Double LP version. For the first time a full album with recordings based on Yoko Ono's 1964 collection of texts, event scores and drawings Grapefruit, a foundational cornerstone of what became known as conceptual art, and enveloping the orbits of Fluxus and experimental music. Performed by The Great Learning Orchestra which has during the 25 years of its existence worked with Gavin Bryars, Terry Riley, Pauline Oliveros, J.G. Thirlwell, Arnold Dreyblatt, and more. Originally self-published in 1964 in a limited edition of 500 copies under Yoko Ono's own imprint, Wunternaum Press, and later reprinted in expanded editions, the collection of over 230 texts, event scores and drawings that comprise Grapefruit has long been considered a foundational text in what became known as Conceptual Art, and envelops the orbit of Fluxus and experimental music. Though comparisons to John Cage may seem obvious, Ono's first attempts at textual composition actually pre-date her first encounter with the American composer by around a decade and have evolved free from Cage's influence. Another factor that sets these scores apart from associated forms of verbal notation from the same period is Ono's ambivalence towards the necessity, or even possibility, of their physical realization -- instead the idea being that the realization should take place in the mind of the reader. Hardly any performances have been recorded and released on disc -- so, 60 years after Grapefruit first appeared, Selected Recordings From Grapefruit is the very first full album of pieces selected from the many sections of the book. The sonic realizations presented here are of a number of different kinds, encompassing studio-based ensemble performances, but also location, environmental and field recordings (and at times combinations of these), as the scores themselves dictate, and for the most part recorded live and acoustically, such that the performances, actions, situations and environments that you hear are real. The accompanying 20-page booklet with rare performance photos and some original typewritten scores from Ono's personal archive also includes the text instructions for each piece - thus allowing the listener to make a connection between the imaginative engagement and creative activity executed by the performing members of The Great Learning Orchestra and the resulting recording. With 20 tracks and approximately 85 minutes duration, Selected Recordings From Grapefruit finally brings to ear some of the most important and influential 20th century avantgarde art.

Pearl color vinyl version. Highly-anticipated 50th Anniversary Edition re-issue of Ash Ra Tempel's legendary fifth studio album Starring Rosi. Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience. The album has been recorded by Manuel Göttsching in its entirety, with additional help from producer Dieter Diercks, Harald Grosskopf, and of course Rosemarie "Rosi" Müller. Starring Rosi is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Starring Rosi stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music. This reissue of Starring Rosi has been introduced and overseen by Manuel Göttsching, and finalized by his family exactly to his standards, in which the meticulous approach to his work lives on. An updated 2024 recut carefully commissioned by Schnittselle in Berlin ensures the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. Comes with a replica of the original vinyl artwork including its original backside. Also includes a poster of the alternate backside, used later on the CD editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased original "The Fairy Dance" and "Schizo" composition sheets, handwritten by Manuel.

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue, and The Epic of Everest -- via a stint with The The and collaborations with Derek Jarman, David Lynch, and Tilda Swinton -- Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity. In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma is reworked and appears on vinyl only. Jarman is privately recorded reading "White Lies," Bertrand Russell is sampled, and Turner records his brother practicing the Great Rissington organ for their father's funeral.

A massive speaker-smashing release, decades overdue. It's been bootlegged but finally Be With presents the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favorite of Harvey, Antal, Young Marco and every great DJ to ever play deep records ever, basically. Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums -- the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.). Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the drop-dead dazzling cover. This here is a true drum attack. Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to Tumblack & Friends. They were the absolute cream of the French scene such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties. Tumblack really is a gorgeous late-'70s disco-not-disco essential. The audio for Tumblack has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. 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 Record Industry in Holland. The cover of Tumblack is so iconic and Be With sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.

For Incienso's first release of 2025, the label is excited to present Gnosis, the debut album from San Francisco-based musician Raven. Dripping in warped synthesizer tones and flickering drum patterns, Gnosis is a bold and new exploration into Raven's timeless and immersive world.

Double LP version. Since his early days at Chain Reaction, K. Soublis (Fluxion) has carved his own unique style, combining elements of dub, ambient, techno, score, textural, and even jazz elements, all glued together with his distinct production aesthetic. Haze is a broad selection of pieces that was recorded between 2023 and 2024. The music moves from more slow cyclic compositional pieces on "Life Motif," "Nexus," and "Desiderium," to ambient dub pieces, on "Magenta" and "Touch," on to more euphoric and uplifting ones on "Footsteps," "Berlin," and "What Tommorow Brings," reflecting on the artist's need to tell stories. As a whole Haze showcases the artist's versatility on moving and combining different genres with his own distinct crafted sound, bringing a bold, fresh, unique view, making the album an indulging and intriguing listening experience. Fluxion has managed to constantly add to his sound through the years always evolving and Haze is a testament of his restless nature and his need to move towards more uncharted territories without alienating the listener.

"Spacing Out is an instrumental masterpiece only ever issued in Bermuda at the turn of 1970. A mix of the band's out-there original compositions and extravagant covers of The Meters, The Temptations, Aretha Franklin, and The Isley Brothers, it established this band as one of the greatest instrumental bands of any genre, and helped kickstart the retro-soul/funk scenes that birthed the likes of Daptone and Big Crown Records. It's certainly a lodestar for Now-Again Records. This reissue was done with the license and participation of the entire Invaders band, with their story told in great detail in an oversized booklet penned by Jefferson 'Chairman' Mao, complete with rare photos of this rarely seen ensemble. From the proverbial stank face-inducing opening bars of reverb-drenched drums and congas that announce Spacing Out, you're thrust into something visceral and fleeting: a pocket universe in which technical excess, chemistry between players, and the uninhibited energy of youth align in a kind of glorious imperfection. Spacing Out is one of the greatest instrumental albums of its or any period in that unmistakably raw -- as in honest -- way only a crew of largely self-taught young-uns could catch a groove."

Following up the 2022 Tamarindo release by his band Ottlix (with Ottber), Felix HK presents his first solo 12".

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put listeners out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung-out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognizable. But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. "Weeds" offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance. By comparison, "Glass" has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on "Half Smoked Cigarette," which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years. There's an even clearer direction mapped out in the vintage drum machine pulse of "Koyo," all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date. The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. "Lucien's Bitters" strikes up a pronounced drum machine beat which comes on like '90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

New 2025 repress edition as orange vinyl. The very first reissue of the cult 11-track EP from year 2000 by DJ Mehdi collecting his Espionnage adventures. DJ Mehdi was the one building bridges between French hip hop and electro, and becoming a key composer, producer and DJ. He was a game changer in himself, helping both French rap and electro scenes to rise in the late '90s and early 2000s. 13 years after DJ Mehdi's sudden death, his long-time friend and director Thibaut de Longeville imagined and directed the series, with archives materials and exclusive interviews and words from big names from rap and electro about their collaborations and relationships with DJ Mehdi. Featuring Feadz, The Cambridge Circus, Rocé, Dany Dan, Zdar, Karlito, Manu Key, and Rohff.

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, Günter Schickert, and Asmus Tietchens.

LP version. Clear color vinyl. Fragility, modesty, delicacy -- Frànçois' voice evokes illustrious contemporaries, from Devendra Banhart to Vincent Gallo, whose vocal inflections sometimes echo behind the uniquely French timbre. Artists like Malik Djoudi with his captivating pop, in-demand jazzman Thomas de Pourquery, and British folk artist Rozi Plain all lend their talents to Âge Fleuve. These three delightful collaborations blend seamlessly into the album's ten tracks. But the album's fluidity is also felt in the flavor of certain compositions, like the upbeat "Où mène la nuit," a kind of mystical inquiry into the whirlwinds of youth. Then there's "Aïeul inconnu," whose apparent melancholy pairs perfectly with its elegant groove. "Adorer," the duet with Thomas de Pourquery, is an uplifting track that jumps wholeheartedly into the joy of living in the "present moment." Âge Fleuve -- or rather, a "liquid inspiration" -- is built on a heritage of memory. And when one delves into the mystery of this heritage, the answer becomes clear: "We're here, under this part of the river, further downstream. Everything communicates, everything is in motion." In other words, an album flowing through the river of the sensory, intimate, and universal heritage.

"Nasim-e Sahar ('The Breath of the Dawn') by Asareh Shekarchi (on tombak and āvāz), and Bahareh Fayazi (on tar) is a reinterpretation of works by master Iranian singer Reza-Qoli Mirza Zelli (1906 - 1946). This recording features a variety of modal divisions of Iranian music with poetry that speaks of both earthly and mystical love stories. Sparse and powerful, Nasim-e Sahar showcases the technical virtuosity and improvisational mastery of these two artists. By reinterpreting the masterpieces of a male singer, Bahareh and Asareh, two young women, promise the dawn of a new age in which women claim their rightful place in the history of Iranian music."

"Marbles" is the legendary 1970 proto punk/dance classic from John McLaughlin's US debut album Deνotion, recorded at the time in which he played on Miles Davis' Bitches Brew and taped the Record Plant session with Jimi Hendrix. "Marbles" didn't just deliver jazz rock's most danceable 4/4 beat, played by Band of Gypsies/Electric Flag drummer Buddy Miles. It is also centered with a once-in-a-generation bass line performed by Billy Rich. Larry Young's otherworldly Hammond textures predate a lot of what synthesizers were about to do much later, and the blowtorch energy emanating from John McLaughlin's cranked amp went beyond what most would had dared during the defining era of heavy rock guitar. An apex achievement at the intersection of jazz rock, guitar rock and dance music without parallel, before or since. John McLaughlin arrived in New York in 1969 to join Tony Williams' new group Lifetime which also featured Larry Young and eventually Jack Bruce (of Cream). On the second day in town, he found himself in the studio with Miles Davis, recording "In a Silent Way." His playing would also take center stage in Bitches Brew, Jack Johnson, On The Corner and several other Davis key works of his much beloved first electric era. In between a busy schedule with Lifetime and Davis, McLaughlin also recorded two solo albums in 1970, Deνotion with an all-electric group and "My Goal's Bеyоnd" as its acoustic counterpart. By the time he formed his group Mahavishnu Orchestra in 1972, John McLaughlin was firmly established as the most important practitioner of his instrument of his generation within and well beyond the emerging jazz rock/fusion genre, and he has continued to evolve and surprise until today. Here, a thorough remaster is supplemented by a new and throbbing techno version by Stefan Goldmann.

In a continued disruption to the airwaves following releases from Bondo and Monde UFO, Quindi returns to the Californian noise rock scene-not-scene to dig on the gnarled riffs of Expose. On their new release, the LA outfit double-down on a unique blend of bloated guitar fuzz and grimy analogue synths, and come out with a curiously cosmic kind of kick-ass. If there was a dreamy, sun-bleached quality to Bondo and Monde UFO, their label mates Expose sound more wrought from sweat-drenched jam sessions under halogen strip lights in grease-stained garages. But the guttural quality of their blown-out guitar tone is matched for vibrancy by the dexterity of their playing, bringing angular free jazz to post hardcore and sludge rock, capped off with the unearthly sonic possibilities of flamboyant synthesis. This dual-layered wall of sound lends extra weight to the likes of shit-kicking "Speed Dial," which thunders like a kosmische juggernaut with amped up leads and a dead-eyed vocal condensed into a visceral minute, all with enough time for a dramatic breakdown, synth eruption and a final thrust. Similarly scooped out of the trash compactor, "Description" rides for longer with one foot pressed firmly on the fuzz pedal, letting the electronics squeal around the punked-up rush of the guitars. But Expose are not a one-dimensional band constantly thrashing it out. By contrast, "The Constant" hits a crushing emotional note in its more structured push and pull between delicacy and heaviness, hitting bittersweet notes along the way throughout the peaks and troughs of the arrangement. "Self Terror" washes languid, discordant guitar strum into swirling FX accompanied by sax from Monde UFO's Ray Monde. Smart as a whip, sharp as a tack and boiling over with an untameable urgency, Expose make their presence felt in brilliant, bruising form on this particularly fierce addition to the Quindi catalogue.

2025 repress! "Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, 'If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.' In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest -- its resolution from the original release in 1969. If you've only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90's, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling. 180g vinyl, gatefold Stoughton tip-on jacket, booklet insert."

Bursting forth from the darkness of this pre-apocalyptic winter comes The Cabanists, the first release of an improvisational project of the same name, comprising three members of the UK's seminal avant-rock band, Nøught. Garnering a cult following since their initial self-titled debut, Nøught became known in the London experimental underground for their tightly orchestrated yet highly complex compositions, ranging from heavy atonal riffage to mesmerizing and hypnotic meditations. The Cabanists builds on Nøught's musical language and are a boundary-pushing trio fusing intricate guitar riffs, dynamic keyboard textures and explosive percussion into a sound that defies convention. Featuring James Sedwards on guitar (most recently known for his involvement with the Thurston Moore Group and This Is Not This Heat), Luke Barlow on keyboards (who co-runs Copepod Records with musician Alex Ward) and Bo Mapper on drums, the band recorded their groundbreaking material during an extended session at London's Lonely Man Studio, marking a defining moment in their musical journey. With influences spanning progressive rock, experimental jazz and post-punk energy, The Cabanists weave a sonic tapestry that is as cerebral as it is visceral. They challenge standard rock and jazz norms while crafting deeply resonant soundscapes, inviting listeners into a thrilling journey of sound and intense emotion. Prepare to lose yourself in the intricate chaos and undeniable groove of The Cabanists -- where every note is a revelation.

2025 warehouse find, last copies. Alga Marghen presents a reissue of Intersystems' Free Psychedelic Poster Inside (1968). Intersystems occupied a difficult-to-reach critical nook between the many tropes that had established to frame the various artistic trends of 1960s. Announcing itself with a quivering beam of fluorescent sound, the beginning of Intersystems' Free Psychedelic Poster Inside feels as though it's slowly piercing right through your frontal lobe. Blake Parker's poetry is a dark glimpse into mundane domesticity and the suburbs. One can't help but sense that they're being brainwashed: the slow metamorphosis of sound is juxtaposed against Parker's even-tempered yet electronically-tampered-with speech. There are occasional hints at the twitchy energy of Peachy (NMN 093-2LP), but everything is braced by a spine of lean, cool tones, making Free Psychedelic Poster Inside a far more stark outing than either of its predecessors. Yet the sense of impending danger and general volatility found in the rest of the catalogue is still present - if not amplified. In contrast to Peachy, the shapes the music cuts are smooth rather than jagged, but one is never sure just when Parker's strangely uninflected voice will emerge from the blinding aggregates of pure color. While these clusters of glowing sustain assert an aggressive mesmerism, they serve as a primer for the ears, ominously readying them for virtually anything to happen. When something does, there's often a sense mild alarm on the listener's part even when said change comes in the form of a reprieve from the relentless swarms of high frequency - cascades of synthetic giggles, sliding slow elastic melodies, vigorous strobing modulations and bubbling passages of electronic fizz. Musician and insatiable collector Julian Cope, on his exhaustive online chronicle of all things rare and psychedelic, "Head Heritage" calls Intersystems third LP "one of the densest, most oblique collections of sound ever". Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Comes with original LP graphics as well as a new insert. Edition of 300.

Restocked. Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle presents an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognize its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist. Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra's self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang listeners are treated to Maitra stretching out for over forty minutes on the late-night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra's spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician's birth.

2025 repress; gatefold 2LP version. Includes download code. Iceland's GusGus graces Kompakt with a second album, after their enigmatic debut for the label 24/7, which earned the trio much acclaim thanks to its conceptual rigidity and pure glamour. Conceived solely with the help of two precious Doepfer modular systems and Daniel August's all-pervasive vocals, it could easily have been characterized as GusGus' unofficial live album. For Arabian Horse, their seventh studio album, President Bongo, Biggi Veira and Daniel August set up a makeshift studio in a summer cottage in the depths of the lava field. Secluded in silence and beauty, they produced something that really showcases GusGus' versatility and stunning songwriting ability. A vast array of illustrious guest musicians and singers abound on these powerful new songs. Most prominently, this album features the long-awaited return of former band member and gifted vocalist Urður "Earth" Hákonardóttir, who appears on three songs. Högni Elisson of the band Hjaltalin lends his voice to some of the album's most memorable and deepest moments. Samúel Jón Samúelsson contributes the elevating, goosebump-inducing string arrangements and David Thor Jonsson contributes accordion and the banjo. Even an un-named gypsy combo leaves their mark here. Compared to GusGus' stripped-down predecessor for Kompakt, this album is much more in-your-face -- the songs brim with big gestures, enthralling hooks, pop and soul. Take the powerful schaffel anthem "Deep Inside," which makes use of big room chords, a ferocious bass line and a vocal duel, or "Within You," where strings converge with breathtaking vocals and an addictive techno bass kick. GusGus retrace their original influences, creating an album that recalls a forgotten period of early '90s dance pop (think The Beloved), classic house music and urban soul à la Massive Attack. But make no mistake, Arabian Horse does not sound like pure retro in any way. It's deeply rooted in the sound of today, backed by one of the most state-of-the-art quality productions Kompakt has released to date. Still need a tag? Why not: Icelandic hi-tech soul.

2025 repress. Opaque red vinyl version. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly Group A), joins Other People with their debut album In Rupture, capturing the same mesmerizing energy for which their live sets have become known. In Rupture is not painless but in rupture lies possibility. The elasticity of this time pitching listeners across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision, shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem. The opening track "A Void" calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, "Needle Pierces the Threshold" breathes a forceful disquietude. Tommi's vocals pulling the listener down into some subterranean madness, to unravel upwards from all sides, flooding the once parched landscape. In "Embers Kiss the Eye," all of time emerges in one moment, compelling the subject's gaze towards a new horizon. The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

This is a journey, not a compilation. It's an immersive journey into the depths of sonic exploration, lovingly selected by Swiss underground DJ Princess P. Known for her ability to craft deeply emotive and genre-blurring DJ sets, she takes you on a transcendent musical voyage, hat moves effortlessly between euphoric dancefloor moments and introspective soundscapes. From the pulsating echoes of Spacemen 3 to the ethereal tones of Natalie Beridze, while unearthing hidden gems from Atypic, LFO, and Irdial Discs' Mimi Majick, her selection spans over decade of blending electronic dreamy soundscapes with ecstatic rhythms. This selection offers a rare glimpse into the mind of an artist who masterfully bridges the gap between ambient introspection and club euphoria. Also featuring, Love Spirals Downwards, Anaconda, Cyclone, Fred Gianelli, Marco Passarani, Nail, and Tek Jam & Inzekt. Exclusive liner notes from JD Twitch, renowned DJ and co-founder of the iconic Optimo, add depth and context.

LP version. Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with Nozomi, the follow-up to their 2022 debut MMMMH. The Japanese title, which translates to "hope," felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope. The music on Nozomi unfolds gently, with Lindermayr's airy tone and lyrical playing being wrapped in Ohta's chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto's "Hibari," the arrangements are largely improvised, letting the duo's intuition guide the course and build the form. Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.

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.

Restocked. "Primitive Art Group 1981-1986 is presented on gatefold 2LP, and is a combination of the group's only two albums, consisting of one LP of Five Tread cuts plus 'Cecil Likes to Dance' a never-before-released live recording from Thistle Hall (1984) and the full 1985 LP Future Jaw-Clap. This material that has been unavailable since mid-1980s. It is well documented that in the early '80s, New Zealand was awash with adventurous new music. Though sharing the kind of happy isolation and the DIY ethic with contemporaneous outfits like Flying Nun, South Indies, and Xpressway, one band cut a decidedly different path. The Primitive Art Group, formed in Wellington, devoted itself to collective improvisation coming out of a jazz tradition. With the line-up of Anthony Donaldson (drums), David Donaldson (bass), Neil Duncan (saxes), Stuart Porter (saxes), David Watson (guitar), and originally with Pam Grey (on cello), the group's relatively brief existence left a lasting impression on the New Zealand's free music scene. Musically, there was no precedent in New Zealand for their combination of noise, collective playing and compositional freedom. The band's five-year lifespan was non-stop activity: rehearsing, touring, the creation of Braille Records (their own record label which released ten LPs), dance and theater work, appearances at music festivals, and hosting two hugely influential national festivals of improvisation at Thistle Hall, Wellington. In 1984, Primitive Art Group spent a week making their first recording, an ambitious double LP, Five Tread, which had only a single pressing and sold-out locally. One year later they were back in the studio making their second album, Future Jaw-Clap. This outing contained tighter pieces, as the band widened its repertoire with nods to broader influences and antecedents. In 1986, The Primitive Art Group gave their last concert at the Wellington Town Hall, just a half mile from Rawa House and the legendary Thistle Hall where their first shows had taken place. The band's Braille Records' recordings have never been released outside of New Zealand, nor have ever been available digitally. The group's brief tenure has continued to inspire new generations of improvisers, but nothing has ever quite matched the visceral blast of the Primitive Art Group's arrival on the scene. Every member of the group has carried on doing creative work at the highest levels: scoring films, making art, mentoring, organizing, touring and always playing."

Color vinyl version. Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.

IFEEL088 is a split remix 12" that stitches together two albums, two projects, and a collection of kindred spirits who understand the delicate art of sonic transformation. Charlie Charlie (the Swedish duo of Chords and Bella Boo) have been long-time admirers of Mondag, ever since their ears first met the melancholic splendor of Sad Soup. When it came time to create "Save Us," they had one request: a sax solo from Kristian (of Mondag fame). A beautiful idea, but as the fates (and studio schedules) would have it, the horns never made it onto the album. Fast forward, and what began as a missed opportunity has now come full circle. Mondag, still taken with "Save Us," took matters into their own hands and offered up a remix -- a shimmering, unexpected rework of a track that already carried so much weight. Charlie Charlie obliged. And, because there's no such thing as too much of a good thing, Bella Boo herself offers a tight and nimble edit, while Gerd Janson drapes the track in an ambient mist for those more horizontally inclined. Hypernatural exists in some liminal space between waking life and dreamstate, it makes sense that its remixes should play with perspective. The trio -- Dan Whitford (Cut Copy), Mirko Vogel, and Mike Gamwell (a.k.a. Knightlife) -- crafted their album between the Swedish coast and the Scottish highlands, capturing the sublime and the surreal in equal measure. Now, it's time to hand things over to new guides. Mike Gamwell himself steps up, delivering a fresh take that bends and stretches time, while Gerd Janson follows, offering another piece for the puzzle -- one that slots seamlessly into the hazy, transportive nature of the Hypernatural sound. One record, two projects, three perspectives, and infinite interpretations.

"Eastern Rebellion 3 was recorded in 1979 at the Sound Ideas Studio in New York City, USA. Musicians include Cedar Walton on piano, Curtis Fuller on trombone, Bob Berg on tenor saxophone, Sam Jones on bass and Billy Higgins on drums. The renowned jazz musicians deliver six solid jazz tracks all written by Cedar Walton, except their jazz interpretation of the standard 'Never Never Land' which was written by Jule Styne, Adolph Green, and Betty Comden. Eastern Rebellion 3 is available on black vinyl."

Like an unleashed Tarzan, crashing through the skull directly into consciousness with his vine, Koze with Buschtaxi tears through the jungle. With his unique recipe of psychedelic madness and spiritual potency, he picks up all the lost rave souls and drives them to a place no one knew existed. Buschtaxi hits differently. A track like a displacement activity. A deranged DJ Koze with a spinning brush cutter, alone in the desert -- nothing to cut, just pure, unleashed power. The fight against nothingnes. Brushcutter isn't music; it's a trail burned straight through your consciousness. It cuts deeper. Harder. Until the bigger picture comes into view again.

One the most prolific talents in the last forty years of house music, the ever-innovative Jerome Sydenham goes toe-to-toe against the emerging talents of Berlin's mysterious Cosmic Soldier, working together to deliver a potent two-tracker. Showcasing a new angle of the eternal, quintessential blend of house and techno on Carl Craig's legendary imprint, "Deeplight" soars on impressive layers of psychedelic texture and raw percussion as a querying, prophetic vocal leads towards a valley of urgent chords. Mixed with the same undeniable weight and power, the hammering, insistent "Black Dog" skirts with darkness before upending it with vintage Detroit keys, waves of euphoria rolling out of the gloom to move the dance.

Lost tracks don't stay lost forever. Running Back presents the reissue of Aric's I Love Your Love -- a long-forgotten gem from the good-time party days of the early dance era. Originally created in the spirit of celebration and groove, these tracks disappeared into obscurity until a few dedicated DJs and dancers across the globe began bringing them back to life. When Elado stumbled upon the songs and saw the magic they still held for modern dancefloors, he tracked down Aric -- now better known as Dr. Aric, a paediatric public health professional -- to bring the music back to the world. What followed was a journey through memory, music, and rediscovery. The result is here: the original cuts, plus fresh remixes from Elado, Pete Blaker, and Gerd Janson. Nostalgia meets new energy, and the dancefloor wins again.

It's been a long (and fun) time but finally Ari Bald and CJ Scott are getting the international recognition they deserve, after years of meticulously crafting their own brand of pure, guilt-free, locally sourced house music, through regular releases on a string of illustrious underground labels and, more recently, two striking EPs on their hometown label Studio Barnhus outta Stockholm, Sweden. On the dynamic duo's new Studio Barnhus release Humble Jumble, cheekiness levels and BPM counts are pushed to their limits, with ingenious sample choices and floor-friendly arrangements spread across two slabs of DJ-optimized vinyl. Comes in yellow, red and green sleeves. Stamped and numbered by the artists themselves. Limited edition of 300 copies.

Sonor Music Editions presents the vinyl reissue of Riz Ortolani's iconic soundtrack to the 1969 Giallo thriller Così Dolce Così Perversa (So Sweet, So Perverse). This highly sought-after score composed by the legendary maestro who scored over 200 films, including Paolo Cavara and Gualtiero Jacopetti's 1962 pseudo-documentary Mondo Cane, perfectly captures the atmosphere of suspense, eroticism, and deception found in this obscure film. Directed by Umberto Lenzi and starring Carroll Baker and Jean-Louis Trintignant, Così Dolce Così Perversa" is a stylish and thrilling masterpiece from the golden era of Italian Giallo films. Ortolani's score is a crucial element in the film's success, featuring haunting melodies, driving rhythms, and the unforgettable main theme, "Why?" sung by British singer J. Vincent Edwards, with lyrics by Norman Newell. Twenty-four years after its initial vinyl release, this lost Italian soundtrack has been revitalized with fully remastered sound sourced from the original master tapes from the legendary Sermi Records vaults. This new reissue is available in a limited edition of 500 copies and mark the first ever digital release of the soundtrack.

The "extracøntinent" that Damien Mingus invites listeners to visit on this new album from his My Jazzy Child project is by no means an imagined or imaginary space. It's the palpable space forged by the musician's 25 years of activity, where popular and traditional music, free music and learned traditions collide. And don't confuse the ∅ (empty set) with the Ø (island in Finnish) used in the title of this album and some of the tracks -- it's insularity that's being asserted here. An island-continent made up of sonic archipelagos where electronic collages and improvisations are rooted in pop exoterism. Where Innéisme (AKU 1028LP, 2021), his previous album, questioned the construction of language, Extracøntinent this time summons esoteric discourse to better circumscribe it. The second part of a trilogy in the making.