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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 07/14/2025

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PRICE: $18.00

CAT #: 3000GRAD 027CD

FILE UNDER: ELECTRONIC

Uncertainty about and confidence in the future, melancholia and euphoria, tears and hope: The fifth Mollono.Bass album resonates with a zeitgeist that is a complex, highly divergent, sometimes even opposing state of thoughts and emotions. Deep and heady groove structures create compelling drive, emotive human voices add introspective fragility, free flowing harmonies unfurl as intense collective ecstasy. Vocals reflect pensively on issues like falling apart, yet the tracks themselves are magnificent examples of what happens when creative minds come together. MAZ'N contributed to several titles on Tear & Hope, in one of them listeners also hear the voice of Margret. The song-oriented approach of these tunes is another very contemporary aspect. Andy's Echo adds to the signature vibe of friendship and co-creation on this Mollono.Bass album with a mutual production, as well. With many different expressions of its main theme, Tears & Hope has everything it takes to make a powerful, electrifying impact - on major dancefloors and in intimate listening settings alike.

 

PRICE: $25.00

CAT #: ABERRANT 009LP

FILE UNDER: ROCK

Volume 2 of the absolutely infamous (and highly sought after) Cult Sounds compilation, comprised of music done by fringe religious cults around the world. Oh, boy! Volume 2 of Cult Sounds is here, so it's time for another bad trip through the music produced by weird, extreme cults all over the world. From hypnotic Manson Family recordings to the catchy '80s pop manufactured by The Family, to jazz, psych jams, country music or plain out-there musical experimentation, this second volume gets as weird, dark and mesmerizing as its predecessor, amazing. Featuring Zendik Farm Orgaztra, Church Universal and Triumphant, Gabriel of Sedona's Bright & Morning Star Choir, Otto Muehl, The Lyman Family, Lisa Kindred, Aun Shinrykio, Joe Pass, Dr Malachi Z. York, Unification Church, and Unarius.

 

PRICE: $26.00

CAT #: ACRSLP 1678LP

FILE UNDER: ROCK

"Despite the fact that his career was curtailed in 1963 by a fatal heart attack when he was only 45, Elmore James was an extremely influential figure in the development of blues guitar, both by virtue of his highly distinctive sound, which he consciously developed by building his own combination of a modified hollow-bodied guitar and custom pick-ups, but also his hit with a version of Robert Johnson's 'Dust My Broom,' which has become one of the most ubiquitously performed and recorded tunes in blues. This rocking 16-track LP majors in on his finest releases throughout his short career from the iconic 'Dust My Broom' in 1951 through to 'Stanger Blues,' released just a few months before his death. A host of high-profile guitarists have readily cited Elmore James as an influence and performed his material over the years, despite his relatively modest body of work, including Jimi Hendrix, Brian Jones, Eric Clapton, Stevie Ray Vaughan, and George Thorogood. This collection is an ideal celebration of the 'King Of The Slide Guitar.'"

 

PRICE: $20.50

CAT #: AKTE 001EP

FILE UNDER: ELECTRONIC

Akte is a series of events at the renowned Club Gew?lbe to keep the vision of timeless ambient, minimal, and techno in Cologne alive and is now expanding to develop a record label. The first release is a 12" EP by founder Philipp Stoffel featuring four originals and a remix by living legend .VRIL. A modern interpretation of techno with strong dub influences, produced in different styles and put together to form a meaningful listening journey. Akte pursues an EP concept away from pure techno tools towards the idea of packing the diverse listening experience of an LP into an EP, striving for a texturally cohesive aural aesthetic. Mastering engineer Stefan Betke, also known as Pole, gave the record its sonic polish. The EP is rounded off by the grainy cover design by Berlin-based artist Friedrich Breidenich, which visually captures the sonic aesthetic and translates the listening experience into a striking visual form.

 

PRICE: $18.00

CAT #: ANIMALS 012EP

FILE UNDER: ELECTRONIC

Naarm/Melbourne's Animals Dancing return with I Wanna Feel You, the debut acid-laced EP from Berlin-via-Tokyo's supreme chug lord, Courtney Bailey, and the twelfth release on the label. Across three versions of the acidic, floating title track, Bailey delivers varying degrees of atmosphere, coupling her hazy vocals -- drifting between English and Japanese -- with an undulating acid line and crisp percussion. On shamanic stomper "Animals Ate the Mushroom," manic percussion madness meets calls of the wild, while "I Feel the Future" finds a middle ground with animalistic sirens, SFX, bubbly acid lines, and distant vocals, driven by an FM bass line and tight, punchy percussion. Released on Wurundjeri Country. Always was, always will be Aboriginal Land.

 

PRICE: $29.50

CAT #: ATA 036LP

FILE UNDER: JAZZ

2025 repress; originally released in 2024. Work Money Death's People Of The Fast Flowing River. Featuring Tony Burkill (tenor sax), Neil Innes (double bass, piano), Sam Hobbs (drums), Richard Ormrod (piano, harmonium, Wurlitzer, flute, alto flute, baritone sax, contrabass clarinet, tenor horn, euphonium), Danny Templeman (percussion), Sam Bell (congas), Johnny Enright (trombone, tuba), Olivia Cuttill (trumpet), Tom Sharpe (trumpet, flugelhorn), and James Hobbis (tuba).

 

PRICE: $30.50

CAT #: BAADM 018LP

FILE UNDER: ELECTRONIC

Panos Alexiadis is a sound artist based in Athens, Greece, active in the field of contemporary electro-acoustic music. He founded and co-curated the tape label Thalamos, a home for exploratory sounds, where some of his own works also found their place. Marking a return after a period of (sonic) reflection, Cestrum Nocturnum is an album of remembrance and renewal. Through a lattice of self-sampled piano, fragmented voices, field recordings, and transient digital traces, Alexiadis composes a space of warmth -- an electronic tapestry woven from the ephemeral. Across six pieces, sound unfolds like memory: layered, textured, dissolving at the edges yet leaving an imprint. A meditation on the cyclical nature of being and the often-unnoticed beauty that quietly persists, even in the darkest hours. Cestrum Nocturnum is both a shelter and a signal. All music composed, recorded, and mixed by Panos Alexiadis. Spoken word on "But One" and "Follower" by Fotini Stamatelopoulou. "The Night Has a Thousand Eyes" poem by Francis William Bourdillon. Mastered by Christophe Albertijn.

 

PRICE: $22.50

CAT #: BCM 9620CD

FILE UNDER: SOUNDTRACK

Beat Records is relaunching on the market the classic Western OST by Nora Orlandi and Robby Poitevin for the film La morte non conta i dollari (aka Death at Owell Rock), directed in 1967 by Riccardo Freda (under the pseudonym George Lincoln), with a screenplay by Giuseppe Masini and Freda. At the time of the film's release, not a single note from the score was released, and it wasn't until 2007 that GDM Music issued the complete original soundtrack on CD for the very first time. The title has been absent from the market for many years, so this reissue with improved sound will make all Spaghetti Western fans around the world happy. Nora Orlandi and Robby Poitevin composed an orchestral score introduced by the "Titoli di testa," a rhythmic adventurous theme with a nostalgic flavor for trumpet, orchestra and choir. The central musical motif is a recurring love theme with choir accompaniment, with the addition of the harmonica as well as a version sung by Raoul. The entire dramatic side of the story is underlined by music of suspense and mystery. Classical pieces with a religious flavor are performed on organ and guitar, plus there is some Latin American folk music and a square dance. Nora Orlandi performs an evocative ancient ballad that is reprised with wordless vocals. This CD comes from the mono masters of the original sessions, plus six rare stereo bonus tracks that were found on another master, perhaps conceived for a record that never saw the light of day in 1967.

 

PRICE: $22.50

CAT #: CDCR 153CD

FILE UNDER: SOUNDTRACK

Beat Records Company presents the expanded version of the original motion picture soundtrack of the movies L'Anticristo (Alberto De Martino 1973), featuring the music by Ennio Morricone and Bruno Nicolai, and Sepolta Viva (Aldo Lado, 1974) by Ennio Morricone. This album, very popular among the two composers' fans, offers two OSTs realized for excellent movies. The first, on the Excorcist (William Friedkin, 1973) trail, revisits the theme of demonic possession through the Italian cultural filter while the second, based on the homonymous novel by Marie Eug?nie Saffray, is a nice historical drama, much in fashion in the early '70s. The CD is now available again in the classic CR series as a jewel case release featuring a 12-page booklet filled with Fabio Babini's liner notes and Daniele De Gemini's artwork, with mastering by Enrico De Gemini. On the cover is the original artwork, realized by Sandro Symeoni, commissioned by Franco De Gemini.

 

PRICE: $16.00

CAT #: BT 130CD

FILE UNDER: ROCK

Black Truffle presents Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah, the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (BT 086CD). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie's long-time musical hero and occasional collaborator Roscoe Mitchell. The epic closing track presents a take on Roscoe Mitchell's "Uncle," performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell's dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal. Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois' drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

 

PRICE: $31.50

CAT #: BT 130LP

FILE UNDER: ROCK

LP version. Black Truffle presents Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah, the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (BT 086CD). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie's long-time musical hero and occasional collaborator Roscoe Mitchell. The epic closing track presents a take on Roscoe Mitchell's "Uncle," performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell's dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal. Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois' drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

 

PRICE: $32.00

CAT #: BT 131LP

FILE UNDER: ELECTRONIC

Black Truffle presents a new edition of Kassel Jaeger's Fernweh, returning Fran?ois J. Bonnet's electroacoustic project to the label five years after the acclaimed Meith. Originally released on Giuseppe Ielasi and Jennifer Veillerobe's impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet's approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O'Malley and Jim O'Rourke. A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concr?te materials into a drifting assemblage. Its title's meaning is close to the concept of "Wanderlust," fitting for this music that moves freely and unexpectedly between what Bonnet calls "climates." Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Drawing from the rigorous formal language and conceptual apparatus of the French musique concr?te tradition -- with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar -- the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous "scenes," with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O'Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

 

PRICE: $14.50

CAT #: BCR 034CD

FILE UNDER: ROCK

This is a limited-edition collection of tracks written and recorded by Neil Arthur. Archived tracks from Commercial Break (2021) and Private View (2022), Blancmange album sessions that have remained unreleased until now.

 

PRICE: $21.00

CAT #: 9781953691224

FILE UNDER: Misc

Paperbound, 407 pages. "Edited by Lawrence Kumpf, Charles Curtis. Text by ?liane Radigue, Dagmar Schwerk, Daniel Sillman, Anthony Vine. A detailed look at the elusive work of a French pioneer of musique concr?te and electroacoustic composition. This volume is an exploration of the early electronic work of French composer ?liane Radigue (born 1932), whose radical approach to feedback, analog synthesis and composition on tape has long evaded straightforward interpretation. Combining key texts, newly translated primary documents, in-depth interviews and commissioned essays, this compendium probes her idiosyncratic compositional practice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification and the very experience of listenership. Chief among these entries is an in-depth overview by cellist Charles Curtis examining the composer's earliest experiments in feedback techniques and analog synthesis, her eventual turn to works for unamplified instruments and live performers, and her unique aesthetic of time and presence. Detailed conversations provide crucial windows into her working methods at different points in her career. Sketches for unrealized work, contemporary reviews, programs and ephemera are collected together for the first time. The anthology concludes with a roundtable discussion working out the knotty paradoxes of Radigue's continued 'ethos of resistance.'"

 

PRICE: $28.50

CAT #: BONF 026LP

FILE UNDER: ROCK

Fully licensed and remastered, limited to 500 copies. Friends was the fifth album by the psych folk joint venture H&F Recordings. Also known by the title Fragile, the album was released in 1974 as a private press with a more than precarious cover. Reminiscent of Simon & Garfunkel and Buffalo Springfield vocal harmonies the record was -- in Howell & Ferdinando words -- a pure joy of creation. Finally listeners have the chance to unleash this psych pop folk masterpiece with a proper artwork and in a remastered version. Peter Howell, known for his work in Doctor Who-themed series and as a part of the BBC Radiophonic Workshop, and John Ferdinando were also behind the intriguing musical projects known as Ithaca and Agincourt. Liner notes by Peter Howell.

 

PRICE: $14.50

CAT #: BRAWL 059CD

FILE UNDER: ROCK

Lyrelyrelyre is the 11th solo album from Laura Cannell, the UK based composer, performer, and improviser. Cannell calls upon an ancient Lyre that was buried in the epic landscape of the Suffolk Coastline to sound once more. She wakes it from its 14-century long slumber and coaxes. It's shrouded sounds onto her new offering. Cannell delves deep into the history of the lyre, finding a way to bring this ancient instrument back into the landscape it once lived in and into her fold of feral chamber music. This nine-track album follows on from Cannell's 2024 release The Rituals of Hildegard Reimagined making the 12th century seem positively modern in terms of music and lifestyle. Gorse flower dreams. Playing on a copy of the 7th century Sutton Hoo Lyre she takes inspiration from its fragmented remains and the evocative landscape hidden for centuries in plain sight. The staccato of a gut strung lyre-hearpe, The hunting and battle cries of crumhorns and the sense of space evoked on bass recorder present and album with ever present sea mist. Shrouded sounds are emitted as Cannell delves deep into the history of the lyre, finding a way to bring this ancient instrument Into her musical fold and questioning, how many other instruments are buried beneath our feet?

 

PRICE: $26.00

CAT #: BB 039LP

FILE UNDER: ROCK

2025 restock; LP version. The fourth full-length album by legendary German electronic music duo Cluster, originally released on Sky Records in 1976. Sowiesoso follows on from their most highly-acclaimed album, Zuckerzeit (1974). Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Mobius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a four-track tape machine, two Revox A77 stereo tape-decks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of otherworldly electronic and acoustic elements -- relaxed, organic and gentle ambience. This could only be Cluster music; its harmonies reaffirm the quality of song, in spite of eluding song structure as such.

 

PRICE: $16.50

CAT #: BB 461CD

FILE UNDER: ELECTRONIC

Thumbing through the back pages of German electronic music, Bureau B uncovers another hidden gem from the Sky Records archive: Inventions, the 1983 collaboration between Adelbert von Deyen and Dieter Sch?tz. Fusing expansive kosmische textures with biting rock guitars, motorik rhythms, and the growl of '80s synth-pop, the duo conjures a sonic singularity which still sounds like the future today. Compact yet cosmic, Inventions distils ambient drift and experimental edge into taut, three-minute pop miniatures, with the occasional longer track extending the energy without losing any of the impact. Adelbert von Deyen, a painter, graphic artist and composer, was born in 1953 in northern Germany. Inspired by Pink Floyd and the Berlin School, he began creating electronic music in the late '70s, ultimately releasing a string of solo albums on Sky Records. Dieter Sch?tz, born in nearby Flensburg in 1955, was a multi-instrumentalist equally at home with pastoral acoustic tones and kosmische synthesis. After stints in local rock bands and electronic experimentation in his home studio, Sch?tz debuted in 1981 with TransVision, followed by solo albums that further explored his unique blend of organic and synthetic elements. Their musical paths converged on the track "Earth" from von Deyen's 1982 LP Planetary, a hypnotic collision of space-bound electronics and driving rhythm. The chemistry was instant and by the following year the pair had completed a full album as a duo, Inventions, marking Sch?tz's first appearance on the Sky roster. With Inventions, von Deyen and Sch?tz found a rare middle ground between introspective electronics and wide-eyed pop, creating something strange, beautiful and beguiling which inhabits a space all of its own. Reissued here for the first time in decades, it's a thrilling rediscovery from the adventurous outer edges of early '80s German music.

 

PRICE: $26.00

CAT #: BB 461LP

FILE UNDER: ELECTRONIC

LP version. Thumbing through the back pages of German electronic music, Bureau B uncovers another hidden gem from the Sky Records archive: Inventions, the 1983 collaboration between Adelbert von Deyen and Dieter Sch?tz. Fusing expansive kosmische textures with biting rock guitars, motorik rhythms, and the growl of '80s synth-pop, the duo conjures a sonic singularity which still sounds like the future today. Compact yet cosmic, Inventions distils ambient drift and experimental edge into taut, three-minute pop miniatures, with the occasional longer track extending the energy without losing any of the impact. Adelbert von Deyen, a painter, graphic artist and composer, was born in 1953 in northern Germany. Inspired by Pink Floyd and the Berlin School, he began creating electronic music in the late '70s, ultimately releasing a string of solo albums on Sky Records. Dieter Sch?tz, born in nearby Flensburg in 1955, was a multi-instrumentalist equally at home with pastoral acoustic tones and kosmische synthesis. After stints in local rock bands and electronic experimentation in his home studio, Sch?tz debuted in 1981 with TransVision, followed by solo albums that further explored his unique blend of organic and synthetic elements. Their musical paths converged on the track "Earth" from von Deyen's 1982 LP Planetary, a hypnotic collision of space-bound electronics and driving rhythm. The chemistry was instant and by the following year the pair had completed a full album as a duo, Inventions, marking Sch?tz's first appearance on the Sky roster. With Inventions, von Deyen and Sch?tz found a rare middle ground between introspective electronics and wide-eyed pop, creating something strange, beautiful and beguiling which inhabits a space all of its own. Reissued here for the first time in decades, it's a thrilling rediscovery from the adventurous outer edges of early '80s German music.

 

PRICE: $16.50

CAT #: BB 462CD

FILE UNDER: ELECTRONIC

Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Sch?tz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Sch?tz himself, except for the drums on 'Above,' which are performed with syncopated zeal by Michael Fecker. While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Sch?tz's music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections of handmade sound, his combination of organic and synthetic instruments marrying to summon faraway landscapes -- Amazonian forests, sunlit coasts, and cosmic night skies."Born in Flensburg in 1955, Sch?tz was a natural multi-instrumentalist, beginning with accordion, recorder, and acoustic guitar before moving into rock and contemporary pop. He played lead guitar in regional bands before co-founding Zest, all the while composing electronic music in his home studio. By 1981, his debut album TransVision had found a home on the pioneering Innovative Communication label, paving the way for a series of solo works on Sky Records?. The title track, 'Voyage,' perfectly encapsulates the album's essence, its drum-box bossa rhythm supporting warm, rhythmic synths and a wistful melody that balances the thrill of adventure with the quiet ache of homesickness?. Even decades later, Voyage still resonates as a unique sonic expedition, both deeply personal yet universally evocative. Sch?tz's gentle yet adventurous spirit permeates the album, making it a perfect soundtrack for those drawn to the horizon -- whether real, remembered, or dreamt." --Patrick Ryder

 

PRICE: $26.00

CAT #: BB 462LP

FILE UNDER: ELECTRONIC

LP version. Bureau B once again dive into the Sky archive, unearthing another overlooked masterpiece long due for rediscovery. Originally released in 1985, Voyage finds Dieter Sch?tz venturing beyond his Berlin School roots into a realm of lo-fi immediacy and New Age naivety. Every instrument is played by Sch?tz himself, except for the drums on 'Above,' which are performed with syncopated zeal by Michael Fecker. While its textured synthscapes and wistful melodies may echo the aesthetics of 2010s Vaporwave, Voyage captured a longing for another world, not through borrowed nostalgia, but through a contemporary vision of escape. Here, Sch?tz's music is lush yet unpretentious, full of warmth, curiosity, and the gentle imperfections of handmade sound, his combination of organic and synthetic instruments marrying to summon faraway landscapes -- Amazonian forests, sunlit coasts, and cosmic night skies."Born in Flensburg in 1955, Sch?tz was a natural multi-instrumentalist, beginning with accordion, recorder, and acoustic guitar before moving into rock and contemporary pop. He played lead guitar in regional bands before co-founding Zest, all the while composing electronic music in his home studio. By 1981, his debut album TransVision had found a home on the pioneering Innovative Communication label, paving the way for a series of solo works on Sky Records?. The title track, 'Voyage,' perfectly encapsulates the album's essence, its drum-box bossa rhythm supporting warm, rhythmic synths and a wistful melody that balances the thrill of adventure with the quiet ache of homesickness?. Even decades later, Voyage still resonates as a unique sonic expedition, both deeply personal yet universally evocative. Sch?tz's gentle yet adventurous spirit permeates the album, making it a perfect soundtrack for those drawn to the horizon -- whether real, remembered, or dreamt." --Patrick Ryder

 

PRICE: $26.00

CAT #: BB 478LP

FILE UNDER: ROCK

2025 repress; LP version. Agree to disagree: A selected Krautrock discography. Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope's "Krautrocksampler" to encyclopedic approaches like Alan and Stephen Freeman's "Crack in the Cosmic Egg", there are plenty of books to read and lists to discuss: Who's in, who isn't? The quarrels and disputes surrounding the terms "Krautrock" and "Kosmische Musik" are a testament to their enduring relevance and fascination. The book Krautrock Eruption by Wolfgang Seidel addresses some of those questions. In this book, you will find an annotated discography of fifty albums. Out of these fifty, Bureau B are presenting an even narrower selection of tracks from twelve albums on this compilation. Lists and compilation track listings inevitably see tracks missing and being left out. The list is meant to inspire repeated or further listening, to spark discussions and -- potentially -- to provoke new lists, perhaps your own! It's all part of the fun. Music is made for enjoyment in the first and for friendly debate in the second place, after all. Featuring Conrad Schnitzler, Eno Moebius Roedelius, Harald Grosskopf, Cluster, Moebius & Plank, Roedelius, Pyrolator, Riechmann, Kluster, G?nter Schickert, and Asmus Tietchens.

 

PRICE: $11.50

CAT #: SAUNA 047CS

FILE UNDER: ELECTRONIC

2025 reprint. Floating Frequencies/Intuitive Synthesis Volume I was originally released in 2006. This 2019 cassette edition was remastered by Eleh.

 

PRICE: $11.50

CAT #: SAUNA 048CS

FILE UNDER: ELECTRONIC

2025 reprint. Floating Frequencies/Intuitive Synthesis Volume II was originally released in 2007. 2019 tape remaster. Eleh's Floating Frequencies/Intuitive Synthesis Volume II requires dedicated and careful listening. "Black Mountain 1933" is a detailed account of the emerging frequencies resulting from the carefully crafted meeting of seven sine waves. "Pulsing Study Of 7 Sine Waves Part One & Two" focus on deep bass pulses being slowly modulated by frequencies well below the level of human hearing.

 

PRICE: $11.50

CAT #: SAUNA 049CS

FILE UNDER: ELECTRONIC

2025 reprint. Floating Frequencies/Intuitive Synthesis Volume III was originally released in 2008. This 2019 cassette edition was remastered by Eleh. Pure tone, pure sound, pure analog. Dedicated to Pauline Oliveros.

 

PRICE: $11.50

CAT #: SAUNA 050CS

FILE UNDER: ELECTRONIC

2025 reprint. Floating Frequencies/Intuitive Synthesis IV contains two new pieces from Eleh, each over 40 minutes long.

 

PRICE: $29.50

CAT #: CIS 176LP

FILE UNDER: ROCK

On a remote gravel-covered spit of land on the east coast lie the abandoned buildings of a government facility for weapons testing and experiments with radar. In the mid-1960s this site witnessed the construction of an over-the-horizon radar, a technological marvel bouncing signals off the ionosphere, built to covertly monitor the activities of other nations. The reflectivity of the ionosphere is a function of frequency, time of day, time of year and of the solar cycle. In essence, a sympathy for the celestial was required to fully exploit this manmade construction. Plagued by noise that created false returns on the monitors, the intended performance was never achieved, and despite several investigations the system was shut down and eventually dismantled in the early 1970s. The long dormant Cobra is now a nature reserve.

 

PRICE: $29.50

CAT #: CIS 177LP

FILE UNDER: ROCK

As humankind strives to create artificial intelligence what will faith, love, or morality look like to a nascent consciousness? Will it be capable of understanding its creators who often hold logic and superstition within themselves? In return how will humans comprehend its hallucinations? And the Sun, a ball of hot plasma oblivious to our existence continually burns hydrogen until it runs out and swallows its three closest neighbors.

 

PRICE: $20.00

CAT #: PURR 145LP

FILE UNDER: ELECTRONIC

"Julius Smack engages in a dialogue with a fictional AI assistant to create an album using the prompt, 'Make an album that tells the story about the origins of Julius Smack.' Starlight emerges as the imagined response, envisioning a world where beauty and violence intertwine, and memories and dreams are excavated to craft stories. In a near-future Earth, where artists are among the planet's last inhabitants, a symbiotic relationship has formed between humans and AI -- each relying on the other for nourishment and healing. At the sight of a shooting star, artists mine their memories and dreams with generative AI to produce art, which sustains them but generates toxins that must be expelled upon the next shooting star by creating more art. To compose Starlight, Julius Smack drew inspiration from all facets of life, with the album's 'dataset' serving as a kind of diary. It weaves together old demos, bookmarked TikTok clips of AI-generated content (such as a deepfake of Biden and Trump singing in Mandarin alongside Kamala Harris' laughter), 2000s dance music, and '90s cyberpunk anime, including Ghost in the Shell and Neon Genesis Evangelion. Everyday experiences also became part of the dataset: learning Yaqui in online classes with fellow diasporic Yaquis, riding the train, walking the dog, and dreaming. These disparate threads coalesce to question AI's role in creative and labor economies, forming a counterfactual narrative where everything -- and nothing -- is art."

 

PRICE: $24.50

CAT #: EOM 116LP

FILE UNDER: ROCK

Archaic, infernal, radical, consistent, courageous. Following the release of his LP The Lovers And Destroyers with Caspar Br?tzmann Bass Totem in autumn, 2024, renowned guitarist Caspar Br?tzmann and his band Caspar Br?tzmann Massaker present a collaborative release between Corbett vs. Dempsey and Exile On Mainstream (Berlin). The record features two different live versions of "All This Violence," recorded in Vienna and Dresden, with Saskia von Klitzing (drums) and Eduardo Delgado Lopez (bass). Founded in 1986, Caspar Br?tzmann Massaker became a significant force in the 1990s alternative rock scene. The band's albums The Tribe (1987), Black Axis (1989), Der Abend Der Schwarzen Folklore (1991), Koksofen (1993), Home (1995) and Mute Massaker (1999) are heralded underground classics, having a profound influence on bands and artists like Sonic Youth, SUNN O))), Faith No More, Neurosis, Sumac, and Helmet, to name a few. The band's music is textural, visceral, arresting, and urgent, marked by repetitive, hypnotic intensity, and Br?tzmann's signature guitar sound. The legacy lies in his fearless experimentation, dissolving boundaries between classical music structures and amplified instrumentation in rock music. Since the mid-1980s, Caspar Br?tzmann has been shaping an unmistakable sound -- infernal, radical, uncompromising. He unwaveringly pursues his own path, beyond clear genre boundaries. As the son of a famous saxophonist, he found his artistic identity early on and developed a unique sound language that discharges in brute catharsis. His music is not an adaptation to trends, but a sensitive, passionate, almost obsessive approach to despair and anger -- and yet full of hope. With his virtuoso independence on the instrument, he is an exceptional phenomenon. An atonal Hendrix, made in Germany.

 

PRICE: $23.50

CAT #: COSMR 039LP

FILE UNDER: ROCK

Under the influence of The Beatles, the Group Sound Movement swept Japan in the mid '60s. This compilation collects some of the finest cuts made by several of the leading band of the time. Featuring The Mops, The Golden Cups, The Spiders, The Beavers, The Carnabeats, D'Swooners, and The Jaguars.

 

PRICE: $23.50

CAT #: COSMR 040LP

FILE UNDER: ROCK

Under the influence of The Beatles, the Group Sound Movement swept Japan in the mid '60s. This compilation collects some of the finest cuts made by several of the leading band of the time. Featuring The Mops, The Golden Cups, The Spiders, The Outcast, The Savage, The Jaguars, The Sharp Hawks, The Sharp Five, and The Voltage.

 

PRICE: $18.00

CAT #: DEGU 039EP

FILE UNDER: ELECTRONIC

Fango blends four radically different tracks into one sonic journey, each designed for a unique dance experience. His message is clear: diversity -- both in music and in humanity -- is a treasure to be celebrated.

 

PRICE: $35.00

CAT #: DPROM 176LP

FILE UNDER: ROCK

There is so much that Dirtier could say about the legend that is Chris Connelly performing his takes on the music of the equally legendary TG, but this time the label is going to leave it in the words of the man himself. This record goes ahead with the blessing of the surviving members of Throbbing Gristle, Chris Carter and Cosey Fanni Tutti. "Having carved a twisted career with behemoths Ministry & Revolting Cocks over the past 40 years, starting life with the formidable Fini Tribe and collaborating with disparate characters such as Killing Joke, Cabaret Voltaire, Jim O' Rourke, and too many others, I have returned to my first love, Throbbing Gristle, armed with a cassette recorder, a reel to reel, a razor blade and some tape, I want to invoke the spirit of mid to late '70s live TG , random, tense, scary and compulsively fascinating. White Phosphorus is for the TG connoisseur, for the morbidly curious, and the tragically dysfunctional amongst us." This record is packaged in the spirit of the earliest Throbbing Gristle releases and is very much coming from a '70s Xerox angle. It's pressed on 180gram heavy black vinyl.

 

PRICE: $27.00

CAT #: DC 889LP

FILE UNDER: ROCK

"Sharpie Smile's debut album has one question for you: is your heart good enough to take The Staircase? Sharpie Smile is Dylan Hadley and Cole Berliner. They met in 2015, a pair of musically-adept nonconformist teenagers, forming a songwriting and performance duo. Writing initially for a project called Kamikaze Palm Tree, with Dylan on drums and Cole on guitar, they produced two albums of thorny, earwormy art-rock. While continuing to play shows and write, there was some session work with other acts (Cate Le Bon, A. Savage, Tim Presley's White Fence). And then a shimmering new direction came into view. For Sharpie Smile, that direction is up. The Staircase is a lush and energizing contemporary pop record, scaling an ambitious gradient of minimal/maximal electronic production and deep feels. It's a dreamy and ethereal trip through something (you're not sure what yet), on a radiant melodic raft. Reality is breaking and rebirth is happening, one piece at a time -- essential questions deconstructed and pieced together again. Like scanning a new x-ray image of yourself. Finding is losing something else; there's the shadow of 'goodbye' here, too. When Dylan sings 'There is nothing I won't miss' on 'Love or Worship,' you feel broken up -- but if the breakup is with the old way of life (it is), then getting over the hump will provide its own sweet reward. Sharpie Smile's passage there is one of sensuous breaths and serpentine soul-terrain, as Dylan's blue vocal melodies drift glacially through a luminous wilderness of synth keys, guitars and percussion beats, cutting the melancholy milieu of New Romantic pop in sharp new relief. On The Staircase, Sharpie Smile ascend through waves of sound art in a sophisticated musical craft all their own. Inspired by SOPHIE, 100 gecs, Oklou, and other insane futurists, they allow the feeling of discovery to free their evolution, whenever needed. Their collaborators help facilitate and guide their astonishing transformations: The Staircase was engineered and produced by Cesar Maria, with additional engineering by Spencer Hartling, additional vocal engineering and production by Cairo Marques-Neto and mixing by Mikey Weiland. You're in the eye of the storm. A refuge from the unrelenting, where the journey to clarity can be glimpsed, accessed and shared."

 

PRICE: $29.50

CAT #: DBL 031LP

FILE UNDER: ELECTRONIC

Ardor or Entropy is Nz?mbe's first album in nine years, following 2015's Titubeo. During this period, philosopher and artist Miguel Prado's sonic output has included synthesizing a sonic Gernika with his band HARRGA alongside Dali de Saint Paul, and crafting a hallucinatory sci-fi mythology for Lucrecia Dalt's latest album, ?Ay! Rewiring the conventions of chamber electronics and postmodern songwriting, here is presented a Spanish song cycle on love and cosmological redshift. The distant echo of Tristan?and?Iseult's smoking gun where lovemaking becomes an enactment of entropy, a transformation between the dynamic and the static, the human and the fetish, illustrating the inevitable decline into chaos and stillness. A beached singing voice (beautifully processed by Rashad Becker) against electro-acoustic backdrops ranging from the caustic, viscous to the bonecrushingly dense worldbuilding shared by HR Giger, Ballard, and Pynchon. Transcendental and psychotic vistas that boldly examine human fragility and the surrounding abyss of godlessness.

 

PRICE: $15.50

CAT #: DUST 133CD

FILE UNDER: ELECTRONIC

"We always knew we would return to this project because Brutalism remains a profound part of our lives, something we cherish deeply. Inspired by the photographs we have been capturing for a new book, the music emerged effortlessly. Documenting these buildings feels instinctive; this is where we belong. Our unwavering fixation on symmetry, synchronization, and repetition endures, but this time we believe the music reveals a more emotional depth. That is the direction we have been moving towards. Some things simply take time, yet this album seemed to take shape of its own accord. Join us as we walk through these modern-day cathedrals, monuments to the people." --The Black Dog

 

PRICE: $34.00

CAT #: DUST 133LP

FILE UNDER: ELECTRONIC

LP version. "We always knew we would return to this project because Brutalism remains a profound part of our lives, something we cherish deeply. Inspired by the photographs we have been capturing for a new book, the music emerged effortlessly. Documenting these buildings feels instinctive; this is where we belong. Our unwavering fixation on symmetry, synchronization, and repetition endures, but this time we believe the music reveals a more emotional depth. That is the direction we have been moving towards. Some things simply take time, yet this album seemed to take shape of its own accord. Join us as we walk through these modern-day cathedrals, monuments to the people." --The Black Dog

 

PRICE: $30.50

CAT #: EMEGO 037LP

FILE UNDER: ELECTRONIC

Editions Mego reissue the 2001 release Asuma by Finnish artist Ilpo V?is?nen. Originally released on CD this is the first ever vinyl issue, remastered by Rashad Becker. 2001 is a landmark year for the artist following a wave of success from the notable outfit V?is?nen formed alongside Mika Vanio, Pan Sonic (as they were now known then). Following a string of highly acclaimed and influential releases such as Vakio, Kulma, A, and Aaltopiiri, Pan Sonic had toured the globe extensively leaving a trail of blown expectations and rumors of all manner of objects in venues cracking or falling apart due to the immense sound the duo concocted with their unique instruments. Taking a break from the ecstatic cacophony of Pan Sonic, V?is?nen retreated to work on a solo release which conjured the spirits of the former outfit whilst simultaneously carving out a more personal take on these new electronic forms. Asuma is a precise study of drones, rhythms, clicks, ambience and gentle confusion. Whilst inhabiting a zone of abstraction the results also move in a natural field as V?is?nen's native Finland permeates these recordings as much as the idea of experimentation itself. "Autioitu 1" opens the album as delicate pinball rhythms bounce across the spectrum as a hairy drone hovers underneath. The mood is both intriguing and unsettling. "Tukahduttaja" is a delightfully disorientating sound sculpture that is hard to pinpoint what it actually is. "Klikki" is comparable to a microscopic version of Pink Floyd's "Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict." "Asumaton" is a foreboding miniature acting like a segway to "Vallitseva" which embraces the icy clicks that punctuates much of the Pan Sonic output. "Arvioimaton Ongelma" is an audio riddle whilst "Jaettu" jitters around a dancefloor crawl. "Autioitu" closes proceedings as a gentle ambient thumper. Asuma is awash with contradiction and mystery. This is time wrapped in twisted turns and rewards a neat payoff for those interested in the absolute fringes of electronic 'dance' music.

 

PRICE: $18.00

CAT #: EUDEMONIA 019EP

FILE UNDER: ELECTRONIC

British producer BufoBufo presents a brand-new EP titled Celandine on eudemonia. Known for his profound productions, BufoBufo blends elements of acid, breakbeat, and classic house to craft a hypnotic sound that is both nostalgic and contemporary. The artist often draws inspiration from the natural world in his work. This influence is particularly evident in Celandine, where the organic textures and fluid rhythms mirror the ever -- changing landscapes of nature. BufoBufo's ability to weave these elements into his productions creates a distinctive, immersive listening experience. "Celandine" promises to be a stunning journey, full of energetic grooves, subtle melodic details, and nature-inspired atmospheres -- perfect for both intimate listening experiences and vibrant club nights.

 

PRICE: $30.50

CAT #: FAITICHE 038LP

FILE UNDER: ELECTRONIC

New Environments & Rhythm Studies finds Andrew Pekler returning to the humid zones he explored on previous albums such as Sounds From Phantom Islands and Tristes Tropiques. Split between longer immersive compositions and shorter glimpse-like sketches, these 12 tracks feature new juxtapositions of Pekler's familiar palette of synthetic field recordings, warm, undulating electronic textures, shifting percussion patterns and serene melodies. As with much of his recent work, Pekler's compositions here are structured around the beguiling effect of synthetic and non-synthetic sounds mirroring, mimicking and modulating one another. The teeming atmospheres within tracks such as "Globestructures," "Cymbals In The Mist," or "Globestructures: Option II" are, despite their seemingly anthropogenic nature, entirely synthetic. Elsewhere, the lopsided grooves of "Cumbia Para Los Grillos" or "Fabulation For K" are derived from recordings of crickets and other insects which Pekler loops and uses to trigger electronic percussion -- producing a pleasantly skewed rhythmic base for the fragments of melody which are layered on top. The six "Rhythm Studies" also follow the same principle -- a playful interweaving of the organic and synthetic. New Environments & Rhythm Studies is a further attempt to re-describe past tropes which laid claims to authentically represent music and sound from beyond the Western world (exotica, ethnomusicology, field recording) as undertakings of the imaginary. Written and produced by Andrew Pekler, mastered by Giuseppe Ielasi, artwork by Morgan Cuinet, graphic design by Dmytro Nikolaienko.

 

PRICE: $34.50

CAT #: FTR 803LP

FILE UNDER: ROCK

Volume 7. The Heads unleash Reverberations: A five-LP explosion of basement-born, acid-fried sonic fury. Forged in the fogged-out depths of their Bristol basement, Reverberations captures The Heads at their heaviest and most unhinged -- sprawling, free-form jams that pulse, pummel, and phase into infinity. No edits, no overdubs, no apologies. Just pure, pulverizing cosmic communion. Spanning over four hours of fuzz-drenched excursions, hypnotic riff spiral, motorik freakouts and tape-saturated noise walls, this is The Heads as they were never meant to be heard -- unless you were in the room, and out of your mind. You ever hear a Hawkwind bootleg on the wrong speed and think "yeah but what if this was heavier and more lost?" That's Reverberations. It's acid-fried, it's righteous, it's like crawling through the fuzz-soaked lungs of the universe with only a blown speaker and a half-drunk pint for company. Five LPs. No polish. No polishers. The guitars don't play -- they detonate. The drums don't keep time -- they pull it apart, beat by bloody beat. And the bass? That's not bass. That's the sound of tectonic plates grinding their teeth in orgasmic terror. Each LP in the series is its own trip, housed in matte laminated outer sleeves and pressed on mixed color vinyl, for the full synapse-sizzling experience. Issued via Cardinal Fuzz (Europe) and Feeding Tube Records (USA), in strictly limited quantities, Reverberations is a vital document from the outer reaches of Britain's psych underground. Get ready to have your face melted, your brain scrambled, and your whole concept of "music" pulverized into psychedelic dust. Strictly limited. Psychos only. No posers.

 

PRICE: $34.50

CAT #: FTR 804LP

FILE UNDER: ROCK

Volume 6. The Heads unleash Reverberations: A five-LP explosion of basement-born, acid-fried sonic fury. Forged in the fogged-out depths of their Bristol basement, Reverberations captures The Heads at their heaviest and most unhinged -- sprawling, free-form jams that pulse, pummel, and phase into infinity. No edits, no overdubs, no apologies. Just pure, pulverizing cosmic communion. Spanning over four hours of fuzz-drenched excursions, hypnotic riff spiral, motorik freakouts and tape-saturated noise walls, this is The Heads as they were never meant to be heard -- unless you were in the room, and out of your mind. You ever hear a Hawkwind bootleg on the wrong speed and think "yeah but what if this was heavier and more lost?" That's Reverberations. It's acid-fried, it's righteous, it's like crawling through the fuzz-soaked lungs of the universe with only a blown speaker and a half-drunk pint for company. Five LPs. No polish. No polishers. The guitars don't play -- they detonate. The drums don't keep time -- they pull it apart, beat by bloody beat. And the bass? That's not bass. That's the sound of tectonic plates grinding their teeth in orgasmic terror. Each LP in the series is its own trip, housed in matte laminated outer sleeves and pressed on mixed color vinyl, for the full synapse-sizzling experience. Issued via Cardinal Fuzz (Europe) and Feeding Tube Records (USA), in strictly limited quantities, Reverberations is a vital document from the outer reaches of Britain's psych underground. Get ready to have your face melted, your brain scrambled, and your whole concept of "music" pulverized into psychedelic dust. Strictly limited. Psychos only. No posers.

 

PRICE: $34.50

CAT #: FTR 805LP

FILE UNDER: ROCK

Volume 5. The Heads unleash Reverberations: A five-LP explosion of basement-born, acid-fried sonic fury. Forged in the fogged-out depths of their Bristol basement, Reverberations captures The Heads at their heaviest and most unhinged -- sprawling, free-form jams that pulse, pummel, and phase into infinity. No edits, no overdubs, no apologies. Just pure, pulverizing cosmic communion. Spanning over four hours of fuzz-drenched excursions, hypnotic riff spiral, motorik freakouts and tape-saturated noise walls, this is The Heads as they were never meant to be heard -- unless you were in the room, and out of your mind. You ever hear a Hawkwind bootleg on the wrong speed and think "yeah but what if this was heavier and more lost?" That's Reverberations. It's acid-fried, it's righteous, it's like crawling through the fuzz-soaked lungs of the universe with only a blown speaker and a half-drunk pint for company. Five LPs. No polish. No polishers. The guitars don't play -- they detonate. The drums don't keep time -- they pull it apart, beat by bloody beat. And the bass? That's not bass. That's the sound of tectonic plates grinding their teeth in orgasmic terror. Each LP in the series is its own trip, housed in matte laminated outer sleeves and pressed on mixed color vinyl, for the full synapse-sizzling experience. Issued via Cardinal Fuzz (Europe) and Feeding Tube Records (USA), in strictly limited quantities, Reverberations is a vital document from the outer reaches of Britain's psych underground. Get ready to have your face melted, your brain scrambled, and your whole concept of "music" pulverized into psychedelic dust. Strictly limited. Psychos only. No posers.

 

PRICE: $34.50

CAT #: FTR 806LP

FILE UNDER: ROCK

Volume 4. The Heads unleash Reverberations: A five-LP explosion of basement-born, acid-fried sonic fury. Forged in the fogged-out depths of their Bristol basement, Reverberations captures The Heads at their heaviest and most unhinged -- sprawling, free-form jams that pulse, pummel, and phase into infinity. No edits, no overdubs, no apologies. Just pure, pulverizing cosmic communion. Spanning over four hours of fuzz-drenched excursions, hypnotic riff spiral, motorik freakouts and tape-saturated noise walls, this is The Heads as they were never meant to be heard -- unless you were in the room, and out of your mind. You ever hear a Hawkwind bootleg on the wrong speed and think "yeah but what if this was heavier and more lost?" That's Reverberations. It's acid-fried, it's righteous, it's like crawling through the fuzz-soaked lungs of the universe with only a blown speaker and a half-drunk pint for company. Five LPs. No polish. No polishers. The guitars don't play -- they detonate. The drums don't keep time -- they pull it apart, beat by bloody beat. And the bass? That's not bass. That's the sound of tectonic plates grinding their teeth in orgasmic terror. Each LP in the series is its own trip, housed in matte laminated outer sleeves and pressed on mixed color vinyl, for the full synapse-sizzling experience. Issued via Cardinal Fuzz (Europe) and Feeding Tube Records (USA), in strictly limited quantities, Reverberations is a vital document from the outer reaches of Britain's psych underground. Get ready to have your face melted, your brain scrambled, and your whole concept of "music" pulverized into psychedelic dust. Strictly limited. Psychos only. No posers.

 

PRICE: $34.50

CAT #: FTR 807LP

FILE UNDER: ROCK

Volume 3. The Heads unleash Reverberations: A five-LP explosion of basement-born, acid-fried sonic fury. Forged in the fogged-out depths of their Bristol basement, Reverberations captures The Heads at their heaviest and most unhinged -- sprawling, free-form jams that pulse, pummel, and phase into infinity. No edits, no overdubs, no apologies. Just pure, pulverizing cosmic communion. Spanning over four hours of fuzz-drenched excursions, hypnotic riff spiral, motorik freakouts and tape-saturated noise walls, this is The Heads as they were never meant to be heard -- unless you were in the room, and out of your mind. You ever hear a Hawkwind bootleg on the wrong speed and think "yeah but what if this was heavier and more lost?" That's Reverberations. It's acid-fried, it's righteous, it's like crawling through the fuzz-soaked lungs of the universe with only a blown speaker and a half-drunk pint for company. Five LPs. No polish. No polishers. The guitars don't play -- they detonate. The drums don't keep time -- they pull it apart, beat by bloody beat. And the bass? That's not bass. That's the sound of tectonic plates grinding their teeth in orgasmic terror. Each LP in the series is its own trip, housed in matte laminated outer sleeves and pressed on mixed color vinyl, for the full synapse-sizzling experience. Issued via Cardinal Fuzz (Europe) and Feeding Tube Records (USA), in strictly limited quantities, Reverberations is a vital document from the outer reaches of Britain's psych underground. Get ready to have your face melted, your brain scrambled, and your whole concept of "music" pulverized into psychedelic dust. Strictly limited. Psychos only. No posers.

 

PRICE: $37.50

CAT #: FEINES 069LP

FILE UNDER: ELECTRONIC

The long-anticipated debut LP from Atlantik has finally arrived on Feines Tier. Hailing from Cologne, childhood friends Georg and Clemens have spent over a decade refining their passion for hardware-driven live techno. Whether as a regular touring act, resident duo at Berlin's legendary Sisyphos, or an opening act on Fusion's Turmb?hne, Atlantik has captivated audiences with their high-energy approach to techno. While their sound continues to evolve, its roots remain in Cologne's minimal techno golden era. Atlantik blends glitchy percussion, delicate melodies, and hypnotic atmospheres -- always maintaining the precision and restraint of minimalism. Enjoy the journey!

 

PRICE: $14.50

CAT #: FD 1606CD

FILE UNDER: ELECTRONIC

Since their forming in 1999, Theme have released six albums and performed live sporadically in a variety of incarnations, even including Faust's Jean-herve Peron on bass at a number of shows many years ago. Meditations on Space, Volume One is the seventh album and represents the first volume in a two-part set. Consisting of one piece of music (spanning around 40 minutes in total) that's broken into seven parts, it sees the core duo of Stuart Carter and Richard Johnson (both also in Splintered) working with contributions from Zsolt Sores, Hiroshimabend, Emma Lynch and Michal Wojciechowski to create a blanket of shifting sonic textures and pulses that are at once dynamic and unpredictable, utilizing electronics, field recordings, viola, voices, guitar and a variety of other sound sources, the sound here is rich in scope as it vacillates between the dramatic and more subdued.

 

PRICE: $25.00

CAT #: GFR 009LP

FILE UNDER: SOUNDTRACK

2025 restock. Manic fuzzed out instrumentals, mind blowing high-energy rock?n`roll, mysterious exotica, and more in this wild compilation of ass-kicking biker movie soundtracks. 14 gems taken from 14 greasy biker movies filmed between 1966 and 1971. An eye-opening collection of mostly forgotten treasures. Get ready for a wild ride with this compilation gathering a bunch of amazing '60s/early '70s biker movie soundtracks. Starting with the classic that defined the whole genre (Davie Allan & the Arrow?s "Blues Theme") this record is, of course, drenched in delicious fuzz madness, but it doesn?t stop there: from the mind-blowing high-energy bust that is "Changes" by the East-West Pipeline, to none other than the king of exotica, Les Baxter, this is a fascinating and roaring trip filled to the top with gasoline fueled hits! Featuring Mike Curb, The Man-Eaters, The Sidewalk Sounds, Simon Stokes And The Nighthawks, Jeff Simmons, Eddie And The Stompers, Lenny Stack, Harley Hatcher, The Sunrays, The Other Side, and Stu Phillips.

 

PRICE: $12.00

CAT #: GODUNK 076EP

FILE UNDER: ROCK

"Rockitman" and "Millennium Man" were recorded in the summer of 1996 around the time Bushpilot re-emerged from a hiatus following making the recordings that would become the album 23 to appear three times in short succession at that years Leeds Sound City festival. The appearances led to interest from a major label in the USA, but as usual life got in the way. With a new drummer in the shape of Nick Tonge of Leeds heavy noise merchants Zoopisa, "Rockitman" and "Millennium Man" took from improvisations developed working with legendary Leeds producer Richard Formby in his studio and turning them more into songs: Richard thinks of them as "Frankenstein creations." The video was created by award winning Leeds artist Sarah Doyle, who also created the cover artwork. The video stars British rocker Vince Taylor, a key influence on a young David Bowie, and a host of model spaceships. Originally intended for release in 2021, well covid got in the way, so here it is at last.

 

PRICE: $13.50

CAT #: GRAM 2109CD

FILE UNDER: ROCK

Solo album of Hugo Race. Ambient blues meets post-rock or something totally different. Five almost instrumental tracks continue the way of Hugo from the albums like Wet Dream or Between The Hemispheres. Unusual journey and story about pandemic time, demons and exorcisms.

 

PRICE: $28.50

CAT #: HG 2501LP

FILE UNDER: ROCK

With Time, We Learned To Ask Less is the first duo album by Giuseppe Ielasi and Riccardo D. Wanke after decades of friendship and the occasional artistic collaboration. Working with only electric guitar and electric piano as well as a gentle dose of reverb, these improvisation-based recordings showcase the rapprochement of two artists whose interests are perfectly aligned. Their carefulness, attention to detail, and shared desire to sculpt space through music instead of just occupying it create a unique harmony between these two exceptional musicians who consistently stay mindful of the old adage that music is the space between the notes. Following up on solo albums sees them seamlessly combining the sparse but lush aesthetics of those experiments throughout these 44 minutes. Having lived close to each other in Northern Italy, where the prolific mastering engineer Ielasi still resides to this day, he and Wanke were members of the group Medves together with Andrea Belfi, Renato Rinaldi, and Stefano Pilia before Wanke relocated to Lisbon. When Ielasi, who had mastered Wanke's recent solo albums including 2023's i for electric pianos, was invited to play a concert in the Portuguese capital in the summer of that year, the two took the opportunity to go on stage together. Infatuated by the results of this fully improvised set, they organized a two-day session in Ielasi's Monza studio shortly thereafter and edited the recordings over the course of the following months. The resulting album shows them moving slowly through sonic space and time, complementing and counterpointing each other's playing. They leave each other room in which to unfold and let short moments of silence speak for themselves. With Time, We Learned To Ask Less is the closest you will get to hearing the air sing.

 

PRICE: $30.50

CAT #: HG 2503LP

FILE UNDER: ELECTRONIC

Comes with 16-page score booklet. Cosmogonical Ears is Amosph?re's first album for Hallow Ground. Following her contribution to the Swiss label's Epiphanies compilation and her 2021 full-length debut More Die of Heartbreak on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosph?re's long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting Cosmogonical Ears in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA. The questions posed by Cosmogonical Ears do not yield straightforward answers. Instead, Amosph?re's restrained yet intricately layered compositions require full immersion and concentration from the listener. As expressed by the album's title -- which envisions the birth of a new universe through listening -- Cosmogonical Ears offers an experimental approach to auditory perception as a tool for seeking truth, freedom, and harmony between the outer world and the inner self.

 

PRICE: $73.00

CAT #: HOS 816CD

FILE UNDER: ROCK

War Games 95-99 is the definitive and extended collection of the ultimate teenage midwestern three-piece noise band notorious for live shows using a full desktop computer on stage. While there were predecessors to the stage, Flutter was the first mostly computer-generated noise to emerge from the harsh noise subculture dominated by pedals in the '90s tape scene. Unapologetically domestic, Flutter blended seemingly wholesome Midwest extracurricular activities with a soundtrack of suburban angst and placed all of this in a psycho-melancholic explosion of blinded circuitry, twisted band-room freak out and full-on bedroom ultra-creativity that only invention as necessity could birth. Flutter have remained a project for those in-the-know and are the phoenix who rose on the elegant and sinister Elsie And Jack And Chair CD compilations, splits on Xerxes and Bob Marinelli's distorted vision record and who were poised for graduation on the Groundfault album that should have been, here they rise from smoke of the '90s and now firmly rest the trophy of history on the mantel of today's noise-americana. Brutal and fun -- this 6CD box is a collection based around their proper full-length cassette -- War Games -- and extends into obscurities such material from splits with ?mes Sanglantes, Napalm Jesus, material for Joe Lombardo and essentially unheard relics of live recordings, the mysterious Self Abuse tape for Patrick O'Neil's distribution and the fabled and notorious unreleased Groundfault recordings full length CD! Includes unseen time capsule live and recording photos, liner notes/mini poster, and download code, packaged in clamshell box. Painstaking cassette restoration and detective work by Kris Lapke.

 

PRICE: $16.00

CAT #: HC 086CD

FILE UNDER: WORLD

Divine Dances. In plural form. The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title. Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand -- no, by the ear, obviously! -- to bring everyone back to the dance floor and explore a variety of atmospheres together. And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together. Divinely light. The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score. One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well. Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Gr?goire Mah? to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices. Gathered on this dance floor illuminated with '80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove. Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated: he's doomed to fail.

 

PRICE: $29.50

CAT #: HC 086LP

FILE UNDER: WORLD

LP version. Divine Dances. In plural form. The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title. Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand -- no, by the ear, obviously! -- to bring everyone back to the dance floor and explore a variety of atmospheres together. And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together. Divinely light. The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score. One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well. Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Gr?goire Mah? to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices. Gathered on this dance floor illuminated with '80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove. Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated: he's doomed to fail.

 

PRICE: $16.50

CAT #: IMPREC 259CD

FILE UNDER: EXPERIMENTAL

2025 restock. "Includes liner notes & archival photographs. 1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage. In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, amongst others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc..., which appears to be her very last feedback loop composition. Vice-Versa, etc... was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace. In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2'42", weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13'41", it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on Vice-Versa, etc... are surprisingly similar to those she would go on to produce with her synthesizer. Vice-Versa, etc... is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period. Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released -- needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple playthrough provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations."

 

PRICE: $14.00

CAT #: IMPREC 337CD

FILE UNDER: EXPERIMENTAL

2025 restock. "Transamorem - Transmortem was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, Transamorem - Transmortem was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way."

 

PRICE: $39.50

CAT #: IMPREC 449LP

FILE UNDER: ELECTRONIC

2025 restock. Patterns Of Consciousness is the powerful second full-length from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Patterns Of Consciousness was originated by ideally infinite permutation of patterns through a disciplined and exclusive use of machinery (an indexed quad sequencer and a harmonic oscillator). By means of subtraction, addition, and jitter operations, Barbieri derives a myriad of interlocking patterns extracted from an original matrix of just few harmonic archetypes, gradually developing the potential of the reduced constellation of pitches and durations determined in advance. Pushing the limits of her monophonic instrument, Barbieri seeks out counterpoint from a single oscillator through the exclusive use of additive synthesis, fast progressions, extreme melodic jumps, and intricate delay lines. She develops an illusory counterpoint style influenced by her passion for baroque lute music, where fast arpeggios are employed to get effects of sustained chords and overcome the limits of fast decay timbres. But the highly formulaic and germinative style of these pieces is also influenced by Indian classical music's vision of sound as an agent of change and recreation. Patterns are understood as the cells of an organism or the units of a language: a limited set of signs that can be recombined to always generate new possibilities. In POC, repetition and permutation of patterns are explored as tools to reconfigure perceptions and bend emotions, approaching sound as a medium to develop and master our own perceptual art. Emerging machine intelligence, human desire of pattern detection and the understanding of music as a cognitive feedback between humans and technology are primary sources of inspiration for this work. All the compositions share a common fatalistic tension, an impossible running, a restless rush - somewhat nervous somewhat ecstatic - to grasp a meaning out of fragments. Every piece in POC is conceived as a generative entity, a dynamic and living being able to develop its own organic laws, whose inner potential of growth and change is embedded in the initial instructions of the sequencer. Music produced by Caterina Barbieri between September 2015 and January 2016. Mixed at EMS (Elektronmusikstudion) in Stockholm. RIYL: Alessandro Cortini, Eleh.Caterina Barbieri on Patterns Of Consciousness: "A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attention is attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential. The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound."

 

PRICE: $35.00

CAT #: OGOALP 001LP

FILE UNDER: ROCK

2025 repress; LP version. The Old Gods of Asgard, also known as Poets of the Fall, are once again part of the gaming world! The upcoming album, Rebirth: Greatest Hits, includes four previously digitally released tracks and four brand new songs, three of which are featured in Remedy's game Alan Wake 2. Remedy Entertainment is one of Finland's most successful gaming companies, and the upcoming game is one of Finland's all-time biggest entertainment productions. Marko, Olli, and Captain from the band Poets of the Fall are appearing for the first time in Alan Wake 2 as characters from the Old Gods of Asgard band. So, the Old Gods of Asgard band is a collaborative creation of Sami J?rvi from Remedy and Poets of the Fall. The band has its own story, history, and mythology within the universe of Remedy's games. The lyrics of the songs are closely related to the game's plot and provide hints to players. The band was last heard in Remedy's Control game in 2019, with the unique "Take Control" song being the first interactive rock song that changes with the game situation during a long battle scene. The entire collaboration with Remedy began in 2003 with the game Max Payne 2, which featured the band's first song, the hit "Late Goodbye." It won the "Grammy of the gaming world," the G.A.N.G. Award for the best pop song in a video game. It was a great start for both the band's career and their collaboration with Remedy.

 

PRICE: $12.00

CAT #: INT 32492CD

FILE UNDER: JAZZ

"One can safely say that Ned Rothenberg is an exceptional phenomenon among the woodwind players: Not only is he a virtuoso saxophone and bass clarinet player, he also plays brilliantly different kinds of flutes -- he learned to play the Japanese bamboo flute shakuhachi by studying it with the masters Yokoyama Katsuya and Yamaguchi Goro in Japan. Rothenberg's constant musical curiosity and his untiring fondness of experimenting made him examine techniques usually not applied by saxophone and clarinet players; for example, he learned intercircular breathing like Australian didgeridoo players do and used both polyphony and the whole spectrum of harmonics on his instruments. These and other even more exotic approaches are the reason for Ned Rothenberg's reputation as excellent performer and composer who has left the traditional allocation of roles of his instrumental genre in the sense of mere melodic function(s) far behind him. He already worked with John Zorn, Fred Frith, Sainkho Namchylak, Elliott Sharp, and Samm Bennett, as well as Arto Lindsay, Don Cherry, and many others. Even as a soloist or with his own ensembles he has gained the respect of an international audience in the last two decades; Sync is Ned Rothenberg's latest project: a trio with the bassist Jerome Harris and the tabla virtuoso Samir Chatterjee, following the rather introspective paths that also characterize Rothenberg's solo works. Despite the large variety of styles including authentic Asian elements, Port Of Entry is a genuine jazz album. Sync prefers to play with open space, with silence and tension and the anticipation of the listener the overall impression is that of lightness but at no rate that of a lightweight. This impression is contrasted with a gentle air of melancholy which more or less clearly pervades the eight tracks of the album, giving large part of Port Of Entry an almost rhapsodic appearance."

 

PRICE: $18.00

CAT #: INT 34012CD

FILE UNDER: JAZZ

"The Family of Percussion was, essentially, the first jazz-oriented percussion ensemble, and it performed internationally for sixteen years. Everywhere they played in their early years, they inspired the founding of similar formations. 'We played at many international jazz festivals, performed as guests in more than a dozen European countries were in India, Mozambique, and South Africa, and everywhere we were admired in concert halls and clubs and showered with applause. The wild success of these years came as a total surprise; we literally opened up the floodgates. The same period also saw a powerful emergence of percussion instruments in the popular & art music worldwide,' says Peter Giger today. Until the early 1990s the Family of Percussion was on tour, including in India, with Zakir Hussain, Umayalpuram K. Shivaraman, and Palgat Raghu, and twice in Mozambique, with Gito Baloi, Sergio Bor?, Gerd Dudek, Michael K?ttner, and Dom Um Rom?o. 'During that time we were also traveling with the Senegalese group SAF SAP, and I put together various ensembles: with Victor Bailey, Christian Escoud?, Thomas Heidepriem, Jasper van t'Hof, Joachim K?hn, Christof Lauer, Harry Peppl, Burhan Ocal, Werner Pirchner, John Schr?der, Steve Swallow, Tomasz Stanko, Michal Urbaniak, and Nana Vasconcelos. For several years we toured with Wolfgang Dauner & Albert Mangelsdorff as the Ensemble Moon and then with my trio with Gerd Dudek and Vitold Rek. With the great Max Roach I was fortunate to perform a duo concert in Hofheim/Germany in 1986.' In 2002 Peter Giger moved to Ticino, Switzerland and finally concentrated on the roots of drumming. In 2004 he made a solo tour to West Africa."

 

PRICE: $28.50

CAT #: KK 138LP

FILE UNDER: ROCK

Mother Nature is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focused on his work as a producer for artists such as Jens Friebe, MissinCat, and Fotos. Mother Nature sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. Mother Nature combines a sense of playfulness with cunning compositional rigor to stunning effect. Intelmann took full creative license and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. The resulting sound isn't quite as "krauty," instead the artist prefers to call it "slow-kraut -- 1980s synth sound with 1970s George Duke-style beats." This is simply the essence of Berend Intelmann as a composer and storyteller. The lyrical matter of Mother Nature is inspired by life and death. This informs an album that masterfully creates contrasts and utilizes the friction generated between them to tell its stories. The album opener and second single "All Gone" greets its audience with the couplet "In the long run / We're all gone," but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. These darker tones slowly give way to laid-back grooves, Intelmann's smooth vocalizations and whirling synthesizer sequences. The collaborations further enrich this album that the artist claims has been "co-produced by friends and family." Indeed, Mother Nature might be Intelmann's solo debut proper, but he remains a team player at heart.

 

PRICE: $29.50

CAT #: KEPLARREV 021LP

FILE UNDER: ELECTRONIC

Originally published by Tomlab in 2001, Seleya is the second full- length issued by Kristian Peters' Novisad project. Twenty-four years after its initial release, the album's thirteen loop-based arrangements continue to resonate with striking clarity. Keplar presents Seleya with a previously unreleased bonus track from 2004 and a fresh vinyl cut by LUPO. These evocative miniatures feel haunted with the passage of time, bearing traces of the exploratory studio workflows, tactile imperfections, and emerging technologies that would have given birth to them: plain DAW manipulations, aliasing digitalia, the tones and timbres of the "misused" equipment ambient musicians utilized before Ableton, Eurorack, and the rise of the boutique electronics that have streamlined electronic music production. In our present epoch, these compositions feel almost eerily nostalgic, documenting the sort of trembling, wide-eyed spirit and enviable naivety that characterizes cultural production as it ventures into new waters, unfettered by the sediments of established methodology and trend. This tendency to avoid aesthetic orthodoxy results in music that refuses to settle into predictability. Subtle frequencies drift and collide, counterpoint loops run in quiet opposition, and elegant dissonance gives rise to unexpected harmony. The album's emotional power lies in these tensions, in the way it balances melancholy with beauty and familiarity with complexity.

 

PRICE: $260.00

CAT #: KOM 500LP

FILE UNDER: ELECTRONIC

5LP box version. Includes art book. Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. In the label's fast-paced business, the 500 mark is rarely reached, so Kompakt wants to celebrate it. In a democratic process, the label has selected 50 pearls from the thousands of tracks released over the last 33 1/3 years. Alongside many Kompakt evergreens, there are also some real rarities from the early Kompakt Sound of Cologne, which have been lovingly remastered here to shine in new splendor. The 5LP box set version (KOM 500LP) also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here. The magic of groovy loop minimalism and the "art of omission" are once again brought to the proverbial point. Featuring Tocotronic, Kaito, Terranova, Justus K?hncke, Heiko Voss, Leandro Fresco/Thore Pfeiffer, The Bionaut, Ada, Raz Ohara, Superpitcher, Rex The Dog, Dettinger, The Field, Robag Wruhme, Saschienne, Max W?rden, Gas, Triola AG, Thomas Fehlmann, Scsi-9, J?rgen Paape, The Modernist, Aril Brikha, T.Raumschmiere, Reinhard Voigt, Schaeben & Voss, DJ Koze, The Orb, Michael Mayer, Laurent Garnier, Anna & Kittin, Mike Ink, Reinhard Voigt, Forever Sweet, Wassermann, Sven V?th, Blank Gloss, Michael Mayer / Matias Aguayo, Wighnomy Bros., John Tejada, Sam Taylor-Wood, Pet Shop Boys, Gui Boratto, J?rgen Paape, Matias Aguayo, Voigt & Voigt, Gui Boratto, K?lsch, GusGus, Closer, Wassermann, J?rgen Paape, Superpitcher, and Markus Guentner.

 

PRICE: $22.50

CAT #: KOMP 500CD

FILE UNDER: ELECTRONIC

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. In the label's fast-paced business, the 500 mark is rarely reached, so Kompakt wants to celebrate it. In a democratic process, the label has selected 50 pearls from the thousands of tracks released over the last 33 1/3 years. Alongside many Kompakt evergreens, there are also some real rarities from the early Kompakt Sound of Cologne, which have been lovingly remastered here to shine in new splendor. The 5LP box set version (KOM 500LP) also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here. The magic of groovy loop minimalism and the "art of omission" are once again brought to the proverbial point. Featuring Tocotronic, Kaito, Terranova, Justus K?hncke, Heiko Voss, Leandro Fresco/Thore Pfeiffer, The Bionaut, Ada, Raz Ohara, Superpitcher, Rex The Dog, Dettinger, The Field, Robag Wruhme, Saschienne, Max W?rden, Gas, Triola AG, Thomas Fehlmann, Scsi-9, J?rgen Paape, The Modernist, Aril Brikha, T.Raumschmiere, Reinhard Voigt, Schaeben & Voss, DJ Koze, The Orb, Michael Mayer, Laurent Garnier, Anna & Kittin, Mike Ink, Reinhard Voigt, Forever Sweet, Wassermann, Sven V?th, Blank Gloss, Michael Mayer / Matias Aguayo, Wighnomy Bros., John Tejada, Sam Taylor-Wood, Pet Shop Boys, Gui Boratto, J?rgen Paape, Matias Aguayo, Voigt & Voigt, Gui Boratto, K?lsch, GusGus, Closer, Wassermann, J?rgen Paape, Superpitcher, and Markus Guentner.

 

PRICE: $28.00

CAT #: KM 580086LP

FILE UNDER: ROCK

2025 restock; LP version. 180 gram vinyl. In 1974, the Cosmic Jokers were basically Klaus Schulze, Manuel G?ttsching, various Ash Ra Tempel and Wallenstein members doing late night jamming. Galactic Supermarket is one of them, and is more rock-oriented than many others. It's no surprise the music bears more than a passing resemblance to Ash Ra Tempel, because of Manuel G?ttsching and his guitar playing. Also, J?rgen Dollase gives some nice keyboard work, particularly the piano, Farfisa electric piano, synths, and even a little Mellotron. Klaus Schulze were more responsible for the more droning organ and synth end of things, it's pretty obvious when he plays it. The legendary producer Dieter Dierks plays bass on these nearly never-ending improvisations. The recording was transferred from the original analog tapes at the Dierks Studios in Germany. Carefully remastered for an incredible result. Released on the label Die Kosmischen Kuriere (The Cosmic Couriers)

 

PRICE: $40.00

CAT #: LTR 046LP

FILE UNDER: ELECTRONIC

Limited repress. Recorded at the Philharmonie de Paris and one and a half a year after releasing his magnum opus Music For Animals -- described by PopMatters as "a musical waterfall of monumental proportions" -- Nils Frahm shares a new live album on his Leiter label. In what's becoming a tradition, it follows 2013's Spaces, a Pitchfork Album of the Year taped at shows over the preceding 18 months, and 2020's Tripping With Nils Frahm, also released as a film. Paris is Frahm's first live album from a single night, March 21, 2024, and contains ten tracks over a running time of 84 minutes. Frahm's performances have always been known for expanding upon his studio recordings, and Paris is no exception. Drawing on his substantial catalogue, the German composer and producer reworks tracks from Music For Animals ("Right Right Right" and "Briefly") before less recent material from 2009's The Bells ("Some"), and 2012's Screws ("Re," originally recorded with just nine fingers after Frahm broke a thumb). There's also "Spells" from All Encores and "You Name It" from Day, while the brand new, luxurious and strangely gripping "Opera" sets the stage for "On The Roof" from his heart-rending, award-winning score for 2015's widely acclaimed, one-camera, one-take German thriller, Victoria. Frahm's instrumental range has expanded to include a mountain of vintage synths and keyboard instruments. These include a custom-made organ as well as the final glass harmonica constructed by Gerhard Finkenbeiner, a master glassblower who, in the 1980s, resurrected the instrument -- first invented by Benjamin Franklin in 1761 -- and then died in 1999 in mysterious, still unresolved circumstances. Frahm's grasp of dynamics and tension has likewise expanded, and not only does he reinvigorate his work during concerts for this wider range of possibilities, but he also keeps developing it as he tours. If he leaves the stage to the same uproarious jubilation with which he was initially greeted, Paris makes it clear why he's been so in demand. Paris is a vital document of this ingenious, gifted musician's endless pursuit of fresh perspectives.

 

PRICE: $28.50

CAT #: PLAYRJC 126EP

FILE UNDER: ELECTRONIC

Dennis Busch definitely entertains a distinct and twisted vision. The German artist, graphic designer, and musician showcases on his website a striking display of nihilistic collage art, absurdist sculpture, abstracted photographs, and a hand-printed clothing line. There's little creative work around nowadays which is uncomfortable. This artist has no desire to please. His aesthetics are unsettling. And therefore relevant. From an apple with rotten teeth to a black-and-white photograph of a policeman doing battle with a giant pink penis painted over the image, Busch's provocative iconography is at once awkward, edgy, aggressive, sexy, silly, and sometimes even a little sentimental. Like his art, Busch does not ask simple questions or offer easy answers. His enigmatic gothic air is matched by his amusing, albeit perplexing, interpretations of their meaning. A self-taught artist with no formal training, Busch was born in Amstelveen, Netherlands, moved at the age of five to Bremen, Germany, where he lived most of his life, and relocated three years ago to the idyllic town of Ottersberg. Busch's unconventional approach to creating art takes him beyond the boundaries of content, narrative, message, or medium. By fusing and confusing function and form, Busch's aesthetic missives offer themselves to almost any form of interpretation. Their insistently meaningless appearance, their daft and disposable nature, changes depending on the viewer's perspective. There is a sense of equality between images that conflates the great with the inadequate, making us question Busch's intentions altogether."I came upon Dennis Busch at a music and art fair in K?ln. Known at that time as James Din A4, his music was incredible. It was here that I first witnessed his complete power of expression. We then met, and I discovered his visual artwork, which was fantastic as well. Coincidentally, he had been a longtime fan of my design label, Airbag Craftworks, so we were thrilled to finally collaborate. He has continually created beautiful limited-edition print designs for us. Delivering amazing work time and time again, it soon became obvious that we had to create a book for him to showcase his distinctive way of seeing. In his art, I recognize unbound strength within shocking sweetness. He touches a very special spot in my heart with his unrelenting positive attitude, humility, and resolve. In sampling and examining the hidden and forbidden, he celebrates the beautiful innocence of human failure and hope in perfect synchronicity. This book is dedicated to friendship, patience, and curiosity." --Paul David Rollmann

 

PRICE: $18.00

CAT #: LM 001CD

FILE UNDER: ROCK

To launch the new Lunar Module imprint from Castles In Space, Gordon Chapman-Fox presents an album of cinematic ambient music, stepping away from his usual analogue synthesizer tones. "I wanted to stretch my legs and create something more long form, organic and immersive than my Warrington-Runcorn persona" says Gordon. "I hope the title speaks for itself. This is ambient music, but it's not background music. This is very much for the foreground. To be played loudly and to lose yourself in this world of sound." The four tracks on offer present a different side to Gordon's skills -- the tracks are stripped of the usual soaring melodies and arpeggios of Warrington-Runcorn, but maintain the oppressive melancholy through tones and textures. "There's quite substantial use of orchestral sound libraries on this" says Gordon. "I wanted to hear the sound of a bow scraping across a cello or the breath of a choir. Not having either an orchestra or choir to hand, sample libraries had to fill the gap."

 

PRICE: $20.00

CAT #: MIA 035CD

FILE UNDER: ELECTRONIC

20-year anniversary CD edition of the now classic debut album by Deaf Center, originally released on Type records in 2005. Full-length album version plus 20 minutes of unreleased material from the same timeframe. Released as a six-page digipak CD with original extended artwork similar to the 2022 gatefold vinyl edition. Pale Ravine is the debut full-length realization of Erik K Skodvin and Otto A Totland under the Deaf Center moniker. They are more recently known for solo recordings under their own names on the Sonic Pieces label. The album is an other-wordly sound collag? of Norwegian nature, theatricality, and old silent films. The two musicians have looked deep into their own family histories to piece together a dusty and nostalgic epic, blending elements of classical and electronic music with an array of field recordings and a lot of fog.

 

PRICE: $18.00

CAT #: MINIMOOD 026EP

FILE UNDER: ELECTRONIC

Renowned for his dark next-wave and slow techno soundscapes, French producer MMYYLO presents his latest EP via German underground label Minimood. Over the years, the artist has steadily carved out a distinctive presence in the electronic music community, with his work gaining widespread support across influential playlists and DJ sets worldwide. He is noted for his signature fusion of analogue synthesizers, guitars, and haunting vocals. Titled Queenside Knight, minimood026 embodies the synergy between MMYYLO's gloomy, analogue-driven compositions and Minimood's unwavering commitment to deep, immersive techno. Across six meticulously sculpted tracks, the EP draws listeners into a cosmos of hypnotic rhythms, atmospheric textures, and shadowy horizons. This sonic ensemble reflects both the artist's as well as the label's shared dedication to pushing the boundaries of contemporary electronic music.

 

PRICE: $21.50

CAT #: MUSIQ 294EP

FILE UNDER: ELECTRONIC

Ricardo Baez, a Milan-based DJ and producer, returns with his second single on Mule Musiq. Known for his regular party "Tropical Animal," Baez launched a label of the same name and has released music on Toy Tonics and Live at Robert Johnson -- the label of the renowned German club Robert Johnson. He continues to establish himself as one of the most promising artists in the scene. His latest release opens with a jazzy deep house track reminiscent of Larry Heard, followed by "Dark Room NRG," a slowed-down take on '90s rave house. "Whisper Wood" reinterprets '90s Italian Balearic house with a modern touch, while "Animarara," a highlight from his previous digital-only release, makes a return. The record closes with "The Life of Larry," a cinematic breakbeat track. The variety showcased across the release speaks to the depth and range of Baez's musical vision.

 

PRICE: $48.00

CAT #: MOV 3742COL-LP

FILE UNDER: JAZZ

"Acclaimed jazz artist Bill Evans' Momentum album is the 1972 live album recorded at a concert at Stadsschouwburg in Groningen, the Netherlands. The trio includes, next to Bill Evans on piano, Eddie Gomez on bass and Marty Morell on drums. The ensemble plays compositions by Bill Evans, Miles Davis' 'Nardis' and Michel Legrand's 'What Are You Doing The Rest Of Your Life.' The album received the prestigious German award Preis Der Deutschen Schallplattenkritik. Momentum is available as a limited-edition of 1000 copies on blue colored vinyl and includes a 4-page booklet with extensive liner-notes."

 

PRICE: $38.00

CAT #: MOV 3778GREENLP

FILE UNDER: ROCK

"Playing with a Different Sex was the debut album by seminal post-punk band Au Pairs, released in 1981. Described retrospectively by AllMusic as 'one of the great post-punk records', a review by Record Mirror on its release said the band's 'critique of all forms of possession and sexual stereotyping assumes a devastating power'. Themes include sexual politics and the torture of women imprisoned in Northern Ireland during The Troubles of the 1970s, as well as a stunning cover of David Bowie's 'Repetition' about domestic violence. It peaked at No. 33 in the UK, and features the single 'It's Obvious,' which reached No. 37 on the US Club Play Singles chart. Playing with a Different Sex is available as a numbered limited edition of 750 copies on translucent green colored vinyl and contains an insert."

 

PRICE: $50.00

CAT #: MOV 3896LP

FILE UNDER: JAZZ

"Blue Night is the expanded edition of Art Blakey and The Jazz Messengers recording released in 1985. Art Blakey led the Jazz Messengers for 35 years, mentoring countless musicians and encouraging their growth into influential bandleaders. By 1984-85, his band included five prodigious talents: Terence Blanchard (trumpet), Donald Harrison (alto/soprano sax), Jean Toussaint (tenor sax), Lonnie Plaxico (bass), and Mulgrew Miller (piano). Despite being 65, Blakey remained as vibrant as his young bandmates, inspiring and pushing them to develop their distinct musical voices. Blue Night showcases the Art Blakey and The Jazz Messengers hard bop excellence, featuring originals by Blanchard, Harrison, Toussaint alongside the classic 'Body An Soul.' The 2LP expanded edition of Blue Night features alternate takes of 'Two Of Kind,' 'Blue Minor' and 'Mr. Combinated,' includes liner notes by Scott Yanow and is available on vinyl for the first time."

 

PRICE: $28.00

CAT #: PRTL 004LP

FILE UNDER: WORLD

2025 repress. Partial Records repress of an essential dub set from The Disciples, For Those Who Understand, originally appearing on the Boom Shacka Lacka label in 1995. Featuring eight heavy bass-laden digital dubs from the mid-90s that featured heavily on The Disciples own Boom Shacka Lacka sound system as well as getting heavy play from the likes of Jah Shaka and Aba Shanti I.

 

PRICE: $14.50

CAT #: PP 055CD

FILE UNDER: ELECTRONIC

Far from the extended still lifes and mises en ab?mes of their acclaimed Penultimate Press debut A Sunset for Walter, Noetinger & Pateras' 15 Coruscations weaves frequencies and stirs data into an agitated series of deft psychoacoustic miniatures. Employing electronics as a deformed mirror reflecting joyous lacerations and interweavings, 15 Coruscations borrows from both brut and skilled musical practices, emerging from the current despair to blister light across the moribund horizontalities of post-surveillance musical product. J?r?me Noetinger (Marseille, 1966) is one of the most respected composers/performers of electronic music working today. Discovering the ReVox B77 as a powerful tool for live electro-acoustic creation in the mid-1980s, he has developed a singular performance language unmatched in agility and invention. Anthony Pateras (Melbourne/Naarm, 1979) works at an evolving nexus of notation, improvisation, electro-acoustics + keyboard instruments. Active since the late '90s as both a composer of concert music and independent bandleader, he has created a unique body of work across multiple genres and contexts. Noetinger & Pateras' working relationship began in 2009 in the Thymolphthalein quintet, extending through to the development of the six-channel tape part for Pateras' percussion sextet Beauty Will Be Amnesiac Or Will Not Be At All (Immediata, 2017). Establishing their duo in 2018 with A Sunset For Walter, they have performed across Europe in both piano/tape and pureelectronic configurations. 15 Coruscations is their latest testament to their quest for the unheard, deploying tape, computer, samplers, garbage, environmental recordings, lo-fi electronics, hi-fi circuitry and a deep love of all things concr?te.

 

PRICE: $29.50

CAT #: PP 058LP

FILE UNDER: ELECTRONIC

Maths Balance Volumes follow up their acclaimed 2020 release A Year Closer with a further and sturdier bucket of songs scraped from the dust of being. Haunted, fragile and beautiful, this is music that explores the ghostly zones of its own creation. The loneliness and vulnerability that unfolds with the opening cut "Stay" lays the way for exploration of sound and song as simple melodic guitar and organ whilst the subsequent and subsequent "Janet's Song" weaves these elements alongside the sound pebbles entering a water. This is evocative music made thoroughly by humans with the most basic of tools. Unafraid to step away from their screens Maths Balance Volumes stroll with breezy resistance to the current thread of platform regurgitation. "Tonight" flips the song on its side as a barnstorming melange of concrete hustle made from shakers, animals, humans and beelzebub knows what. "Egyptian Wedding" sounds like Still House Plants if they operated off the depths of a rotating well. "Forming a round" is a dusty scratchy heartbreaker that encapsulates the hybrid Smithsonian Folkways label approach that only MBV do. There is something enormously human about Maths Balance Volumes take on underground experimental music, one far more so than the human pitched music made in the mainstream today. In the 20th Century it was the other way around.

 

PRICE: $39.50

CAT #: PP 060X-LP

FILE UNDER: WORLD

Pancrace is an ensemble comprising French, British and Austrian performers. The members being Prune B?cheau, Arden Day, Julien Desailly, L?o Maurel, and Jan Vysocky. Pancrace has "a unique, fully formed vision that combines improvisation, composition, eclectic instrumentation and a church's massive pipe organ." Pancrace's latest double LP Papotier is the third panel of a tryptic after Pancrace (2017) and Fluid Hammer (2019). The ensemble knew at some point from their previous LP they would have to go back to church and repent confronting a Silbermann 18th century baroque organ with their custom-made modular midi pipe organ: the "Organous". After nearly 18 months of lockdown the quintet finally met in Bouxwiller Alsace a few miles away from Dangolsheim where Pancrace first formed in 2015. During a residency Pancrace had full access to the Protestant church with its humongous Silbermann pipe organ famous for its "human voice" stop. Ironically the album title Papotier came up before the covid era. Ironic because a "papotier" is a mask or to be very specific a grotesque face carved in wood, initially rigged to the lower part of the organ casing. There are only very few of these fancy oddities left in France and around the world. After months of feeling gagged during lockdown having a "papotier" as an amulet was somewhat liberating and greatly contributed to opening up the Pancrace sessions to the exploration of human voice. Relearning how to breathe, listening to the human membrane, questioning the nature of air all within the confined space of a 14th century church were the essential acts that compose the pieces. One can consider this album as a phenomenological investigation into voice articulation trying to emulate the birth of a vocable like von Kempelen's speaking machine who also used rudimentary organ modules to mimic human babbling. Essentially understanding what a mouth is to us to the point where, when all the pipes are blowing, they make a hell of a noise.

 

PRICE: $20.00

CAT #: PP 062CD

FILE UNDER: EXPERIMENTAL

Colonia Dignidad was the settlement of a German evangelical sect. After being prosecuted for child abuse in Germany, the group fled to Chile in 1961. Like similar religious sects, it was characterized by the outward appearance of a unified, godly community with well-tempered cultural activities and social welfare, but inwardly and in its environment by oppression, sexual abuse, and exploitation. In the 1970s, it unquestioningly inserted itself into Pinochet's regime of terror, aiding in the imprisonment and torture of political prisoners, weapons production, etc. Since the end of the 1980s, there has been a legal reappraisal of the C.D.'s crimes in Chile. Its successor organization makes a living from tourism. The C.D. project uses, on the one hand, a series of documentary recordings of contemporary witnesses, and on the other, a set of melodic improvisations (MIDI files), improvised in the spirit of the impressions of terror, tension, claustrophobia and fear associated with the Colonia. CD 2 directly reflects this atmosphere. CD 1 on the other hand, is characterized by the contradictory breadth of the statements found after the dissolution of the sect: Denial of atrocities to glorification of the C.D. by leaders who returned to Germany against the professed traumas of formerly abused inmates and exploited community workers. For this purpose, the eyewitness recordings were sound-modified to a considerable extent. The MIDI files were played back with a variety of virtual instruments (piano, guitar, sax, turntable, lung machine, barrel organ, synths, etc.) in a multitude of modifications (speed, pitches, loops, harmonic and tonal variations), so that the 11 pieces from CD 1 and the 16 pieces from CD 2 each represent a closely interwoven overall composition.

 

PRICE: $29.50

CAT #: PP 063LP

FILE UNDER: WORLD

Penultimate Press presents a global collaboration that harnesses earth with combined members and atmospheres of Santiago, Chile, Salsipuedes, Argentina, Melbourne, Australia and Berlin, Germany. El Jard?n de las Matem?ticas (The Garden of Mathematics) was written and recorded by Alvaro Daguer (Glorias Navales/A Full Cosmic Sound/ETCS Records), Pablo Picco (Bardo Todol/Bolinga Everest Records), Tom?s Salvatierra (Glorias Navales) and Mark Harwood (Penultimate Press). Utilizing Chinese drum, ocarina, shakers, flutes, whistles, violin, bells, acoustic guitar, gongs, clarinet, n'vike, harmonium, Korg ms-20, moce?o, tapes. owl flute and more, The Garden of Mathematics is an alluring, alien, bizarre, colorful, curious, fascinating, peculiar, romantic and astonishing recording where beauty coexists with unusual atmospheres in an exotic exploration of sound and song. Navigating waters possibly traversed by Angus Maclise, Pygmy Unit or Charlie Nothing the nine tracks the Garden brings forth take the listener on a journey through sound and song via nature and the expansive mind. The results are a wild mix of folk, ethnomusicology, musique concrete and psychedelia.

 

PRICE: $29.50

CAT #: PP 065LP

FILE UNDER: EXPERIMENTAL

Dan Melchior has a wild history, brain and catalogue. Penultimate Press adds to it. This is Melchior's first piano recording. The reverb is natural, as the piano sits in a large, mostly empty room. Hill Country Piano is the result of a human music box mind brimming with many a corner somehow aligning with chambers still being told. Melchior does not play the piano in any formal way, as you can probably tell. He played and recorded the piano, with simple repetitive parts, whilst listening to previous recordings on headphones. Then the magic happens. The gentle introduction of a banjo on " "Sparrow Song" paints the reality of an America now lost. The percussion on the self-titled track unravels a psychedelic gamelan piano duo residing in the now. It didn't start out that way, it never does, but this slow burning trip around a mind/world happened to come into formulation just as an interest in Pascal Comelade was coming into play. All original piano was recorded in Austin. Dan Melchior is from London, England. He has lived in various cities in the USA for the last 24 years. Melchior's resume is as unique as it is exciting and diverse. Having cut his teeth in the land of garage rock as a collaborator with Billy Childish and Holly Golightly his vision takes sharp twists landing on Graham Lambkin's strange and beautiful experimental label Kye with two records which broke not only the mold of himself but that of the song itself. Melchoir is a musician with a voluminous discography which embraces many different forms of expression, from song-based rock to pure textural explorations. His music has evolved significantly, to become a distant entity from some of his earlier blues-based work, showing a definite influence of more experimental bands such as The Homosexuals and The Fall, and some absurdist elements which have led to comparisons to compatriot exponents of that genre, Vivian Stanshall and Syd Barrett. Always experimenting with form in an original manner avoiding any inherent genre anchor. Blues is referenced and extended, musique concrete is found embedded in the song.

 

PRICE: $29.50

CAT #: POTOMAK 825171

FILE UNDER: ROCK

2025 repress. Includes a large format 12-page booklet. Originally released in 1981, Kollaps is the seminal, form-destroying debut album by German industrial pioneers Einst?rzende Neubauten (trans. "Collapsing New Buildings"). The band's use of junk metal, power drills, jackhammers and other surprising instrumentation would come to define their challenging and continually inventive career, making them not only one of the originators of industrial music, but one of the world's most influential and far-reaching forces at the intersection between avant-garde and rock music. Formed in 1980 in the wave of the Dadaist movement Die Geniale Dilletanten, after a series of devastating live performances and personnel changes (one of which briefly involving electronic musician Gudrun Gut), the band's line-up cemented itself with core members Blixa Bargeld, F.M. Einheit (previously of Hamburg-based post-punk band Abw?rts) and N.U. Unruh. On Kollaps, a violent collision of urban primitivism and punk sensibilities, the trio declared war on every conventional way of listening, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. At a time in Germany in which the wall encircling West Berlin transformed the city into a state-subsidized, near-paradisiacal freak-enclave for artists, Einst?rzende Neubauten offered cathartic cascades of noise, employing steel parts, tin drums, drills, hammers, saws and untuned electric guitars, all crowned by Bargeld's bloodcurdling screams and feverish, apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Years later, with the fall of the Berlin wall behind it, Kollaps still sounds as radical and extreme an artistic statement as ever.

 

PRICE: $25.00

CAT #: QB 029LP

FILE UNDER: ROCK

"Tim Barnes is a storied drummer, engineer and producer whose CV encompasses collaborations with a serious who's-who of late 20th and early 21st century music. Most well known as one of the two drummers (alongside Glenn Kotche) on Jim O'Rourke's seminal late '90s and early 2000s recordings, Tim has recorded, performed and collaborated with Tony Conrad, Faust, Alan Licht, P.G. Six, Silver Jews, Sonic Youth, Stereolab, The Tower Recordings, Ken Vandermark, Wilco, John Zorn, and countless other artists working at the forward edge of improvised and experimental music. For many years he was the proprietor of the boutique Quakebasket label, which documented much of this music, as well as reissuing seminal works by Angus MacLise, the original drummer for the Velvet Underground. Now, the Quakebasket imprint has been revived to issue music Tim has recorded over the last several years with collaborators from throughout his music career. In 2021, Tim was diagnosed with early onset Alzheimer's at the age of 54, and he and his family went public with this immediately. The response from Tim's network of friends and musical peers was overwhelming, but the lingering shutdown meant only remote and long-distance interactions were possible. Beginning in late 2021, a large body of recordings coordinated and assembled by Tim's longtime friend Ken (Bundy) Brown, with whom Tim had worked in the past as a member of the group Pullman, early pioneers of the new Americana movement in the indie scene of the late '90s. Lost Words features the playing of Joshua Abrams, Ken Brown, David Daneill, Darin Gray, David Grubbs, Glenn Kotche, Tara Jane O'Neil, Jim O'Rourke, Ken Vandermark and Britt Walford. Alongside its companion album, Noumena, Lost Words represents the culmination of years of work and demonstrates Tim's infectious energy and depth as a percussionist across a broad sweep of styles."

 

PRICE: $25.00

CAT #: QB 030LP

FILE UNDER: ROCK

"Numena is the second volume of music capturing percussionist Tim Barnes in a variety of collaborative settings recorded in extraordinary circumstances over the past few years. Tim is a storied drummer, engineer and producer whose CV encompasses collaborations with a who's who of late 20th and early 21st century music. He has recorded, performed and collaborated with countless artists, including Tony Conrad, Faust, Alan Licht, Jim O'Rourke, P.G. Six, Silver Jews, Sonic Youth, Stereolab, The Tower Recordings, Ken Vandermark, Wilco, John Zorn and many others. Through 2014, he was the proprietor of the boutique Quakebasket label, which documented a variety of projects at the forward edge of improvised and experimental music, including Tim's duo with Glenn Kotche, On Fillmore. Now, Quakebasket has been revived to issue Noumena and its companion album, Lost Words. In 2021, Tim was diagnosed with early onset Alzheimer's at the age of 54, and he and his family went public with this immediately. The response from Tim's network of friends and musical peers was overwhelming, and beginning in late 2021, collaborative recordings were undertaken, coordinated and assembled by Tim's longtime friend Ken (Bundy) Brown, with whom Tim had worked in the past as a member of the group Pullman, early pioneers of the new Americana movement in the indie scene of the late '90s. The recordings for Noumena feature the playing of Joshua Abrams, Oren Ambarchi, Ken Brown, John Dieterich, Darin Gray, Glenn Kotche, Robert Carlos Lange, Ro(b)//ert Lundberg, Douglas McCombs, Matt Mehlan, Rob Mazurek, Tara Jane O'Neil, Jim O'Rourke, Chad Taylor, Thollem, Britt Walford and Mike Watt. As with Lost Words, Noumena cuts a dramatic swath through a sweep of music styles, all of which are deepened by Tim's versatile, intensely stimulated percussive feel."

 

PRICE: $21.50

CAT #: R-M 207CD

FILE UNDER: ELECTRONIC

Ostranenie is a collection of digitally manipulated, impressionistic piano miniatures -- each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don't just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency. The album's title references the Russian formalist Viktor Shklovsky's concept of "ostranenie," (estrangement/defamiliarization), a term he introduced in the early 1920s to describe art's role in resisting the indifference of habitual perception. Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull the senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn't just a theoretical exercise -- it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. This tension -- between revolutionary/artistic and industrial technologies -- defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War's devastation, alongside the social and economic turbulence of the 1920s, became central to the era's self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia -- one that ultimately deformed into political totalitarianism -- a paradox that remains unresolved. Ostranenie plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound -- and experience itself -- is unavoidable: Art in the age of its technological constructedness.

 

PRICE: $46.50

CAT #: R-M 207LP

FILE UNDER: ELECTRONIC

LP version. Ostranenie is a collection of digitally manipulated, impressionistic piano miniatures -- each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don't just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency. The album's title references the Russian formalist Viktor Shklovsky's concept of "ostranenie," (estrangement/defamiliarization), a term he introduced in the early 1920s to describe art's role in resisting the indifference of habitual perception. Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull the senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn't just a theoretical exercise -- it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. This tension -- between revolutionary/artistic and industrial technologies -- defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War's devastation, alongside the social and economic turbulence of the 1920s, became central to the era's self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia -- one that ultimately deformed into political totalitarianism -- a paradox that remains unresolved. Ostranenie plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound -- and experience itself -- is unavoidable: Art in the age of its technological constructedness.

 

PRICE: $21.50

CAT #: R-M 216CD

FILE UNDER: ELECTRONIC

Milian Mori shares his deep interest in combining mathematics, geometry, and data with emotion, dance, and fulfillment: technology meets nature, binary meets fluids, algorithm meets spirituality, dualism meets triality, machine meets human, randomness meets self-similarity. His second album, Triality, consists of 17 tracks. Composed to be experienced seamlessly, the 53-minute-long album can be listened to from beginning to end like an audiobook, with no pauses between tracks, creating a continuous sonic experience. Triality explores the "unspeakable third in the second" -- a quality that is present everywhere but remains immeasurable. This concept strongly influenced Milian Mori during the composition of the album. In his live performances, he attempts to visualize this unique relationship through the strobe light, which exaggerates the interplay between light and darkness, creating a non-binary space between 0 and 1. The album can be experienced like a film without images -- a film that speaks of a vision yet to unfold.

 

PRICE: $17.50

CAT #: RM 4189CD

FILE UNDER: ROCK

A note from Lawrence English: "In 2016, I invited Norman Westberg to Australia for his first solo tour. He'd been in Australia a few years before that, touring The Seer with Swans, and it was during this tour that I'd had the fortune to meet him. Since that time Norman and I have worked on a number of projects together. He very kindly played some of the central themes on my Cruel Optimism album and I had the pleasure to produced his After Vacation album (RM 481LP). [In 2024] Norman shared a multichannel live recording with me from a tour where he was supporting Swans. The recording instantly transported me back to the first time I heard Norman perform. Whilst many people know his more dynamic and tectonic playing associated with his band practice, Norman's solo work is far more fluid. Often, when I hear him live, I imagine a vast ocean moving with a shimmer, as wind and light play across its surface. Norman's concerts are expeditions into just such a place. They are porous, but connected, a kind of living organism that is him, his instrument and his effects. He finds ways to create moments of connection which are at times surprising, and at others slippery, but always rewarding. There's a deeply performative way to his approach of live performance. There's a core of the song that guides the way, a map of sound, but there's also an extended sense of curiosity that allows unexpected discoveries to emerge. Milan, which I had the pleasure to work on for Norman, captures this sense perfectly. It is a record that exists in its own right, but is of course tethered to his other works. It's an expansive lens which reveals new perspectives on familiar vistas."

 

PRICE: $38.00

CAT #: RBL 096LP

FILE UNDER: SOUNDTRACK

"For the first time on vinyl, the soundtrack of the Italian cult Giallo film Nothing Underneath composed by Pino Donaggio. This soundtrack perfectly represents Pino Donaggio's style, capable of transitioning from terrifying and sharp symphonies to sweet and sensual electronic pieces. The atmospheres are reminiscent of films such as 'Body Double' and 'Dressed to Kill.' A limited edition not to be missed, for all lovers of Italian thrilling giallo and for all fans of Brian De Palma's films. Limited red blood marble vinyl. 499 copies only."

 

PRICE: $14.50

CAT #: SCOOP 082EP

FILE UNDER: WORLD

Classic Roots Reggae is the definitive influence on the music of Vibronics. So it has been a true labor of love to bring together the powerful voice of Jospeh Lalibela, the intricate playing of the Mafia & Fluxy Band and the deep production skills of Vibronics to make this homage to classic Jamaican Roots Dub Reggae music.

 

PRICE: $32.00

CAT #: SEAL 024LP

FILE UNDER: ROCK

Karma Sutra had already been a band for five years when they released their elusive one and only album, released on their own Paradoxical Records label in 1987. The Daydreams of a Production Line Worker came towards the end of the bands life span and all they had to show prior was a few demos and some tracks on compilations on Mortarhate. By the time the band entered the studio Karma Sutra was spreading their musical wings, moving from a straight ahead anarcho sound to a more-dense and thoughtful place, adding flourishes of post punk and moody atmospheres to their agit-prop political stance thus creating one of the most idiosyncratic concept albums of their time, where situationist politics meet the most ambitious anarcho punk sound. The album was recorded in Sheffield at Vibrasound Studio and co-produced by Spon of UK DECAY, which added yet another layer to the already complex album. When released The Daydreams Of A Production Line Worker had little fanfare due to the rigid approach to punk of the time. But as time passed, so did this album's importance. The Daydreams Of A Production Line Worker reissue comes with a reproduction of the originally included 28-page booklet, which the band viewed as an inseparable part of the album to understand the concept. Dense at times and intended to be thought provoking it covers class oppression, gender, culture brainwashing, prison struggle et all the capitalism society illnesses written from an anarchist perspective and aligned with the situationism theory of revolution of every day life.

 

PRICE: $33.00

CAT #: SIMSARA 004LP

FILE UNDER: ROCK

Hypnotic polyrhythms play a central role on Fera, creating the pulse for a sound that's rich in acoustic tonality and lively energy. Louca uses custom-made, microtonal guitars to explore nuanced phrasings, and his languid interplay with violin, synthesizer, and other instruments lead to moments of vivid beauty. This wild and adventurous album that Egyptian artist Maurice Louca wrote over a four-year period takes its title from the Latin root for the word feral, and has its origins in a solo set that Louca first developed in 2019; the compositions eventually took their final shape when he recorded them in a Cairo studio in 2024 with a group of longtime collaborators and guests. The violinist Ayman Asfour, percussionist and drummer Khaled Yassine, double bassist Rosa Brunello and co-producer Adham Zidan all play critical roles on the album, and they're joined on two tracks by multi-instrumentalist Nancy Mounir (who plays violin and theremin on "El Taalab") and oud virtuoso Hazem Shaheen (on "Sahar"). Fera is some of the most composed and thoughtfully-crafted music Louca has ever made, but of course it's guided by the dynamic experimentation and collaborative spark that have become central to his work. Fera's artwork was created by another long-time collaborator, visual artist Maha Maamoun, using the Decalcomania ink transfer technique, to create dream- like natural forms that emerge through both deliberate manipulation and chance. Residue elements photographed from 6,000-year-old rock art paintings found at the Cave of Swimmers in Gilf Kebir (an area on the Egypt-Libya border) can be seen in the Fera "painting", which was digitally manipulated for color and other effects along with original typography and graphic design in collaboration with multidisciplinary artist and designer Hussein Nassereddine.

 

PRICE: $27.00

CAT #: SOS 021LP

FILE UNDER: HIPHOP

"The original Madlib instrumentals to Georgia Anne Muldrow's critically acclaimed album Seeds which was released in 2012 on SomeOthaShip Connect. Heralded as one of her most captivating and immediate front-to-back statements of purpose, a deeply spiritual collection of songs. It was the first time in her career where she handed over all production duties to someone other than herself, that someone being the legendary Madlib. The beats on Seeds are naturally heavy, funky, soulful, abrupt yet hypnotic. All the characteristics of Madlib's signature sound listeners know and love. On the B Side of the vinyl is a collection of Georgia Anne Muldrow instrumentals from across three Dudley Perkins albums, Young Spirit, Self Study, and Holy Smokes. Beats with synths reminiscent of J Dilla's electronic era but with enough G-Funk influence to melt your Raiders hat. Bass lines that could get The Click back together. Georgia Anne Muldrow is a master of her craft on the beats and the microphone. This record is a testament to that. Rediscover Seeds, the magical powers of Madlib, and why beat tapes will never go out of style."

 

PRICE: $13.50

CAT #: SCR 310CD

FILE UNDER: ROCK

Ride bassist Steve Queralt's debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur R?s with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, MEMORIALS). Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created. Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album's dark intensity. This is most notable on the closing track, "Motor Boats," where he overlays words from Julie Sheldon's polemic poem The Same Boat. According to Steve, these simple words of rejection "capture the reality of our times perfectly." However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album.

 

PRICE: $30.50

CAT #: SCR 310LP

FILE UNDER: ROCK

LP version. Ride bassist Steve Queralt's debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur R?s with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, MEMORIALS). Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created. Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album's dark intensity. This is most notable on the closing track, "Motor Boats," where he overlays words from Julie Sheldon's polemic poem The Same Boat. According to Steve, these simple words of rejection "capture the reality of our times perfectly." However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album.

 

PRICE: $23.50

CAT #: SOW 058LP

FILE UNDER: JAZZ

Recorded in early 1956 by Rudy Van Gelder and released on Savoy in the same year The Jazz Message is the fruit of one of those great studio sessions based on the grouping of some high class jazz musicians. Here are, among others, Hank Mobley on tenor sax, Donald Byrd on trumpet, Horace Silver on piano, and Kenny Clarke on drums. This is highly swinging hard bop performed by a bunch of stellar musicians at the peak of their game. A must for all straight jazz fans out there.

 

PRICE: $23.50

CAT #: SOW 059LP

FILE UNDER: ROCK

Originally released in 1961 and also known as Swing Low, this is the sixth album by Sam Cooke, one of the great artists in the so called sweet-soul-music of the '60s and a relevant voice in the Civil Rights Movement. The album includes "Chain Gang" one of Cooke's greatest hits, plus a timeless rendition of "Swing Low Sweet Chariot" one of the most beautiful devotional tunes in the Afro-American spiritual tradition.

 

PRICE: $13.50

CAT #: SSR 121EP

FILE UNDER: ROCK

Perth's Cold Meat are finally back and unleash a five track 7" EP full of their confrontational punk rock. The sound is brittle, primal and raw with the crisp guitar work leading each track. In parts it sounds like a more aggro BRATMOBILE and in others it has the innocent charm of the FATAL MICROBES. It's in your face, direct and within seconds of hearing 'Prick at the Pub' you already know the lyrics are both tongue in cheek and observational. From provocation perverts relentlessly chewing your ear off at the bar to exploitative high-end art havens promoting sprawling wellness. Innovation through social elevation. Who wouldn't want to go to a cake and arse party?

 

PRICE: $25.50

CAT #: SF 126LP

FILE UNDER: WORLD

Limited repress. Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted -- ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations -- which last between three and seven days -- cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a four-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.Featuring Mamehy, Drick, Befila, Behaja, Mahafaly Mihisa, Meny & Ando, Rebona, and Mirasoa & Mahapoteke.

 

PRICE: $15.50

CAT #: TAL 037CS

FILE UNDER: ROCK

The Crippled Flower was a post-punk band from D?sseldorf -- and they arrived late. However, unlike many young, unsuspecting, hairsprayed hopefuls from that time, in 1985 they could sense that the end of their era was approaching. They knew too much to want to take the world by storm. They were four individualists searching their own way. Each of the band members only found their calling after the time that they had spent together -- but that's exactly what makes The Crippled Flower still seem really interesting today, this static energy that does not discharge, but is simply there. Searching dreamers should sound like that and that's what they were. Singer Phil Elston, for example, had brought his love of Kraftwerk from England to D?sseldorf. Even his bandmates found this strange, but they were also entangled in their own longings. Listening to the songs today, The Crippled Flower sound like they are hugely at the height of their game; think of Wire, Felt, Scritti Politti, or Minimal Compact. Often, it is only Phil Elston's Sprechgesang that confirms that this is really the same band. However, it was back in 1985 when, importantly, the catalyst that brought the musicians together -- the short-lived eclectic record store "Heartbeat" in D?sseldorf Bilk -- occurred. It was there where post-industrial and pop, melodic minimal music and sound attacks awaited those who wanted to discover music by artists and bands they did not yet know. Firstly, with a cassette just entitled The Crippled Flower, working from project-like studio recorded sketches. Four more tracks from the short-lived band appeared in 1986 on A Heartbeat Rendezvous. A demo tape submitted to Les Disques du Cr?puscule, however, did not lead to a worldwide career and so, unfortunately, it was soon over. Only Phil Elston, who helped sabotage fox hunts in England and wrote these observant lyrics about environmental destruction and time travel, seems to have escaped the social-media world. Whether he found Kraftwerk-fulfilment in D?sseldorf or moved on disillusioned remains a mystery to us. And somehow this also fits in with that peculiar, special band." --Oliver Tepel, K?ln 2025

 

PRICE: $11.00

CAT #: TMR 1072CD

FILE UNDER: ROCK

"The much-anticipated follow-up to LA-based singer-songwriter Natalie Bergman's critically acclaimed 2021 solo debut album Mercy. If you re-envisioned and rebuilt Motown somewhere in the California desert, it might sound something like My Home Is Not In This World. Recorded analog-to-tape and produced by her brother and longtime collaborator Elliot Bergman, the 12-track record shimmers with gospel soul, country-western heartache, and rock 'n' roll grit, all filtered through Natalie's unmistakable voice. Where her critically acclaimed 2021 debut solo album Mercy was steeped in grief and spiritual reckoning, written in the wake of the sudden loss of her father and stepmother, My Home Is Not In This World emerges from new life and rebirth. Natalie gave birth to her son, Arthur, in 2024, and the experience of motherhood has transformed her music into something equally tender and transcendent."

 

PRICE: $26.00

CAT #: TMR 1072LP

FILE UNDER: ROCK

LP version. "The much-anticipated follow-up to LA-based singer-songwriter Natalie Bergman's critically acclaimed 2021 solo debut album Mercy. If you re-envisioned and rebuilt Motown somewhere in the California desert, it might sound something like My Home Is Not In This World. Recorded analog-to-tape and produced by her brother and longtime collaborator Elliot Bergman, the 12-track record shimmers with gospel soul, country-western heartache, and rock 'n' roll grit, all filtered through Natalie's unmistakable voice. Where her critically acclaimed 2021 debut solo album Mercy was steeped in grief and spiritual reckoning, written in the wake of the sudden loss of her father and stepmother, My Home Is Not In This World emerges from new life and rebirth. Natalie gave birth to her son, Arthur, in 2024, and the experience of motherhood has transformed her music into something equally tender and transcendent."

 

PRICE: $29.00

CAT #: TMR 1072X-LP

FILE UNDER: ROCK

LP version. White color vinyl. "The much-anticipated follow-up to LA-based singer-songwriter Natalie Bergman's critically acclaimed 2021 solo debut album Mercy. If you re-envisioned and rebuilt Motown somewhere in the California desert, it might sound something like My Home Is Not In This World. Recorded analog-to-tape and produced by her brother and longtime collaborator Elliot Bergman, the 12-track record shimmers with gospel soul, country-western heartache, and rock 'n' roll grit, all filtered through Natalie's unmistakable voice. Where her critically acclaimed 2021 debut solo album Mercy was steeped in grief and spiritual reckoning, written in the wake of the sudden loss of her father and stepmother, My Home Is Not In This World emerges from new life and rebirth. Natalie gave birth to her son, Arthur, in 2024, and the experience of motherhood has transformed her music into something equally tender and transcendent."

 

PRICE: $16.50

CAT #: TROST 256CD

FILE UNDER: ELECTRONIC

Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich, he has been living and working in Vienna as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016).

 

PRICE: $29.50

CAT #: TROST 256LP

FILE UNDER: ELECTRONIC

LP version. Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich, he has been living and working in Vienna as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016).

 

PRICE: $29.50

CAT #: TROST 261LP

FILE UNDER: ELECTRONIC

Paul Wallfisch has played in bands like Firewater and Little Annie, while Dana Schechter has logged time with American Music Club, Angels of Light, and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York/Berlin nexus they've both been part of for decades. Echoes of Swans, Einst?rzende Neubauten, and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing. Lap steel guitar, bass, electronics: Dana Schechter. Piano, organ, soma pipe, guitaret: Paul Wallfisch. Performed live in the spring 2022.

 

PRICE: $16.50

CAT #: TROST 262CD

FILE UNDER: JAZZ

Featuring Masahiko Satoh (piano) and Giotis Damianidis (guitar). Recorded live on the 2nd of February, 2024 at Jazz Spot Candy, Chiba, Japan by Kosuke Kohashi. Despite the geographic distance and a 40-year age difference, Japanese pianist Masahiko Sato and Greek guitarist Giotis Damianidis are kindred souls in a certain sense, each possessing a keen understanding of how improvised music can magically erase such boundaries. Thousand Leaves captures their very first meeting in 2024. While Sato sticks with an acoustic piano and Damianidis embraces an amplified guitar sound closer to rock music than jazz, they reveal a strong rapport, entwining, colliding, and considering how their very distinctive threads fit together, in real time. Even as the guitarist produces flinty sparks, distortion, and effects-driven bends and swoop, Sato's quicksilver improvisations manage to draw upon a separate set of modalities, his elegant playing steeped in classical music cadences as much as post-bop runs.

 

PRICE: $29.50

CAT #: JBH 110LP

FILE UNDER: ELECTRONIC

Limited black vinyl. 600 copies only. Unreleased electronic/jazz/madness from two titans of jazz and experimentation: John Surman and Karin Krog. John Surman writes: "Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica. Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious and I guess the funding never came through. The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled La Marche Des Machines and Les Nuits ?lectriques. These were clearly intended to act as inspiration for the project. After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home! For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben?s equipment? The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor."

 

PRICE: $28.50

CAT #: UR 155LP

FILE UNDER: ELECTRONIC

Andi Haberl and Florian Zimmer aka Bella Wakame have successfully channeled the magic of a 2024 live recording (captured at Berlin's Donau115 & Silent Green) into their first proper studio offering. You can hear inspirations ranging from Bitchin Bajas, Jeremiah Chiu, to Groupshow (Jelinek, Leichtmann, Pekler), the hypnotic, intricate battle between form and freedom (the fun of momentary formlessness) continuing to unfold over the course of ten new tracks, featuring album guest Indra Dunis (Peaking Lights). Constantly challenging each other, they're tapping a whole new energy. Tons of different energies. Based on the impulsive, propulsive interplay between drums/sensory percussion (Andi Haberl) and modular synthesizer (Florian Zimmer), the frenzied, free-form results take listeners into completely new dimensions -- sonic worlds that don't really sound anything like their other musical outlets (The Notwist, SUN, Saroos, Driftmachine etc.). Whereas most bands tend to notoriously overthink names/monikers, these guys obviously only care about the ecstatic push-and-pull that occurs once their instruments meet and overlap: it's wildly explosive textures with a booming heart. Moving restlessly between motorik club, electro-acoustic jazz experiments, ambient excursions, and fast-paced instrumental anthems that seem to explode at the seams, one can immediately tell how much they enjoy the newfound freedom, the turbulent encounters born on the spur of the moment. It's all about a quick-paced exchange of friendly blows, a chasing of tails into ever-new musical terrains. Relying on just enough form for that wildness to blossom within, their just-in-time dashes continually unfold, refold, return, grow bigger -- and leave you startled.

 

PRICE: $14.50

CAT #: UR 156CS

FILE UNDER: ELECTRONIC

This album, crafted entirely on a subharmonic framework and meticulously processed through tape manipulation, stands as Concepci?n Huerta's sharpest work to date, undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: an approach deeply rooted in drone, musique concr?te, and hauntingly visceral textures. Conceptually, Huerta's sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary -- one that some might relegate to a forgotten past -- it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises. It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaran? people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America. In the 16th century, a book titled Visi?n de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepci?n Huerta's album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges listeners not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within their capacities, resist the resurgence of fascism and colonialism in all its modern forms. Recorded by Concepci?n Huerta in 2024 between Berlin, The Hague, and Mexico City. Volcano photography by Magaly Ugarte. Mastered by Rafael Anton Irisarri at Black Knoll Studio, New York. The tapes were duplicated in Avranches, France, and the cover was risograph printed in Barcelona by Mateo Barbuzzi aka Club del Prado. Design by Daniel Castrej?n in Mexico City.

 

PRICE: $37.50

CAT #: VAMPI 284LP

FILE UNDER: WORLD

2025 repress. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara, and Curro were created between Barranquilla, Medell?n, Cartagena, and Bogot? from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumb?, mapal?, bullerengue or, of course, cumbia. This first volume in the series Cumbia Cumbia Cumbia!!! comprises 24 Colombian cumbia bangers for the dancefloor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. This is complemented by a selection of cumbias recorded by the label Discos Tropical, which sold most of its catalog to Discos Fuentes in 1990. Discos Fuentes concentrated on recording cumbias played on the accordion and by orchestras and ensembles. The label produced a prodigious number of albums devoted to cumbias between 1962 and 1979, which served to define ambiguous stereotypes, rooted as much in authenticity and modernity as in demure sensuality and joyful nostalgia. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Features Juan Pi?a Y Sus Muchachos, Los Corraleros De Majagual, An?bal Vel?squez Y Su Conjunto, Cumbia Cipote Vaina, Calixto Ochoa Y Su Conjunto, Lucho Campillo Y Su Conjunto, La Sonora Del Caribe, El Sexteto Miramar, Pello Torres Y Sus Diablos Del Ritmo, Combo Los Galleros, Los Guacharacos, Combo Sampuesano, Conjunto T?pico Vallenato, Pedro Laza Y Sus Pelayeros, Andr?s Landero Y Su Conjunto, Los Golden Boys, Orquesta Nu?ez, Los Candelosos, Morgan Blanco Y Su Conjunto, Pacho Gal?n Y Sus Sabaneros, Los Gavilanes De La Costa, Las Estrellas De Tol?, Los Warahuaco, Rodolfo Aicardi Y Su Tipica Ra7.

 

PRICE: $25.00

CAT #: WRJ 001LP

FILE UNDER: JAZZ

2025 repress; New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LP/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. LP version is mastered at half speed; 140 gram vinyl with sticker.

 

PRICE: $31.00

CAT #: WWSLP 036LP

FILE UNDER: WORLD

2025 repress. Following the reissue last year of Fairuz's classic 1979 album Wahdon (WWSLP 022LP), Wewantsounds pursue their exploration of great Lebanese music with the first vinyl reissue of Fairuz's highly sought-after LP Maarifti Feek, originally released in 1987. Recorded in Beirut around 1983-84, the album features the diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the '50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the '70s, Fairuz was at a turning point both professionally and personally. Her husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professional partnership. Enter Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright, and producer who had cut his teeth writing a handful of Fairuz's song -- including her 1973 hit "Sa'alouni El Nas" -- at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album Wahdon, broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12" Abu Ali (WWSLP 027LP) which became a sought-after disco classic in its own right. The association between the two continued with a second album, Maarifti Feek ("Our Encounter"), recorded between 1983 and '84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the Brazilian flavor of "Version 1" via the synth funk of "Ouverture 83" and its follow-up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the Lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the '80s and explains why Maarifti Feek is such a sought-after album. Remastered from the original tapes.

 

PRICE: $31.50

CAT #: WWSLP 073LP

FILE UNDER: WORLD

2025 repress; LP version. Wewantsounds continues its Akiko Yano reissue series with the release of the singer's third studio album To Ki Me Ki, recorded in New York and released in 1978 in Japan. It follows her cult Iroha Ni Konpeitou LP and keeps the similar blend of Japanese pop and New York funk found in the latter. To Ki Me Ki features such musicians as Rick Marotta, Will Lee, and David Spinozza, and also programmer Hideki Matsutake who would soon join the YMO with Akiko. To Ki Me Ki is reissued outside of Japan for the first time, remastered in Tokyo by revered engineer Mitsuo Koike and featuring original artwork by Tsutomu Murakami with four-page color insert and new liner notes by Paul Bowler.

 

PRICE: $29.50

CAT #: WSDM 010LP

FILE UNDER: ELECTRONIC

Facta returns to Wisdom Teeth with Gulp: a zippy, hi-def mini-album full of scrambled vocals, blown-out basslines, dripping synths and spring-loaded grooves that together map out his playfully psychedelic corner of contemporary club music. Written in a quick creative burst in late 2024, the record brings together a range of the producer's distinct creative strands into a sharp, cohesive whole. Sitting snugly within the stylistic niche carved out by his A&Ring and DJ sets (alongside label co-founder K-LONE), listeners hear the influence of '00s minimal, tech house, UK soundsystem music, ambient electronica, dub and more rubbing shoulders in a way that feels effortless and personal. The Londoner's characteristic approach to sound design and genre interplay are on full display here. Generative vocal hooks melt and warp into strange fluid forms, while synths stretch, detune, bend and dissolve into space before snapping back into shape again. Keyboards mirror human vocal formants, forming melodies that feel at once organic and alien. Basslines warp and distort, as if being re-molded out of different synthetic properties. Across the record there's a commitment to expressing simple or familiar ideas in new and unexpected ways, whilst experimentations and innovations are presented clearly and intuitively. Cherished genre references are lovingly deployed as personal touchstones across the record -- bleeping minimal- and tech- house; breakbeat dubstep and funky; Chicago house; dub techno -- yet sounds and influences are combined and meshed in unexpected ways. Each track is tightly engineered and reduced down to its key elements, which are then manipulated, flipped, warped and pushed to breaking point. As is typical of Facta's music, uncanny contrasts are worked throughout the music in unexpected ways. Warm, balmy moods come laced with seams of tension or uncertainty, whilst the record's darker moments are handled with a light, playful touch. The album's artwork features photography by award-winning Boston-based photographer, Pelle Cass, whose complex time-lapse composites present hyperreal yet impossible tableaus of seemingly simple everyday scenes -- an approach that parallels the record's blurring of the familiar and the unfamiliar.

 

PRICE: $27.00

CAT #: WSR 072LP

FILE UNDER: ROCK

With 2022's critically acclaimed album Ghosts (WSR 016B-LP), enigmatic Shropshire group Haress marked out their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals -- not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centerpiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself -- a primal, joyful gut punch to the system.

 

PRICE: $23.50

CAT #: WRWTFWW 042CS

FILE UNDER: ROCK

Cassette version. WRWTFWW Records reissue Swiss cult band Grauzone's self-titled album. The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Tr?ssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early '80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all-around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience -- the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude." Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisb?r", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other. This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident -- where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisb?r", "FILM 2", "Raum", "Tr?ume Mit Mir", "Der Weg Zu Zweit") flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maik?fer Flieg"). Very simply put: good timeless music with an edge. Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label. Sourced from the original reels and put together under the supervision of band member Stephan Eicher.

 

PRICE: $29.50

CAT #: WRWTFWW 057LP

FILE UNDER: EXPERIMENTAL

2025 restock; LP version. 180 gram vinyl; half-speed-mastered. WRWTFWW Records present the worldwide reissue of Midori Takada's solo album from 1999, Tree of Life. Originally recorded in September 1998 at legendary Ginza (Tokyo) studio Onkio Haus (founded in 1974 and where Ryuichi Sakamoto's "Merry Christmas Mr. Lawrence" and many more were recorded) and released on CD only for the Japan market in 1999, Tree of Life is Midori Takada's best kept secret, a lost gem of minimalism and percussive ambient. The album is separated in two parts, the first one finds Takada exploring her trademark environmental soundscapes with precise mastery of marimba, drums, and bells, notably on the magnificent fan-favorite "Love Song Of Urfa". The second half is a collaboration with Chinese virtuoso Erhu player Jiang Jian Hua, allowing Midori Takada to unveil new layers of her artistic mind with a slightly more theatrical approach and a beautiful crystallization of complex simplicity. The entire album was given a fresh new audiophile mix by Midori Takada herself and was mastered at Emil Berliner Studios. This Tree of Life reissue follows two newly recorded Midori Takada albums, Cutting Branches For A Temporary Shelter (WRWTFWW 060CD/LP) and You Who Are Leaving To Nirvana (WRWTFWW 061CD/LP), both available on WRWTFWW Records, along with her 1983 masterpiece, Through The Looking Glass (WRWTFWW 018LP). Design by Kohei Sugiura.