"On what would have been Arthur Russell's 75th birthday, Audika Records presents a remastered/redux double vinyl rerelease of the much-beloved compilation Love Is Overtaking Me of Arthur's folk, pop, and country songs including 'Planted a Thought,' 'Close My Eyes' and 'I Couldn't Say It To Your Face.' Originally released in 2007 the redux edition includes new masters from a recently found pristine tape reel and was remastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Revised artwork by Molly Smith with extensive liner notes from Arthur's partner Tom Lee. Over twenty years ago, Audika Records began compiling and releasing the exceptionally varied, long sought-after music of Arthur Russell, and in the process has succeeded at helping the beloved, late artist find the broader audience he always believed he would reach. A new generation of listeners and critics has come to appreciate Russell as a visionary and an influence upon a broad range of today's most compelling musical artists. While much critical and popular affection for Russell's music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings now heard on Love Is Overtaking Me, along with songs recorded with various incarnations of The Flying Hearts, a group formed by Russell and Ernie Brooks whose shifting lineup included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon, and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty, and Bright & Early. Compiled from over eight hours of material, Love Is Overtaking Me reaches back further to Russell's earliest compositions beginning in 1973 and spans forward to his very last recordings, made at home in 1991. Several of the songs featured prominently in Matt Wolf's now herald 2008 film Wild Combination: A Portrait of Arthur Russell."

Jorge Ben is someone who needs no introduction. Since his first hits in the early '60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocotó -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from José Briamonte and Rogério Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem "País Tropical," a perfect celebration of Brazilian life. Then there's "Take It Easy My Brother Charles," a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like "Que Pena" bring in that sweet, soulful melancholy, while breezy cuts like "Criola," "Domingas," and "Barbarella" highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.

2026 restock, last copies. White vinyl version. Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail.

A l'approche du feu meditant ("Approaching the meditative flame"), originally composed in 1983. Theater Music for a sound and visual ceremonial. A tribute to the goddess of the light, the sun, and the stars. For 27 instrumentalists from the Gagaku Orchestra (divided in three separate ensembles), two choruses of Buddhist monk singers (Shômyo singing traditionnal school -- Tendai and Shingon sects -- divided in four separated ensembles, with four monk singer soloist voices), six percussionists, five Bugaku dancers. Extracts of this piece were published by Harmonia Mundi on a double vinyl in 1985.

LP version. Finally back in print! Originally released by EMI's Pathé Marconi imprint in 1969, People in Sorrow -- a 40-minute work by the four-piece lineup of Roscoe Mitchell, Joseph Jarman, Lester Bowie, and Malachi Favors -- has long been unavailable on vinyl and CD, and then only in hard-to-find European and Japanese issues. It is arguably the finest and most ambitious of the 14 studio albums recorded by the Art Ensemble during their 23-month sojourn in France, which launched the American group internationally. People in Sorrow can be viewed as the culminating event in the Art Ensemble's inventive and revolutionary approach to collective improvisation, counterpoising clamorous free-blowing intensity with expanses of hushed conversation on the group's immense arsenal of "little instruments." Fully licensed from Warner Music, and augmented with new liner notes by veteran U.S. music journalist Chris Morris, this release marks the long-awaited return of the record that Chicago-based writer, curator, and label operator John Corbett calls "one of the most luminous albums of creative music ever made." This edition faithfully recreates the first French Pathé-Marconi pressing of People in Sorrow (1969), which originally featured black graphics on a light (white or off-white) background and red Pathé-Marconi labels, rather than the yellow cover seen on later issues. The vinyl LP includes an inlay with detailed liner notes, while the CD Digipak (PL 195CD) comes with a 12-page booklet containing the same material. The album has been newly remastered by Moritz Illner (duophonic), who also handled play Loud!'s acclaimed reissue of the Art Ensemble of Chicago's Les Stances à Sophie.

2026 repress. LP version. "'Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.' To hear Randy Holden describe the audience's reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. 'I wanted to do something that hadn't been done before,' Holden explains. 'I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That's what I was going for, way over the top.' And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It's incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility. Troubles with the album's release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn't seen a proper remaster and has yet to be available on digital platforms. 'The original mastering just destroyed the dynamics of it,' Holden says. 'They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.'"

2026 restock. Erkin Koray and Sublime Frequencies are pleased to present this collection of rare tracks and lesser-heard singles. All tracks were recorded and released in Turkey between 1970-1977 and culled from Koray's personal vinyl collection. Includes exclusive photos and remastered audio. What more is there to say about Erkin Koray? An iconic guitar and songwriting genius. A voice of gold. Having founded the country's first-ever rock and roll group in 1957, he is regarded worldwide as the father of Turkish rock. Forging Western sounds with his own inimitable musical mastery, he self-produced singles and LPs throughout the 1960s and 1970s that shook and altered Turkish society. Erkin didn't stop at rock and roll. Over time, he began to find inspiration in folk sounds from Turkey's Anatolian interior, and radio broadcasts received from Egypt and Lebanon. He looked to the East from his West-leaning Istanbul perch, and began incorporating these sounds into his own work. This amalgamation was as unprecedented and unorthodox in Istanbul at the time as rock and roll itself had been in the 1950s. The resulting hybrid sound ignited what became known as the Arabesque music movement in Turkey -- which continues to this day. While Erkin has recorded and performed tirelessly throughout the years (both as a solo artist, and with the powerful groups he formed), his extensive back catalog only began to be explored by the international community in the 1990s. He is now recognized as one of the foremost global leaders of psychedelic, folk rock, pop and balladry. His music has stood the test of time more than many of his Western contemporaries and influences have managed to, and his prolific work ethic has not ceased. He continues to live and breathe music, performing epic concerts, and continuously plotting new recordings and strategies. His vision and integrity, coupled with his pronounced world views and inherent musical greatness, have made him the unique and magnificent living legend he is today. This collection features tracks not found on the many unauthorized Erkin compilations and LP reissues that have emerged in the West over the years. Ranging from the sublime to the surreal, these tracks offer an essential glimpse into the extensive repertoire of the great Erkin Koray. --Mark Gergis, July, 2011

LP version. Green color vinyl. Comes with a full 12x12 4-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"

"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times

"Folk guitar genius" - Stereogum

LP version. Opaque turquoise color vinyl. "Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."

"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire

"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum

CD digipack. After a prolific cassette discography, The Totemist marks a new direction for the mysterious group. Equipped with studio quality recordings and a (somewhat) lighter tone, opposed to the oppressively lo-fi sound the group is known for. This is a deep psychedelic-folk album with hints of mysticism, some of which was written and recorded in a ghost-town in the Chihuahuan Desert in far West Texas -- a place where the dead outnumber the living. Various overdubs and field recordings were captured in the historic Terlingua cemetery: an ancient burial ground filled with small grottoes and graves made of sticks and stones. This being the final resting place for miners who succumbed from illnesses derived from the toxic rare-earth element known as mercury. Originally released as an LP.

"Amish Records is pleased to announce the first recorded collaboration between David Watson and Bill Nace, entitled On Bats. Historically, ensembles combining taishōgoto and bagpipes (at least inside the milieu of 'jazz') have been on the tame side. The Winkler Twins, Dagnabbit, CUZ and other such units pandered to the bowtie set so exclusively that many people have all but dismissed the instruments as hopelessly moldy or even (in the words of critic Milo Fine) 'tools of fascism and complacency.' That said, it is my pleasure to announce that the duo of William 'Bill' Nace and Dave 'David' Watson has made a mighty effort hereon to liberate these instruments from the yoke of yokelism. Nace is a Philadelphia-based wizard of avant-string tomfoolery with a recording history stretching back to Vampire Belt (with Chris Corsano) in the early Oughts. Watson is an NYC-based New Zealand ex-pat whose multi-instrumental genius was first evidenced with the Primitive Art Group in the '80s. Now, with On Bats, the pair have set out to right the wrongs of generations of the dull ass taishōgoto/bagpipes artists who preceded them. The taishōgoto is, of course, a Japanese stringed instrument perhaps best described as a cross between a zither and a typewriter. Bagpipes are, well, pipes with a bag attached. Using their respective instruments to create both long-form tones and berserk machine-like squeedles, Nace and Watson create a varied and surreal aural landscape that shifts contours and colors with ease. The way they combine voices here often manifests as a sonic analogy to William Burroughs 'Third Mind' effect. While taishōgoto and bagpipes are usually thought to have radically different sounds, the manner with these two handle them here can sometimes make it difficult to figure out from whence particular passages emanate. These parts, where one drones while the other wiggles, are some of my favorite bits. But there really isn't a dull moment anywhere. Even when Nace whips out his harmonica! Of course, there are some duds who will claim this is not 'jazz' the way they define it, but that's okay. The term is fluid and can be applied any way that anyone wants. If you wanna claim it's aleatory 'new music' or some kind of example of 'post-rock-noise-improv,' go ahead. They're your fucking lips." --Byron Coley

Unglee Izi -- France's elusive and impenetrable one-man electronic project -- delivers his most introspective and self-contemplating work to date. Four hours of music spread over four CDs, Le Temps Des Figures Du Soleil Noir proceeds further with his inexplicable open-ended quest in sound. This new episode in the Musique de l'A.S.M.A. saga confronts listeners with a new staggering journey in surgical-precision electronic compositions soaked in dark/bliss mystifying ecstasy that solemnly directs towards unknown spiritual realms. Olivier Messiaen is the only actual musical reference Unglee Izi has explicitly validated in regards to this truly comprehensive work in his oeuvre. The 4 CDs are housed inside a thick cardboard slipcase along with a 150+ page booklet featuring a selection of Unglee Izi's cryptic and gorgeous photography. The journey starts and ends here.

2026 restock; LP version. On "Cold Sweat," James Brown famously called to "give the drummer some." In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson's PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle. Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet's Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground. Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal's development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label. "We couldn't get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris," Jamal recalled in a Cadence interview with Ken Weiss. "Within a few weeks, I had a few articles and I did a record date. It didn't make me feel good about America." That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu's The Complete PALM Recordings, 1973-1974. Jamal's record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes's wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal's last word there were "The Creator has a master plan/drum dance to the motherland." "Give the vibes some" could be added to this programmatic statement.

2026 repress. The Spice of Life, released in November 1969, stands as Marlena Shaw's second -- and final -- studio album for Cadet Records, produced and arranged by the renowned Richard Evans and Charles Stepney. From the opening, Shaw's voice -- both playful and powerful -- cuts through the lush yet tight-knit arrangements, weaving together a vibrant tapestry of soul, proto-funk, jazz, gospel, and blues. The album features two defining classics: her deeply resonant original of "Woman of the Ghetto" and a signature take on Ashford & Simpson's "California Soul," both staples in sampling culture (you'll probably find that you're more familiar with Shaw's material than you thought.) Evans and Stepney's arrangements are far from mere support -- they're panoramic and inventive. You'll hear kalimba flourishes, psych-tinged guitar accents, and bongo-fueled organ textures that elevate each track, keeping the atmosphere rich but never overwhelming. Moments like the Bacharach-styled "Looking Through the Eyes of Love" or the dramatic flair of "Stormy Monday" showcase their widescreen sensibility and Shaw's versatility. Beneath its musical elegance, The Spice of Life carries a weighty current of social commentary. Tracks such as "Woman of the Ghetto" and the succinct, fierce "Liberation Conversation" bring political and feminist themes into a soulful, expressive framework -- adding unexpected depth to the sophisticated sonic palette. This album offers an immersive journey through soul-jazz mastery, one that rewarded listeners with sampling gold for decades to come. Reissue on 180g vinyl.

2026 repress; released in 1967, Jazz Raga is more than just an album -- it's a fearless leap into uncharted musical territory. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with this genre - masterpiece. Blending jazz, rock, psychedelic folk, and Eastern influences -- with sitar-laced melodies and Latin-infused rhythms courtesy of legendary funky drummer Bernard Purdie -- Jazz Raga defies categorization. It's a hypnotic fusion where European tradition meets the counterculture spirit of the '60s, all woven together by Szabó's unmistakable guitar tone. From the dreamy groove of "Walking On Nails" to the swirling mysticism of "Mizrab," and his hauntingly original take on the Rolling Stones' "Paint It Black," Szabó creates a sonic landscape that is both daring and deeply soulful. His playing here is electric -- full of offbeat chords, flowing improvisations, and a voice all his own. Decades later, Jazz Raga still stands as a landmark of creative freedom and global influence -- a must-hear for anyone seeking music that transcends borders and expectations. If you haven't experienced this cult classic yet, now's the time to let Gábor Szabó expand your musical horizons. Reissue on 180g vinyl.

"The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut. The Sleeves is a somewhat counter intuitive take on the guitar/vocal duo formula, though it's not nearly as simplistic as 'the space between the notes' -- it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented."

2026 restock. On May 28, 1969, four American musicians -- reed/wind players Roscoe Mitchell and Joseph Jarman, bassist Malachi Favors, and (accompanied by his wife, singer Fontella Bass) trumpeter Lester Bowie -- boarded the ocean liner S.S. United States, bound for Le Havre, France. After landing five days later, they moved on to Paris, where they got to work. On August 22, 1970, in the waning days of their stay overseas, the group, with Bass on vocals, would record their second release for EMI's Pathé Marconi: the movie soundtrack Les Stances à Sophie. The record, an exciting, eminently listenable combination of soul, classical, and jazz strains that survives as the Art Ensemble of Chicago's most stylistically diverse album, has long been admired by a devoted cult. Its durability is largely due to the popularity of its "hit": Over the years, "Theme de Yoyo" has been covered repeatedly, essayed by acts as varied as German funk band the Boogoos (and the offshoot Deep Jazz, both featuring singer Julia Fehenbeger), British nu-jazz combo the Cinematic Orchestra, Polish jazz man Wojtek Mazolewski, Norwegian rockers Motorpsycho, French dance music artist Étienne Jaumet, and London-based remixer, Shall I Bruk It. More than half a century later, "Theme de Yoyo" and Les Stances à Sophie still bring it. Limited-edition LP reissue from play loud! Productions, supplemented with new notes by U.S. music journalist Chris Morris.

LP version. Color vinyl. "Two giants of alternative/experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham, and Urge Overkill's hit single 'Girl, You'll be a Woman Soon' for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms, and John Zorn's Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music's long tail, the keystone of the explored tension between rock and noise."

Recorded live on location, this is a style of music unlike anything you have ever heard before and the first album of the Himba people's music ever released from northwest Namibia. From the album's producer and recordist, Ian Brennan: "The Namib desert is the oldest in the world. Therefore, the driest. Italian-Rwandan photographer, Marilena Umuhoza Delli and I had come to record with possibly the most photographed people on earth, the Himba -- to listen rather than gaze at them as if on display. To share their voices as a counter to their visual objectification, particularly the inappropriate eroticization of the women who customarily go topless throughout daily life. We had to stress multiple times that we did not want the musicians to don touristic tribal costumes -- quite possibly the first music project in history that urged performers to cover-up rather than pleading with artists to expose more flesh. But it was to no avail. When the assigned hour arrived, the men all ditched the baseball caps and soccer jerseys that they routinely wear. And for the women, the reality is that they almost without exception keep their torsos bare, even in winter. We had to acquiesce. Forcing the issue would have only been the flipside of inauthenticity. The featured, traditional instrument is the Cattle Gun. It's rarely found these days and therefore, costly. Made from the lengthy horn of an Oryx and coated in mud, it is blown, resulting in a breathy, rattled tone. Via the use of live looping on three of the album's tracks, psychedelic vocal tapestries were created as if snatched from the ever-shifting skies that enshrined the valley from all sides. But even more esoteric results arose from members cupping hands over mouth to create chorusing and flanging effects sans electricity or gear. Rather than 'primitive' or traditional, the Himba music making is imbued with innovation and timelessness.' Limited edition pressing of 500 vinyl copies with four-page color insert including photos of the musicians and liner notes by Grammy-award winning producer and author, Ian Brennan.

LP version. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes -- of course maintaining their signature rhythmic groove, which on Schemes is simply more buoyant and less insistent. Schemes is also characterized by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With Schemes, Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. The songs on Schemes are like beads hanging on a string. Each one distinct, yet connected. Swinging in a warm breeze. Catching the light from different angles. The album begins with "Beads," with a funky stabby synth drives the song, which nonetheless maintains a hazy ambivalence. "Klove Twin" begins with tiny bells emanating some foggy substance intoxicating the band into a mid-tempo shuffle with some brash brush strokes. "Scrap Metal" might be the genre. "Snowflakes" are enjoying a summer dance, layers of synth melodies intertwined. "Marble Upset" plays with memory, activating recollections of present past, a slowed down rave, faint images, glimpses and gasps. "Via de me," big city, nocturnal lights, an ambient pop take. It may be really quiet, still there are better things to do than to sleep. Leading to "Fenix": Leo Garcia just happened to be in Berlin for a concert. The old friend from Buenos Aires built his euphoric vocal melody impromptu over a noisy urban field recording. The bird rising up out of the ashes, fighting the miseries, towards the light. It is a protest song of the unusual kind. The home stretch is "Tar," where some cicadas continue in a similar spirit, tiny animals having a night on the tiles. The smell of tar in the sun, soft and deep black, in sharp contrast with the background of gently curved hills, pastel-colored, asking what it takes to live peacefully together. The cover artwork by Luzie Meyer mirrors this spirit: A dialogue of sorts, on a string, a psychoanalytic dance. Ideas clash, yet disputes are solved amicably.

Co-Release with Cardinal Fuzz/Rooster Rock. A unique bespoke outer sleeve. Cardinal Fuzz and Feeding Tube Records, both seasoned navigators of the deep zone, present two new kandodo albums -- Solstice/Dub and Dusk/Dawn (FTR 823LP). Two records orbiting one deep pulse, each presented in a unique bespoke deluxe screen-printed outer sleeve finish. Includes download for full pelagic bliss. From the psychedelic shack in Northumberland, Simon Price (kandodo) has spent two years coaxing these sounds into being, eighty minutes, four sides, each a branch reaching out from the same shimmering sonic tree. A slow unfurling of heady drift and cosmic fuzz, the sound bending like light across the equinox, refracted through delays, flanges and fuzz until it folds in on itself. Hugo Morgan (The Heads) joins on low-end duties, sending tremors through the deep ether where the basslines anchor the drift, turning the horizon to liquid and the floor to vibration Four longform trips, each a 20-minute drift through the same solar pulse seen from different angles, all refracted through a sike sonic toolbox. A headphone treat at 20,000 feet or cranked loud on the stereo. They're glimmering portals, longform meditations, head-expanding drift zones to lose yourself in, built for the hour when everything dissolves, preferably at 2AM, lights low, synapses wide open, the turntable spinning like a slow planet. Each side a transmission that captures the same essence but from a different vantage point. "Solstice" brings the march of fuzz, tremeloes pulling you under. The dub burns with the bright hum of eternal noons and shards of phased harmonics. Dubbed, delayed, distorted, this is kandodo in full expansion mode, an anural equinox, a sonic solstice, a total double dissolver. One pulse, four horizons, infinite zones. Drop the needle, watch time blur and dive deep. See you on the other side.

"This record shouldn't, strictly speaking, be possible at all. It's not just that Autechre's music is electronic and Shane Parish's is acoustic. It's not just that Autechre come from electro and techno, while Shane's solo guitar music is rooted in jazz, folk, and the blues. Those borders, between mediums and genres, are as porous as you want them to be. But Autechre are synonymous with difficulty, opacity, inscrutability -- known for unparseable rhythms, cryptic riffs, and shapeshifting timbres. Even on their early records, before they'd begun building out the mind-bending software systems that have defined the past quarter-century of their music, the duo of Sean Booth and Rob Brown were working at the very limits of their machines: eking melodies out of drum sounds, programming intricate polyrhythms of superhuman complexity, and writing sequences that defy attempts to decipher them. The origins of Autechre Guitar run deep. Translating shades of pewter and graphite into something resembling a 12-tone scale. And, most importantly, finding ways to distill Autechre's seemingly limitless details in ways that could be played by just 10 fingers without losing the soul of the song. The material on Autechre Guitar is drawn entirely from the 1990s. The reason is simple: That's the melodic golden age of Autechre, when Booth and Brown were writing hooks that would go down as some of the most enduring, and emotionally satisfying, in the past three decades of electronic music. Shane has done a remarkable job of capturing those melodies and translating them for the steel strings of his Taylor 214E-G. Listening to Shane, you intuit the way he's had to reach deep inside each song, working by feel alone, to grasp its contours and come back with something that communicates its ideas, even if it sounds all but unrecognizably different. Ultimately, Autechre Guitar works on multiple levels. It's a celebration of Autechre's music, shining a spotlight on the durability and flexibility of their songwriting. At the same time, it's an invitation to listen deep inside the music, to take part as active listeners in the process of translation and interpretation. And while it hardly needs to be said, it's an invitation to simply get lost in Shane's astonishingly fleet playing, which takes these songs of unfathomable difficulty and makes them seem practically effortless."

A note from Lawrence English: "Akira Kosemura's Polaroid Piano is a record that is very close to my heart. In fact, it is Akira's work that was one of the drivers for Someone Good, one of the Room40 sibling labels, to be founded. Polaroid Piano marks the beginning of what would later become known as felt piano music, an approach to the piano which was picked up by numerous artists across subsequent years. It captures an essential and intimate rendering of the piano at close proximity, but it does more than that, it allows the piano to breathe within the places around it. Structurally, the record is a collection of piano-led vignettes. Each piece is a microcosm of lived in music, which is porous, and opens themselves outward, inviting a sense of time and 'the present' to seep into the music. They feel instantly intimate and evocative, melodies imprinted with the world around them. In some of the recordings a siren calls out from beyond the immediate acoustic space of the studio, whilst in others birds seep in and the rustling of Akira's clothing folds into the music itself. When we first discussed the recording, Akira had invited me to offer some sounds that might act as a leaping off point for the compositions. I collected a series of field recordings which were offered as simple and suggestive prompts, and as a means of imagining 'other' environments which might be simultaneously in orbit of the places Akira was recording in. Some of those field recordings are captured in the record, like a memory being recounted at a distance of time. Polaroid Piano is a unique record for many reasons. One is it manages to manifest an acoustic transcription of that 'momentary' quality of its photographic namesake. The pieces are auditory snapshots and reflect a certain quality of harmonic light and timbral exposure that is unquestionably tethered to the aesthetics of the polaroid format. It is a record that celebrates the body of the instrument as a sound source and invites us to be proximate to the resonation, and the living qualities of sound, that make music so utterly profound, and gratifying."

Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope, Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. The Power of Love (1971) by Joe Acosta was one of them. Puerto Rico born Joe Acosta was committed to pursuing a career in salsa and Latin jazz, with piano as his primary instrument. In 1969, Acosta started his first real band, Joe Acosta And His Empresarios, with whom he recorded a self-titled LP. By 1970-71, Acosta was getting more gigs, playing dances three or four nights a week at popular venues. It wasn't long before manager and booking agent Richie Bonilla signed him to his talent agency and secured a contract for Acosta to record The Power of Love on Ghetto Records. The album is about a range of amorous emotions, from obsession to disillusion, new romance to breakups, lust to affection. Though an English-language title and romantic ballads sung in English were a somewhat odd choice for a hard salsa LP from El Barrio, recorded during a period in which Latinos were rediscovering their sociocultural roots, these were conscious creative decisions by Acosta that have stood the test of time. The record is now beloved among both salsa dura fans for the tough up-tempo numbers and with the West Coast lowrider "souldies" crowd for its sweet and slow Latin soul track "I Need Her." Back in the day, the song spent 21 weeks on the Billboard Latin Top 10. While the bulk of the selections allow dancers to get their groove on to tasty piano and guitar solos, percussion workouts, and tough trombone moña mambo sections, one track stands out for being exceptionally short and fast: "Bendita Ilusión," that remains a favorite of salsa dancers today. According to Acosta, the success of "I Need Her" encouraged Fania Records' Jerry Masucci to come knocking but, since the bandleader was already under contract to Ghetto, and Febo didn't agree to a buyout, nothing happened. Vampisoul is now reissuing The Power of Love once again thanks to a collaboration with Now-Again Records. This release includes an insert with liner notes.

Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. From Ear to Ear (1971) by La Fantástica was one of them. Orquesta La Fantástica was led by tenor saxophonist, vocalist, and composer Samuel "Sammy" León, who hailed from Brooklyn. His 11-piece orchestra of local musicians featured a rather unique sound, which combined piano and vibraphone with a brass section of two tenor saxophones and a pair of trumpets. They were signed to Ghetto Records by Bataan's business partner George Febo after being blown away by both the band and the overwhelming reaction of the crowd at the Village Gate. La Fantástica had all original tunes, with modern arrangements and a típico feel. Most importantly, they were fortunate to have vocalist Rafael "Ralphy" De Jesús, aka Chuleta and From Ear To Ear greatly benefited from his contributions. From Ear To Ear is composed exclusively of heavy-hitters, including the beguiling English-language psychedelic soul slow-burner "Latin Blues." "Con Quién Andas," a hot salsa banger beloved by DJs and collectors alike, features killer saxophone and trumpet riffs with an interplay worthy of Puente or Machito. Though "Ya No Te Quiero" and "Telegrama" are breakup songs, they function as swinging dance floor ass-shakers with heavy percussion breaks and crazy horn riffs. The band's origins as an instrumental outfit are further displayed by a couple of vocal-free workouts that close out the album: "M&M," a guaguancó rumba jam session dedicated to the band's discoverer, Maisonave, and "Sassie," a Latin jazz suite that flies through a number of captivating sections with different rhythms, tempos, and arrangements. One aspect of the release that has inspired discussion and conjecture is its psychedelic album art. It was designed by an employee at Sanabria's design studio, Charlie Rosario. They wanted something more-colorful and hip that would grab the public's attention. Rosario's surrealistic illustration, with its disembodied ears, rainbows and multi-colored female head floating amongst the clouds, was perfect. Vampisoul is now reissuing From Ear to Ear thanks to a collaboration with Now-Again Records. The release includes an insert with liner notes.

Buh Records presents Selva Selva, the debut album by Wayku, a project led by guitarist and researcher Percy A. Flores Navarro, originally from Tarapoto, in the Peruvian Amazon. The album centers the electric guitar, blending traditional jungle sounds with contemporary approaches to explore new textures, rhythms, and expressions. Wayku emerged in late 2022 after Flores's previous project Motilones de Tarapoto. It reflects a dialogue among Amazonian music, rock, and jazz, while also drawing on Brazilian music, tropical rhythms, and other popular expressions from the jungle. The sound feels organic and evolving, rooted in tradition yet open to modern languages. According to its creator, the album seeks to renew the Amazon's repertoire by adapting it to contemporary sonic languages. Selva Selva weaves three strands of Amazonian popular music: sounds and instruments recorded in ethnographic archives, traditional folk ensembles, and tropical jungle bands. Flores Navarro's ethnographic research in Indigenous communities of San Martín and Loreto has profoundly informed Wayku's vision. His compositions interlace narratives of Indigenous resistance with traditional aesthetics, modern harmony, electric instrumentation, and symphonic elements, balancing formal exploration with cultural commitment. Across eleven tracks, Selva Selva offers a journey through native communities while reflecting the cosmopolitan realities of Amazonian cities. Songs such as "Carnaval en la selva" and "Por la marginal reimagine pandilla," a festive Amazonian genre of lively rhythms, flutes, percussion, and community ties. Wayku projects pandilla into the present, amplifying its vitality with contemporary arrangements. This work continues a lineage dating to the 1970s, when tropical Amazonian bands incorporated electric guitar into pandilla, creating the form now known as electric pandilla. Wayku revives and expands that language, asserting a discourse that empowers Amazonian musicians and raises the visibility of their work on broader stages. Selva Selva was recorded between January and March 2024 in Morales, San Martín, with Michel Paredes on bass. Flores performed the rest and handled recording and digital mastering. Vladimir Ivanov completed analog mastering and Gonzalo de Montreuil produced the artwork. The album is released by Buh Records, supported by the Peruvian Ministry of Culture's 2023 Cultural Stimulus Grants.

2026 restock. "46 years after I first heard Stare Kits on a cassette, they finally have an LP. About time! This NYC quartet's name often comes up in discussions of the No Wave era, which make sense. The members -- Angela Jaeger, Amy Rigby, Michael McMahon, and Bob Gurevics -- were all fans of the scene, and involved with various aspects of TR3, one of No Wave's pre-eminent showcases. UT played their first gig opening for Stare Kits. Rick Brown (Blinding Headache, Information, etc.) played guest sax with them. Julia Gorton used Amy as a photo model almost as often as she used Lydia Lunch, and so on. But despite such connections they were not a No Wave band. Stare Kits's music certainly use instrumental elements in line with No Wave's ethos, but these're part of a much larger mix. The band's basic approach is much rockier and punkier. Bob's guitar parts are more in the tradition of Quine and Reed than they are Lydian, the McMahon/Rigby's rhythm section is more primitive than martial, and Angela's vocals are goddamn melodic. Closer musical comparisons might be made to a various aspects of UK bands from Penetration to Wire to Deaf School to X-Ray Spex. There's a soupçon of a '79 UK DIY rattle to some of the tunes as well. But there is an ineffable something lurking in their collective soul that keeps Stare Kits's instrumental sound grounded in the NYC art-punk/street-rock continuum. Angela's vocals may resemble Penelope Houston's at moments but there's not much overt political content in Stare Kits's lyrics. An eclectic mix of elements? Yeah, and it sounds fucking great. The saga of Stare Kits was laid out pretty well in Angela's excellent book, I Feel Famous (Hat & Beard Press 2025) and was also part of Amy McMahon's equally dandy Girl to City (Southern Domestic 2019). Now's your chance to hear what their hubbub was all about." --Byron Coley, 2025

2026 repress. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.

The iconic Saharan rock band's sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence. Songs of resistance, community and longing. Music for this moment. For two decades, Tamikrest's music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means "connection" or "union" in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channeling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means "voyage" or "journey," shows just how far the band have come. Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat's co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label -- one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric 'Momo' Maurel, who joined a year later. Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altın Gün's engineer/mixer Jasper Geluk. Recording took place over ten days in October 2025 at Jasper's Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic. Thematically, Assikel continues Tamikrest's exploration of exile, displacement and assouf -- that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. This is, in short, music that only Tamikrest can make. Featuring Ibrahim Ag Alhabib.

With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US Northwest at the same time. Theirs is the same DNA shared by The Sonics, Rocket From The Tombs, The Cramps, and Black Lips. This release compiles all their recordings, including some later rarities available here on cassette for the first time.

"I'd never heard Los Saicos until a few days ago but had experienced the Wau y Los Arrrghs!!! version of 'Demolición.' Whilst appreciating the inherent wildness, I never for a minute considered that the original could have been even more deranged. More importantly, this snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles. I hear direct links to both The Stooges, The Crampshere, and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. The unhinged nature of the song title is one thing but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and kicks in the call of the wild. The individuals have no other option than to just go with it. I asked Erwin how aware he and his friends were of what was happening in Britain and the US at the time and here's what he had to say: 'We knew the Beatles, they were our idols. We heard the Rolling Stones after recording 'Demolición' and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. The titles and themes are more humorous than violent and actually, the only song that talks about violence is 'El entierro de los gatos.' However, we thought of ourselves as bad boys and that must have been a driving force. After Los Saicos I wrote some really violent stuff, but I would not play it now and I don't think I was comfortable playing it then either.'" --Lindsay Hutton

2026 repress. "Regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.

Gap Mangione's monumentally influential Diana In The Autumn Wind. They said it could never be done. And with good reason. Be With has spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades. It's unarguably the most sought-after album for J Dilla/Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar, and Talib Kweli. But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation. Gap's story is told in his words alongside rare photos across a sumptuously designed two-page insert and, to augment this deluxe edition further, it's all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements -- rock, big band jazz, solo improvisation and "classical" music -- into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music." Under the watchful eye -- and extremely attentive ears -- of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much-needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

LP version. Unreleased sound objects by Pierre Henry. Reload and original composition by ErikM. Bidule 2.0 is a unique reinterpretation of Pierre Henry's little-known sound heritage combined with ErikM's original composition. The album explores previously unused raw materials, transformed through ErikM's highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where historical archives and contemporary creation converge.

"Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France). Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research. This sound library, recorded on analog tape, is a testimony to the recording techniques of that era -- including the quality of microphones and recording media, as well as the acoustics of the recording spaces -- all of which define the sound of a time. Not wanting to create a remix from the composer's iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings. Pierre Henry's analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur." --ErikM

Volume 1. Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.

CD box, clamshell. "Recorded in January 2022 in Brooklyn, NY, this album traces the map of an extraordinary musical dialogue. Two guitars, two territories, a moment suspended in time. Loren Connors, an iconic figure in avant-garde blues for 50 years, and Alessandra Novaga, a unique voice in experimentation, come together here for an improvised performance that is both fragile and intense. A moment of deep listening to be shared beyond the boundaries of sound: in the communication between two artists of great sensitivity. A live event captured on record: mystery, emotion and improvisation combine to create the magic of this improvisational piece The concert was part of a season-opening evening at Issue Project Room in Brooklyn, New York, which also featured Kim Gordon alongside Loren Connors seven years after their first duo, already immortalized on record in 2022 by the same label, Alara. This duet between Connors and Novaga is like an almost whispered conversation between two guitars, opening up spaces for listening, suspension and revelation. What this record captures is not simply a concert -- it is an immersion in the solemnity of silence, the tension of almost nothingness, the delicacy of sound gestures that are sometimes as if sprinkled. On stage, Connors and Novaga's interventions are overlapped and calibrated, with each silence itself becoming material. The guitars sometimes align in a beam of micro-details: quivering harmonics, subtle glides, dissolving attacks, minimal melodic droplets almost like piano notes. Their timbres blend -- Novaga's high-pitched grains, Connors' spectral depth -- to create a soundscape of subtle density. These emotions, bordering on the infinitesimal, do not impose themselves through intensity or crescendo, but through contained tension, attentive listening, and suspended moments."