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Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

"Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group's combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches.

Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting.

Album artwork by Benjmain Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects."

‘Nordic Soul’ singer, producer, composer and DJ Astrid Engberg feels the light on new album, Tulpa. Overcoming a life-changing brain trauma through sonic explorations of contemporary electronic-organic jazz layered with strings, horns and percussive minimalism. Interplaying between contemporary soul, classical, electronic music, jazz improvisation and her hiphop roots, Astrid sketches sonic landscapes that are both steeped in her Scandinavian roots and infused with the kaleidoscopic hues of her many travels.

Reissue of very rare (wild prices on Discogs!) French spiritual/political Avant-garde Jazz, think Brigitte Fontaine meets Alice Coltrane Via the Middle East.

Introducing the first release on MARICAS Records from the Barcelona queer collective. After three years of living the Maricas techno-pervy-loving lifestyle and spreading their message of freedom and love in their hometown and beyond, it was time to share the music they love and live by. With their very own imprint, they strive to lift up and showcase their family of queer artists and spread their sound to parties and after parties all around the world.

The first EP is delivered by none other than resident and co-founders ISAbella. She makes her debut with a solid five tracker, which bounces between house and breaks, all with a touch of old school. Hard-hitting drums and crispy perc are blended with just the right amount of dirty Rave and Electro flavours.

The A side kicks off with the dance-floor-banger Extrema, a driving house weapon rich in synth textures and stabs. Each layer takes its turn to be heard over the fat bass line, before combining into a dense melodic texture at the climax. This is sure to crush any dance floor.

Side B features Contacto, which perfectly encapsulates the Maricas sound. Deep, dreamy layers of atmosphere and the ethereal, euphoric melodies floating above are driven forward by a crunchy breaks riff and an airy but tough four to the floor kick.

Marilyn Manson returns with his eleventh studio album WE ARE CHAOS via Loma Vista Recordings. Co-produced by Manson and GRAMMY® Award winner Shooter Jennings Brandi Carlile, Tanya Tucker, the ten-track opus was written, recorded, and finished before the global pandemic. Manson heralds the record’s arrival with the title track and lead single “WE ARE CHAOS.”

Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.

Manson says of the album, “When I listen to WE ARE CHAOS now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.

“This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.

“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”

Kate NV is the project of Russia-born recording artist, songwriter, and producer Kate Shilonosova. Best known in her hometown of Moscow as the lead singer and founder of the post-punk garage band Glintshake, Kate NV is also a performer in the experimental Moscow Scratch Orchestra and releases music under an alternate alias, NV. "Room for the Moon" is Kate NV's third album and second for RVNG Intl. "Room for the Moon" was inspired by memories of 70s/80s Russian and Japanese pop music and movies. The album finds Kate NV singing in Russian, French, and English. She collaborated with musicians Jenya Gorbunov (bass guitar), Vladimir Luchanskiy (saxophone), Quinn Oulton (bass guitar, saxophone), Nami Sato (Japanese Narration), and Marco Passarani (marimba). "Music knows what she wants," says Kate NV. On "Room for the Moon", the lyrical follow up to the buoyant minimalism of 2018's "FOR", NV follows this muse in fluid expression, harmonizing her lunar lullabies with a starry compositional choreography. NV says, "I always let music express herself without pressure, and with or without voice."

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

The Afro-Cuban grooves of “Mamase” open the record. Continuing where Listen To The Wind left off, this is another horn-heavy call-and-response ode to a positive life. Life as an invitation to party, to take part, to “get involved”. But only if you’re willing to let in the transcendent power of music. “There’s gonna be a Mardi Gras, there’s gonna be a carnival; there’s gonna be a jamboree, there’s gonna be a bacchanal”. Who can resist that? Vibrations everywhere.

It’s followed by the joy of “Aida”. Gleeful, dayglow keys and synths *just* on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums and proud horns. Infectious funk.

The tempo is taken down a few notches for the powerful “Nomalanga” and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. It’s an emotional song, no question, but it doesn’t bring you down. The uplifting music and optimistic vocal delivery from Caiphus and his backing singers in the second half offer hope.

Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of “Moshanyana”. This gives way to stuttering beats, a bassline to die for and Caiphus giving it his all, over guitars, marimba and synth strings. Another slo-mo winner.

Side two opens with “Dial Your Number”, an uptempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. Whether or not this propels the song into “key track” status, we’ll let you decide.

What’s not up for debate is the brilliance of “Matswale”. This was a hit in South Africa in the mid-80s and you can still hear why. It might just be our favourite Caiphus hit. Wow. This is some damn fine breezy, beautiful, emotional pop. The restrained playing, the guitar licks and the gentle keys are out of this world. The beats? Thundering, direct and slick. The singing? It’ll give you goosebumps. As for the sentiment? This is Caiphus singing to his in-laws about their daughter’s adultery, begging them to intervene and help him save his marriage. Not your typical pop single story-telling!

The ferocious “Ndi-Kulindile” closes the set with a nod to the coming sound of the States. The hard-edged, electro-influenced drum patterns and bouncing, elastic bassline are something of a departure from the album’s predominant sound, yet one wonderful constant, Caiphus’s exceptional delivery and his sparring with his backing vocalists, is satisfyingly present and warmly deployed.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The stunning sleeve has been restored, with its painting of a dream-like cosmic vista, as a lone figure takes in a scene that’s part distant planet, part urban sprawl. One listen and you’ll be transported.


Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

One listen and you’ll be transported.

Triangulating a slinky signal to a square mile off the Swan River, Glowing Pin bring us ‘Pentagon Palette’, a master blast of frequency adjusted house, swamp stomp and chakra charmers from Australian newcomer Jonus Eric.

Though opening brace ‘The Cult’ and ‘Collect’ made first contact back in 2014, a loose connection between Perth and Hamburg hindered progress before ‘Mirrors’, ‘Emulator’ and ‘Waterfall’ walked across the web in 2019 to round out a dope debut release from this house auteur. Specialising in mind altering sound design and melodic flair, Jonus generates a neon swamp on ‘The Cult’, serving up a psychoactive roller caked in radioactive fuzz and insectile fizz. Thick bass swells and circular marimba make for a hypnotic rhythm, while a shapeshifting vocal and moody keyboard riff drag us back towards terra firma. The paradisiac refrain of ‘Collect’ soon sounds out through the jungle with a euphoric haze,

its sub-tickling bass and acid gurgle riding hyperactive drum programming as the track warps in the humidity. Soaked in serotonin and brisk at 137 BPM, ‘Mirrors’ burns off the mist to offer an airy update on the French Touch template. Though frazzled circuitry and dislocated vox serve this one with a twist, the chiming pianos and bouncy beat are still best enjoyed in a Golf GTI in the summertime. Jonus reaches for the lasers via the restless rhythm and rave sirens of ‘Emulator’, a fresh take on the funky house of the late nineties updated with unexpected breaks, squealing feedback and treated vocals usually found on a Four Set banger.

Next it’s off to the chillout room for ‘Waterfalls’, a fourth-world tone poem describing crystal caves, undiscovered wildlife and a holographic waterfall. Ditching the doof, and letting those colours tesselate, Jonus offers a +2 bump to your mana, before the post punk bassline, growling EBM vocal and off key organs of ‘YR Mind’ combine for a confrontational bonus track, only available in digital format.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

- All Songs are New and Exclusive Recordings to this LP and the Movie. The inside of the album features Rare Photos of the Record Session.

Collector first-ever and worldwide release of the original soundtrack of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, (2019) about the legend Robert Mitchum, directed by the famous photographer Bruce Weber (Let's Get Lost about Chet Baker). Soundtrack directed by Bruce Weber, on a 33 rpm with gatefold, mastered by Translab Mastering. Limited to 600 copies.

Vital Sales points

The exclusive release of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, about the film legend Robert Mitchum, immortalized by the eye of phographer Bruce Weber.

Directed by Bruce Weber himself, the soundtrack includes melancholic and jazzy unissued tracks performed by Robert Mitchum, along with the performances of Marianne Faithfull, Rickie Lee Jones and Dr. John.

Score entirely mastered by Translab Mastering.

Sleeves designed by Nathan Kilcer. Printed inner sleeves with stills from Bruce Weber.

Limited edition, 600 copies.

In our latest chapter of Spiritual Jazz, we return to the source – the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane.
Since the first release in the series back in 2008, we have mapped out the growth of the spiritual sound in jazz. Spiritually energised and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. Our series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange and black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharaoh Sanders, Yusef Lateef, McCoy Tyner and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse the defining imprint of a crucial decade. They hand picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan – 'The New Wave Of Jazz Is On Impulse!'

Here we dive deep into the Impulse! catalogue, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant and as relevant as ever.

For years, Frente Cumbiero has served as the torchbearer of a new wave of experimental exploration in the diverse modern-day cumbia canvas. Led by Mario Galeano Toro, a Colombian native and accomplished veteran of Bogotá's rich music scene, the group first connected with listeners outside of South America via their head-exploding 2010 debut on Names You Can Trust. "Pitchito" would become a cult favourite, a catalyst for the Brooklyn-based label, and soon after a bonafide rarity. Those beginnings of Frente Cumbiero focused on an honorary recognition of the massive musical impact that the many formations of cumbia have had over the decades within Colombia. Subgenres such as gaita, porro, vallenato, and caracolito, to name just a handful, have all played their part within the evolution of the country's tropical music lineage. That deep-digging determination coupled with a truly unique and talented musicianship has informed Frente's music, some of the most forward-thinking and reverential examples of the current tropical scene. It has led to some incredible opportunities and collaborations in Europe, Asia and the States, including genre-defying recordings with London's Mad Professor and Japan's Minyo Crusaders.

Still, Galeano Toro's assemblies with Frente Cumbiero have been scarce amongst his other exploits, splitting time as player and producer in other ground breaking projects like Ondatropica and Los Pirañas over the recent years. After three 45 single releases together with NYCT, the time away has left everybody wanting for more. Now, reassembled and seasoned with years of touring and gigging in a multitude of projects, the group's current quartet of Galeano Toro (keys and synths), Pedro Ojeda (timbales and percussion), Marco Fajardo (tenor sax) and Sebastián Rozo (bombardino) is a stripped down powerhouse of unadulterated psico-tropi swing, a beautiful Colombian musical stew, incorporating a host of flavors from the melting pots of the Pacific, Caribbean and Atlantic pathways. The final result is of course quite unclassifiable, simply a new breed of good music and a dancefloor delight.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

Erweiterte 25-Jahres-Reissue des Kollabo-Albums "Spinner" (1995) von Brian Eno und dem legendären Public Image Ltd.-Bassisten Jah Wobble, featuring Jaki Liebezeit (Can) on drums. Basierend auf dem Brian Eno-Soundtrack zu Derek Jarmans Filmtribut "Glitterbug" (1994), übergab Eno Stereo-Mixe der Sequenzen an Wobble, der diese mit Hilfe von Instrumenten ausschmückte und zu den "Spinner" Tracks verarbeitete. Das Resultat fusioniert eisigen Ambient mit einer Art psychogeografischem Funk. Physische Formate waren seit 15 Jahren nicht mehr erhältlich und enthalten nun die Bonustracks "Stravinsky" (ein Original aus Enos "Glitterbug" Soundtrack) und den brandneuen, exklusiven Jah Wobble-Track "Lockdown" auf CD und als LP-Download-Code.

Albert Ayler’s 1969 album New Grass has been misunderstood from the day of its release. The album fi nds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.”

New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to infl uence generations of Jazz, R&B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic
Youth and Mark E. Smith.

Third Man Records can’t recommend this record highly enough. We are confi dent that it won’t take but one listen for you to understand New Grass is an undeniable healing force

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

Compilation album curated by Kaitlyn Aurelia Smith

The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.

From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.

There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.

Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.

Full Pupp is 15 years old and we’re marking the occasion by inviting old and new friends to contribute a track each. Henning Severud aka Telephones returns to Full Pupp with this beast of a track. Marius Våreid contributes with this lovely ditty that fell between the cracks some years ago. In preparation of a promised forthcoming album Christian does what Christian does best - four on the floor. Norwegian techno’s grand old man Per Martinsen most likely recorded his parts during the northern norwegian summer. The shutters couldn’t keep the sunlight out.

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

Tachyon Audio 005 is another installment of the Mutations Volumes by Tachyon Audio creators

Nick Payne and Paradaux A1

The second track A2 Sputnik presented on vinyl as a locked groove.

B1 and spares no one as Inhabitants dive into a deep dark chasm of acid throttled driving rhythms with subtle yet apparent drums driving the track forward into the sci-tech space realm.

Mutations III closes with Mut19 an emotional pulsing and broken beat track featuring the vocal of U.S. free speech and civil rights activist
Mario Savio from a speec in Berkley CA in 1964.

Hello Everybody,

I hope that you will have as much enjoyment from my music here as I had performing it!! I would like at this time to give you a little "History" of myself and as to how I came to love the music that I play! Coming from a "Musical Family"; my father was Tyree Glenn, Musical Director and Trombonist with Louis Armstrong and played with the likes of Cab Calloway and Duke Ellington among others and my brother, Roger Glenn, a very "Talented Musician" in his own right, it was not difficult for me to be "Influenced" and get into "Show Business" as a Musician and Entertainer! My early years in the "Fifties" were spent playing the Saxophone with my "Teenage Band" in New Jersey and later, after 4 years at Marietta College in Ohio, in the "New York City Area" in the "Sixties"! As the song goes: "IF YOU CAN MAKE IT THERE, YOU CAN MAKE IT ANY WHERE" which I did and it was in New York City where I got my "Musical Education" which would become a part of me for the rest of my life! In the "Mid-Sixties", I was offered a "Partnership" in a Night Club in the Algarve Portugal and readily accepted the chance to perform "In My Own Club"! Moving on to Lisbon after a few successful years in the Algarve, I performed in TV and recorded records there in Lisbon! By the way, I played Professional Basketball for "Benfica Lisboa" which was and remains to this day, my "Big Love for Basketball" and was to be a big part of my life! From Lisbon, I eventually went on to live and play in Italy in the early Seventies with Rocky Roberts. Returning to Lisbon in the mid-Seventies, I worked with my buddy from my "New York City Days", the very talented "Singer & Entertainer" Wayne Bartlett, and we formed the "Duo": "Wayne & Tyree" and performed in the Casinos in Portugal! We accepted an offer to perform our show in Germany and as things worked out, I have been living and playing my music here since 1976! I have enjoyed bringing my "R&B" to everyone and showing just a little bit of how it was performing "R&B" in NYC back in the "Sixties"! I hope that you will enjoy this Compilation of my work here in Germany from the past years and I would especially like to thank Tramp Records for making this record possible and being a "True R&B Fan" of Tyree Glenn Jr. and my Music!

O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.

Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.

Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.

Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.

They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.

Bélver Yin's soul mining odysseys have been unjustly overlooked for three decades. An anomaly in the Spanish alt-pop scene, their forlorn instrumentals and ethereal romanticism would have struck a chord in the British league of Felt, The Chameleons, Cocteau Twins and Dif Juz, leaving their 1991 debut Luz Bel deserving of reappraisal.

While coining their band name from a Jesús Ferrero novel and quoting Laozi philosophy on album sleeves, Bélver Yin create illuminating textures that unlock a wordless language of memory and adolescent emotion. Formed in Salamanca by self-taught musicians Pedro Ortega Sánchez and José María Martín, the guitar-bass duo spent two years crafting their divine interplay with interim drummers before submitting a demo to Noisex Music, their only attempt at label courting. The phone rang mere days later with owner and producer Bernar Marks (The Dust Sessions) offering to cut an album and the band ventured to Valencia with cloud-touching optimism soon after.

Championed by local press, the release fell short of expectation, fueling the mythology of a vanished band known only to the initiated. Varying lineups would, however, continue to work in the shadows under Pedro's direction, recording two spatially arranged follow-ups at their own pace in 1996 and 2005.

A glorious debut that undeniably set a high watermark, Luz Bel is finally available again, faithfully remastered by Mikey Young and featuring bilingual liner notes from John Gómez, the authoritative ear behind Outro Tempo.

Driving anywhere in Texas can cost you half a day, easy. For example, it'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. "Big sky country, that's what they call Texas," Khruangbin bassist Laura Lee says. "The horizon line goes all the way from one side to another without interruption. There's something really comforting about that." On Texas Sun, these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob's in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state's rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you're going-especially if you're in no particular hurry to get there.

Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture. It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions. The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion. A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

"On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.

MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.

Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.

Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork."

Kidbug is a love story, one which emerged through a fateful connection when Netherlands-based Marina Tadic (Eerie Wanda) and Australian transplant Adam Harding (Dumb Numbers) met at Joyful Noise Recordings' annual holiday gathering. After enlisting their friends Thor Harris (Swans), Bobb Bruno (Best Coast), and Dale Crover (Melvins), Kidbug emerges fully-formed to present their self-titled debut, 11 songs of beautiful, fuzzed out shoegaze dream pop. Recommended If You Like: My Bloody Valentine, The Jesus and Mary Chain, The Breeders, Pixies, Pavement, Sonic Youth, Stereolab, and/or, Eerie Wanda, Dumb Numbers.

Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness and as a kind of "European" version of the famous DUB SYNDICATE. Soon, they were so in demand as to be backing Lee Scratch Perry, dub poet Lilian Allen, Dillinger, Ari Up, Ken Boothe, Marcia Griffiths, Chezere and orthers. Well, Austria's / Viennas's finest moments in dub working and collaborating with the new technological dimension of modern dub : Paolo Baldini from Italy. Baldini's stunning excursion into deep dub, chilling dub and dubble-tough dub will reach the DubFiles into perfection @ DUB ME CRAZY. Paolo Baldini's handling of this mission has been exemplary: his production and remixing skills are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. His collaborations with Mellow Mood, Hempress Sativa, Dub Fx and others are showing faith of what DUB is living for. Since 2007 Paolo Baldini works under the top level name "Alambic Conspiracy" and became world class dub extraordinary performer, bass player, mixologist, producer and provocateur!

Demon Records presents The Final Tour from legendary guitar band The Shadows performing their greatest hits live on this 2LP set made available for the first time. Hank Marvin, Bruce Welch and Brian Bennett together on-stage June 5th 2004 at Cardiff Arena.
It was during a hot summer day in June 1960 that The Shadows entered Abbey Road's Studio 2 to record Apache, the track that was to become the instrumental hit of the decade. It shot to No.1, became an instant classic and saw the start of a string of over thirty hits that included another four No.1’s - Wonderful Land, Kon-Tiki, Dance On! and Foot Tapper.

31 tracks including four No1's are featured on this double LP pressed on red vinyl with printed inner sleeves

Circoloco resident Luca Cazal teams up with Italian talent Andrea Fiorito as the pair deliver their ‘What Is Music’ EP on Infuse this June, backed by a remix from Mariano Mateljan.

An Ibiza mainstay, with regular appearances at DC-10 for Paradise and his long-standing global Circoloco residency, See Double boss Luca Cazal has established himself as a quality and consistent force within the minimal house scene and beyond. An avid digger with an innate ability within the studio, Cazal’s career has also welcomed sets at internationally renowned institutions including fabric and Club der Vissionare, with late June now welcoming a debut appearance on Infuse alongside fellow Italian Andrea Fiorito. An artist driven by idealism, with a sound palette that takes in influences and productions from experimental techno through to lighter more delicate and orchestral sonics, Bari-based Fiorito has himself served up material via the likes of Housewax, Broquade, Get Physical and Cynosure to date, and here we see the two talents combine for the very first time to offer up ‘What Is Music’, accompanied by Infuse talent Mariano Mateljan on remix duties.

A-side opener ‘Tornado Girl’ is a groove-fulled rolling production armed with slinking hats, evolving basslines and warping lead synths, whilst on the flip, title cut ‘What Is Music’ delves deeper into darker, more paired back afterhours aesthetics with slinking organic percussion and sci-fi electronics throughout. To close, Croatian favourite Mateljan’s lively interpretation welcomes sharp kicks, distorted vocal hooks and haunting melodies, punctuating the package in impressive fashion.

Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

Marion formed in Manchester in 1994 and released their debut album This World And Body in 1996. The album reached number 10 in the UK album chart and the band found further success with the singles ‘Let’s All Go Together’ and ‘Sleep’. To follow up on their triumphant debut, the band returned to the studio to record The Program with exSmiths guitarist Johnny Marr on production duties. Demon Records is proud to present The Program on vinyl for the very first time, pressed on 180g heavyweight translucent green vinyl. This edition includes a print of the album artwork, hand signed by Jaime Harding and is strictly limited to 500 copies.

Marion formed in Manchester in 1994, releasing their debut single on Rough Trade. Signed to London Records, the band found themselves bundled in with the ‘Britpop’ scene, and made their national TV debut
by performing ‘Sleep’ on Channel 4’s cult TV show ‘The Word’ in February 1995. The band gigged throughout 1995, building up a fan base, and supported Morrissey on his ‘Boxers’ tour. This World And Body was released in February 1996 and entered the top ten of the UK album chart. Demon Records is proud to present a new edition of This World And Body, pressed on 180g heavyweight translucent gold vinyl. This exclusive version includes a print of the album artwork, hand signed by Jaime Harding and is strictly limited to 500 copies worldwide.

Grammy-nominated artist and musician Stuart Hyatt returns with another sonic wonder in the Field Works series, bringing the listener into truly uncharted acoustic territory. Ultrasonic is perhaps the first-ever album to use the echolocations of bats as compositional source material. For this special album, Hyatt has assembled an extraordinary group of contributors: Eluvium, Christina Vantzou, Sarah Davachi, Ben Lukas Boysen, Machinefabriek, Mary Lattimore, Felicia Atkinson, Noveller, Chihei Hatakeyama, John Also Bennett, Kelly Moran, Taylor Deupree, Jefre Cantu-Ledesma, Julien Marchal, and Player Piano. Ultrasonic is part of a broader storytelling project about the federally endangered Indiana bat. Generously funded by the IUPUI Arts & Humanities Institute and the National Geographic Society, each album contains an official printed booklet of The Endangered Species Act of 1973.

The Berlin based label Sonar Kollektiv has been waiting for it anxiously: Key Elements' debut album leads Jazz music into the new decade down-the-line. The music Key Elements create is fresh, merciless and ruthless and has always the finger on the pulse of the time. The album's eight tracks are all far away from Broken Beat nostalgia or Beatmaking nedism, they breathe inspiration from the young, thriving British jazz scene. Key Element's initiator, DJ and producer Marian Tone, built up a reputation in the Berlin hiphop, soul and jazz scene over the years (also as a co-founder of Beatkollektiv). With all of his compositions you always feel this heritage and his love and passion for hiphop. But the other two allys within ëKey Elementsû, drummer Waldi and the keyboard or bass player Jim Dunloop made their contribution with compositions and ideas as well. An album which was initially designed to be a mere solo project became an effort of a trio over the years being inherently consistent.