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Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today.
DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

You need to go hunt this down. They’re making incredible music!” Tony Minvielle – Jazz FM

Vertaal’s debut double LP, “Paradigm Shifting” was released earlier this year to wide acclaim from the international jazz community and sold out on initial pressings.

Featuring 4 singles including the atmospheric “Alcazar” and live favourite “Drop Off’, the album was subsequently re-pressed on limited edition black vinyl which is also at the point of selling out.

2020’s lock down and subsequent cancellation of the band’s tour schedule led to extended periods recording in their home studio, on a barge on the River Stort near Stansted Airport.

The duo, comprising keyboard player and producer Theo Howarth and drummer Ajit Gill recorded “live”

versions of some of the Paradigm Shifting album tracks for various radio shows, joined online by guest bassist Severin Bruhin, guitarist

Luca Gianassi, conga player Simon Todd and saxophonist Loren Hignall.

Some of those recordings have now been made available on a special limited edition cassette EP featuring 4 tracks live studio tracks

– three previously unreleased versions from the album “Paradigm Shifting”, “Drop Off”, “Paradigm Shifting” and “Alcazar” and a completely new track “NDY”

Designed to look a box of Swan Vesta matches, the tape itself is pink with an onbody sticker of a collection of pink-headed matches.

Rush-released for Christmas, The Lockdown Tapes will make a nice stocking filler for jazz aficionados!

Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, in 2021 Vertaal have played an exclusive pick of sold out shows at prestigious venues such as

Ronnie Scott’s, Pizza Express Soho and the Jazz Café, along with festival appearances at Standon Calling, High Tide Festival and Lost Village.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) Richard Spaven

and this year embarked on a tour of the UK’s record stores playing tracks from the album.

The very first live stream on 9128.live broadcast from the studio of Rafael Anton Irisarri, as he and Thomas Meluch (Beno�t Pioulard) pieced together a completely live improvisation, christening the newly created 9128 airwaves and setting the bar for many more live takeovers. With one album between them as Gailes, and profound work individually (also together as Orcas), Rafael and Thomas are masters of the ambient craft, combining intricate field recordings, guitar, pedals, vocals and heady reverb across a 40-minute non-stop immersive listen, split into two 20-minute sides for the inaugural 9128 vinyl release. The 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release. Gailes - Session Two, will be available as a digital download and 12", printed in a reverse-board die-cut sleeve, black vinyl.

Weeks before the world went into lockdown, King
Krule had performed a handful of European shows
which featured tracks from his critically acclaimed
third album ‘Man Alive!’.
 Performed with a ferocious intensity, these
recordings offer fans a glimpse into a live tour that
never was, while also reminding them of the artist’s
unique stage presence and incredible
performances delivered across his entire
catalogue.
 Available on CD and double LP, ‘You Heat Me Up,
You Cool Me Down’ features a setlist of 17 songs
that span the acclaimed artist’s entire discography,
including fan favourites ‘Easy Easy’, ‘Baby Blue’,
‘Out Getting Ribs’ and more.

LP + 3xCD + booklet !

The Doors found their mojo (and Mr. Mojo Risin’) in November 1970 as they recorded L.A. Woman over six days at the Workshop, the band’s rehearsal space on Santa Monica Boulevard. A success both critically and commercially, the album was certified double-platinum and contains some of the band’s most enduring music, including the Top 20 hit “Love Her Madly,” “Riders On The Storm,” and the title track.
To commemorate the album’s 50-year anniversary, Rhino keeps on risin’ with a 3-CD/1-LP set that will be available on December 3rd. L.A. WOMAN: 50TH ANNIVERSARY DELUXE EDITION includes the original album newly remastered by The Doors’ longtime engineer and mixer Bruce Botnick, two bonus discs of unreleased studio outtakes, and the stereo mix of the original album on 180-gram virgin vinyl.
For this new collection, the original album has been expanded with more than two hours of unreleased recordings taken from the sessions for L.A. Woman, allowing the listener to experience the progression of each song as it developed in the studio. An early demo for “Hyacinth House” recorded at Robby Krieger’s home studio in 1969 is also included.
The outtakes feature Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek working in the studio with two additional musicians. The first was rhythm guitarist Marc Benno, who worked with Leon Russell in The Asylum Choir. The other was bassist Jerry Scheff, who was a member of Elvis Presley’s TCB band.

The Esbjörn Svensson Trio, e.s.t. for short, are still
celebrated today as one of the most important and
influential European jazz bands of the last 20
years.
 In 1999, the three Swedes achieved their
international breakthrough with ‘From Gagarin’s
Point Of View’. A star rose in the musical sky and a
unique world career followed. But sometimes stars
shine for much longer than one thinks. On ‘e.s.t.
Live 95’ there are recordings that prove that this
was also true for the Esbjörn Svensson Trio.
 The band, founded in 1993, found their very
specific sound early on but it was not initially
noticed outside its home country. In 1995, when
the trio’s namesake still wore long hair and a
headband, these recordings were made at various
locations in Sweden. And whoever hears how the
trio played back then is left breathless.
 Much of what distinguishes e.s.t. was already
strongly pronounced here: the coherence and
powerful grip of the playing; the catchy themes that
immediately jump out at the listener and yet do not
become clichéd; the fusion of the music of role
models like Thelonious Monk and Keith Jarrett into
a style of their own, always infected by the forward
thrust of rock. Magical moments were saved for
eternity by these recordings.
 Now this e.s.t. early work is available on double
vinyl.

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

Brownswood Recordings are proud to presentan extension of the ever-evolving world ofSTR4TA, the brainchild of long time friends

and collaborators Gilles Peterson and JeanPaul “Bluey” Maunick. ‘The Invicta Mixtape’is a limited edition cassette format mixed

by Gilles Peterson & Sam Bhok (WorldwideFM/Stay Put). Available on pre-order from November 1st, released on December 3rd 2021

‘The Invicta Mixtape’ features an array of illustrious producers and polymaths unleashing their unique interpretations ofSTR4TA’s standout tracks. With a percussives tripped-back rework of ‘Dance Desire’ by Steve Conry & Takashi Nakazato; a funk-laced ‘Rhythm In Your Mind’ by Ashley Beadle plus Glasgow’s Nuovi Fratelli add a cosmic disco flare in the mix. Dave Lee’s rework of ‘After The Rain’. ‘Vision 9’ is reconceived by Melé’s rhythmic inventiveness & Delfonic’s virtuoso. Also iconic reworks by techno pioneer Dave Aju, the spellbinding Demus Dub& DJ veteran Greg Wilson.

The mixtape honours the importance of Radio Invicta, London’s very first soul station, which was running from the late-60s to ther mid-80s. The B-side contains the complete STR4TA album.

Grey Marbled Vinyl

North American bad boys ATIC & Exosphere turn up the heat on US-based DJ Trace's 117 imprint. Trench Terror & Animals push sound design to the edge, with the aim to punish the dance floor. Available December 3rd on grey marbled vinyl.

Limited edition 12" dedicated to the Neve A Maggio song flavoured with four remixes. Three from Mushrooms Project and one with a 90's house style by Deep88.
Wrapped in elegant electronics and an international flavour, Sara's voice recounts the unusual in these days characterized by strong anomalies and cold solitude. Like when it snows in May, like when you want to pick a rose and instead find yourself blinded by a white reflection, completely out of place. Yet there is life, under that white; breath, pulsation, a rhythm that presses and makes you dance: a song that drags you away from a daily life troubled by extraordinary events, which become intimate and confidential, but still unique, like every single snowflake.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All releases are licensed audio tracks re-mastered in their original form with sleeves recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Favorite Recordings proudly presents Deux, second album of French Jazz-Funk quartet Aldorande. In this new chapter, the four explorers pursue their interstellar trip on the Aldorande
planet, deploying their ever deeper love for the 70's Jazz-Funk & Fusion scene. Extending their first
visions of this new world, the bigger-than-life arrangements of this second album reflect again their
high attention to dramatic narrative schemes, breezy Brazilian vibes, tempestuous funky grooves and
strong cosmic melodies from outer space. Classic and contemporary at the same time, Deux is built
for the like-minded souls still looking for the perfect beat.
Twisting time and space but never forcing the groove, the band dives more profoundly into the
Cortex influence of their compositions, with intense female back vocals fitting perfectly into their
cinematographic vision. Like a cry in space, could these esoteric incantations be heard by Aldorande's
divinities? Or will they be more impressed by the super-tight rhythm section with its bangin' basslines
or an irresistible blend of drums and percussion? In the end, they probably would have to surrender
after hearing the infinite echoes of the synthesizers and horns reflecting in the atmosphere. Deep and
thoughtful, the travel has only begun but it seems that so much has already been experienced.
Breaking the code, they opened the gates to a rebirth. One that could be only accomplished by finding
the “Pierre des Mondes”, deeply buried somewhere on Aldorande - the only key to solve the riddle of
the groove. Mission accepted.
You'll find in Aldorande some of the best French jazzmen including bandleader and founder Virgile
Raffaëlli on bass (Setenta & Joe Bataan, Camarão Orkestra), Florian Pellissier on keys (Iggy Pop,
Setenta, Cotonete & Di Melo, …), Mathieu Edouard on drums (Chassol, De La Soul) and Erwan
Loeffel on percussion (Camarão Orkestra, 10LEC6). On this album, they took the initiative to invite
two guests on some tracks: AOR singer Al Sunny and killer guitarist Laurent Guillet (Le Soldat Rose,
Setenta).eir ever deeper love for the 70's Jazz-Funk & Fusion scene. Classic and contemporary at the same time, Deux is built for the like-minded souls still looking for the perfect beat.

Available on November 19th 2021 as Tip-On Vinyl LP & CD.

Composer, electronic music innovator, and Pere Ubu's original synthesist Allen Ravenstine returns to Waveshaper Media with the diptych LP (comprised of 1 EP per side) Nautilus / Rue De Poisson Noir, the final two parts in Raventine’s Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires.

Nautilus / Rue De Poisson Noir brings together 21 of the prodigious composer’s recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, alongside traditional acoustic instruments. The first 10 recordings, subtitled Nautilus, are found on Side A of this LP while the second 11, Rue Du Poisson Noir, comprise Side B.

Using a singular blend of acoustic and electronic instrumentation, each track on Nautilus, weaves its own wayward travelogue amidst stray bits of audio verité and wafting musical fragrances—by turns tropical and foreboding. Rue De Poisson Noir takes cues from its fragmentary companion both in palette and approach, slithering between cinematic intrigue, off-brand jazz, avant-garde mischief, and fried electro without ever batting an eye. Together they form a beguiling collection of hyperrealist miniatures that remains strange, restless, inquisitive and — most of all — evocative throughout.

For those in the know, Allen Ravenstine has been one of the most creative synthesizer players of the past forty-plus years. Ravenstine started out in the mid-1970s experimenting in his Cleveland apartment with an analogue EML 200 synthesizer, eventually creating a piece in 1975 that became known as Terminal Drive. While he had no intention of releasing his compositions, word got out about the kind of sounds he was experimenting with, which led to an invitation to join pioneering “avant garage” group Pere Ubu for the recording of the group’s first 45, “Thirty Seconds Over Tokyo.” He soon joined Pere Ubu full-time, bringing to the band’s sound unpredictable textures, effects, bleeps, squalls, pulsating washes of sound—whatever he felt could enhance the soundscape of the band’s performances and recordings.

By the early 1990s, Ravenstine had grown sick of the road, band infighting and the music industry in general. Deciding a change was needed, he opted to forego music altogether, making his living as an airplane pilot. His music career remained in limbo until 2012, when an interview for the I Dream Of Wires documentary, alongside Robert Wheeler who had succeeded him as Pere Ubu’s synthesist, turned into a recording session for the duo, leading to a series of collaborative releases. As well as having his 1975 Terminal Drive recordings released to great acclaim in 2017, Ravenstine has been prolific in recent years, with Nautilus / Rue De Poisson Noir now marking his 4th solo full-length.

By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal, Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.
We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.
Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.
LINER NOTES:
Rapid Tears launch this series with the perfect christening. The Toronto, ON quintet’s 1981 single “Headbang” is such the pinnacle of heavy metal madness that it almost sounds like a spoof. There’s also enough of the rapid-fire sputum that inspired Metallica to bang the head that doesn’t, as such, engage in said practice, to be found on the band’s sole full length Honestly. But “Headbang” is a straightforward glammy anthem for the ages.
Air Raid’s “69 In A 55” may be lyrically so sophomoric that it’s actually pretty clever, but this 1983 Bay Area power metal single is loaded with sleek Judas Priest riffs and interwoven melodies that are downright sublime. The band’s sole release, the 2-song Rock Force 7” features a curious band photo in which 3 band members — dolled up in Crüe makeup and leather — are sexually menacing the lead singer/guitarist tied to a bed. Another low budget highlight is when singer/guitarist Tommy “Thrasher” Merry imitates a delay effect on his vocals as he sings, “tonight!...tonight...night.”
Hades’ “Girls Will Be Girls” has a real demo cassette feel to its vastly uneven mix, but the energy to the performance makes this an undeniable keeper. The long running Paramus, NJ quintet’s 1982 2- song debut 7” titled Deliver Us From Evil features this blistering thrasher dominated by shimmering leads and confident vocals that show why the band went on to near-fame on Metal Blade Records.
Resless don’t need no T to prove that they’ve got “The Power” with this 1984 driving mid-tempo rocker in the vein of Mötley Crüe and Ratt. The River Vale, NJ quartet’s tight crunch wails all over Bon Jovi posers but it’s the band’s unique and subtle deployment of background vocals that gives this rager its staying power.
Pittsburgh, the Steel City, is home to Don Cappa, a band that pays tribute to the burgh, the metal, and the awesomeness of both with “Steel City Metal.” Their lone single, issued in 1987 with only 300 copies released, sounds like the work of some serious steel driving men, with a drummer who might’ve forgotten to wear a hard hat one too many times on the construction site.
The Beast has more of a punk feel to their aggressive “Enemy Ace” track from the 4-song Power Metal EP from 1983 — something like Dr. Know meets D.O.A. But their look, artwork and lyrics all prove that Heavy Metal is where their hearts lie. And this hook filled monster delivers repeated lines like, “I command them all in my lofty realm,” with commendable conviction.
Dead Silence from Denver, Colorado, debuting in 1984 is not to be confused with Dead Silence from Denver, Colorado, who also debuted in 1984. The former a workman’s hard rock bar band, the latter a political peace punk band and neither knowing of the other’s existence throughout their tenure. The pre-internet days were a marvel, indeed.This Dead Silence spits out a slick, Nugent tinged rocker called “Can’t Stop” about life on the road.
The Danger Zone is, by all accounts, not the place to be. And, Hazardous Waste of Boston, MA saw fit to add their two cents on the matter with this 1986 single that combines Van Halen’s flashy musicianship with NWOBHM aggression that sounds so awesome it teeters on itself entering the “Danger Zone.”
Czar’s heavy, doomy “Iron Curtain” single from 1982 hearkens to the sleazy sounds of Saint Vitus and Pentagram with its cranked up DOD Distortion pedal in a Peavey combo amp guitar tone and meaty, barking vocals. The upstate NY quintet only issued this 2-song single, but its driving rhythm, nosedive whammy-bar guitar solos and comparatively mature Cold War subject matter show they had real potential.
Not much is known about Real Steel’s majestic “Viking Queen” from 1987, other than it rocks hard and the 7” 45 sells for upwards of a grand on the collectors market. The Flint, Michigan band recorded at the home studio of local radio personality Bill Lamb, who primarily released Christian Gospel recordings. So, perhaps the band was struck down by a bolt of lightning shortly after this rare single’s release. Whatever the case may be, it’s a must have for fans of classic metal mayhem.

In 2014 The Soul Santas’ first, and only, gig at a
Christmas School Fair was a roaring success, after
which they decided it couldn’t be bettered so didn’t
try. Until, that is, some rehearsal recordings were
found on a phone. These recordings inspired
‘Christmas Crackers, Volume 1’, recorded over two
days in October 2020 at Invada Studios.
 The album was released last winter digitally and is
now available on vinyl for the first time.
 Pressed on green or red vinyl. The colour isn’t
marked on the packaging so the colour received
will be a lucky dip.

Hungry Shells, the seventeenth entry in RVNG Intl.’s intergenerational collaborations series FRKWYS, brings together vocalist, multi- instrumentalist, and sound artist Ka Baird with avant-garde composer and radical performance art pioneer Pekka Airaksinen. Recorded six months before Pekka’s passing, Hungry Shells alchemizes separate but similar spiritualistic practices, canvassing Baird’s voice and synthesizer rituals and Airaksinen’s lysergic sound explorations into startling, surreal landscapes.

Pekka Airaksinen, who left this realm for another in May 2019, is recognized as a pioneering composer both in and outside his native Finland’s fringe art community. A founding member of the late 60s art and music collective The Sperm, Airaksinen discovered Buddhism in the early 1970s, eventually establishing a number of meditation centers around Finland. Throughout his career Airaksinen embraced a degree of obscurity and anonymity that was inspired by his Buddhist learnings, and afforded him complete creative freedom. As he explained, “The less success you have, the more time there is to develop things.”

Ka Baird, who found her musical footing in Chicago playing in Spires That In The Sunset Rise before moving to New York to pursue her solo career, has developed a practice based in forms of active and engaged embodiment. Inspired by Charlemagne Palestine’s Body Music, Baird’s performances explore physical extremes as a catalyst for charged immediacy and presence. “I’m interested in the

places between precision and something unrestrained,” she told The Wire in 2019. Drawing on minimalism’s ecstatic deployment of duration and endurance, her recordings explore the outer limit sounds of her voice and its synthesis with developing music technology.

Airaksinen and Baird convened in Utrecht in the fall of 2018 to write, rehearse, and record Hungry Shells ahead of a performance at the Dutch festival institution Le Guess Who? Sessions took place between contemplative walks along the city’s medieval canals, and, for Airaksinen, lengthy meditations in his hotel room. Early on in the trip, Pekka shared ODO with Ka, a collection of Buddhist parables that he divinely received while meditating. After translating several of these texts from Finnish to English the duo used them as text for the album, and a sort of psychic foundation.

A limited-edition, hand-numbered L.P. dedicated to the previuosly unreleased 1990 project by Manrico & Nicola - featuring two special new Balearic versions by Ed Longo. Manrico & Nicola are comprised of Italian artist, singer, composer and author Manrico Mologni, together with saxophonist, composer and sound engineer Nicola Calgari. Manrico and Nicola were collaborating for some time in artistic harmony, and decided to form a duo to undertake their own album. Nine songs identified, arranged and recorded on a wave of enthusiasm - their "alchemy" gave excellent results. At the last stage of the work unfortunately, misfortune struck - Manrico fell very ill. For the respect of a unique creative moment, and for a sort of psychological "removal" all of this was forgotten until recently. By chance, Manrico had an old cassette with a couple of those songs - the memories resurfaced and it was immediately a race to meet again. Going though many recording studios, Nicola found the DAT with the temporary mixes which had been waiting for years with their emotional content.
But finding a way to transfer the songs was not easy. Quite by chance, a miracle took place. Their friend Massimo Parretti, in his post-production studio, was still equipped to transfer from DAT, and everything worked - with the sound intact as 30 years before!
The rest is news, and now a 1990 album - and piece of history - resurfaces.
Archeo Recordings is a re-issue record label that regenerates old, lost, or forgotten rare gems, of mostly Italian music, but also 70's, 80's and 90's music from across the world.
All releases are licensed audio tracks, re-mastered in their original form. The sleeves are re-created for today, but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
Artwork by Filippo Sala, Milan, 1990.

Mega rare 1974 jazz funk rock album recorded by Argentina's top jazzmen Pocho Lapouble, Ricardo Lew and Adalberto Cevasco (also members of Quinteplus, Jorge Lopez Ruiz's band and Gato Barbieri's group among many others). Includes the irresistible fast-paced funk rock track 'Se Acabó el Recreo' and the ethereal 'Todo en Su Medida y Armoniosamente' and 'Haceme Shaft', featuring Patricia Clark on vocals and unexpected moog arrangements. First time reissue, with remastered sound and original artwork.

Those into world jazz will be aware of the amazing modal, big band and post-bop jazz recordings released in Argentina in the '60s. The body of work produced by the likes of Chivo Borraro, Jorge López Ruiz or Enrique Villegas would be able to rival the recordings of their American counterparts.

The following decade would see a great openness to the exploration, with a jazz language, of other musical genres, with a certain preponderance of rhythm. The members of El Trio are part of a jazz generation with a greater propensity to experiment with electricity and with what could be considered an avant la page exercise of what soon afterwards would be called jazz rock -it is music composed and played, in the faraway Buenos Aires, at the same time Miles Davis adventured into new fields, with such records as "In a Silent Way" or "Bitches´ Brew".

"Todo en su medida y armoniosamente" reflects that same spirit of experimentation and fusion of diverse influences with an eye on both rock and local folklore. It's not surprising that the protagonists of this recording -Pocho Lapouble (drums), Ricardo Lew (guitar) and Adalberto Cevasco (bass) - had accompanied Gato Barbieri himself in his project "Latinoamérica" shortly before the release of this album where the presence of rhythms from the southern hemisphere infused the avant-garde jazz of the Argentine saxophonist. Drummer Pocho Lapouble had also created Quinteplus, which in 1972 released a single studio LP inspired by those same premises of fusion jazz.
This album was originally released on the eclectic local label Music Hall in 1974 and probably distributed in tiny quantities, hence the rarity of this record and the current crazy prices in the collectors' market.

Line-up
Chra / Christina Nemec: electronics, field recordings, effects
Christian Schachinger: guitar, effects

Editions Mego recording artist Chra/Christina Nemec and Christian Schachinger spark off abstract electronic/guitar noise-layers in reminiscence of Italian avantgarde composer Giacinto Scelsi.
As a trio together with Peter Rehberg - SHAMPOO BOY - they have previously released two albums on Blackest Ever Black.

Paradiso Infernal was recorded and processed by Christina Nemec and Christian Schachinger at TROST Waldviertel Studios 2020–2021. Mastering by Martin Siewert. Artwork by Susi Klocker.

The vinyl album Deo Volente is a collection of ten tracks taken from the last four And Did Those Feet recordings (originally released between 2001 and 2018), all featuring Eisteddfod blue-ribbon-winning vocalist Ina Williams and many of which have been played on Classic FM TV, BBC Radio 2 and BBC local radio. The album cover is graced with the iconic Fred Morley photograph entitled `Business As Usual', a propaganda shot taken at the height of the German bombings of London in the Second World War. The `milkman' in the shot was in fact the photographer's assistant. Deo Volente is a unique collection of songs in a classic cover. The LP is housed in a gatefold sleeve together with an accompanying CD in a digipak attached to the inner sleeve. Full lyrics are included and each LP is signed and numbered as part of a limited edition of 500 copies.

On November 12, Merge will reissue two crucial releases from The Clean's distinguished discography. The "Tally Ho!" b/w "Platypus" 7-inch and the Boodle Boodle Boodle 12-inch EP, the Dunedin trio's first official recordings as a band, both celebrate their 40th anniversary this year. These reissues have been remastered by Tex Houston with assistance from the Alexander Turnbull Library New Zealand, and The Clean's David Kilgour and Robert Scott oversaw the careful re-creation of the original packaging. Merge is thrilled to make these records globally available for the first time since their original release in 1981. Pitchfork described "Tally Ho!" as "a classic of immense proportions, from its Velcro melody, absurdly mixed garage organ and motorik beat, to the crusty, hiss-laden home eight-track recording that embodies it." Recorded in the middle of a New Zealand tour for a humble NZ$60, the song broke into the country's Top 20 singles chart at #19, surprising everyone including the band. Its B-side "Platypus" was recorded live at a show just days prior, capturing the band's buoyant and elastic sound on stage. The 7” reissue will be available on limited-edition silver Peak Vinyl and standard black vinyl, as well as limited clear vinyl exclusively in New Zealand.

Early, yet mysterious collaboration between Sun City Girls and Life Garden reissued on Unrock. Recorded live on Sept. 22, 1991 and originally released by visionary operator Nick Schultz on Majora Records, Tsunami .2↑ was, still is, and will remain a mysterious album. Because the music didn’t represent or sound like either of the bands involved, they decided to call the group Square 9 and chose to leave everybody’s names off of it. No further information was given, only "Recorded at Grand Theater, Buenos Aires, Argentina". Until today, nobody knows exactly who was behind the record. Rumors came up that is was part of the Sun City Girls legacy, but the "truth" lingered in the dark. So unusual and experimental the approach to record this album was, so remarkable it finally turned out. By the time it was released back in 1992 only a few dedicated core followers were aware of its existence. Everybody played anything and everything on this recording, no specific instruments are assigned to players. Different instruments, various percussion instruments, a piano and other sound sources. Insiders maybe recognize the voices of Su Ling and Alan Bishop or a piano sounding like Richard Bishop playing it. Some of the live sounds have been treated and processed live by W. David Oliphant. It was an impromptu series of improvisations by Sun City Girls and members of Life Garden (W. David Oliphant‘s main working group after Maybe Mental) and probably the last recordings made by members of Sun City Girls before the band fully re-located to Seattle. In retrospect it is a belonging and relevant part of the history of both bands, which needs to be broadcasted to a wider audience. 30 years after the recordings were made, a remastered version of the album is made available through Unrock. While the original release was two side-long tracks, the remastered version is split into 6 separate tracks, remixed and mastered by W. David Oliphant. Vinyl cut by Peter Koerfer at Ivory Tower. Square 9 were (in alphabetic order) Alan Bishop - Richard Bishop - Charles Gocher - Su Ling - W. David Oliphant - Peter Ragan

Translucent Orange Vinyl. "Deep States" ist ein Protestalbum, das neues kulturelles Terrain erforscht und im subjektiven Zustand zeitgenössischer Panik gräbt. Aber TROPICAL FUCK STORM predigen heimlich, immer im Bewusstsein der Tatsache, dass sie schließlich Popmusik machen, egal wie avantgardistisch oder "out there" es wird. Entsprechend kommt "Deep States" komplett mit Q-Drops, Anspielungen auf den Capitol Riot vom 6. Januar 2021, einem Riff auf Pizzagate, Waterboarding-Marsianern, gefährlichen Kulten von Heaven's Gate bis The Shining Path und, nicht zu übertreffen, Romeo-Agenten, die uns nachts ins Bett legen, um uns am Morgen zu verraten. Wir leben in einer Welt, in der das Bizarre zum Normalen geworden ist, und TROPICAL FUCK STORM lotet dieses Paradoxon aus. Was TROPICAL FUCK STORM so großartig macht, ist die Schnittmenge zwischen ihrem düsteren, aber satirischen Storytelling und den musikalischen Arrangements, die darauf abzielen, erhaltene Kanons und Weisheiten zu pervertieren. Diese Songs sind ein Experiment, das sich in seinem eigenen idiosynkratischen, zutiefst beunruhigenden Tempo vor- und zurückbewegt. Sie hängen am schrägen Beat und gleiten in jazzige, verzerrte Jams, die so turbulent sind, dass sie Charlie Mingus stolz machen würden. Musikalisch macht "Deep States", was es will: Pop, R&B, New Wave im Stil der Talking Heads, Delta Blues, Tom Waits und einige der HipHop-Lieblinge der Band wie Wu-Tang Clan und Missy Elliott. Barrieren werden nicht nur durchbrochen, sie scheinen komplett weggefallen zu sein.

LTD. COLORED VINYL

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

22aTP02 is part of a new testpress series on 22a records. The "TP" series is a very limited vinyl only hand-stamped release. The two tracks from this record are taken from a Tenderlonious live show recorded in 2019 with a full band (flute, trumpet, piano, bass & drums). Side A is a live version of the Headhunters jazz/funk classic 'Butterfly,' which the band handle with finesse - a fitting homage to its creators. Side B is an original composition by Tenderlonious. 'Prayer for Yusef' is a tribute to the late Yusef Lateef, who's many recordings have inspired Tenderlonious over the years. This release is available on limited hand-stamped 10" vinyl.

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

In the words of Jerzy Mączyński, Sariani is a musical meditation exploring Indian musical culture and the widely understood concept of trance. The album has its roots in Mączyński’s growing friendship with Waclaw Zimpel, a fellow Polish avant-garde musician with experience in both experimental jazz and meditative ambient music. The pair first connected online during the early stages of the COVID-19 pandemic, with Mączyński suggesting they join forces on an album-length collaborative project a few months later.

Sariani was recorded over the course of eight months at two different studios in their home city of Warsaw (one of which included access to an empty swimming pool, whose unique acoustics were utilised during the recording). Both composers recorded electronic textures, loops, and rhythms, onto which they added saxophone (Mączyński) and voice textures courtesy of fellow Polish musicians Wiktoria Jakubowska and Olga Koziel.

The album comprises six separate musical stories, each of which was inspired either by a specific “empirical experience” from Mączyński’s travels in India, or wider cultural themes relevant to the country in the 21st century. These include Mączyński’s first encounter with the Book of Rag (‘Raga or Raga’); the essence of spirituality within temple buildings (‘Temple of Jetsu’); a vivid dream featuring a superhero who calls for reflection on equality and freedom (‘Sariani’); and a life-changing trip to Mount Everest with guitarist Szymon Wójcik (‘Everest Inn’, which features recordings made by the pair at the Monkey Temple in Kathmandu).

HIGHLIGHTS: For the first time a sample of the essential work of Mesías Maiguashca, covering a period that goes from 1967 to 1989. This release includes historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America. DESCRIPTION: Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: "During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist." Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.

We now have a superb new remix which has a very different feel to the original version thanks to Mac McRaw’s expertise in using his weapon of choice, the Emu SP1200 famed for that authentic much prized 12-bit grit. Plus, the original LP version now available on the recurringly popular 7” format.

Fellow Vinyl Veteran and regular AE designer Mr Krum has beautifully recreated the feel of early 90’s Electra Records sleeve artwork as to a nod to Grand Puba’s debut solo recordings, having already been a member of 2 sterling Hip Hop groups – Brand Nubian and prior to that Masters Of Ceremony.

Breezy' by Ruby & the Mudflaps features a collection of studio cuts alongside a number of live recordings from the 1970s. These songs are exclusive to Cordial Recordings and have previously never been available on vinyl apart from 'Is That Enough?' which we released in 2018 on 7" single.

The live recordings capture the magical Haight-Ashbury west coast vibes with a crossover of soul and hippy chic. The original full length studio demo version of 'Breezy' starts the proceedings off on Side A and is followed by the uptempo swing of 'Without You.' The steppers of dream of 'Is That Enough?' slows the pace down before the tempo is raised again with the prophetic 'Only Love Spoken Here.' The album closes off with the first live version of 'Mountain Man.'

The B side kicks off with 'Love Song' that conjures up visions of lying on China Beach in the late 1960s without a care in the world. We are then treated to a fine rendition of Tower of Power's 'Don't Change Horses (In The Middle Of The Stream).' The final studio recording in 'You Want Me' comes next before segueing into the jazzy work out of 'Time.' This album version of 'Country Girl' is a different take of the song that we had previously released as a B Side. We close the album off with the second live recording of 'Mountain Man.'

We believe that these songs deserved a wider audience or they risked the danger of being lost forever in time. We take changes here at Cordial Recordings from time to time and hope that you like this collection of golden nuggets.

Diving into the archives of Alter Ego - the Italian experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta - Die Schachtel is thrilled to present Microwaves, a never before released body of recordings of works composed by Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova, made with Pan Sonic (Mika Vainio and Ilpo Vaisanen) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music, the LP’s blistering structures, tones, and textures - plowing forward with frenetic energy - remain radical and ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2004, this process led them to instigate a collaboration Pan Sonic, the Finnish duo of Mika Vainio and Ilpo Vaisanen, pioneers of a remarkably distinct form of rhythmic, experimental electronic music, and regarded by many as one of the most visionary and irreverent projects working in the field during the '90s and 2000s.

Initially conceived with Fausto Romitelli in 2004 before being sidelined by the composer’s untimely passing the following year, Microwaves acts, in part, a remembrance in sound, featuring four works by some of his closest friends, the composers Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova. Each composition, Ingólfsson’s Snap, Verrando’s Harmonic Domains #3, Maresz’s Link, and Nova’s Thirteen13x8@Terror Generating Deity, have roots in a pallet of samples and fragments drawn by each composer from existing works by Pan Sonic. Upon completion, these compositions then entered into a collaborative process between Mika Vainio and Ilpo Vaisanen (Pan Sonic) and Alter Ego (Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta), and were performed collectively by both groups during an extensive tour that year.

Distinct and free-standing, while operating as a seamless whole, the four works encountered across the album’s two sides - built from the sounds of flute, clarinet, violin, cello, piano, electronics, and further treatments - present an engrossing intersection between electronic and acoustic sound that diverges from most standing conceptions of electroacoustic music. Each composer’s carefully rendered structures rise and fall within the startling, conversant interplay between the two groups, finding perfect balance - between the frenetic and restrained - in what can only be regarded as one of the most striking and singularly unique expressions of contemporary chamber music realized during the 2000s.

Vast in scope, visionary in concept and artistry, and sonically engrossing, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Microwaves is available on black vinyl, in a limited edition of 350 copies.

Diving into the archives of Alter Ego - the experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, Fulvia Ricevuto, and Eugenio Vatta - Die Schachtel is thrilled to present Pranam - A(Round) Giacinto Scelsi, a never before released body of recordings interpreting the works of the legendary Italian composer Giacinto Scelsi, made with Matmos (Martin Schmidt and Drew Daniel) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music - moving at a glacial pace of tightly wound energy - Pranam’s two sides radically rethink the terms electroacoustic music in ways that still feel radically ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Pan Sonic, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2005, this process led them to invite Matmos, the American duo of Drew Daniel, Martin Schmidt - acclaimed for a body of visionary albums at the vanguard of electronic process and sampling - to collaborate on a series of interpretations of works by the legendary Italian composer Giacinto Scelsi.

Realized in collaboration with The Fondazione Isabella Scelsi, which holds Giacinto Scelsi’s archives, and performed at the Festival Roma Europa and the Festival Aeterforum during May of 2005, the album’s four works - Estratti dal Quartetto per archi n.3 (1963), Ko-Lho (1966), Riti: I Funerali di Carlo Magno A.D. 814 (1976), Aitsi (1974) - shift the boundaries of 20th Century chamber music toward markedly new and contemporary terms, incorporating everything from the sounds of the Revox tape machine that Scelsi used to record his own improvisations and processed electronics, to the plastic trumpets used by fans during football matches.

From intertwining, shifting lone-tones that render startling resonances and dissonances, to passages guided by a vast pallet of electronics and flurries of acoustic sounds, joined as a single ensemble, across the two sides of Pranam, Alter Ego and Matmos infuse these four works by Scelsi with humor and playfulness, while retaining all the urgency and rigour with which they were initially composed.

Delicate and meditative, while tightly wound and brooding, Pranam brings the works of Giacinto Scelsi to life in ways that almost no group ever has. Riveting and immersive from start to finish, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Pranam is available on black vinyl, in a limited edition of 350 copies.

The Brassroots cover of 'Good Life' is highly regarded by those in the know as a fantastic cover that takes the original song and turns it totally upside down. This is the first time that 'Good Life' has been available on 7" vinyl, with the original 12" release being long out of print. 'Try Again' on the B Side sees the group twisting Aaliyah song into a funky horn jamboree.

To celebrate Billy Preston’s induction into the Rock & Roll Hall of Fame in October 2021 Apple Records and Universal Music Catalogue will be making Billy’s highly regarded 1970 album ‘Encouraging Words’ available on vinyl for a limited period. First released in the UK on 11 September 1970 the album was co-produced by Billy and George Harrison, with two of George’s songs – ‘All Things Must Pass’ and ‘My Sweet Lord’ – issued here for the first time, two months before his own recordings appeared on the triple album ‘All Things Must Pass’.In 2010 Record Collector magazine described ‘Encouraging Words’ as “one of the finest titles in the Apple Records catalogue”, while virtuoso keyboard player Rick Wakeman told BBC Radio 4’s John Wilson he considered Preston’s two Apple albums “absolute gems – a perfect combination of gospel and funk.” The album was last released on vinyl in 1992. The original album credits did not include details of contributing musicians, though the sleeve notes of the 2010 CD reissue included Eric Clapton, Klaus Voormann, Ringo Starr, Bobby Keys and the Edwin Hawkins Singers.

Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.

These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”

But the studio records are just the tip of the iceberg.

You see, in a live setting Forsyth’s music is never really finished.

He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.

Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.

But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.

Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.

As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).

This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

In 2020 Sunnyboys will celebrate 40 years since their inception (though a mere 12 years of actual existence) via a new release SUNNYBOYS 40 that brings together the first ever re-release of the band’s much loved 1980 eponymous debut 7” - featuring the original version of the classic Alone With You - alongside four new recordings culled from the archives of chief songwriter Jeremy Oxley.
Recorded over two days in October 1980 and released via independent Sydney label Phantom Records on December 31st the same year, the four songs featured on the EP were essentially the first songs Jeremy Oxley had presented to the band on his arrival in Sydney from Kingscliff just a few months earlier. Alongside Alone With You they included Love to Rule, What You Need & The Seeker.
The debut ‘yellow’ ep was an instant underground smash selling out its initial pressing of 1000 copies in just 2.5 weeks. A further pressing of 1000 would follow but then all further attempts of a repress were quashed when the ep master mysteriously disappeared after band signed to Mushroom Records in February 1981. The tapes having never been recovered these masters have been taken from the cleanest vinyl available and appear here for the first time ever outside the 7” ep format and that limited run of 2000.
Fast forward 40 years (as you do) and Sunnyboys are enjoying a renaissance rarely seen for any band from any era. In truth their popularity now eclipses what it did in 1980-1984 with each successive tour selling more tickets and faster than the tour previous. Why not then give the people new music?
Part 2 of Sunnyboys 40 was recorded between touring commitments in 2018 at Airlock Studios, Brisbane. Overdubs were added over the following twelve months at locations in Sydney & Brisbane and the mixing completed in the summer of 2019 by current in-demand producer Konstantine Kerstin. The idea being to tackle some material Jeremy had written for other projects post-1984 and to complete some unfinished business from back in the band’s original lifespan.

Can’t You Stop is a reworking of a song Jeremy recorded as The Fisherman in 1986. The short-lived trio were Jeremy’s immediate post-Sunnyboys band and the original version was released on the Waterfront label the same year. In this guise Can’t You Stop features an all new arrangement plus those trademark Sunnyboys harmonies.

Lovers (On Another Planet’s Hell) meantime, is a reworking of a track from the Sunnyboys third album Get Some Fun. The original version featuring a 4/4 beat often referred to as the “AC/DC beat” which never sat well with the band. The opportunity to readdress that all these years later proving irresistible. The added keyboards of Alister Spence and brass playing of Eamon Dilworth and young Nico Oxley (Peter’s son) also adding a new dimension to the original.

Strange Cohesion was actually written post-Get Some Fun in 1984 and was performed by the band regularly during their final tour. It would feature on the band’s swansong release, 1984’s Real Live but was never recorded in the studio. 40 gives the track its recorded debut and gives some small hint as to what Sunnyboys album no.4 may have sounded like.

Originally released as a solo recording back in 1991 under the banner Jeremy ‘Ponytail’ Oxley Way After Five shares perhaps the strongest relationship to the ‘40’ concept. Jeremy’s voice at times just a croak - a by-product of the life he has lead for much of last 40 years - adding further poignancy to the songs lyric; and it’s another Oxley classic.

And what better way to celebrate both the new release and the milestone anniversary than by doing what Sunnyboys do best - play live! And so Sunnyboys hit the east coast this February including first time ever shows in Torquay and for Sydney’s Twilights @ Taronga. Special guests Painters & Dockers will join Sunnyboys for the shows in Victoria while garage rockers Rocket Science will join the birthday boys in Sydney.
“We really didn’t think we would ever play again as a band. But wow, we have and we sure are having a bloody great time doing it.” - Peter Oxley

Cardinal Fuzz and Feeding Tube Records are at long last ecstatic to bring to you for your listening pleasure “Nudity - Is God’s Creation” 2xLP . A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

The Brvtalist is proud to present The Dying of The Outer-Self, the new industrial techno album by Alessandro Nero. Available as a 12″ vinyl & digital re- lease, the EP includes two cutting remixes from hyp- noskull and LɅVΣN, in which both display a biting re- visitation to create a perfectly erosive synergy.

We catapult ourselves into a narrative that tells us
about the loss of the external being – of its appearance and sexuality, of flesh and of course, blood. Zeal- ous industrial sounds from the 90’s unite functional techno with contemporary noise and harsh hitting kick-drums, arriving at the discovery of new auditory carpets and intricate experimentations between the sacred and the profane in a guided recitation of the theater of life. The inevitable misfortune of the human situation, the failure of communication in the age of communication, the distance that causes distortion and a paradoxical, almost divine, impact. If only we could all have a sincere conversation, at least through art.

But sadly, like a distant echo of voices of violence from the past – a ruthless education made of respect and fear, commonly feeding on human and animal bones, is still floating, chopping everything as if the muscles were nothing more than mush to be served for dinner. An organic meat grinder emanating a pulp made of fictitious progress, now what matters are the first 5 seconds of attention, and that’s where your child is biologically more stupid than you – spicy and salty brain balls as a sack lunch for the scholastic trip to the sensory slaughterhouse.

Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

UNRELEASED TRACKS *