The Caretaker slips beyond recognition in the first "post awareness" stage of Everywhere At The End Of Time. The ability to recall singular memories gives way to confusions and horror. It's the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition, and rupture. Though the metaphoric device of worn-down ballroom 78s and Jack Nicholson's descent into madness in The Shining (1980), The Caretaker connotes the transitory cognitive breakdown of moderate into severe late stage dementia. Memories of the good times are recollected in glitching pyknoleptic flashes as the music struggles to follow consistent lines of thought, instead fluctuating between a fractured mosaic of ideas and elusive emotive gestures, but still occasionally able to gather coherent thoughts. In aesthetic, the sieve-like mind state of Stage 4 vacillates a serene sort of psychedelia with utterly paranoid and petrifying mental subsidence. Smudged traces of sublimated musical hall memories give way to shocking tracts of atonality and discord with runaway rhythmic logic, perpetually tumbling farther into states of mind perhaps best compared with K-Hole-like dimensions or the babble of after-hours psychonautic journeys. The concision of previous stages is here replaced with wandering, side-long tracts. Three of those are titled "Post Awareness Confusions" and correspondingly explore and reflect agitated, irritable mindsets as they navigate an ephemeral, confusing complexity of structures. The other piece is called "Temporary Bliss State" and starkly contrasts the other parts in a coherently lush traverse of ambient crackle and glittering melody... Artwork by Ivan Seal. Mastered and cut by Lupo. Double-LP comes in gatefold sleeve.

Private press library recordings of the early '70s. Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly mainly responsible for the fruitful encounters between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a "library" recording to be used for films, TV, and radio. As a library recording. it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure "kraut" ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration (1976), Haleakala (1978), Ecstasy (1979), and Silence Is The Answer (1981). Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative "space-relax" tones of some tracks ("Triad", "Deep Sea", "Gothic Velvet", or "Evening") to the most amused formulations of pulsating analog synths that in the hands of Deuter become "toy-equipment" to modulate and explore ("Desert Rock", "Synth Effect", "Flea Dance", or "Laser"). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian ("Reed", "Arabia") or devotionally solar themes ("Tom Bombaddils Dance"), evoking an air of diffuse peace then completely conquered in the beloved India.

LP version. King Tubby's Hometown Hi-Fi was one of the great sound systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to entice the dance's audience. The tracks at the time were mainly cut over producer Bunny "Striker" Lee rhythms, that Bunny stored at Tubby's studio, 18 Drumilly Avenue, Kingston, Jamaica. The versions were given exclusive plays at Tubby's sound before some finding their way on to vinyl, as the B Side version cut to its A Side vocal. It proved so popular that the records were often brought for its version side over its vocal counterpart. Jamaican Recordings have compiled a selection of cuts that were all tried-and-tested on Tubby's Home Town Hi-Fi sound system and that worked a great set of Bunny Lee's rhythms in fine style. Some of these cuts found a release as version B sides but many on this set were exclusive dub plates unreleased until now. As Cornell Campbell says of the set "King Tubby and Bunny Lee will never go away".

Singular avant-garde voice Ashley Paul commits a bewitching debut to Slip with Lost In Shadows; a tender yet discordant suite inspired by her new role as mother to a young child. Few would call Ashley's music "easy", but it is also heavily rewarding in its own, uncompromising way and now finds its audience on the acclaimed Slip imprint amid a roster of boundary-morphing composers including Chaines, Mica Levi & Oliver Coates, Yeah You, and Laurie Tompkins. Recorded over three weeks at FUGA in Zaragoza, Spain and premiered at Counterflows 2017, on Lost In Shadows the multi-instrumentalist plays guitar, sax, clarinet, voice, and percussion. In a mark of distance traveled since her last album, however, she draws on recent collaborations and work with pre-eminent composers such as Rashad Becker, Lucy Railton, and Rhys Chatham to also delegate roles to a new ensemble of players on tuba, baritone sax, cello and percussion, who serve to render the dynamics of her music with stronger attention to bass rhythms and intricate, iridescent dissonance. The expanded personnel lend new flesh to Ashley's work, hinging around her tremulous vocals and bringing her ideas to life in 11 parts that hold to a perceptive knife edge between lullaby-like and restlessly tooth-achy: mixing the off-key filigree of her vocals at asymmetric tonal angles to the instrumentals -- a solution of jazz, chamber music, modern composition, and folk craft expressing a complexity of ideas that may well have fallen apart if handled by composers unable to hold their nerve quite as well as Ashley. As with all her works, a sense of intuitive, instinctive alchemy is at the core of Lost In Shadows, as Ashley's jarring tonal juxtapositions and her own elusive vocals act out a metaphor for the challenge of nurturing new relationships in testing circumstances, an experience she describes as "many hours spent awake at night in a dream like state of half consciousness, darkness and solitude; an overwhelming feeling of loneliness and exhaustion made light by a profound new love." Ultimately, the results are cranky as much as delirious, uncannily relaying a state of mind and sensations which will only ever be felt by some of its potential listeners yet offers myriad possibilities for interpretation to all. Artwork by Gayle Paul.

"You've got to listen to this band, you'll really like them, I know." A Colourful Storm presents the first-time vinyl issue of Blueboy's The Bank Of England, originally released in 1998. The group of Paul Stewart, Keith Girdler, Cath Close, Ian Gardner, and James Neville are Sarah Records royalty alongside The Field Mice, Heavenly, The Wake, and The Orchids, and this is the final recording from arguably the most beautiful, afflicted band of '90s indie-pop and DIY. One of the true treasures of modern pop music. Mastered from the original recording tapes with assistance from Sarah Records and Shinkansen Records' own Matt Haynes. Full color reverse-card LP sleeve with printed insert.

LP version. Dorias Baracca's existence was cut short when lead singer and main songwriter, Buster Svendsen, passed away in the summer of 2011 -- incidentally the same day as the album was completed. This is the first time this material has been released. Swirling, melodic dream-pop wrapped in loud, kaleidoscopic guitars, heavy drums, and ecstatic noise. Bleak but sensuous, visceral but tuneful, brimming with youthful wonder and confusion. Dorias Baracca was formed in Odense, Denmark in 2007. They released an EP on Club AC30 in 2010, a release that received plenty praise: "... Already light years ahead of many peers who've spent entire careers searching for a similar happy medium", wrote Drowned In Sound. It turned out to be the band's only release while in existence. Slowdive never sounded this loud, hard-hitting, and desperate. My Bloody Valentine was never this colorful and psychedelic. Dorias Baracca married the thick haze of guitars to trippy psychedelia, and ultimately had as much in common with American bands such as (early) Smashing Pumpkins and Dinosaur Jr. as with the more ethereal British bands. This album would be the last thing the band ever recorded, and for various reasons it has remained unreleased since its completion in 2011, until now. Although they were only in their late teens at the time it's a fully formed album: it's the sound of a band with total confidence in what they're doing, superb skills for melody and arrangement, as well as youthful energy.

"When it comes to living legends in the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than vocalist, songwriter and bandleader Sunny Ozuna. Born and raised in San Antonio, where he still resides, Sunny became a star right out of high school in the late '50s and hasn't looked back in the six decades since. After releasing dozens of albums since the mid-1960s (in Spanish and English), Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His classic 45s regularly change hands for hundreds of dollars among collectors around the world, affirming his timeless appeal. As a logical next step after Big Crown's excellent (and Sunny-approved) Mr. Brown Eyed Soul compilation from September, the label has started digging into the vaults of Sunny's Key-Loc Records label to unearth some legit soul classics -- which are hard to find even in San Antonio, and clean originals will cost you a pretty penny if you ever luck into one. The album has been remastered and includes original album art. The band is tight, the sound is honest, the vocals are dusky and deep, and the album is an undeniable soul and Texas music classic, ready to be discovered by a whole new generation of music fans. Dive in and be ready for a permasmile, thanks to that patented Sunny sound."

LP version. Bureau B present a reissue of Tyndall's third album, Reflexionen, originally released in 1982. The third Tyndall album is less experimental than the electronic duo's previous work from 1981 Traumland (BB 287CD/LP). The songs, featuring vocoder vocals, are more clearly structured into verses and choruses, the arrangements more considered. Stylistically, Reflexionen is a mix of synth-pop and electronic krautrock, at times not a million miles away from the early works of Andreas Dorau. More so than on their preceding instrumental albums, Tyndall's Reflexionen held a mirror to the band members' personal situation and the prevalent mood of the period during which they made the record. First of all, the two musicians (Rudolf Langer, Jürgen Krehan) had relocated to West Berlin, an exclave in the GDR. Due to the fact that German military was forbidden by the Allied Powers in West Berlin, neither Krehan nor Langer had to do national service or its alternative, community service. Meanwhile, 1982 was the year when German-speaking pop and rock found its way into the charts alongside old-fashioned Schlager songs. Punk and new wave had done the groundwork a few years earlier, but the music of bands like Fehlfarben, Deutsch Amerikanische Freundschaft, or the Doraus Und Die Marinas were now ready to enter the mainstream under the banner of Neue Deutsche Welle. Music with German lyrics was flavor of the season. On a lot of tracks Jürgen Krehan sings in German on Reflexionen as well (using a vocoder). Reflexionen is a less experimental album than its predecessor Traumland. Due in no small measure to the vocoder vocals with verses and choruses, the tracks feel more clearly structured, the arrangements more considered. Bass octave, simple, breezy, dreamy harpsichord melody sprinkles, cheerful, carefree, sometimes enigmatic lyrics. The album closes with a series of eminently listenable instrumentals, which hint at the next stage of musical evolution which would ultimately reach its conclusion on the fourth and final Tyndall album.

Starting with an artist residency Tasos Stamou visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean. Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist, and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a "portable electroacoustic music studio". His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. Artwork by Tasos Stamou. Mastered by Rashad Becker. Edition of 300.

LP version. Everland present a reissue of the Tutt Band's self-titled album, originally released in 1988. This is the only album from the Tutt Band known to ever be recorded. The ultra-rare and sought-after boogie-funk LP on Spoonful Records out of Phoenix, Arizona was released in 1988, but style-wise it sounds much more like being recorded in 1983 or 1984. It contains ten very solid and good tracks -- both club tunes and slow jams -- that all hit the required spot. There's also some treats for all Roger Troutman and vocoder lovers. Head straight to the ultra-dank tracks "Get It On" and "She's Got It Going". In retrospect the Tutt Band has been one of the little known but essential groups whom created the funky and beat-heavy, new jack swing sound that dominated American R&B from the mid-eighties and early nineties.

LP version. Everland Jazz present a reissue of Gunesh's Гунеш = Gunesh, originally released in 1980. The Gunesh Ensemble was founded in 1970 in Ashkhabad, Turkmen Soviet Socialist Republic, then part of the Soviet Union. They started out as a vocal group with supporting musicians from Turkmenistan State Radio and TV. Later several young musicians came to play with them and the band's music became much more modern. The group began to play jazz-rock tightly intertwined with traditional Oriental music. With that new musical style, the band participated in some popular festivals around the Soviet Union. They received various awards and became very popular. Gunesh was always in the process of developing and they were one of the first and best local jazz-groups to organically combine the principles of jazz and melodic improvisation. The remarkably beautiful arrangements and polyrhythmic compositions were always further developed thematically. This process was highly praised at the Moscow competition With A Song On Life in 1977 where the ensemble became a prize-winner. The Organizing Committee of the Festival Spring Rhythms in Tbilisi (1980) named members Rishad Shafi the best drummer and Stanislav Morozov the best saxophonist. This album, their very fine first LP, was originally released in 1980 on the Soviet state label Melodyja and contains traditional Central Asian music in jazz-rock arrangements along with the appearance of a Vietnamese singer. The line-up has changed many times. Around 65 musicians have been a member of the group at some point in time.

"Debut vinyl by the guitarist of Donkey No No presents two different sides of this mysterious maestro. 'Zoltar Hid All the Locks' is a full on studio quintet session where Jeremy Latch (formerly of the Grudges) played clarinet, Adam Langellotti (ex-Grudges, Sore Eros, etc.) played percussion and ran the board, Matt Robidoux (ex-Speedy Ortiz, Curse Purse, etc.) played guitar and drum box, and Jen Gelineau (Donkey No No, Egg Eggs, etc.) handled the fiddle. The sound on this ranges from Donkey No No's woodsy smoke house charm to segments that really channel early, just post-Barrett Floyd without doing any apery. The 'Minnows' side is all Omeed, doing solos tunesterism then taking on the brute fascism of Dumbledonny Trump the way only an American with a Middle Eastern background can. The side opens with Omeed working in an ur-American tradition (somewhere between Buck Owens' 'Act Naturally' and Paul Newman's version of 'Plastic Jesus' from Cool Hand Luke). From there, reality starts to get sliced, like shifting shards from the brain of Philip K Dick. Songs, constructions, faux-Sinatra homages and flat-out collages bend through each other in unexpected ways, culminating in sequential tape assemblages that says FUCK YOU TRUMP as loudly as anything I've yet heard. Jump on the Omeed train. Your children will be proud you did." --Byron Coley, 2018 Edition of 300.

Debut album by Psychological Strategy Board -- the soundtrack to director Richard Kovitch's 2017 film about the incredible, untold story of the British artist Penny Slinger and the traumatic events that led to the creation of her masterpiece, the 1977 photo-romance, An Exorcism. Paul Snowdon (Time Attendant) and Maybury played, recorded, and manipulated live performances (using synths, electronic boxes, and laptop) to create unique, often unsettling soundscapes inspired by the work of Slinger. Penny Slinger embraced her generation's quest for personal and sexual liberation, and channeled these desires into her ground-breaking collage, films, and sculptures. So powerful was her vision that 45 years later her work is still influencing contemporary artists. Richard Kovitch's film documents Penny Slinger's life during this intense period of creativity and considers the relevance of her work to subsequent generations. From the grey suburbs of Surrey, via the Kings Road art scene of Swinging London, all the way to the galleries of Los Angeles, New York, and Tokyo, and detailing her extraordinary collaborations with the cult filmmakers Peter Whitehead, Jack Bond, and Jane Arden, this is a portrait of an artist expressing herself so definitively, fresh insight is gained into the 1960s counter-culture and art's power to liberate is celebrated.

2018 repress. Double LP version, housed in a thick, embossed gatefold sleeve. Subtitle: Esoteric, Modal and Deep Jazz from Around the World, 1961-79. Until it was swept aside by the pop explosion of the 1960s, jazz was the most popular modern sound on earth. From the New World and the Caribbean to Africa, across the Soviet Bloc and the British Empire to the Far East, jazz music was embraced, adopted, played and enjoyed. Having examined spiritual jazz as it was expressed in the U.S., and followed its messengers and influences in Europe, this fifth installment of Jazzman's Spiritual Jazz series presents jazz from the rest of the world: a collection of jazz messages hailing from the four corners of the world that are united in their diverse treatment of the jazz idiom. Jazz might have been the music of America, but in its beginnings it was not a purely American creation. The long story of its development stretches across the Atlantic, from Africa to the crucibles of slavery in the Caribbean and the Americas, both North and South. It was a music that ultimately emerged from the varied and resilient cultural achievements of Africans brought to the New World in bondage, and who brought with them a multiplicity of musical traditions. Evolution and development continued and, like a dandelion dispersing its airborne seeds via the wind, the sounds of jazz were carried around the world on the airwaves, record sales and by travelling musicians. In whichever continent the form took root, the individual, ethnic and cultural circumstances of the musicians decided the flavors and nuances of the jazz they created. This volume of Spiritual Jazz presents some of the rarest and most extraordinary global jazz recordings. Jazzman have covered some of the wider world's best known yet still underexposed jazz scenes -- places such as Argentina and South Africa, as well as some of the world's most obscure. There are recordings here made for major labels, and recordings issued privately. Very few of them have seen any release outside of their country of origin prior to this collection. But all of them speak of a period when jazz was a global musical lingua franca, spoken with ease by musicians who headed out into the night to produce their own distinctly local translations. This is esoteric jazz, modal jazz, spiritual jazz -- as played by musicians from around the world. All tracks fully licensed and digitally restored from the original master tapes. Comprehensive liner notes with added individual notes on each track and original stories direct from the musicians involved.

Word Color is a nine-song mini-LP in which Gacha Bakradze gives free rein to his most introspective electronica. This imaginative producer from Tbilisi, Georgia has deservedly earned plaudits throughout the European scene, becoming a main-stay of the Belgian label Apollo for whom he has released half a dozen releases to date, receiving reviews from prestigious publications including Pitchfork and Resident Advisor. Word Color is a cinematic arrangement of captivating melodies, rhythmic experimentation, textured landscapes, and micro-vocal samples. Gacha has once again reinvented his musical ideology, bestowing it with mood defining authenticity and excitement, through superbly and dexterously programmed rhythms and harmonies. Songs like "Leaf", "Oneself", and "Stray" travel into ethereal wastelands and are ambient soundscape pieces replete with nuances and unexpected twists. Word Color also makes room for beats, with the low pulse of jungle rhythms in "The Prayer"; IDM and electro fusion in "Word Color"; and even the sound of hi-tech breaks in "Sarphi Rocks".

2018 repress. "Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that's equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar, and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic its only authorized reissue. Audio restoration by Anders Peterson. 180-gram LP in old-style tip-on jacket. Insert is packed with info thanks to Nick Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent -- and perhaps most unlikely -- psychedelic groups to ever record an album." 180 gram vinyl; Edition of 300 (hand-numbered).

The first collaboration of Kuniyuki and Japanese legendary jazz pianist Fumio Itabashi, originally released in 2009, recorded for Kuniyuki's third album Walking In The Naked City. Kuniyuki and Itabashi invited Henrik Schwarz as vocalist, you might remember Henrik and Kuniyuki's house version. Itabashi said "River" is one of the best songs he has produced. Finally available on vinyl!

"Marc Bolan was only a member of John's Children for a few short months, but the experience would have an indelible impact on the future trajectory of his music. . . . The group's first single for Track would be a Bolan composition, 'Desdemona'. . . . The next single, 'Midsummer Night's Scene', was scheduled for release in July but was cancelled at the last minute. . . . Bolan departed [...] but John's Children recorded one more of his songs, 'Mustang Ford', which they repurposed as 'Go-Go Girl' . . ." --Mike Stax, Ugly Things

Answer Code Request returns with his sophomore album Gens on Ostgut Ton, entering darker but equally bass-heavy territory. Answer Code Request's 2014 debut Code (OSTGUT 031CD/017LP, 2014) was an exciting moment for electronic music in Berlin. As a hybrid gesture, the album's spirit recalled an especially fruitful era in the German capital from the mid-90s to early 2000s, when dub and pad-driven Detroit techno cross-pollinated with Berlin's industrial aesthetic to create one of the city's most exciting musical chapters. Today the musical vision offered by Berghain resident Answer Code Request, real name Patrick Gräser, has proved far-sighted. While at first glance electronic music in 2018 seems increasingly balkanized, borders between genres have once again become fuzzier. Now, on his follow up album Gens, Gräser looks beyond the bass euphoria of Code toward darker horizons and a desolate atmosphere befitting of current global circumstances. In a sense, Gens (Latin for "tribe" or "lineage") reverses the notion of the hardcore continuum as proposed by music journalist Simon Reynolds; embedded in a tradition of US and continental European techno, Gräser seeks its disruption through hardcore outgrowths, from ambient jungle to later variations of British bass music and IDM. On Gens, the unsettling atmosphere is established early on with the fading rave opener of the album's synonymous title track, and continues through the scrambled military communications and post dubstep rhythms of "Sphera". From there, sci-fi pads, heavy phasing, and alien syncopation lead explorative third track "Ab Intus" out into space. A glimmer of otherworldly positivity arrives with the warm, distorted breakbeats and interwoven synth melodies of album standout "knbn2", while Gräser melds jungle and techno, "Amen", and 4/4 kicks, on his most dancefloor-oriented "Cicadae". Beatless moments of ambient melancholy lay a foundation for the second half of album, where soon the faster, more hectic stereo delays, broken rhythms, and heavy bassweight of "Audax" and "Tu" shift the focus back and forth between double and half-time. The hyper-distorted bassline, synthesized ember crackling, and contemplative melody of heavy album closer "An Unattainable Distance" provides perhaps the most otherworldly moment on Gens. Here, Gräser's massive sound trudges away from the dancefloor with a slow, resounding kick drum, pounding off in the distance and into an electronic abyss. On Gens, Gräser continues to offer an alternative, bass-heavy, and groove-based path forward for techno -- one that both challenges listeners and leads them through a sonic narrative.

A gem of a track from the final studio album Dreams (1990) that all by itself has gained new life through organic streaming and some hefty YouTube viewing (more than 20 million), making it the most streamed song in the catalog, by far. So to balance it out Rune Grammofon present a vinyl single edition of 500. Here it is backed with the beautiful instrumental "The True Story", previously only available as a B side on the Everytime I See You single from back in 1986.

Double LP version. Gatefold sleeve. Running Back welcomes Andreas Grosser for the start of the label's non-dancefloor series Running Back Incantations. Think Tornado Wallace's Lonely Planet (RB 009CD/LP, 2017) or Suzanne Kraft's Missum (RB 046LP, 2014) who both would have been good and early contenders for a series like this, and you are half way there. Andres Grosser though, was "there" and that way before. Probably best-known for his 1987 collaboration Babel with Klaus Schulze (1987), Grosser is a bit of a dark horse in the universe whose big bang was krautrock and that went on to be called cosmic, space music or simply new age. A native East-Berliner, Grosser crossed the Wall in 1981 and next to studying piano, his day job was to advise, sell, maintain, and invent electronic music instruments. Naturally, Grosser had a good connection to and support from local Berlin musicians and groups, while working at night in his own studio and in those of others. Fast forward 37 years and Andreas is now one the world's leading microphone technicians specializing in German and Austrian vintage types. Venite Visum is an anthology of recordings made between 1976 and 1980. Released in 1981 on UK's York House Recordings as a cassette-only release, it features some of the most out-there, hypnotic, and still state-of-the art space music known to man. For the first time transferred onto vinyl and compact disc, it was perhaps best described by one reviewer at the time as; "powerfully relentless, repetitive themes which are constantly embellished and subjected to variations in tone colour and instrumentations. The music surges, coming in waves that approach and recede, but with each surge the waves seem to be higher up the shore." Now carefully transferred from an archived tape, remastered, and compiled here, it features the previously unreleased and no less mesmerizing "The Quantum Jump". Come and visit the hidden and almost forgotten.

LP version. "Rising from the wreckage of a war-torn planet, Czarface joins forces with MF DOOM in the epic Czarface Meets Metal Face! Blending DOOM's trademark abstractions and Czarface's in-your-face lyrical attack, this album is ripe with cartoon violence, societal observations and pop culture musings. Over banging beats provided by The Czar-Keys, the armored team give you the witty unpredictable treats any hip-hop fan can sink their fangs into. Expect beats, rhymes, and metal as Czarface controlled by Wu-Tang Clan powerhouse Inspectah Deck and 7L & Esoteric team up with everyone's favorite villain, MF Doom. With track titles like 'Nautical Depth', 'Meddle With Metal', 'Astral Traveling' to 'Madness of Badness' this album packs a punch with 16 brand new tracks. Add that with features from Open Mike Eagle and Jedi Mind Tricks' Vinnie Paz, we promise you mind-bending metaphors and brain-melting beats as this powerful pairing sounds off!"

2018 repress. This is the debut album by K-S.H.E (Kami-Sakunobe House Explosion), a project from internationally-celebrated producer, label owner and DJ, Terre Thaemlitz, first released exclusively in Japan on Terre's private label Comatonse Recordings in 2006. Routes Not Roots combines Terre Thaemlitz's notorious "fag-jazz" sound with the classic New York deep house and cross-over dancefloor sensibility of DJ Sprinkles' Deeperama series. The results are spacious, bass-heavy, epic dance mixes filled with dark humor and harsh realities. As people have come to expect of Thaemlitz releases, Routes Not Roots mixes a wide range of social themes such as identity vs. immigrant status; community vs. tranny-on-tranny violence; authenticity vs. cultural decontextualization; openly gay African-American club imagery vs. gay sex on the Down-Low; innocence vs. childhood fantasies of violence; and more. From HIV drug trials to tranny and women's unemployment rates to sexually amorphous Japanese cross-dressers posing as high school girls, K-S.H.E doesn't miss a beat. This album contains 12 amazing cuts and is clearly one of the best house albums, ever. "Today's dancefloors are wakes in remembrance of a mythological era of openness that never was. Remember where you were. See where you are.... I'm in Kami-Sakunobe." --K-S.H.E

2018 repress. Double LP version on 180 gram vinyl; includes download code. Soundway Records present 24 Hours in a Disco 1978-1982, seven cuts of relentless disco grooves from the sublimely gifted Kiki Gyan. Hailed as Africa's answer to Stevie Wonder, Ghanaian multi-instrumentalist Kiki Gyan was a musical wunderkind, who, by 1975 had risen from the lowly status of high school dropout to being ranked eighth in a poll of the greatest keyboardists in the world (occupying the rarefied air of the top 10 with heavyweights like Steve Winwood, Billy Preston, and Stevie Wonder) as well as becoming an in-demand session player in the top recording studios of London -- all before his 21st birthday. Out on his own, he produced a series of highly ambitious disco records aimed at positioning him as an international star, but weighed down by the excesses of the era, Gyan saw his meteoric rise matched by an equally swift fall back into obscurity. Loved dearly by his contemporaries and sorely missed since his death in 2005, the story of the life of Kofi Kwarko "Kiki" Gyan is one often told with warning by his friends to the new generation of aspiring Ghanaian pop-stars. Soundway Records now collects the best of Gyan's work as a frontman and solo artist, featuring an array of electrifying disco grooves that still sound contemporary (and in some cases futuristic) decades after their initial release. Accompanied by detailed liner notes written by Uchenna Ikonne. Tracks recorded by Kiki Gyan and Gyan's bands K.G. Band and The Twins.

Shorelights is a collaborative ambient techno project featuring Rod Modell (Deepchord, Echospace, Waveform Transmission, Transformations), and Walter Wasacz and Christopher McNamara of the Detroit-based audio-visual collective nospectacle. Ancient Lights expands the vision and the range of the Shorelights aesthetic, heading into deeper territories of inner and outer space. It's ambient for body and spirit, sound designed to make the human heart dance.

2018 rperess. Reissue of Current 93's seminal double album from 1992, Thunder Perfect Mind. Newly and perfectly remastered by The Bricoleur, this reissue comes with a new face to the old sleeve designed by Ania Goszczyńska. Comes on transparent purple vinyl and includes a four-page lyric insert. This reissue marks the first time that Thunder Perfect Mind has been available on vinyl since its first pressing in 1992.

Fluxion's Ripple Effect is the film score for a non-existing motion picture. This nine-track album is the result of experimentation and the combination of the producer's two most cherished art forms: electronic music and score music. Ironically the two worlds rarely seem to meet, despite the fact that score music has adopted a looser form in order to better adapt to film accompaniment, bringing it closer to electronic music which attempts to contradict form or shed it altogether. Fluxion felt the need to bring these two musical forms into dialogue with each other, lending structure to electronic and deconstructing score music to create a malleable and expressive hybrid. The album's production took two years from its original conception for the subliminal story to unfold into the completed product. Fluxion wanted to say as much as possible through the music, leaving the visuals as a blank canvas for the listener to create their own story. In the end, the goal is to give each member of the audience a unique audiovisual experience based on their own perception and interpretation.

2018 repress. ESP-Disk present a reissue of Charles Manson's Sings, originally released as Lie: The Love and Terror Cult in 1970. Charles Manson visited New York City in the early '60s with his guitar and his songs in a vain search for recognition. Later, he had better luck in Beverly Hills, where famous musicians let him use their studio to produce this album. He has vocal backup from the women of the "family". During a stay in a San Francisco prison, he met a fellow inmate and gave him the album to release. While Manson was being tried and convicted of participation in his notorious murder spree, the government attempted to discredit the hippie movement by citing him as an example, hoping to stem the rising tide of anger among the population over the war in Vietnam. This album has achieved cult status among connoisseurs of '60s folk-rock. Personnel: Charles Manson - lead vocals, rhythm guitar, tympani; Bobby Beausoleil - electric guitar; Paul Watkins - French horn; Catherine Shore - violin; Dianne Lake - recorder; Steve Grogan - electric bass; Mary Brunner - flute, vocals on "People Say I'm No Good"; Nancy Pittman - vocals on "Arkansas"; Sandra Good, Catherine Share, Lynette Fromme, Nancy Pittman and Cho-Cho - backup vocals. Presented here on red vinyl.

2018 repress. Double LP version. "Mandorla Awakening II: Emerging Worlds is Nicole Mitchell's second album for Chicago-based FPE Records. Recorded in May of 2015 at Chicago's Museum of Contemporary Art, it features her longtime collaborators Renee Baker (violin), Tomeka Reid (cello, banjo), Alex Wing (electric guitar, oud) and Jovia Armstrong (percussion), along with new members Tatsu Aoki (bass, shamisen, taiko) and Kojiro Umezaki (shakuhachi). Also in the mix is Chicago artist, scholar and poet Avery R Young, who brings her lyrics to life with visceral humanity. Composer and flutist Nicole Mitchell, once hailed by Chicago Reader music critic Peter Margasak as the 'greatest living flutist in jazz', continues the work begun when jazz visionary Sun Ra and his Arkestra first touched down on Planet Earth and told humanity that space (outer and inner) is indeed the place. As with contemporary Afrofuturist pioneers like cosmic jazz saxophonist Kamasi Washington, post-everything beat maker Flying Lotus, R&B cyborg Janelle Monáe and dystopian noise-rappers Death Grips, she uses Afrofuturism as a platform to launch her own, unique vision. Her vast sound often encompasses contemporary classical, globally oriented fusion, gospel, spoken word, funk-inspired groove research and even brittle shards of avant-rock. Mandorla Awakening II collides dualities such as acoustic vs electric, country vs urban, simple vs complex, while also sounding through intercultural dialogue between Black, European and Pan-Asian improvisational languages. The outcome is a creative music suite that blurs musical styles into recognizable fragments that weave a unique sound fabric, where human emotion and the struggles of today swim."

LP version. PMG present a reissue of Murphy Williams's She Is My Woman, originally released in 1981. "She Is My Woman is Murphy William's loose, funky and spontaneous call to the dance floor. It's an infectious collection of good-time tunes that the band seem to be enjoying as much as the listener. Williams was a stalwart of the Nigerian music scene, joining Godwin Omabuwa's Cassanova Dandies at 17 before becoming one of the two lead vocalists of The Apostles from Aba. He was famous for his distinctive four-octave voice, a voice that legendary label boss, Godwin Tabansi decided was perfectly suited to the new disco sound that was gripping Nigeria. The title track gets the party started with Felix Liberty providing the good-time guitar riffs, Friday Pozzo on congas and Sonny Enang keeping it light on keyboards. The vibe is tight and bright, breathy a breezy charm into disc-tied versions of Igbo folk songs "Selense" and "Ima Obi O". The undoubted highlight of the album is "Get On Up", a certifiable disco classic that would slay any dancefloor anywhere in the world. It's funky, it's fun and by the time the lyrics implore the listener to get on up and dance their feet have already been convinced by the music. Put it on and it's guaranteed to get any party started." --Peter Moore

A proudly nonconformist and multifaceted electronic artist, David August went on hiatus for a year. Taking time to reflect and discover unknown paths in both, musically and personally, August connected to his Italian roots, drawing inspiration from its history, rich culture, and diverse landscape. The result is a new language of sound and space that until now has remained hidden inside of him. Ready to come back, August emerges with a new label, 99CHANTS, a finite project limited to 99 releases. Offering an openminded platform for a diverse range of artists, the label aims to contribute to culture and society in a positive way. The first release comes from August himself. Ambient in form, DCXXXIX A.C. marks the first step that will lead to a bigger picture. David in his own words: "A couple years ago, I found myself in jam sessions, naively messing around with sound; no rhythm, no structure. Not considering any borders, trying to 'think' about music, as subconsciously as possible. It's been a vein in me ever since, which I developed and explored quietly in my personal space, slowly realizing that half of me somehow existed in this realm; so-called ambient music. During these years, a relevant amount of drafts came together. While working on my main project last year, I decided to present this other side of me in an own independent way, to initialize a path that would be continued. I founded a new label, 99CHANTS, a dream I wish I could have realized earlier. . . . Everything relies on these two things, in my opinion. The record is 60 minutes in length and contains 24 tracks, which I see as being all linked together, forming a single, extended breath. As my most recent work pulls inspiration from my Italian provenience, so does this album. I go back in time, finding myself surrounded by the nature and old spirits of an ancient commune, in the middle of the country. Relating to the details of a land, it's a soundtrack to a time and space unknown. Generally speaking, the tracks took shape rather quickly, trying to believe in the moment of what a first intuition could have of value, or maybe not. All music came together in Berlin, Iceland, above the Atlantic and in a small Mediterranean town. Connecting the dots, the story leads to where the next begins." Gatefold sleeve.

Paris club kid Maxime Iko joins BPitch Control with this four-track trip into the depths of his mind. Infused with acid licks and electro motifs, this is a scintillating debut from an artist who represents diversity and inclusiveness. Concilium EP starts with the frenetic "Achartade", a track which pulsates with eerie vibes. Following are two killer cuts: "Répulsion", where the main riff has a jaunty, arpeggiated rhythm and "Timeline's Wrong", a heads-down acid roller with vocal stabs and an absorbing atmosphere. The EP closes with the multi-tempo closer "Concilium", a demonstration of Maxime's penchant for playfulness and experimentation.

This release sees Roska dropping some new, serious fun, with the pad-tinged menace of "Windbreaker Riddim" and the Carnival-flavored "Warming", both of which are made for the dancefloor. Working across UK funky, house, and various, mutated strains of bass-heavy club music, Roska has earmarked himself as one of the UK's most accomplished underground exponents, and a Resident Advisor "Top 1000" global artist. Vinyl-only released; Edition of 500.

Two floor-filling house bombs by Compost's long-term house specialist Shahrokh Dini, backed with remixes by Karim Sahraoui and LoYoTo (Eva Be and Clé from Berlin). Purveyor to the house royals and regalness, Shahrokh Dini has had widespread support throughout his long career as a DJ and true house producer. He had releases on Strictly Rhythm in the late '90s and a boast of enviable releases on Compost Black Label. Shahrokh Dini is not only a house producer and DJ, he has been running clubs since the mid-90s.

Silence present a five-LP box set featuring International Harvester titled Remains. The box contains their debut album from 1968 Sov Gott Rose-Marie and Hemåt from 1969, along with three full bonus albums with live material dating from 1967-1969. It also includes a poster, lots of pictures, and a long interview with member Thomas Tidholm made by Mats Eriksson Dunér. 180 gram black vinyl; Edition of 1000.

International Harvester emanated from Pärson Sound and later became Träd, Gräs och Stenar ("Trees, Grass and Stones"). Member Thomas Tidholm on the recordings: "We talked about making the music stop and stand perfectly still. And that did happen sometimes. We never let go of the drone. We hardly made any key changes and never changed chords." Thomas Tidholm and Anders Lind, the engineer for the early albums, have listened to two cases full of live recordings from 1967 to 1969. After editing them, Anders has restored and mastered the live material from the old cassette tapes and for the two original albums -- original analog master tapes have been used. Digitally transferred at 96 khz/24 bits and gently remastered by Anders Lind.