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It’s been an exhilarating 40-year ride for Voivod, the Jonquière, Quebec quartet that has, over the years, defied the odds, faced tragedy head on and also seen the band rise above many of the contemporaries to a point where the band’s intricate progressively fuelled heavy metal sound also brings with it honours and awards. The 2018 Voivod album, ‘The Wake’, won the band a Juno Award for Heavy Metal Album of The Year, while the previous year Away had picked up the Visionary Award at that year’s Progressive Music Awards in London.

The music contained in this set proves that Voivod were very much pioneers of the sound, as their own music became more refined and experimental. You can hear the development of the band’s sound over the three albums contained here (Rrröööaarrr, Killing Technology & Dimension Hatröss). In the five year span from 1984’s ‘War And Pain’ debut to 1989’s ‘Nothingface’, Voivod forged a defiant progressive metal sound that they would expand upon with later albums and ensure that they are one of the most exhilarating metal bands in existence today. ‘Forgotten In Space’ is a deluxe celebration of Voivod’s, Noise Records discography and is the definitive collection of their recorded work plus rare and previously unreleased material.



Includes :

- Includes following 5 Albums:

Rrrröööaaarrr
Killing Technology
Dimension Hatröss
Dimension Hatröss – The Demos
No Speed Limit Weekend ‘86

- Chaosmongers - DVD (Containing a mini documentary plus a previously unseen concert from 1987 and an audio recording of the legendary WWIII show from 1985.)

- 12” x 12”, 40 page book of photography, and brand new interviews with founding member Michel ‘Away’ Langevin. Contains a vast array of previously unseen photos from the era.

- ‘Körgull’ f¬igurine USB drive containing MP3

Repressed , please note price increase! Would Like To Pose A Question is one of the first previously-unreleased funk and soul albums issued by Now-Again, and it still sounds amazing today. Well, it would have to: it's the brainchild of bandleader/drummer/singer/songwriter Lester Abrams (the L.A. in L.A. Carnival). Abrams helped create hit singles like "Minute by Minute" and “What A Fool Believes” for the Doobie Brothers and played with artists such as B.B. King, Stevie Wonder, Peabo Bryson, Manfred Mann, Quincy Jones and many more. Before all that - in early 70s while still in Omaha - he brought a multi-racial band into the Pacific Avenue studio to cut an album's worth of material. Only one single - "Color" b/w "Blink Man" - was ever issued, and this album sat on master tapes in Abrams' closet. That is until Now-Again’s Eothen Alapatt intervened in the early 2000s and Would You Like To Pose A Question was at last given a proper full length release.

Recorded under a loft bed in the guest bedroom of his Nashville home, Michael Ruth aka Rich Ruth’s “I Survived, It’s Over” starts in a humble space. And while many contemporary music projects are produced in such an environment, “I Survived, It’s Over” sets itself apart in its transformative properties as well as its transparency. What we have here is honest sound exploration, session musician-level instrumentation, and a true love for nature run through the fingers of a dude who can channel some acute and undeniable magic. This music goes deep. "I conceived much of this record amidst the quiet and tumult of 2020 in my neighborhood that had recently been ravaged by a tornado," Ruth recalls, "I spent most of my days working on these pieces between bicycle rides - watching the beautiful Tennessee ecosystem flourish in Shelby Park, listening to Keith Jarrett’s The Koln Concert and John Coltrane’s Ascension." Underneath the swell of the strings and the shredding of the guitars, this record has hard working, rustbelt, drum-heavy roots all over it (which makes sense as Ruth hails from outside of Toledo, the album was mixed by John McEntire from Chicago band Tortoise). Many of the flutes, saxophones, pedal steel, and other instruments were recorded remotely because we live in the future, but this only adds to the collage of sampled and sample-able material that Rich Ruth has to offer. The organic relationships between the artist and other musicians on the album is evident even in the compilation style sampling that needs to occur in putting such a project together. "Working on this music is a daily meditation," says Ruth. "I constantly experiment with sound until it reflects the way I am feeling and attempt to sculpt something meaningful from it. Through years of being a touring musician, it is a constant inspiration and privilege to collaborate with the individuals that graced this record with their voices." And those relationships pay off, because “I Survived, It’s Over” is a sonic meal. It’s rich (no pun intended) with massive instrumentation that’s usually reserved for more symphonic delights. But at the same time it’s simple and leaves space to breathe–space you didn’t know you needed. In his own words; "I Survived, It’s Over is a meditation on healing, confronting trauma, surrendering, and finding peace. I wanted to encapsulate the tranquility and disarray found within this process." Ruth’s heart and the peace that his presence produces is all over this album. And despite his midwestern humility and willingness to brush off any praise, he’s put together something really special that carries its own weight. It's the kind of record that only comes around every once in a while and it's worthy of all the head-bobs, acclaim, and celebratory potlucks that Mike and the gang have coming their way. “I Survived, It’s Over” is a record you should buy for your friend, your foe, and yourself. It’ll sit perfectly on your shelf between Alice Coltrane and Hiroshi Yoshimura.

For Fan Of: Journey, Rainbow, Kansas, Fates Warning, Armored Saint, Van Halen, Scorpions, Arch/Matheos, Warlord, Jethro Tull When Mark Zonder, famed former Fates Warning and Warlord drummer, started working on material in early 2020 he had a very clear vision for the band he wanted to put together. “I wanted to have a very accessible band that would appeal to the masses and would lead to the ability to tour larger venues. I knew from myself and the others that I would recruit, it would have some sophisticated music parts but the big hook was the main priority.” The result was A-Z, reuniting him with Fates Warning vocalist Ray Alder, Warlord/Steve Vai/Ring of Fire bassist Philip Bynoe, guitarist Joop Wolters and keyboardist Vivien Lalu, the combination of these players stirring up a very specific kind of magic that could not be replicated. The goal was always the same: shorter songs and getting right to the chorus, no twelve-minute songs, and everyone found it easy working to this remit. With everything else coming together nicely, finding the right singer was the hardest aspect of the whole process.

Age of Apocalypse materialize at a shadowy crossroads between metal, grunge and hardcore. The Hudson Valley, NY quintet—Dylan Kaplowitz vocals, Jack Xiques [guitar], Terry Orlando [guitar], Joe Shannon [bass], and Will Kamerman [drums]—steep anthems of darkness, depression, and loss into a disarmingly infectious and downright inimitable hybrid of their own. After receiving acclaim from Stereogum, CVLT NATION, No Echo, and more, the group present a fascinating and fiery vision on their sophomore full-length and debut for Closed Casket Activities, Grim Wisdom. Initially formed during 2018 after Jack and Dylan previously played in another project. Inspired by an unholy alliance of All Out War, Alice In Chains, Type O Negative, and Life Of Agony, they unveiled The Way in 2020. 2021 saw them team up with “Pain of Truth” for a four-song split. In its wake, Stereogum hailed Age of Apocalypse’s “furious thrashers with big, melodically howled lead vocals and crushing breakdowns.” Throughout 2021, they recorded Grim Wisdom with producer Taylor Young of The Pit Recording Studio. Drums were tracked GCR Studios in Buffalo, NY, followed by the band working out of Jack's studio in Western Massachusetts, while Taylor produced remotely from California and later mixed the release. Mastering handled by Brad Boatright of Audiosiege and original artwork created by Dillon Perino.

Following the incredible reception to Deb Never’s most recent releases ‘Someone Else’ and ‘Sorry’ being championed by Radio 1s Annie Mac and Jack Saunders as ‘Tune Of The Week’ ‘First play’ & ‘First Wave’ stating that “Deb Never is a really special artist, someone with limitless sonic horizons and the most brilliant lyrical finesse! Deb Never has all the makings of stardom and her journey is truly under-way!”, along with continuous support from Matt Wilkinson and Zane Lowe Apple Music 1 shows, New York Times, Billboard, The Fader, Variety and Spotify’s continued love in both Pollen and LOREM adding to the playlist description ‘how are we supposed to focus when this Deb Never track exists’. In the lead up to her highly anticipated second EP, Deb Never teases us with another single ‘Disassociate’. The EP is due to drop this July, yet this is only an introduction to what is to come and to be an extremely exciting year ahead for Deb Never.

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

'My Echo, My Shadow, My Covers and Me' is a fiercely collaborative and celebratory project. An eclectic collection of masterfully crafted and carefully curated covers, each track features at least one acclaimed musical artist. It includes epic re-imaginings of classics such as 'Wind Of Change' by Scorpions, 'Take A Chance On Me' by Abba and 'Beds Are Burning' by Midnight Oil. It features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson and more. It will be available on one-of-a kind recycled coloured vinyl, mystery coloured cassette and CD.

Lo-fi Beats is a fine and elegant new collection made for a cosy trip in music. Relax with a jazzy sound.

Very few copies in on this. Limited to 350 2LP’s pressed at 45RPM Black vinyl, pressed at Kindercore in Athens, GA, housed in “bootleg-style” hand-stamped and numbered LP jacket. Lacquers cut by Bob Weston at Chicago Mastering Service. Mixed by John Congleton w/ Jeremy Lemos and Steve Shelley." In the summer of 2009, Sonic Youth drummer Steve Shelley and the band’s long time sound engineer, Jeremy Lemos, invited Lemos’ White/Light bandmate Matt Clark and Chicago spacepunx Disappears to come over to Lemos’ Semaphore Recording studio and jam. Their one-afternoon, two-drummers, three-guitarists, no-rules jam evolved into a productive and glorious multi-day freakout, which resulted in the recording of these eight songs. Producer John Congleton (St. Vincent, Angel Olsen) later mixed the marathon session with Steve and Jeremy at Echo Canyon West in Hoboken, NJ.

Ending a break of twelve years, The Villains Inc. returns from the past to deliver four lost tracks from the label mastermind himself! Author of a short yet remarkable discography on Dominance Electricity, Electro Empire, and Drivecom just to name, Italian don Gab.Gato takes this opportunity to revisit some of his classics by a quatuor of undisputed electro heavyweights.

UK veteran Phil Klein opens hostilities on A side with his outstanding remix of "Electro Empire". Originally released on German Electrocord back in 2003, Gab.Gato's version sees a luminous electro-funk treatment in pure Bass Junkie style. Needless to say this electro banger will hit you hard with its untouchable sub bass, oldschoolish tones, hammering drums and retrofuturistic atmosphere!

Italian techno / electro legend Max Durante, coming next, propels "The Villains Inc" cut to another dimension. Taken from the "No Light Or Shadow EP" (ATVS002 in 2008), the track mutes into a milestone of an experimental slaughter tinted with industrial sororities. Following a catchy Speak n' Spell overture, the song introduces some hot and sexy female orgasms, while a heading acid line enhanced by a straight to the point rhythm will drive you on the dancefloor.

US DJ / Producer Sinistarr on the flip goes deeper into the realm with his "Couterterrorism" rework of "A Scanner Darkly". Published on Boris Divider's Drivecom in 2007, the tune evolves into a completely fresh and transformed version. A frantic bassline carries you away on a fast inducing grimey dancefloor boogie combined with hi tones and no nonsense electro beat!

Last but not the least, Drexciyan Dj Stingray closes the EP with its groovy "313 Psycotropic mix" of "S.N.A", a tune written by Gab.Gato and Matteo Merlo in 2007 on "The Systematik Network Attack EP" (ATVS001). Stingray's mix sounds like a sonic, ethereal and thought after assault based upon cutting-edge sororities over playful vocals.

Craftily written and designed (artwork project by Gab.Gato, and illustrated by Simonloop aka Urbanmagic, in 2009 was prophetic on his own: clones programmed to reappear from the past), nasty "Reprogrammed EP" features the almighty ATVS signature we all know, a dark, magnetic and rough sound ranging from breakbeat acid-tinged to Detroit-influenced electro and techno style. Should we mention that this limited 12" (no digital) is expected to sell fast and earn the status of collectible masterpiece, just like the previous releases on the label!

Radio Slave & Dustin Zahn team up as Radio Zahn for ‘Berlin Sessions Vol. 1’.

Joining forces for the first time, Radio Slave and Dustin Zahn launch their collaborative works as Radio Zahn with a set of colourful, groove-laden techno tracks inspired by the sound of mid-90s New York on Rekids this May. Across all three mixes of ‘Twilo’ and ‘Power Muzik’, the duo deploys chunky, hard-hitting drums alongside building arrangements and masterful use of synths and dubbed-out FX, with the former featuring vocals by Toy Tonics member Kosmo Klint. A dream for fans of intricate, dancefloor-friendly techno, the release showcases why Radio Slave and Dustin Zahn are two of the most consistently exciting artist in dance music.

Responsible for some of the most recognisable tracks in the genre, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and other timeless cuts, Radio Slave aka Matt Edwards’ work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, best exemplified at his legendary marathon sets at Berghain. His vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the Minneapolis techno scene and beyond.

The Idealist is one of the many projects of Joachim Nordwall who has a long history in Swedish experimental music running the quintessential iDEAL Recordings record label since 1998, as a member of the psych-drone duo Alvars Orkester, avant punk rock trio Kid Commando and ritual drone rock group The Skull Defekts and through his many solo recordings and collaborations with people such as John Duncan, Aaron Dilloway, Mika Vainio, Mats Gustafsson, Leif Elggren, Gabi Losoncy, Mark Wastell and Christine Abdelour.
As The Idealist, he has been delving into an amalgam of experimental techno, dub and industrial music since 2006. His new A Lion Is A Lion And Not A Lamb continues this perspective unabatedly, conjuring up six tracks that shimmer with an almost psychotropic intensity, sometimes including acidic touches, dwelling in a confrontational minimalist musical stance where repetition, bursts of gorgeous noise and dubbed out skeletal rhythms make for wayward yet driving grooves at home on the dance floor and a set of headphones alike. The Idealist looks for engagement within rhythm, in its almost purest
form.

Wah Wah 45s are proud to present the return of a unique collaboration between the U.K. 's very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for over a decade now, Medlar.

The pair first joined forces seven years ago, when Medlar was asked by Dele's label to remix the title track from his last album, You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were a perfect match.

Two years on from their first recorded output, the Full Moon EP - a record that received radio support from Gilles Peterson on BBC 6Music, as well as tastemakers and DJs across the globe, and was even featured on the latest edition of Grand Theft Auto -the duo return with the State Of Play EP. The heavy hitting four tracker features special guests Tamar Osborn of Collocutor fame, and South African rising star Zito Mowa, as well as a pair of Dele and Medlar's most popular jams from their live sets, perfectly baked for the dance floor.

Early support has come from Huey Morgan, Tom Ravenscroft and Deb Grant on BBC 6Music; Sarah Ward on Jazz FM; DJs on Resonance FM, Worldwide FM and many more besides.

The EP will be available on vinyl this summer with incredible artwork from our in-house art director Animisiewasz and eye-catching packaging.

If one could summarize the life of DJ Rambo in 4 tracks it would be with this EP, from dubbed out Euro Dance to Merengue - another mistake release on Poppers.

Dance floor tool release by supposedly star-on-the-rise disc jockey – DJ Rambo. We have no idea who this person is, but one could guess this is one way to find out. Some rather heated opinions on the track list, but politics apart, A1 features a downtempo chugger yet unconventionally dubbed out version of what sounds like an early German Euro House production. A2 shifts gears with Italo tinted sexy house beats. On the flip side 90's Merengue sounds with ravey samples and dubbed out soap opera esque vocals. Lastly, a climatic commentator recording of what seems to be a football match between Brazil and Argentina.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.
Often-overlooked, his second album Season For Love (1970) is a must for all deep soul fans and has been sought-after by collectors of different stripes for decades. Whereas his debut featured thundering, gritty numbers, Hutch treats us to a mellower soul here - sumptuous, warm and string-led. He compared his approach to that of Otis Redding and there are definite parallels, from the raspy, rough-hewn vocals that tend to roam between sweet and deeply impassioned to the horn-heavy, emphatic sonic backdrops.
With flawless originals presented alongside a few well-chosen classics (his stunning cover of "Wichita Lineman" arguably bests the original's splendour), it's easy to see why sample-based musicians have been falling over themselves to plunder from this album. Witness the sweeping strings that grace "The Magic Of Love" and the heartbreaking "Walking On My Love", the mellifluous guitar work on the contemplative instrumental "The Shortest Distance" and gorgeous single "When A Boy Falls In Love".
Whilst the arrangements and playing are subtly jaw-dropping throughout, Hutch's uncontrived voice has a certain warmth to match a Nat "King" Cole and a purity of tone that even recalls the great Sam Cooke. Indeed, a few numbers are almost in a jazz vocal territory reminiscent of artists Lou Rawls. That's not to say that others lack the righteous energy and undeniable groove of Willie's later sound.
Remarkably consistent throughout - a rare commodity for many 70s soul albums - the lack of one signature song likely hindered its progress. Regardless, it deserved to make more of an impact and now, paired with the majestic debut, Soul Portrait, these recordings shine a new light on the early work of a soul legend.
Original vinyl copies of this album are extremely rare - and correspondingly expensive - so we're thrilled to present the first ever vinyl reissue of a true lost classic. This release is officially licensed and has been remastered for vinyl by our esteemed engineer Simon Francis. It has been pressed on audiophile 180g vinyl for the first time and features the original, rarely seen artwork.

We finally announce PLSUK008, signed by Samantha Togni, a strong figure in the Techno scene.

This release perfectly matches the transition PLSUK is going through. Techno meets Grime and Trap, a blending of classic rave sound with contemporary Electronic vibes accompanied by a rumbling feature from Karnage. Samantha represents the perfect match between classic rave and today's sound revolution within the Electronic Music and Queer scene.

The journey has begun.

Canadian born, Berlin based producer Aquarian debuts on Dekmantel Records’ UFO imprint with Mutations I & II, a series of two EPs following his debut album The Snake That Eats Itself and his collaborative records as AQXDM. The series marks his return to club focused solo material for the first time since 2017.

Originally written as inflection points for his typically boisterous and genre collapsing dj sets, Mutations deftly splices the foundational DNA of his earliest productions — electro, hardcore and broken beat techno – with new and vital influences.

Mutations I: Death, Taxes and Hanger finds Aquarian gleefully contorting mid-2000s dnb tearouts, wrong footed IDM and progressive trance euphoria into thrilling new shapes. Fast techno, hi-tek jazz, amphetamine-addled filter house and breakcore join the fray in Mutations II: Delicious Intent as he pushes intensity levels past breaking point. Whichever the touchstone, the results are clear: distinctly modern, highly-propulsive body music with an unapologetically emotive core.

*Gatefold sleeve - black vinyl**

In many ways Kumoyo Island represents the culmination of a journey for Kikagaku Moyo. While their decade-long career can be summarized as a series of kaleidoscopic explorations through lands and dimensions far and near, there’s a strong intention in each of their works to take the listener to a particular place, however real or abstract they may be. In that sense, the title and cover art for the band’s fifth and final album draws you into a magical mass of land surrounded by water—but the couch suggests that Kumoyo Island may not be a fleeting stop, but rather a place of respite, where one could pause and take it all in.

Reconvening at Tsubame Studios in Asakusabashi, Tokyo, where their earliest material had been recorded, the five members of Kikagaku Moyo found new inspiration in a familiar and comfortable environment. With their adopted homebase of Amsterdam under lockdown and their touring activities halted due to the pandemic, the band felt a renewed sense of freedom being back in shitamachi, or the old downtown area of their hometown. With unrestricted time in the studio, they began to build upon the demos and song fragments they’d amassed since their last tour. In the 1.5 months spent in Tokyo, everything started to come together.

“Monaka”, its name taken from a type of Japanese wafer sweets, takes melodic inspiration from traditional minyo folk styles, while “Yayoi Iyayoi” is a rare instance of the band singing in their native tongue, its evocative lyrics utilizing archaic words taken from old poetry and nature books found in one of the many secondhand bookstores of Tokyo. For “Meu Mar”, an Erasmos Carlos cover, the original Portuguese lyrics were translated into English, then to Japanese. Strangely enough, the words seem to conjure an image of the protagonist floating among the clouds, looking down upon Tokyo Bay.

In fact, it may be possible to draw a parallel between the topography of the band’s home country—an island nation, surrounded by bodies of water—and the mysterious isle of Kumoyo. Are they one and the same? Has the band finally made it back home? It’s up to the listener to decide.

Alien Transistor present Alien Parade Japan, a joyous double-album compilation of groups from Japan’s indie-pop and avant-garde undergrounds, all of which feature brass or woodwind instruments as part of their line-up. Compiled by Markus Acher (Alien Transistor, The Notwist, Hochzeitskapelle) with plenty of support and help from his Spirit Fest bandmate, Saya (also of Tenniscoats), it features some familiar names – Tenniscoats, naturally, but also Zayaendo, Tori Kudo’s Maher Shalal Hash Baz – alongside lesser-known groups like Biobiopatata, Mitamurakandadan?, Kourakuen, sekifu, and Noah Lewis Mahlon’ Taits, amongst many others.

The collection of songs here rests upon a simple question, and an interesting parallel: Why do so many groups from Japan include brass and woodwind, and how closely does this echo the scene that Acher is involved with in Munich? The idea was formulated in Acher’s mind after one of his groups, Hochzeitskapelle, had been invited by Saya to Japan in 2019, to take part in the Alien Parade Japan tour. “Saya and her friends recommended a lot of music to me that I didn’t know of,” Acher recalls, “and I was surprised and excited to find so many Japanese bands who use brass and woodwind instruments.”

This approach was something Acher had been familiar with for a while, thanks to his experiences in Munich: “Until then I thought of the Munich scene, where Hochzeitskapelle come from, as being quite unique in having ex-punk and still-indie musicians form loud acoustic bands with many brass instruments and play a wild mixture of styles.” And indeed, that variety is reflected in the twenty-two songs on Alien Parade Japan, which flits from the pastoral melody of Maher Shalal Hash Baz’s “Crossin The Tama River”, through the tenderness of various sighhorns’s “people have called them flowers”, to the folksy lament of Gratin Carnival’s “Just Watching”.

Alien Parade Japan reaches further afield, too, drawing in some groups, like HOSE, Fuigo, and popo, that feature musicians like Toshihiro Koike, Masafumi Ezaki and Taku Unami, who may be better known for their experimental and improvised releases on labels like ftarri and Erstwhile. It also looks back to material recorded in the 1990s - the swinging slide guitars and sax/tuba duet of Strada’s “Swamp”, from 1998, and Compostela’s energetic, rousing “ghhgh”, from 1990. Both pieces were written by, and feature, saxophonist Kanji Nakao; Compostela’s membership also included late saxophonist Masami Shinoda, who was also part of such storied Japanese groups as Pungo, A-Musik, Orquestra Del Viento, Ché-SHIZU, and the fiery free jazz outfit, Seikatsu Kōjyō Iinkai.

Groups like Compostela help to draw some through-lines to the aesthetics of chindon’ya, a type of Japanese marching band made up of costumed street performers who advertise businesses; the music made by these bands is brash, spirited, and full of energy. Alien Parade Japan weaves all of this together – chindon’ya; jazz; indie-pop; psych-folk; big band – into one beautiful, big tapestry of gorgeous melody, sweetness, and melancholy, with plenty of creative fraying at its edges. “The collection is a very personal view of Japanese bands using brass and woodwind instruments,” Acher concludes: “it’s not a representative anthology, it’s mainly held together by my personal taste, experiences, and friendships.” But it’s also a wonderfully coherent collection of some of the most playful and elated music you’re likely to hear this year. As musician and writer David Grubbs says:

„Now it is confirmed: my favorite genre of music is Alien Parade Japan. Hopefully now people will know what I’m talking about when I gush about the unassailable brilliance of longtime favorites like Maher Shalal Hash Baz, Popo, Mitamurakandadan?, Hose, and Tenniscoats, presented here alongside others whose music I have only begun to search out. Please share in my gratitude and enjoyment of this lovingly assembled collection, one that I welcome into my home as I would a long-anticipated guest.“