Pop & Rock Vinyl New Releases - News

Originally from San Francisco, Matthew Larkin Cassell is a talented songwriter, vocalist and multi-instrumentalist. During the '70s-80s, Cassell fronted a trio in the Bay Area, opening for major acts like The Tubes and Sylvester. Playing a particular fusion of funk, R&B, soul-jazz and 70s pop, he self-financed and released his first album, "Pieces", in 1977.

Distributed only locally at the time, the album remained buried until it was discovered in the '00s by beat makers and crate diggers which led to some of the tracks being sampled and included on mixes by people like Kon & Amir, Madlib and M.F. Doom. Reputed labels like Stones Throw and P-Vine reissued Casell's music at the same time that the original album was sought-after by funk collectors and reached outrageous prices.

Here's a straight reissue in original artwork with master tape sound and including a lyrics insert.

Famous for their matching, colourful suits and always-happy smiles, Beyaz Kelebekler (White Butterflies) were a mixed-gender Turkish band very popular during the '70s. They released one album plus numerous 45s in Turkey and other countries like Holland and Italy.

In 1976 during the last day of their European Tour, just after one gig in Cologne, Beyaz Kelebekler visited a studio of a friend which was still in construction. They decided to record a few songs, just for fun and for testing the new studio equipment. It was a very basic, one take recording, using an 8-channel mixer, a few mics and a reel-to reel tape machine.

The result was an amazing example of Anatolian psych-funk, featuring wah-fuzz guitar, flute, heavy drums, joyous male / female vocals...

Unreleased until now, we present the first ever release of these surprising recordings, rescued from the only surviving cassette tape.

Uno de los pesos pesados del garage privado USA 60s! The Bachs eran un grupo de adolescentes procedentes de Chicago, habituales en la escena local de teen clubs. En 1968, justo antes de separarse, decidieron editar un LP como testimonio para fans y amigos. Grabado en 10 horas en un estudio imporvisado, "Out Of The Bachs" vió la luz en 1968 con una tirada de 150 copias. Puro y mágico sonido garage adolescente con guitarras Rickenbackers, ocasionales erupciones de fuzz, apasionada voz y 12 alucinantes temas originales, nada de versiones.

Combinando momentos de rabia juvenil con temas de lo más "moody", el disco se ha convertido en objeto de culto para coleccionistas y aficionados de medio mundo, incluyendo influyentes personajes como Patrick Lundborg (Acid Archives) o David Keenan (The Wire, Volcanic Tongue), maravillados por lo espontáneo del sonido y la atmósfera atemporal del disco, que puede recordar a otros clásicos como Rising Storm o Fantastic Dee–Jays.

Desgraciadamente, las primeras reediciones que se editaron en los 90 nunca fueron capaces de reflejar el auténtico sonido del disco original, hasta que el sello Time–Lag, hace unos cinco años, lo reeditó remasterizado profesionalmente de una copia nueva original. Esa reedición voló en un mes, así que después de años descatalogado, aquí tienes una nueva reedición, utilizando el mismo máster de audio que la edición de Time–Lag e incluyendo un insert con detalladas notas y fotos.

"...Uno de los más legendarios LPs de garage 60s. Crudo garage folk–rock con toques psicodélicos y todo canciones propias, algo inusual en le ápoca. El grupo emite una atmósfera única y atemporal"

– Patrick Lundborg (Acid Archives)

"...Sencillemente, el más grande disco privado USA 60s de todos los tiempos. "Out Of The Bachs" es el holy grail del post–acid satori"– David Keenan (The Wire, Reverse Diorama)

Powerful hard-rock with West Coast, psychedelic, prog and latin-rock touches from Spain, 1971, featuring killer lead guitar and organ, sung in English. The missing link between Los Brincos and Barrabas!
Alacran was a Spanish power-trio formed by legendary drummer, songwriter & producer FERNANDO ARBEX along with guitar/keyboard player OSCAR LASPRILLA and bass player/singer IGNACIO ‘IÑAKI’ EGAÑA.

Fernando and Oscar had previously played in famous Spanish beat band Los Brincos: Fernando was a founding member and Oscar, who came from Colombia - where he had been part of Los Speakers – was recruited for their final line-up, recording with them the psych masterpiece “Mundo, Demonio y Carne”. Iñaki Egaña was an acclaimed bass player who came from psych/blues band Los Buenos.


... So, basically we’re talking about three of the best musicians from the Spanish 60's - 70's scene. When they started to play together, chemistry occurred and soon, guided by Fernando, they entered the studio to lay down some tracks. “Alacran” was the result, the only album by this short-lived power-trio, recorded in 1969 but not released until 1971 (as a self-released edition, distributed by the Zafiro label).

It was released in Spain and Brazil but despite the good reviews and interest from some record labels in the US, the band never got to play live and soon they split. Alacran was over but Barrabas, featuring Fernando and Iñaki, was born ...

First ever vinyl reissue of this collectable album from the Spanish psych/prog scene. Housed in hard cardboard sleeve + OBI + resealable outer sleeve. Master tape sound. Four page colour insert with liner notes and rare photos.

First ever vinyl reissue of this German private press from 1978.

Produced and recorded by the group and only sold at local shops and venues. Excellent and perfectly executed Latin-Funk / Jazz-Fusion with heavy Brazilian vibes.

Heavy latin percussion / congas / berimbao, electric guitar, sax, flute, synths, Rhodes, male/female vocals in English / Spanish...

Including club classics like 'Sol y Sombra' (pure Balearic sound, championed by Jazzanova), 'Just Like The Rainbow' (fab bossa-scat-jazz), 'You Keep Me Running' (killer disco-boogie), "La Salsa" (hot latin-funk-rock jam) and much more.

Includes insert and download card.

Ángeles De Opio was an underground heavy-psych power trio formed in 2005 by Spanish guitar God JC Sisto (Mater Dronic, Shakti's Delirium) plus Sergio and Adrián Ceballos (RIP KC, Melange). This project was born just after Sisto released his psych opus, 'Mundo Espectro', under the Mater Dronic name in 2005. Ángeles de Opio ('Opium Angels') played only a few shows, being ignored by virtually everyone, as their extreme, heavy psychedelic jamming & improvised sound was too much for Spanish audiences at the time. In 2006, some of their private, raw recordings saw the light under the name Fuzzy Lady (probably a wink to obscure psych bands like Wicked Lady and Fuzzy Duck) but only as homemade CDs which circulated between 'those in the know' at the time.

For the first time on vinyl, we present some of those recordings. Two sidelong tracks of wild acid-fuzz-wah guitar jamming. You all know that JC Sisto is a killer guitar player but on these recordings he pushes his guitar to the stratosphere without any limits. 100% acid fried guitar damage which brings to mind fellow Japanese travellers like High Rise or Mainliner and 70s hard-rock beasts like 'Stoned Guitar' era Human Instinct.

'Ángeles de Opio consta de dos temas muy largos, plasmados con la sonoridad cruda y directa propia del local de ensayo. Algo que va bien a este tipo de grabaciones, ya que en cierta manera buscan eso: un sonido sucio y vibrante, sin demasiada producción que matice la instantánea del momento. Muy en la onda de las 'Acid Jams' editadas a finales de los 80 por Woronzow Records (el sello de Nick Saloman de Bevis Frond) o los artefactos radioactivos llegados desde Japón de la mano de High Rise o Mainliner, estos dos temas son el resultado de la más pura improvisación: tres músicos lanzados al vacío sin más reglas que exprimir la electricidad hasta las últimas consecuencias

Este disco documenta que Sisto ha sido uno de los pioneros en este país, por no decir 'el pionero', en hacer este tipo de experimentos psicodélicos.'

Super rare UK 60’s garage–pop–psychedelic, heavy mod–sike artifact which is a must for anyone into Swinging London sounds!!!

Mastertape sound, 180g vinyl and original artwork with old–style backflapped cover, and including a facsimile of the full colour very rare original insert, plus an extra insert with extensive liners by Andy Morten.

There are few bands who can claim to have built their reputation on one single, but such is the situation for Aragorn, formed in Chesire in 1978. They were one of the first acts to sign to Neat Records as the New Wave Of British Heavy Metal erupted, but fate conspired to ensure that they only ever released one single, the killer 'Black Ice' / 'Noonday', which has definitely become something of a cult 45 among aficionados of the genre. Here it is along with 12 tracks taken from their not released at the time album from 1982/3. A must for anyone into obscure, 70s styled hard-rock and early metal.

Truth' is the new album by this incredible heavy-psych duo from Portugal, famous for their storming live shows at famous festivals like Reverence Valada and Barreiro Rocks and for supporting big neo-psych names like The Cosmic Dead, Pink Mountaintops and Endless Boogie. You won't believe how just two guys can create such a brutal sound. Echoes of Blue Cheer, Hawkwind, Tractor, Black Sabbath, Iron Butterfly and Pink Fairies spiced with doses of Kraut, Doom, Drone and Space-Rock.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

Reissue on vinyl of the first PJ Harvey studio album in the Island Records catalogue, and her second studio album.

Produced by Steve Albini and originally released in May 1993, Rid Of Me features the singles ‘50ft Queenie’ and ‘Man-Size’. The album charted at number 3 in the UK.

Reissue is faithful to the original recording and package, cutting by Bob Weston at Chicago Mastering under the guidance of Steve Albini.

In the late 60s, a bunch of mysterious psychedelic exploitation albums were released by the budget Crown label in the US. Issued under different band names (The Firebirds, Underground Electrics, 31 Flavors...) , they were recorded by an anonymous group of studio musicians. "Hair" by 31 Flavors is the counterpart to "Light My Fire" by The Firebirds. Along with demented raw garage covers of "Hair" and "Aquarius", it contains some of the heaviest, fuzzed out exploitation sounds ever committed to vinyl. You can hear echoes of Blue Cheer, Hendrix and Sabbath, featuring proto–doom, heavy–psych bombs like "Distortions of darkness"

"One of the best of the psych–ploitation LPs, with more fuzzzz than a dozen 1971 private press hardrockers. Great raw live feel, wild playing and excellent fuzz riffs" Patrick Lundborg (Acid Archives)

Green Day’s Insomniac is finally old enough to rent a car (or whatever else you can do when you’re 25, we’re not lawyers), so in order to celebrate the album has been remastered, and we’re throwing in some bonus goodies to boot!

This vinyl double LP includes the cover art printed on prismatic silver foil as well as an additional LP with 8 rare or never previously released live tracks from the Prague stop of the Insomniac world tour on March 26, 1996 and an etched B-side.

• As of 1st October, Sony Music has acquired Third Man Records for the Jack White/Raconteurs/The Dead Weather and The White Stripes catalogue! This is an incredible deal which pulls together the entire catalogue on to one label globally for the first time. The debut release from this deal will be ‘The White Stripes Greatest Hits’
• This is the first-ever official anthology of recordings from Jack and Meg White's iconic indie rock duo.

Turin Brakes critically acclaimed debut album ‘The Optimist LP’ gets the re-issue treatment to celebrate its 20th Anniversary



The ground breaking long player, originally released in 2001 features classic tracks such as ‘Underdog (Save Me)’, ’The Door' and ‘Feeling Oblivion’.

’The Optimist LP’ will be re-released on Deluxe 2LP & 2CD on Two-Piers, a new Brighton label, now with a Bonus album of ‘Demos’ from the original sessions and New Artwork. The Album has been out of print on Vinyl for many years now.

CZN stands for copper, zinc and nickel the raw path of materials used by percussionist and sculptor Joao Pais Filipe, composer and drummer Valentina Magaletti (from the great Tomaga) and producer Leon Marks. This is ritual music for the whole family.

Recorded in Porto at Oficina João Pais Filipe.
Mixed by Leon Marks
Mastered by Enrico Mercaldi
Artwork by Nicola Giunta
Sleeve by Patrick Keuthen

Transmission incoming…
Alien sound waves have been bouncing off the side of our ship.
We’ve managed to capture some of them on plastic.
They seem to appear suddenly out of the vacuum.
Projected by planets
Beamed through stars
Reflected off debris
Hanging in space like dust motes

Witch egg is a improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas.
Another fired expedition out in the wilds.
Recorded and mixed at Stu-Stu-Studio by John Dwyer
This one is a burner designed optimally for your eco-pod sound system.
When you’ve left the world behind, you will need a soundtrack while you lay in dream stasis
This is it

Recorded in the spring of 2010 and then mysteriously abandoned by Prince before its release, the statement album Welcome 2 America documents Prince’s concerns, hopes, and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice. The album features some of Prince’s only studio collaborations with the bassist Tal Wilkenfeld, drummer Chris Coleman, and engineer Jason Agel, with additional contributions from New Power Generation singers Shelby J, Liv Warfield, and Elisa Fiorillo and keyboardist Morris Hayes, who Prince also recruited to co-produce the album. The vinyl edition has the 12 songs spread across three sides on 2 LPs in gorgeous gatefold packaging, with a custom etching on the fourth side.

DEATHTRIPPERS was formed by the very talented Sasha Raoul in Leeds, UK, 2015. His influences being classic 80s’ gothic rock / psych / electronica / 80s’ indie are evident in their releases to date, the ‘Unity Of Light EP’ (2017) and ‘Disintegrate’ (2018), both recorded by the multi-talented Richard Formby. They have also contributed a couple of tracks to compilations in 2020. Each song is a dancefloor smasher in its own style. The band has gone through numerous line-up changes but is now settled as a solid 3 piece; Sasha (vox / synths / various instruments), Rick (guitar) and Oli (bass / drum machine).

We have gathered all their recorded output (previously on digital formats only), some of which has been edited, some remixed and all of it newly mastered specifically for this vinyl, making it flow and sound better than ever.

We are so glad to bring you this awesome compilation of the first works by DEATHTRIPPERS, presented as a limited, hand numbered edition of 150 black vinyl copies, housed in a matt finish sleeve with a double sided insert and download code.

“J Spaceman and J Coxon play the music of The Red Krayola!

Trems, feedback, metronomes and a music box………

This recording was made during preparation for a joint performance by J Spaceman and J Coxon as part of : Art and Language: Letters to The Jackson Pollock Bar in the Style of The Red Krayola, Lisson Gallery New York, October 2019.
The idea was to attempt to do a cover version of The Red Krayola’s radical and unrepeatable performance at the Angry Arts Festival in 1967. Spaceman and Coxon listened, separately, to the recordings from the Venice Pavilion Concert and then got together to try to play a version of it without rehearsal. This is a recording of that that anti-rehearsal which they then attempted to repeat in NYC a week later at the the Art and Language Lisson Gallery show.

Recorded between Lausanne and Brussels during summer 2019, this new series of songs by Meril Wubslin dig deeper in this tribal, rustic and minimal tendency that they had in the two previous albums. It is the desire to search for sounds, to manipulate matter : sound matter, rhythmic matter, to knead it to its hottest point, that guided the work of composition. All vintage guitars were recorded without amps. Tambourines and other maracas were approached as a drum kit. But the harmonies and melodies are still present and sometimes event enhanced by the occasional participation of a choir of female voices or a minimal synth line. Always with this desire to use French, their mother tongue, while trying to avoid the trap of ‘variété française’.

“With this new album, we wanted to try something slightly different with the sound. Explore new ways to record our instruments and voices. Thus we decided to put away our amplifiers that we used for rockier moods. And we tried the acoustic option. We were surprised by the wide range of possibilities, much more direct and much more emotional actually. About the texts, we still insist with this open way of writing, a mixture between abstract and concrete which offers several understandings. With this liberty in the structure, we avoid the predominance of the message, to go towards a more sensitive and open meaning.”
Christian Garcia-Gaucher

The long-awaited re-release of Hearsay I-Land, esteemed jazz musician Roland P. Young’s mid 80’s foray into pop structures, soul, and dance music. Hearsay I-Land comprises the entirety of his scarce 1984 four song 12”, I-LAND, as well as most of his 1987 LP, Hearsay Evidence, both released on his label, Flow-Chart Records.

Perhaps best known for his classic spiritual jazz recording, Isophonic Boogie Woogie, as well as his more recent output on EM records, Hearsay I-Land presents another parallel and deeply engaging side to Young’s story, one that would fit at home in any downtempo 80s New York set.

These recordings touch upon many lyrical and worldly themes via Roland’s soulful voice, save for Ballo-Balla, which features floating vocals from his partner Risa over a spacey drum machine and hypnotic bass sequence, imploring the listener to dance.

This new edition proudly includes additional artwork and photos.

With no touring in 2020, and possibly this year, Woods
decided to take a deep dive into their archives and put
together the first volume of their much discussed archival
series, Reflections. Featuring rare and unreleased
recordings from 2009 - 2013, including a ghost town desert
jam off the side of the highway, their first live performance
in Big Sur, the first recorded version of “Bend Beyond”
and some shelved diamonds in the rough that were finished
up during quarantine. Their hope is that it plays like a “lost
record” from an extremely strange and fruitful period in
Woods history.

Color Vinyl With no touring in 2020, and possibly this year, Woods
decided to take a deep dive into their archives and put
together the first volume of their much discussed archival
series, Reflections. Featuring rare and unreleased
recordings from 2009 - 2013, including a ghost town desert
jam off the side of the highway, their first live performance
in Big Sur, the first recorded version of “Bend Beyond”
and some shelved diamonds in the rough that were finished
up during quarantine. Their hope is that it plays like a “lost
record” from an extremely strange and fruitful period in
Woods history.

As long-time fans of this sublime four-track compacto 7" by the illustrious Brazilian duo Luli Lucinha e O Bando, we have floated the idea of re-issuing this beauty for several years now. So finally, the time feels right to release this beloved gem back into the world.

Originally issued on Som Livre ‎Records in Brazil in 1972, this rarity has long been lost to only but the most hardened Brazilian record collectors and those lucky few who own an original copy. The four genre-defying compositions blend elements of psychedelic rock, MPB and folk, and are glued together by the synergy of Luli and Lucinha's vocals and the outstanding arrangements by Zé Rodrix. Whether it be the lost Brazilian-psych anthem of 'Flor Lilás’, or the tripped out folk-funk of 'Dourado Da Manhã’, the EP oozes magic and brilliance. The record also features the Brazilian percussionist, Alyrio Lima, who later became a member of the iconic Weather Report.

Luli (Heloisa Orosco Borges da Fonseca) and Lucinha's (Lucia Helena Carvalho e Silva) records have become extremely sought-after in recent years. Their inclusion on John Gómez's superb 2017 'Outro Tempo' compilation helped spread the gospel about their beautiful folky, MPB, private press albums from the late '70s and '80s. Prior to their musical partnership back in 1965, Luli released a heavenly Bossa Nova 7" nugget entailed 'Baleiro' and a self-titled solo album on Philips Records, which are now also highly-prized by collectors.

Here at Mr Bongo we feel Luli and Lucinha's names should be more widely recognised and break out of their cult artist status. They should be rated up there amongst some of the progressive, left-field greats of Brazilian music of their era. Sadly Luli passed away in 2018, but left behind an inspiring musical legacy for us all to savour.

After a false start or two, Ess O Ess have finally joined the Kinfolk stable with a thunderous release featuring Laura Lee of Khruangbin fame.

Totem is the name and four versions is the game.

Starting off, the original mix is a wailing guitar-heavy psyche rock out that sees Laura Lee's vocals carrying it across a peyote-filled landscape.

Saul's Swamp Crawl version sees the slow 'n' heavy rock elements kept in the mix but with added electronic flourishes. Head nodding is an optional extra.

The Hardway Brothers decided to tune in with the spirit of Johnny Jenkins and haul it through New Orleans via a pit stop at John Carpenter's desert holiday home.

Otologic bring up the rear with an altogether different take by donning their finest digi dub garb and take it as far away as they can from it's psyche out beginnings

Cora Emens is a sex educator and performer based in the Netherlands. This re-issued work of experimental music was compiled in the 80s by Cora's ex-partner, Willem de Ridder (one of the founders of Fluxus) in the Netherlands from the home studio recordings of Cora.

Now available in double LP form (originally released on a Radio Art Foundation cassette) with an additional bonus track 'Earplay'. This is the first time it's been re-released in any format.

The original tape was mixed by Willem de Ridder and is remastered by Cora Emens herself.

The archive cassette now resides in the sound archives of the Allard Pierson Museum in Amsterdam.

Following his spiritual and artistic rebirth, and hot on the heels of his incredibly well received release, ‘Mona Bone Jakon’, Cat Stevens unveiled his second album of the year in November 1970 … and it was to become one of the defining musical statements of the new decade. ‘Tea For The Tillerman’ not only consolidated Cat’s success in the UK and forged him a glittering new career in the USA, it also set him on the road to global superstardom and gave the world songs like ‘Wild World’, ‘Father & Son’, ‘Where Do The Children Play?’ and many more.
To commemorate the album’s 50th anniversary comes this stunning new 180 gram gatefold vinyl 2020 remaster of ‘Tea For The Tillerman’ by Geoff Pesche at Abbey Road, overseen by original producer Paul Samwell-Smith.

Based in Bristol, LTO first made waves as part of mysterious electronic collective Old Apparatus. As a solo producer, LTO has since attracted attention with three albums.

LTO's ambition to create ever more ambiguous and far-reaching sonic environments, whilst retaining something of the familiar and physical, have led him to take inspiration from imagined landscapes of the folklore of his Welsh ancestry and of the planet Mars. Both images of enchanted forests battling enraged giants from the underworld and unimaginably hostile planetary events guide this work of great magnitude.

In 'Daear', LTO explores an expansive sound pallet of swelling synths and noise, ambiguous string instruments, thunderous percussion, unearthly voices and his signature sound the piano, mostly processed beyond recognition. The result is a mysterious and deeply textured journey that could be set in both the distant past and uncertain future, on this planet or beyond.

CLEAR VINYL

DAS LEGENDÄRE MINI-ORCHESTER AUS MONTREAL MELDET SICH NACH ÜBER 10 JAHREN MIT NEUER MUSIK ZURÜCK. House Music unfolds as one long piece, a recorded-then-sculpted improvisation that vastly expands their work, coalescing classical and electronic instrumentation in the creation of genre-defying musical worlds. With help from engineer Hans Bernhard, the band wired every corner of Sarah Neufeld's (Violin, vocals) multi-story rural Vermont house. She and the mini orchestra's other five members - Pietro Amato: French horn, keyboards, electronics; Michael Feuerstack: Pedal steel guitar, keyboards, vocals; Kaveh Nabatian: Trumpet, gongoma, keyboards, vocals; Richard Reed Parry: Bass, vocals; and Stefan Schneider: Drums - assigned themselves to different rooms. They spent two weeks together in camaraderie, creation, and focused isolation to record their improvised sessions every day, but ultimately structured a 45-minute album out of a one hour-and-a-half long improvisation.

Poole Music is thrilled to announce its inaugural commission, the Habu, the latest full-length from Belgium’s Lieven Martens. For the better part of two decades, Martens has been expanding his Aloha-bedecked musical vision, transitioning from the basement tape environments of his Dolphins into the Future project to the rich compositional tapestries of more recent post-exotica modernist works.

The Habu represents a true culmination of these identities in one of his most ambitious works to date. The album’s three pieces cast an omniverous net that explores those fragile tendriles between imagined and real, natural and fabricated, unity and chaos; concrete sounds enabling abstract inner landscapes. With the ecstatic revelry of Marco Polo returning to his queen, Lieven brings us gems from all corners of the navigable world: tales of an impossibly guilded Portugese palace, a fertility tonic conjured from a poisionous serpent, a simulacrum of Honolulu. At a moment when the world is more geographically isolated than it has been in generations, Martens’ the Habu is a welcome odyssey, a Charybdian travelogue of the psyche. About face.

Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid 90's. His latest opus is also his first for release for Editions Mego.

With an extensive catalogue under his belt, one may wonder where this one takes us? The 8 of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with "Skoda Mluvit" from 2006. In the age of scattered streaming listening habits The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an 'audio-movie'. The 'plot' revolves around a post-dystopian landscape which posits the make up of reality in the future.

The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological & technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic & digital possibilities that range from heavily processed acoustic & electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog & digital drum machines & effect units, hardware and software processing. Experimental & extended musical techniques build a world of musical elements that is sometimes upside down and mirrored. Electric guitar becomes rhythm machine & modular system, voice becomes sound object & synthesizer, effects are used as instruments, acoustic guitars are being modulated by voices etc. Reality and illusion are getting mixed up. One can hear short moments of longer recordings in the tracks which are snapshots of bigger musical pictures that lurk behind what's actually audible. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms & cascades based on the concept of chance attributed to the service of the SONG.

The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the 'I' or 'me' is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalised voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. It can be seen as a post-human, or even a trans-human character, a combination of human & technology, uncertain of the future, which lends iBot it's melancholic tone.

In the opening song "Light & Grace" iBot appears in an advanced form of AI, which managed to hack & hijack a commercial space travel program (eg, Virgin Galactic) to invite those rich, who profited most from the destruction of planet earth, for a holiday trip into space to unknowingly fly them directly into the middle of the sun. In this episode it seems to have developed higher ethics than humanity itself with ambition to save the planet with as much of its cooperative life as possible."Light & Grace" serves as an intro / opener for this album to be followed by 7 other tracks featuring different windows of consciousness represented by diverse characters & protagonists.

All the elements on The 8 of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

Berlin studio nut CV Vision washes ashore, surfing on sine waves with his second offering of 2021 and the fifth Patience release, Elemente. Following on from his recently released debut LP Tropical (South Of North), CV Vision takes his library chops, psych rock skills and analogue artillery and spreads them over two quarter hour sides, to brain melting effect.

Elemente soars from cosmic to kosmiche. A dizzying homage to the natural world, the two pieces pay tribute to those animals that glide (Gleiten) and those that float (Treiben). The A side Gleiten tears off on a gnarly, loping odyssey, embarking from the sand to faraway lands, stopping in at Beppe Loda’s Typhoon, Conny Plank’s studio, Bob Chance’s garage via the Transfer Station Blue. The B side Treiben is a more sublime animal, steadily cruising at 20,000 leagues, traversing a mostly calm sea of bubbling arpeggiated synthesis before beaching somewhere on the Med in the late 70s.

Elemente was written, played and recorded by Dennis Schulze, with drums by Uno Bruniusson and Rhodes by Boyd Alves. It was mastered by Wouter Brandenburg at Brandenburg Mastering. Artwork is by Luca Schenardi.

CV Vision is Dennis Schulze, a DIY boffin originally from Bayreuth who enjoys tinkering with electronics and cold water plunges. He has several more projects on the way in 2021.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

random color vinyl

Miles was right, Embryo was more than a unique experience. While talking with Charlie Mariano (the saxophone player was one of the most impressive collaborator of the german band) one day he stated: ‘Embryo - they are these crazy creative musicians playing really weird stuff.’ When you get the blessing from the prince of darkness itself, nothing can go wrong, so here’s the story. Opal was the beginning of all things to come, the record was released in 1970 and licensed by pioneering early Berlin rock/jazz/experimental music label Ohr. It was quite a shock! Forget about your kosmische debris and sought after kraut rock genetics, this was pure and mind bending (heavy) psychedelia, the kind mr. Julian Cope would have killed for. The long stretching People From Out The Space – seven minutes plus of outstanding jam – was sitting at the end of the album, right after a series of heavy hitting jazz rock numbers. This was the foundation of a whole myth. A cornerstone in European experimental and popular modern composition. (Released by LONEOS in cooperation with MATERIALI SONORI.)

*2LP ON WARP IN GATEFOLD SLEEVE WITH PRINTED INNERSLEEVES
*INCLUDES DOWNLOAD CODE

Iconic Warp mainstay Nightmares on Wax can now announce his long-anticipated return with new album Shape The Future. The marriage of soul, hip-hop, dub and timeless club sounds that N.O.W. has been mutating and perfecting for years finds perhaps its most fluid form yet on Shape The Future. Energized by globetrotting runs of studio sessions and DJ sets, this latest salvo is a masterpiece of contemporary and classic genre-blending that solidifies Nightmares On Wax's place as an inspirational electronic music figurehead.

Features guest vocals from Jordan Rakei (Ninja Tune), Mozez, Kanye West and Flume collaborator Allan Kingdom, Andrew Ashong, Kuauhtli Vasquez & Wixarika Tribe and Sadie Walker.

' Far away and yet so close: the first release of „dispari“, a freshly launched venture
by Hamburg based artist Phuong-Dan, is transitionally sublime. The vinyl record
composes inherently different, distinct elements into one bewildering story arc.
There is no A or B side; endlessly endless, both sides transmit transcendence. One
side brings An Afterthought – an almost eight minute long infinite, ambient musing
by Greek producer Anatolian Weapons. The short-termed opposition features
French composer Hector Zazou with US-American artist Laurie Anderson, diving for
a brief 53 seconds Into Your Dreams. Two disparate sides, which manifest
„dispari’s“ desire to follow the extensive path of music and not the narrow road of
style. It hopes to open doors for a variety of outlooks on the language of sound and
beyond. For „dispari“, any format appears interesting, and with the potential for
collaboration. Interdisciplinary projects in disparate media natures like text and
film, or simply unfathomable phenomena, are all possible future propositions.
Maybe the next signals will come as an auditory publication, an art space
performance, or just as a night in a bar, where dissimilar atoms dance for similar
desires. For now, length eats briefness and brevity defeats the epic in a dream of
strange disparity, walking on weightless soles, aglow in starry zones. '
Michael Leuffen

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