Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows 2018's Selected Early Keyboard Works and coincides with Blank Forms' publication of Poësy Matters and Other Matters, a two-volume collection of Hennix's writing. Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. "The Pointed Time Bus"). Frustrated with the jazz musicians' inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. In 1976, The Deontic Miracle performed Hennix's original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group's first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, "Music of Auspicious Clouds" and "Waves of the Blue Sea" are expansive drone improvisations, breathing with the pulsating lull of cicadas' organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called "the most rejected band ever formed in Sweden" continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 3-1/3 is the third of four LPs Feeding Tube is releasing, devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk. Exact details of the recordings are vague, but that's trivial. Here are seven tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names 'East Was,' 'Texas Was,' 'The Shreeve,' 'Evil Was,' 'What Was,' 'Superman's Problem,' and 'Reflections.' The 'Was Tetrology' was a piece I believe to have been originally conceived and performed while in the lair of Davey Williams, R.I.P. (and associated members of the Alabama Surrealist Cabal). 'The Shreeve' is another take of a track originally recorded for the timeless Volume Two LP. 'Reflections' and 'Superman's Problem' probably date to a Clouds & Water session in early '79. Heard together they suggest an entire parallel universe of guitar history. Solo Guitar Volume 3-1/3 is an even more amazing spin than the last one. And there's still one more to come!" --Byron Coley, 2019 Edition of 400.

Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, it is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle. John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke, and many others. Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker. Here OTOroku present a double-CD set documenting the two very special sets delivered on November 15th, 2017 at Cafe Oto, Dalston, London. In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence, these two sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today. Mini gatefold sleeve; edition of 500.

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms -- how even the quietest creative act ripples outward, a whisper with no fixed meaning. The Flower And The Vessel pursues this notion in a more literal fashion, as it was crafted while pregnant on tour. She describes it as "a record not about being pregnant but a record made with pregnancy." Each day and night, finding herself far from home, she asked herself "What am I doing here? How can I connect myself to the world?" The answer gradually revealed itself: "With small gestures: recording my voice, recording birds, a simple melody." In truth there is nothing simple about The Flower And The Vessel. The album's 11 songs span whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences: Ravel's L'enfant Et Les Sortilèges, Debussy's La Mer, and Satie's Gymnopédies. There's certainly a shade of classicism woven within these tracks; melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia. Much of Atkinson's discography is shaped by speech and the lyricism of language, but The Flower And The Vessel ventures further into silence. Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, and marimba, softly processed into an elegant emptiness, alternately eerie and serene. Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson's synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O'Malley, "Des Pierres," is one of the album's few pieces tracked in a proper studio, but it broods and burns with the same subliminal majesty as the rest of The Flower And The Vessel: an ember in amber, seeds planted in shifting sands. Original artwork by Julien Carreyn, mastered by Rashad Becker at Dubplates and Mastering.

It's hard to overstate the importance of Philip Corner. For more than half a century he has been a cornerstone of the American musical avant-garde. Once a student of Otto Leuning, Henry Cowell, Olivier Messiaen, and Dorothy Taubman. A founding member of Fluxus, Corner made waves fast, creating a body of singular work, both on his own and within ensembles like Gamelan Son of Lion and Tone Roads, founded with Malcolm Goldstein and James Tenney, which has cut its way across the decades. Among Corner's most fascinating works are those created between 1962 and 1964, during the period when he was resident composer at the Judson Dance Theatre, one the great occurrences in the emergence of avant-garde dance, movement, Happenings, and performance art. Even today, it stands among the most important examples of collaborate create exchange in the history the American arts. Alga Marghen present a three-CD box, issued in early 2000s by and now out of print, gathering much of the work created during these important years in Corner's career, signed by the composer himself. Alga Marghen's triple box gathers On Tape From the Judson Years, and More from The Judson Years (Early 60s) Instrumental and Vocal Works Volumes 1 and 2, bringing you to heart of Philip Corner's brilliant practice and mind. Across the first disc Corner's tape works -- complex textures and sonority coming to life. The second disc is of an entirely different sort, featuring works created with a great many of Corner's closest collaborators and friends. Recorded at Judson, 1965, the disc features a knock-out cast of Ayo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, and Chieko Shiomi, and more. The third disc takes the ear further afield, with "Everything Max Has" (1964), a performance of Max Neuhaus solo recorded at the ONCE Festival (1965), captures the composer and percussionist taking down an overwhelming amount of equipment. It also includes Big Trombone (1963), with Jim Fulkerson improvising over tape collage, "Homage to Revere" (1962) a work for an ensemble of copper-bottom kitchen utensils, and "Punkt" (1961) for an ensemble of staccato sounds, and a number of other astounding works from the era. As a totality, Alga Marghen's three-CD set of Corner's years spent at the Judson Theatre, are a mind-boggling entry into an overwhelmingly exciting moment in time. Edition of 200, signed and numbered.

Commemorating the 50th anniversary of the Moon landing (July 20, 2019), Axis Records present the release of the album by Jeff Mills on his interpretations of Earth's Moon, The Area Of Influence. Jeff Mills on the release:"There are influences of the Moon we can detect, measure and document as scientific facts. If these are perceived as rational explanations, then it should raise questions about the possibility of other unseen mental and metaphysical connections humans have, not just with the Moon but with all other celestial bodies in and outside this Solar System. On the flipside, as we recognize that our Sun gives us light and a lifespan, what does an even greater force in the Cosmos, perhaps the darkness (or absence of anything) affects us. If we look at the Moon as a component in a vast configuration of integral connected parts, then an intuitive sense might lead us to a wider understanding about how deeply our relationship lies. This album and the imagination that helped to produce it should be considered as a proposition with open-endedness and no foreseeable conclusion. It is a chemistry of facts and feelings based on then, now and forever."

Harmograph is a project by and with Matteo Scaioli. Matteo Scaioli summarized his latest research on sound by building various electromechanical instruments, one of which he called the "Harmograph", which gives the name to his whole project. Harmograph is basically a gong remodeled with a unique sound. Scaioli blends the sound of the Harmograph with other self-made instruments including Melodon's Voice, Phonograph Tape, Dhin "Tan" Pathè, and finally his favorite synth: the Prophet 5. Matteo Scaioli -- being a percussionist in the end -- built the Dhin "Tan" Pathé, a percussive instrument inspired by the Indian Mridangam, conceived and built starting from a 78rpm Pathè Bakelite disc of the early 1900s, where Scaioli assembles records in bakelite prepared by him creating rhythms and unpredictable sounds. The artisan dimension of the project is a further step in the continuous personal invention of sound machines and in the search of obsolete instruments, combined with contemporary electronic feel.

Outernational Sounds present the first legitimate vinyl reissue of Nate Morgan's Journey Into Nigritia, originally release in 1983. A major statement from a crucial figure on the Los Angeles jazz underground -- Journey Into Nigritia is pianist Nate Morgan's spiritualized deep jazz classic. How many 16-year-olds would have the confidence to walk up to a revered bandleader at a gig, and inform him that one day they'd be playing together? As improbable as it sounds, this is how pianist Nate Morgan introduced himself to the great Horace Tapscott, founder of the Pan Afrikan Peoples Arkestra. The teenage Morgan had heard Tapscott's Flying Dutchman LP The Giant Is Awakened (1969) being played by Greg Kufahamu on local Los Angeles radio station KUSC, and Arthur Blythe's wailing sax had gone straight to the heart. Morgan showed up to all the Arkestra shows he could find. He was already studying with Joe Sample and Hampton Hawes and playing in local bands, but the draw of the Tapscott's band was too much for the gifted young pianist: "I could only take about two or three more concerts before I had to run up on stage. When I first introduced myself to Horace, he tells everybody that I said, 'Yeah, I'm Nate Morgan. I'm going to play with you all.' Not that I want to, but that I'm going to." Over the next decade and beyond, Morgan would become a central figure in Tapscott's UGMAA (Union Of God's Musicians and Artists Ascension), bringing new figures into the fold (like Jesse Sharps), running jam sessions, and eventually being given the task of organizing the Arkestra songbook. During the early 1970s he also worked commercially, doing a stint with Rufus and Chaka Khan and appearing on Willie Hutch's Foxy Brown soundtrack (1974). Into the 1980s and 1990s he remained active, keeping the UGMAA flame alive and working tirelessly around LA, including collaborations with Bone Thugs N' Harmony; he was also part of the early 2000s LA jazz collective Build An Ark. A true musician's musician, Morgan died in 2013. Journey Into Nigritia, featuring fire-breathing reedsman Dadisi Komolafe, was the first of two LPs Morgan recorded for Tom Albach's storied Nimbus West imprint. A committed, spiritualized work that showcases Morgan's heavy composing as well as his McCoy Tyner-influenced and technically flawless playing, Journey features dedications to Coltrane ("He Left Us A Song") and Cecil Taylor ("Study In C.T."). Surging, modal jazz from the LA underground, Journey Into Nigritia is a crucial recording by an unsung jazz legend. Fully licensed from Nimbus West founder Tom Albach.

Taking its name from Maryanne Amacher's visionary, unrealized opera, the fourth issue of Blank Forms' journal, Intelligent Life, features a select group of unpublished, newly translated, or otherwise rare texts. The issue opens with a short literary essay by the author Marcia Douglas, in which a deep bass riddim guides a deaf narrator and a reincarnated Bob Marley through important sites in Rastafarianism's development. Next come two interviews with crucial figures in postwar avant-garde music: the Japanese guitarist Kazuo Imai and the American composer Robert Ashley, along with pianist and frequent collaborator "Blue" Gene Tyranny. The previously unpublished interview with Imai was conducted by Blank Forms' editor and artistic director Lawrence Kumpf during Imai's first trip to the United States, in 2018, and finds the artist reflecting on recent work with the collective Marginal Consort as well as his foundational experiences playing with two other titans of Japanese experimentalism, Takehisa Kosugi and Masayuki Takayanagi. The interview with Ashley and "Blue" Gene, meanwhile, first published in German in 1984 on the occasion of a staging of Ashley's opera Atalanta, was translated for the first time into in English for this publication. Intelligent Life continues with a series of longer pieces showcasing a diverse set of complex practices and histories, beginning with that of Detroit-based artist Onyx Ashanti. Onyx contributes his own Octavia Butler-referencing "sonocybernetic manifesto", first published online in 2016, which exists simultaneously as theoretical treatise, memoir, and practical guide to his idiosyncratic technology-based practice. Following this is a comprehensive essay on Catherine Christer Hennix's engagement with intuitionism and other esoteric approaches to math, written by the mathematician and musician Spencer Gerhardt. Gerhardt's lucid, previously unpublished essay serves as a necessary complement to Blank Forms Editions' forthcoming collection of Hennix's abstruse, mostly unpublished body of writing, Poësy Matters and Other Matters. The issue continues with a sort of titular essay, a rich analysis of Amacher's "Intelligent Life" -- the first such piece on this work -- by Amacher scholar Amy Cimini. Intelligent Life was an incredibly prescient work that sought to upend any remaining vestiges of traditional operatic form and staging. Intelligent Life -- the journal issue -- then concludes with a lengthy interview with the artist Walter De Maria. One of the few interviews De Maria gave in his lifetime, this one, created for the Archives of American Art in 1972, sheds significant light on De Maria's early intellectual and artistic development as well as his work as a musician. Although he largely stopped playing music by 1970, and although few recordings of his efforts exist, De Maria played alongside musicians ranging from Lou Reed to Don Cherry to Henry Flynt. Edited by Lawrence Kumpf. Other contributors and featured artists include: Werner Durand, Peter Gente, Heidi Paris, Adrian Rew, Paul Cummings. 302 pages; 6x8 inches; paperback.

LP version. "Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs). Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled 'Faradjallah' was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul's family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of 'Jeunesse Societe One'. His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called 'Moroco Sportive Union', which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips. Yet the majority of the instruments they could not afford to buy were built by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance, they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves. During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including 'L'gnawi' in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three-string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. 'Sidi darbo lalla - lala derbo khadem...' came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the 'Al Massira Show' at Velodrome Stadium in downtown Casablanca. Their first album Al Hadaoui was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's 'Maktoub Lah', who frequented the same circles as the band for some time. Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: 'Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him 's'hor' (a kind of local Moroccan version of 'black magic'). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily.' So they waited four years for Zaki to 'get back on his feet' before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid-1990s. Some members from the younger generations formed a new band and still play frequently to this day."

Double LP version. Printed artwork on inner and outer reverse-board jackets. French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms -- how even the quietest creative act ripples outward, a whisper with no fixed meaning. The Flower And The Vessel pursues this notion in a more literal fashion, as it was crafted while pregnant on tour. She describes it as "a record not about being pregnant but a record made with pregnancy." Each day and night, finding herself far from home, she asked herself "What am I doing here? How can I connect myself to the world?" The answer gradually revealed itself: "With small gestures: recording my voice, recording birds, a simple melody." In truth there is nothing simple about The Flower And The Vessel. The album's 11 songs span whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences: Ravel's L'enfant Et Les Sortilèges, Debussy's La Mer, and Satie's Gymnopédies. There's certainly a shade of classicism woven within these tracks; melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia. Much of Atkinson's discography is shaped by speech and the lyricism of language, but The Flower And The Vessel ventures further into silence. Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, and marimba, softly processed into an elegant emptiness, alternately eerie and serene. Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson's synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O'Malley, "Des Pierres," is one of the album's few pieces tracked in a proper studio, but it broods and burns with the same subliminal majesty as the rest of The Flower And The Vessel: an ember in amber, seeds planted in shifting sands. Original artwork by Julien Carreyn, mastered by Rashad Becker at Dubplates and Mastering.

Phonopoetics is the first ever survey of seminal Hungarian artist Katalin Ladik's sonic efforts. A thing of beauty, drawing from the period between 1968 and 1993, its two stunning sides shatter the lines between performance, the spoken word, fine art, and experimental music, offering the terms to rethink how each is understood. Born in 1942, Katalin Ladik has lived a wild and multifaceted creative life -- beginning primarily as a poet of the written word, expanding into experimental theatre during the mid-1970s, and ultimately becoming an artist whose practice also incorporates sound and visual poetry, performance art, experimental music, audio plays, happenings, mail art, collage, and photography, built around visual and vocal expression, as well as movement and gesture. Phonopoetics, Alga Marghen's remarkably diverse survey of Ladik's audio work, is a refracting lens into this dense and dynamic world -- a totem which belongs to a sprawling puzzle of highly nuanced personal, social, political, and existential themes, springing from the feminist and gender neutral concerns of Eastern Europe during the 1960s and '70s. The totality of Ladik's practice, particularly as it unfolds across the two sides of Phonopoetics, can be understood as a radical rethinking of the potential, manifestation, and application of poetry, as well as the fundamentals of vocalization. Delving toward the very origins of consciously created sound -- spoken or otherwise, her efforts unseat the divisions placed between literary, musical, theatrical, and visual disciplines, joining them through the fundamental need and right to express. With the excepting of two works, "Shaman Song / Sámánének" (1968), and "Ufo-Nopoetica" (1976-1993), the featured body of work was created between 1974 and 1979, a prolific period which also witnessed her working within the Novi Sad Theatre and Radio Novi Sad. Primal and poetic, with shamanic overtones and therapeutic mechanisms of liberation, capturing the image of an almost entirely unheard history within the field of feminist expression developed by pioneering figures like Simone Forti and Joan La Barbara. In the words of visionary sound poet Henri Chopin, Ladik is "a great, magical voice." Alga Marghen's issue of Phonopoetics places this little heard, and profoundly important artist into the center of your consciousness where she will no doubt remain. A vital entry in the field of sound art, historic Eastern European experimental practice, and sound poetry. Introduction by Henri Chopin. Edition of 300.

Mark Ernestus dubs Equiknoxx to the moon and back for DDS with an irresistibly percolated take on "Congo Get Slap" backed with a jaw-dropping, Basic Channel-style version of "Flagged Up." Like Shackleton's dub of "The Stomper" by Cutty Ranks for DDS, the results here triangulate deep-rooted connections between Jamaica, Lancashire, and Berlin, speaking to a mutual respect and reverence of style and pattern which has heavily resonated from sub-tropical Kingston into much colder, European climes over successive generations.

Duo recordings by Sven-Åke Johansson (vocals) and Simon James Phillips (piano), made in 2017 in Johansson's studio in Berlin. Sven-Åke Johansson on the release: "Simon arrived in my studio with songs by Jean Sibelius to try out. However, being bad at singing from sheet music, I wasn't quite able to perform them as intended. So we instead went for an improvisational approach, using existing texts of mine and, in parts, of his as the basis for our performances and recordings. The two voices are contrapuntal, the piano cannot really be called the accompaniment, it is almost autonomous: more melody than accompaniment." Gatefold sleeve, including printed inner sleeve with lyrics; Edition of 300.

Simon James Phillips is an Australian composer and pianist working in the contexts of classical, experimental, and improvisational music. Sven-Åke Johansson is a Swedish percussionist and performer in the circles of fine arts, new music, and free improvisation. Both live and work in Berlin.

Lapsus Records presents the third release in its Perennial series, dedicated to reissuing contemporary electronica classics from established artists. The third release is from Christopher Scott Leary, who over the last two decades has produced a plethora of material under his pseudonym, Ochre. 2019 marks 15 years since the original release of A Midsummer Nice Dream in 2004; on British label Toytronic, which pushed Leary to the forefront of the experimental electronic music sphere. This special deluxe reissue, entitled A Midsummer Nice Dream (15th Anniversary Edition) features unreleased material from the same period and includes three bonus tracks. It therefore offers a golden opportunity to rediscover an album that navigates through several genre domains such as ambient, IDM, and experimental electronica in its purest form, stylistically reminiscent of the likes of Autechre, whilst conveying a sound considerably ahead of its time. In its entirety A Midsummer Nice Dream is undoubtedly one of the most remarkable electronica glitch albums to be released in the 2000s, when the genre experienced its zenith, largely thanks to the advent of significant breakthroughs in digital production tools. Re-mastered by John McCaig (panicStudios). Includes a full-color print of the new artwork, re-designed by Portland (Oregon) illustrator Nathaniel Reeves. Tri-color (solid blue, black, and solid white mixed) vinyl.

"Comes packaged in a gatefold jacket with a 28-page booklet. Earth Rot is visionary composer/arranger/producer David Axelrod's third album, and the last of his Capitol trilogy. Recorded as a concept album about the decrepit state of the environment in 1970 Los Angeles, and scheduled for release on the first Earth Day, it marks a departure for Axelrod's signature sound, which would take on a jazzier feel in the 1970s. The instrumental version of Earth Rot was first issued by Now-Again, overseen by the label's Eothen Alapatt in conjunction with Axelrod's estate as a limited double LP offering. The instrumentals are now available for the first time ever as a stand-alone LP. The master was approved by Axelrod's son Michael, who adapted ancient lyrics for the album in one of three collaborative projects he did with his father. Contains a 28-page booklet that delves into Axelrod's incredible life and music, replete with never before published photos and an interview. 'There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music -- David could do it all.' --T-Ray"

Souffle Continu Records present a reissue of Baroque Jazz Trio's self-titled album, original released on Saravah in 1970. Mixing Baroque, free-jazz, and world music, the unique album of the Baroque Jazz Trio (which is in fact 3/5 of the Bach Modern Quintet) is a difficult-to-label sound object which is far from being typical of the psychedelic sounds associated with the early 1970s. Because, although fusion with Indian music (amongst others) and jazz (but also pop) was popular at the time, rarely had all this been mixed together with Baroque music. Even mentioning Jacques Loussier adapting Bach does not come close, as here, all barriers are broken down, with an audacity which begins with the highly original and extraordinary use of the harpsichord, an instrument which it is unusual to hear in such a context, even though indicated by the "baroque" in the title. Of course, jazz specialists will mention Johnny Guarnieri in the Gramercy Five with Artie Shaw, Martial Solal playing "Four Brothers" in 1965, or Lalo Schifrin in his homage to the Marquis de Sade? But no, none of these references really makes sense, as they pale in comparison to the wild adventures of Georges Rabol, probably closer to Call Cobbs with Albert Ayler, or, better still, Odile Bailleux in another remarkable French group, Armonicord, than anyone else. With George, the rhythm section is no less outstanding: Jean-Charles Capon, who, two years later would record the magnificent L'Univers-Solitude (FFL 046LP) on the same label, is a flying cello virtuoso, while Philippe Combelle, a great drummer rarely heard in such experimental circumstances, plays daringly mixed percussion. Also noteworthy is the presence of flutist, Michel Roques on one track, who was also behind a Saravah album, the splendid Chorus (FFL 048LP). In France, whether or not groups like Moravagine, Confluence, or Synchro Rhythmic Eclectic Language, working in similarly unusual areas, are taken into account, it is rare to find a group which, like the Baroque Jazz Trio, have been able to so blur the boundaries, especially by adding an exotic breath of fresh air inherited from the Third Stream. This record, alongside the album by Brigitte Fontaine with the Art Ensemble of Chicago made Pierre Barouh stand out as a pioneering producer and destroyer of stylistic frontiers. Remastered audio. Licensed from Saravah.

On Sutarti, Joshua Sabin draws influence from the compositional structures and psychoacoustic properties that exist within early Lithuanian folk music, exploring the emotional potency of the human voice through the manipulation of elements of archival recordings. Obtaining access to the folk music archives of the Lithuanian Academy of Music and Theatre Ethnomusicology Archive from the outset of this project, Sabin felt a particular resonance with the extensive library of vocal recordings and specifically the song forms of the Sutartinė. Derived from the Lithuanian verb "Sutarti" -- to be "in agreement", "to attune" -- Sutartinės are a Lithuanian form of Schwebungsdiaphonie, a distinct canonic song style consisting of two or more voices that purposefully clash creating extremely precise dissonances and the phenomena of aural "beating". Inspired by the psychoacoustic research of Rytis Ambrazevičius, whose computer analyses reveal the unique acoustic and harmonic complexities in these archival songs, and transfixed by what Sabin describes as their "arresting and often almost plaintive and minimalistic beauty", he sought to compose directly with the recordings them-selves as a raw material. Sutarti exists fundamentally as an emotional "response", presenting archival voices through radical recontextualizations that Sabin hopes simultaneously express both his personal perspective and experience, and also speak universally to the power and versatility of the voice as a communicator of meaning and emotion. Produced with archival recordings, instrumentation including skudučiai and fiddle, and field recordings of Lithuanian forest ambiences. Joshua Sabin is an Edinburgh based composer and sound designer, who's first LP Terminus Drift was released on Subtext in 2017 (SUB 010CD/020LP).

Cascades of electronic noise, a psychedelic touch, and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in "Japanoise" scene. Predating the era of digital domination, there was a time where artist-run labels putting out primarily, if not exclusively, tapes were legion: Toshiji Mikawa's own Pariah Tapes, Masami Akita's ZSF Produkt, Koji Tano's MSBR Records, Masaya Nakahara's My Fiance's Lifework Productions, Akifumi Nakajima's G.R.O.S.S., Kimihide Kusafuka's Kinky Musik Institute, Hiroshi Hasegawa's Endorphine Factory, Hiroshi Hashimoto's SSSM, and Maso Yamazaki's Coquette are just a few examples from Japan alone. Masonna's abundant productions on his own legendary and astonishing label were presented in very limited edition, sometime totally confidential (one sole copy), and reflect his predilection for '60s psychedelic music revisited in its own very peculiar way. Maso Yamazaki transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts became clipped bursts of overloaded sound, doubled and extended by a delay that displaced the sounds into stuttered blasts of static. These vocal sounds fuse into a rattling background of harsh metallic fuzz, which was created by frantically shaking a highly amplified box filled with coins. Bursting Absolute Moods should have been the 1989 debut LP album on Vis a Vis Audio Arts, the legendary label run by Juntaro Yamanouchi, but it's never been released. All tracks were recorded live, at home, with no mixing and no overdubs. Album is full of very rough harsh noise that's mostly made up of lots of distorted screaming. This early work is very loud, noisy, and has lots of angry energy. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Divided into two parts of twenty minutes each that focuses an electrically overcharged universe, punctuating the electric and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to these tracks. 140 gram vinyl; comes in a deluxe silver silkscreen on black cardboard sleeve; Includes full-color postcard in 300gr, foldable in A4 size and business card with art cover replica of Coquette tape All Live Recording At My Room (1989); Edition of 300.

A new Mike Cooper release is always a great event. Mike Cooper on the recording: "Distant Songs Of Madmen was recorded live in Palermo and was my solo set in a concert organized by Lelio Gianetti and Curva Minore, which included Truth In The Abstract Blues and Eugene Chadbourne. My set was free improvisation; some cover versions of folk and pop songs and some of my own songs. The title of the record and some of the improvised pieces were taken from Sam Shepard's writing. Sam, one of my favorite writers, has sadly died since I recorded this record and I dedicate it to his memory." Artwork by Italian artist Carla Indipendente. Mastered for vinyl by Brian Pyle (Ensemble Economique). Includes insert; edition of 300.

Originally released in 1981. Landmark dub record from legendary reggae producer Lee "Scratch" Perry, using a combination of established collaborators and new musicians: The Upsetters, Johnny Lover & The Towerchanters, Lee & The Blue Bell, Val Bennett, Brad Osbourne & The Towerchanters, Devion Iron, The Black Arks, and Ricky And Bunny.

Almost all great music is bridge -- spanning geography and time, defying easy definition. It is the product of collaboration and mutual respect -- individual voice, fused within a collective force. These are the roots for the trio Vértice, an unlikely formation by experimental luminaries, Maurizio Bianchi, Saverio Evangelista, and Juan Manuel Cidrón -- each hailing from their own discrete musical geography in Italy and Spain. Besoch Trauma, a remarkable project's first recorded outing, years in the making, is released by Milan-based Die Schachtel on their new imprint, Decay Music. Decay Music highlights inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract. Each member of Vértice comes from a luminous and historic musical pedigree. Maurizio Bianchi is one of Italy's earliest and most important figures in Industrial music, beginning to issue a wild series of visionary releases during the late 1970s. Saverio Evangelista is well known for his decades longs efforts within the seminal outfits, Esplendor Geométrico and M.S.B., while Juan Manuel Cidrón is one of the great cult figures of Spanish electronic music. Together they shed skin, reforming as one, diving into uncharted waters, while remaining unrecognizable within. Slow, sophisticated, and a deeply meditative, minimalist wonder, Besoch Trauma progresses like a melancholic dream -- the slow wilting of sounds, pondering their own rebirth. Repetitive and restrained piano lines rise among drifting synthesizer tones and textural ambiances, fall away and return, fracture, break, stagger, and distort across the entirety of the albums first side, while murky, implacable sounds breed with flirting electronics and piano, sculpting the vast expanse of abstraction which emerges across the entirety of the second -- clattering and droning, filled with air, fading melodies, and rippling tones. Two slow burning sides, unfolding with greater depth at every turn. Bianchi, Evangelista, and Cidrón build a rich tapestry of creatively challenging sound, a hypothetical imagining of historic minimalism and ambient music, bred with industrial and punk. Pro-printed inner sleeve and jacket, containing a silkscreened PVC sleeve. 180 gram marble vinyl; Edition of 250, one-time pressing.

Lisbon-based Bruno Silva enacts pure voodoo with extended, restless LinnDrum workouts that take Prince's distinctive LM-1 signatures as a starting point for loose-limbed tribal jams that flow with the color of the Brazilian carnival and the rhythmic psychedelia of hardcore jungle. The title Parada cannily nods both to Prince's Parade (1986) and the percussion of carnival parades, speaking to a plurality of polyrhythms in a tradition of fusion music that seeks to meld myriad forms of communal, ritualistic and ecstatic music -- not a million miles from the bare carnival funk of Parade's "New Position." In six parts ranging from extended runs of drumkit-falling-down-stairs to nimble junglist mutations and rapid, darting concisions, Serpente spells out a heavily intoxicating and intuitive sort of rhythmic psychedelia that lives up to a broad palette of influences ranging from Haitian voodoo ceremonies and central African drum circles, through to the Sun Ra Arkestra and Alan Silva's Celestial Communion Orchestra, via Keith Hudson's dub transcendence, and the rude modernism of UK rave and virulent styles currently coming from Lisbon ghettos on the Príncipe label. In attempting to untie and unite these worldly references, an asymmetric percussive friction and hypnotically unresolved tension naturally emerges from Serpente's flux of machine-made patterns. It's there in the restlessly gnashing, swinging brilliance of "Nivel de Chama" and the exceptional mix of detuned Linn drums and reticulated jungle breaks in "Trama," while the B-side probes this idea in three subtly agitated, but more spaced-out "Símbolo" parts, and finally with a sublime tension between his twitchy percussive saccades and celestial synth pads in "Nivel de Cinza." Parada is pure body music in a minimalist/maximalist way that acknowledges both physical and spiritual needs, and requires a dancing or thinking body in order to properly unlock its purple magic.

"In my count, this is the 25th album by Amherst's Idea Fire Company. And it a marvel of creative whackery that unfolds its charms like a glamorous stripper doing a matinee show at a well-lit coal mine. Many key auxiliary members have passed through IFCO's ranks (Dr. Steve, Jessi Leigh Swenson, Meira O'Reilly, Franz de Waard, Graham Lambkin, Matt Krefting, etc.), but the core of the unit has always been Karla Borecky (catcher, piano) and Scott Foust (first base, trumpet/synth). On The Light they are joined by bassist, Mike Popovich (a long-time Foust colluder), and the results are an album of unqualified beauty. Karla's piano is the central focus here, employing a simple (almost Satie-like) approach to melody, with a physical touch reminiscent of Chris Abrahams' work with Necks. She combines mystery and familiarity with uncanny ease. Scott's trumpet work has kinda come into its own here as well, sounding like Franz Koglmann mocking Chet Baker. His synth playing also has its own distinct atmospheric quality. Sometimes it's like a distant fog horn guiding brine shrimp to safety, at others more like someone trying to make wood sculptures with a band saw. Popovich's bass playing uses an equally sneaky environmental approach, often appearing to be an immobile object that suddenly shifts its posture in a way that is contextually startling. Scott Foust has been one of the leading lights of the Western Mass experimental scene for many long years. That we have only done one record with him thus far -- Dead Girls Party (FTR 279LP, 2018), an overlooked masterpiece -- is mostly due to the fact that we keep very different hours. How nice to sync up for this one." --Byron Coley, 2019 Edition of 250.

After Detroit Swindle's sophomore album High Life (HEIST 001CD/LP, 2018), Heist Recordings serve up a tasty selection of remixes. Steve Rachmad comes up with a re-interpretation of "Yes, No, Maybe (feat. Tom Misch)", an uplifting modern boogie version of the already funky original. Cinthie takes the high-energy, Afro-funk track "Call Of The Wild (feat. Jungle by Night)" and turns it into a full-on house frenzy. Jura Soundsystem choses to remix "High Life (feat. Lorenz Rhode)", a tamed down, dreamy dub. Matt Karmil provides a moody deep house remix of one of the album's beatless tracks, "Ketama Gold".

Holiday Records have worked with Hüseyin Ertunç during his terrestrial transit. After the label reissued his wonderful album Musikî in 2016 (privately released on Intex Sound in 1974) and a few collaborative albums with the Konstrukt collective, in 2017 they finally managed to invite him, Doğan Doğusel, Cem Tan, and Umut Çağlar to play some shows in Italy as a quartet. Things got really complicated when their visas got rejected -- only one week before their plane was scheduled to take off -- but then Holidays Records found a stalwart supporter of free jazz music at the phone of the Italian Embassy and incredibly they got the visas in time so they could spend a whole week with Hüseyin and his band, touring Italy and playing four shows of the best spiritual free jazz the label heard in a long while. Right after that, the label took the chance to book a recording session at the good old Outside Inside Studio, where their loyal partner Matt Bordin captured on tape two days of improvisation by Hüseyin Ertunç (Fender Rhodes electric piano, Philicorda organm and chant), Umut Çağlar (percussion and bamboo flutes), Doğan Doğusel (double bass), Cem Tan (drums), joined for this special occasion by the almighty Jooklo Duo: Virginia Genta (tenor and sopranino saxophones, clarinet, flutes) and David Vanzan (percussion). What came out of this is an incredible musical document, and not only for the fact that -- unfortunately -- it was Hüseyin's last session on this world. Edition of 300.

"Most of Ertunç's recorded appearances have been on drum set, where he's employed a massive and materialist cymbal approach that takes Sunny Murray's explosive chatter as a lifting-off point. Ertunç waxed one LP as a leader in 1974, Musikî (with then-regular partners Michael Cosmic and Phill Musra, issued on the tiny Intex label), and returned to Turkey in the early 1990s. Ertunç's playing, relentless as it might be, evinces a strident, swinging quality that reaches back decades. His pianistic approach is rooted in the outpouring of voluminous, allover rhythm in concentrated shards. One might first think of early Cecil Taylor, though another Boston resident is also worth mentioning -- Jaki Byard, who could move from barrelhouse to crepuscular romanticism and dense chordal superimpositions at the drop of a hat. If he and Ertunç didn't necessarily work together, their spirits are kindred." --Clifford Allen

Chicago-based percussionist Michael Zerang presents his first solo recording after a long career as an exploratory musician and composer, Asssyrian Caesarean. Recorded and mixed by Matt Bordin in the woods at (the new) Outside Inside Studio, the album features a range of approaches to percussion that Zerang has developed over the years, including the use of vibrating drumhead surfaces, expressive friction passages, multiple timbre percussion, and straight-up trap-set drumming -- all infused with a rich sense of melodic, rhythmic and textural innovation. Zerang has performed and recorded with some of the most adventurous artists of his era, including a fourteen-year stint with The Peter Brotzmann Chicago Tentet, Joe McPhee's Survival Unit III, and an extended collaboration with drummer and percussionist Hamid Drake. Frequent collaborators also include cellist Fred Lonberg-Holm, pianist and synthesist Jim Baker, bassist Kent Kessler, trumpeter Axel Dorner, along with an ever-widening pool of international improvisors. He also recently began performing with the experimental Middle-Eastern super group Karkhana, with Mazen Kerbaj, Sharif Sehnaoui, Maurice Louca, Tony Elieh, Sam Shalabi, and Umut Çağlar. Edition of 300.

Double LP version. Kali Malone presents a new album featuring nearly two hours of concentrated pipe organ pieces governed by a strict acoustic and compositional code. It's a major new work with ultimately profound emotional resonance. The Sacrificial Code takes a more surgical approach to the methods first explored on Organ Dirges 2016-2017 (ASCETICKALI). Over the course of three parts performed on three different organs, Malone's minimalist procedure captures a jarring precision of closeness, both on the level of the materiality of the sounds and on the level of composition. The recordings of The Sacrificial Code involve careful close-miking of the pipe organ in such a way as to eliminate environmental identifiers as far as possible -- essentially removing the large hall reverb so inextricably linked to the instrument. The pieces are then further compositionally stripped of gestural adornments and spontaneous expressive impulse -- an approach reminiscent of Steve Reich's words, "by voluntarily giving up the freedom to do whatever momentarily comes to mind, we are, as a result, free of all that momentarily comes to mind." With its slow, purified, and seemingly austere qualities, The Sacrificial Code guides you through an almost trance-inducing process where you become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it's a uniquely satisfying exercise in transcendence through self-restraint -- a stunning realization of ideas borne out of academic and conceptual rigor which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self-exploration free of signposts and without a preordained endpoint -- the antithesis to the language of colorless musical platitudes we've become so accustomed to. Features additional organ pieces performed by Ellen Arkbro. Art and photography by A.M. Rehm. Mastered and cut by Rashad Becker.

"The pioneer of toasting Ewart Beckford, better known by his stage name U-Roy, is a Jamaican vocalist. He was bursting onto the Jamaican scene in the early 1970s with his typical rapping style of singing (toasting) over the rhythms and beats he created. All of a sudden, Jamaica awoke one morning and U-Roy was everywhere. He released his debut album Version Galore in 1970, it consists of his earliest songs, all recorded for Duke Reid's Treasure Isle label. Most listeners will especially recognize 'Tide Is High,' originally by the Paragons and recorded later as a 1980 hit by Blondie. Enjoy listening to the way he's bringing his lyrics all over the record. It's toasting at best. Version Galore is available as limited edition of 750 individually numbered copies on orange coloured vinyl."

The first in a series of six split records concerning dependencies, miscommunication and increasing complexity in our media-saturated digital era. Georgia and Bellows inaugurate the Decouple ][ Series with works between futuristic eclecticism and avant-garde pan-aesthetics, where musical themes flow tangentially. Similar, but without effectively engaging one another. A metaphor for a world of surfaces. Recorded in Georgia's Chinatown NYC studio, "Tiwala Sa Bhuay", featuring Gabi Asfour, abruptly throw us into freaky percussion clusters constructed from heavily processed sounds which seem to keep in balance just by the magic of repetitions. Justin Tripp and Brian Close's stylistic fusion acts like an antidote against GPS localization, with sounds and voices more reminiscent of data flowing through a proxy server than an acoustic performance -- a myriad of tiny elements resonates with the multi-cultural a-geographic perception of a contemporary metropolis. "A Habitual Sway" (an anagram of the first title) flows more slowly, mixing hypnotic rhythmic percussions loops, melodic sketches, and controlled distortions into sophisticated layers. Naïve digital strings pads incursions widen the picture further. Georgia run an NTS monthly residency of oddball electronics. Digging into their sound archive, Bellows build an immersive Konrad-esque 19 minutes of humid and winding electronics with "Untitled". Drawing on years of improvising experience, Nicola Ratti and Giuseppe Ielasi take a puristic avant-garde approach, using tape loops, static, modular synths and field recordings. A subtle nostalgia pervades the whole work - the music sneaks through lush, decadent dystopian visions like in a travelogue. Mallets, statics, cut-up white noise, synthetic kicks, and uncannily pitched voices branch out like roots, while digital birds whistle all around in an aquatic atmosphere, perhaps suggesting an ironic take on "Orientalism". All cover pictures for the Decouple ][ Series are taken from Alice Bonfanti's Transparent Things (1997), courtesy of the artist. Includes download code. Mini-LP split, with 14- and 19-minute sides.

Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category "Album": who will hear it where? also: mood, position, length. Second, thinking in category "Maxi-single": a spinning-tool for the club -- another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. "Nata Alma", a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Flip it and keep on moving: "Venq Tolep". A summer meadow, grass-stains, a gentle breeze, an early smell of hay.

Justafixation was one of the more elusive and illuminating compilation series to have emerged in the early 1990s. Originally released over three separate, extremely limited vinyl pressings, Justafixation's brief appearance served up a sublime collection of rare lysergic pleasures from the 1960s British landscape. Particles has unearthed this ultra-rare series and lovingly restored it to its former glory. Replete with additional and informative liners, rare memorabilia, and professionally re-mastered original sound recordings, Justafixation takes you on a journey to the colorful underbelly of the British Empire's third nipple. Triple-CD box set with 36-page full-color booklet. Includes over 70 tracks recorded between 1966-1970.

Features Spider, Wonderland, Legay, Shawn Phillips, Sleepy Rosie, David McNeil, Lord Sutch, The Koobas, The Quik, Rifkin, Sleepy, Hayden Wood, Subterranean Monastery, Mood Of Hamilton, Blair Smith, Blonde On Blonde, The Act, Murray Head, The Nashville Teens, Peter Sully & The Orchard, Sweet Feeling, Information, Lee Harmers, Studio Six, The Bunch, The Shakespeares, Jigsaw, Boeing Duveen And The Beautiful Soup, Barry Mason, The Julian Kirsch, The Moving Finger, Roger Denison, Sun Dragon, George Bean, Penny Nichols, The Slender Plenty, Kaplan, Andrew Bown, Beloved Ones, Billy Nicholls, The Gass Company, J.A. Freedman, The Mindbenders, Kippington Lodge, Jet Harris, Consortium, The Secrets, Sasha Caro, Chris McClure, The Herbal Mixture, Cupid's Inspiration, Ramases and Selket, Our Plastic Dream, The Music Bachs, The Rokes, Alex Harvey, Virgin Sleep, The Pandamonium, Edwick Rumbold, Cherry Smash, The Rockin' Berries, The Deejays, Gary Walker & The Rain, Garden Odyssey, The Blue Jeans, The Trend, Sharon Tandy, and The Unauthorized Version.

The long-awaited repress of the first Radio Martiko 45 Oriental Shake, featuring The Latins' "Habibi Twist and Alba And Orchestre Aris's "Alba's Shake". Exotica and twist mania from the Greek and Italian '60s that shakes all dancefloors. Brand new layout!

FYI Chris are back with a feel-good EP. Taking in ballroom energy, deep-rolling psychedelic techno, and the sun-drenched house jam, "Daze" featuring Simeon Jones. A classic from start to end -- FYI Chris step forward with their finest cuts to date for the homies at RS INTL.

Deetron's debut EP for Running Back is an amalgam of some of the key virtues of both parties involved: the evocative and glorious power of the early days of rave, emotional house, melodious techno, a beatless beauty, and a firmly polished dancefloor. The EP's title track is the result of an extensive research in quiet storm soul records and their influence on traditional house music. "T-Symmetry" and "TXT" make extensive use of Roland's classic JX-8P synthesizer with very different outcomes and the certainty that the idea trumps the tools. Euphoric UK breakbeat pianos and Detroit techno soul.