of alien code stretching over exhilaratingly tense and detailed grooves, clouds of gas shifting on top of deep dub architecture and blocking out the sun for prismatic effect. Even more of a surprise is the immediate, streamlined nature of these tracks, making Spume & Recollection their most accessible record and, perhaps, the most addictive (and this without sacrificing the essential mystery and strangeness at the core of Driftmachine's sound). Umor Rex have previously described their work as post-industrial-dub; right now, it could be called hypno-music for man and machine to dance and dream together. Spume & Recollection takes this concept as far as it can go without breaking, and finds some strange new feelings, and weirdly danceable grooves, to shed some light on this dark and dazzling ride. Mastered by John Tejada. Artwork and photos by Daniel Castrejón. Violet vinyl; includes download code; edition of 300.

Recorded in Seattle in 1999, this monster record is now being reissued on vinyl remastered by Jack Endino. As soon as the opening track of Electric Children begins, you realize that The Monkeywrench have gotten much tighter in their second album, since their debut eight years before. The production also seems more raw, possibly due to the fact that the band moved from Conrad Uno to veteran Seattle producer Jack Endino, who also engineered the first releases from bassist Steve Turner and vocalist Mark Arm's other band, Mudhoney. Also contributing to the rawness of the record is the absence of Arm's trademark piano and organ. This enhances the energy, causing you to notice a more frantic, electrified side of the band. As on the debut album, Clean as a Broke-Dick Dog (1992), several genres of music are given equal time, including the country of "Thirteen Nights" and "The Empty Place", the rockabilly of "The Weasel's In The Barn", the Eastern modal quality of "Around Again", and the noise rock of the closing number, "In the days of the Five". The Monkeywrench have grown in their ability to craft a song, and the result is a masterpiece. Check this band: Mark Arm (Mudhoney, Bloodloss), Steve Turner (Mudhoney), Tim Kerr (Big Boys), Tom Price (Gas Huffer, U-Men), Martin Bland (Bloodloss, Lubricated Goat). Licensed by Estrus Records.

Canadian Berlin based producers Scott Monteith, aka Deadbeat, and Colin de la Plante, aka The Mole, announce the release of their debut collaborative album, simply titled Deadbeat Meets The Mole. While the two have performed and toured extensively together over the years particularly via their shared association with the Mutek festival and the Cynosure and Wagon Repair labels, this is the first time they've worked in the studio as a duo. Composed over the lockdown period in Berlin, the album's ten tracks traverse the full range of their shared bonkers musical interests, taking in low slung house, dub, hip-hop, and smoked-out sound collages. When asked about the albums motivations they had this to say: "I guess Capital H Hosers is a badge we could both wear pretty honestly. Perpetual tweakers of knobs and pushers of buttons both literal and personal might be another. Stay-at-home dads. Tellers of untold incredibly bad jokes. Yet miraculously, some 20 years on, still somehow on the same weird page, and counting our lucky stars for all you kind folks who still care to listen. We finally got around to making an album during this little unscheduled vacation from normal life, and we hope you'll have as much fun listening to it as we did making the stuff."

Eargong Records present a reissue of John Taylor's Pause, And Think Again, originally released in 1971. Pianist John Taylor's debut album featuring an all-star octet with John Surman (soprano sax), Stan Sulzmann (alto sax), Kenny Wheeler (trumpet), Chris Pyne (trombone), Chris Laurence (bass), Tony Levin (drums), and Norma Winstone (vocals). A great example of the fine art of British jazz in its marvelous original gatefold cover. A precious object from an unrepeatable era. Licensed from Turtle Records/Cherry Red.

Double LP version. "This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017. This material is the last concert he has gave. It took place at Cave12 on 02.02.2017. We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker. After this listening, we felt invested in having to make this archive public. In order to edit and work on this material, we asked Carl Michael von Hausswolff to do the mixing. At our request, this recording was organized in four movements. Stephen O'Malley kindly joined in the pre-edit process that took place on August 24 2020 at EMS Studios, Stockholm. Denis Blackham did the mastering. This process was carried out in collaboration with Rikke Lundgreen." Recorded 02.02.2017 at Cave12, Geneva by Benjamin Ephise; Edit by Stephen O'Malley and Carl Michael von Hausswolff at EMS, Stockholm; Mastered by Denis Blackham. Vinyl cut by Andreas Kauffelt at Schnittstelle, Berlin; Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection. Cave12/Editions Mego co-release.

Double LP version.includes four-page insert with photos and notes; each copy has been individually customized (album cover sealed and labeled one-by-one); edition of 500 (numbered). In four decades, the career of Esplendor Geométric hasn't had interruptions. They haven't stopped composing, releasing albums or playing live (with more intensity since the nineties). In 40 years, E.G. have left a discography of 23 albums, as well as singles, contributions to compilations, and cassettes published in different countries (Spain, Germany, Japan, USA, France...) They have collaborated with other artists like Francisco López (Biomechanica, with Arturo Lanz), Hijokaidan (E.G.Kaidan), Maurizio Bianchi (with Saverio Evangelista)... They have performed in more than 100 shows in Spain, France, Italy, Portugal, Germany, Japan, USA, UK, Russia, Lithuania, Poland, Sweden, Belgium, Switzerland, Holland, Denmark, Chile... and they have a full-length documentary film about them, (Geometría del Esplendor José Ramón da Cruz, 2016), has been filmed and has received various awards. 40 Años Nos Iluminan is not just another EG album, as they have reinvented themselves by taking inspiration from their own long career since 1980. The new tracks included on 40 Años offer better sound and compositions full of details, sometimes subtle, opening a new path of exploration that goes beyond the typical current industrial music, loaded with clichés. Here, E.G. experiment with noise, recorded voices, striking collages, and their trademark hypnotic rhythms of industrial trance. 40 years marks a turning and evolution of E.G., which however still sounds like E.G. 40 Años Nos Iluminan is offered on a double-album package with 16 exclusive new tracks recorded in 2020. Four are versions-reconstructions of old EG tracks by close artists, like Atom TM, Most Significant Beat, Pragma (Clock DVA, TeZ), and Moral Order.

The legendary Malian singer/guitarist returns with his most personal and immersive album to date. Intimately recorded with a small band, Binga dives deep into Samba Touré's Songhoy roots. During the 15th and 16th centuries the Songhoy people ruled the largest empire in Africa. It stretched across the entire western Sahel, famed for the glory that was Timbuktu. But there's another place that lies a little under a hundred kilometers south of that history. Binga is the region that encompasses the vast space below the Saharan desert in Mali. This is where guitarist and singer Samba Touré grew up, and it still owns his heart -- Binga is the title of his fourth Glitterbeat album. With Binga, Touré has made sure those roots show proud and strong. With his bass player having moved to the US, it was a stripped-down combo of guitar, ngoni, calabash, and other percussion that entered the studio to record Binga. The result captures the lean tautness of the sound. The only addition on a few tracks was harmonica. That paring-back to the bare bones gave the musicians space to create what Touré calls "a communion between the instruments." As always, the groove is the foundation, the circling, mesmerizing riffs of Touré's guitar and the heartbeat rhythm of the calabash. It's relentless, mesmerizing, and the voice and the commentary of the ngoni revolve around it. This is music without embellishment, the very essence of Songhoy. Instrumental flourishes appear, but they're only brief, sharp flashes, like the conversation between guitar and ngoni at the end of "Sambalama". The focus is kept squarely on the power of the songs -- all sung in Sonhgoy, unlike previous albums. Touré has never shied away from describing the realities of life in his homeland. "Sambalama" is a joyful statement of standing tall and hoping for better days to come while on "Kola Cissé" Touré offers a praise song the memory of the late head of the Malian Football Federation. Two old Songhoy pieces bookend the disc, "Tamala" and "Terey Kongo", and both are filled with light, celebrating the history of the Songhoy people. Binga is the music of a realist. It's a cry from the soul, but even more, an affirmation of a nation's history, and Samba Touré's pride in it.