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* repress on sandstone colour vinyl

For 'Music For Dreams’ collector’s series, we aim to bring you something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, we’ve lent the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and trust us, he held us to our word on that one. For elsewhere Jr I, soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is.

This double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.

'soFa' starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi and 'Die Kleine Gräfin Dubski'.

Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways.
All of the tracks, more precisely ... they were pleasantly engaging, often blooming with charming grooves and provided with a whimsical melody.

The saga of composer Tim Story's 1982 debut is a case study in the shifting sands of the early progressive music industry. Recorded on a Tascam 4-track reel-to-reel in his basement bedroom in Whitehouse, Ohio using a ragtag array of equipment – salvaged vibraphone, pawn shop Les Paul, his mother's spinet piano, a PAiA synth kit assembled by his girlfriend's father, and a Yamaha CS-30 – Story optimistically dubbed six cassettes and sent them around the world. Following a polite rejection from Klaus Schulze, the French avant-garde label Atem (This Heat, Univers Zero, Art Zoyd) reached out with an offer to release Threads via their new instrumental electronic subdivision, Labyrinthes. After several letters confirming terms of the arrangement as well as multiple rounds of test pressings, correspondence suddenly ceased. Some months later the label folded, never having begun. Synchronistically, however, Schulze's copy ended up in the glovebox of an engineer associate, who happened to play it for a couple visiting journalists with contacts at a newish Norwegian imprint, Uniton Records (Popul Vuh, Harold Budd).

Impressed, they connected Story to the label head, but by then he'd already recorded a follow-up, the more neoclassical-leaning In Another Country, which became his inaugural release. Finally, 40 years later, Dais Records is rectifying history's error by properly issuing Threads on vinyl for the first time. It's a beautiful, beguiling work, exploratory but emotive, documenting, as Story puts it, “the path not taken... like the first chapter of a book that was set aside to begin another.” Despite only being in his early twenties at the time of its creation, Threads feels finessed and considered, weaving through a diverse spectrum of moods and minimalist melodies. From sunburst synthesizer devotionals (“Tethered By A Thread”) to shadowy cosmic drift (“Without Waves,” “Iso”) to fragile piano vignettes (“Burst,” “Scene And Artifact”), Story's compositional instincts skew subtle and sophisticated, carving gemstones of fluctuating radiance. He cites his discovery of tape loops as a central tool in the process, allowing him to generate recurring patterns of echoes and texture, decaying in volume and fidelity as desired: “A whole new and inspiring world opened up.” As both time capsule and discographical fountainhead, Threads vividly captures the threshold sensation of early 1980's electronic music: post-kosmische, prenew age, before ambient became codified, just as synthesizers began slipstreaming into the underground. It's an album of beginnings and forking paths, inner space voyaging towards limitless horizons, born of “youthful dedication to something one loves, in a world that feels uncertain.”

· First ever vinyl edition, originally set to be released in 1982 but due to original label's untimely demise, it was never issued until now.

· Collaborative releases with Hans-Joachim Roedelius and Dwight Ashley, with releases on notable labels Uniton, Windham Hill, and Hearts of Space.

· For fans of Harold Budd, Brian Eno, Roedelius, Nils Frahm, Klaus Schulze, Popol Vuh, Vangelis, Jean-Michel Jarre · The song "A Thousand Whispers" has been in regular rotation at Sirius XM.

· Tim Story is a Grammy nominated artist in 1988 for his "Legend of Sleepy Hollow" recording with Glenn Close.

Live At Robert Johnson kicks off 2021 with a new cut above the rest thanks to Benjamin Fröhlich, who dons a cosmic Acid-to-Italo four-track EP. Whether „Club Fantasy“ insinuates the phantasy of clubbing in times of a pandemic shutdown in global club cultures, or a club by the name of it, lies within the ears of the listeners. Either way, Benjamin’s ties with the Robert Johnson club can be heard resonating throughout this fantastic EP.

Club Fantasy (Club Version) introduces a a happy 303 reminiscent bouncy bassline, supported by relentless rim shots, fast-forwards the Club Version of the title track directly into the uplifting domains of well-established sounds. Sparse echoing vocal snippets, encouraging us to dance, and by the time the piano stabs finally kick in, it’s all hands up for your very own club phantasies. Club Fantasy (Fantasy Version) boasts a less peaky signature, while working a more playful and driving treatment of the title track, supported by mellow strings, a harder kick and subtle room reverberation. On the flip-side, Escape presents a warm, emotional and cinematic Italo soundscape, featuring floating arpeggios, which flash like coloured strobes in the dark. Benjamin’s final track, Dream Machine, is a beautiful kaleidoscope of sounds, slightly more energetic yet moody, that is sure to catch everyone's ears on the dancefloor.

As a co-founder to Munich based record label Permanent Vacation, but also as a DJ and producer, Benjamin Fröhlich’s musical involvement traces back many years in the Cosmic Disco and Balearic scene, and into the networks of both Robert Johnson club and its label.

[e] A5. Charles Mingus - II B.S. [Album Version]

A Collection with An Exceptional Sound and Visual Aesthetic, In Collaboration With The British Photographer Chris Steel-Perkins, The Counter-Cultures Photograph.

Pianist/composer Maria Kannegaard presents ‘Sand i en vik’, a rapid
follow-up to the album ‘Nadeslas’.
Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard’s piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it.
The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point.
Plaintive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture.
Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios.

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

Due to the Covid-19 pandemic, De Nor had no choice but to free all its prisoners - even the jazz ones - and shut its gates. But the red beacon shall shine again! Until such a time, we asked some of the artists who were booked to play there this summer to submit a piece for this new publication in lieu of their cancelled performance. This compilation lp contains tracks by Lori Goldston, Hiele, Agnes Hvizdalek, Nubots, Justine Grillet, Thurston Moore, Sami Bergold, Possessed Factory, Stacks, David Edren, Aaron Dilloway & Lucrecia Dalt, Ka Baird, Ben Bertrand, Miaux, Lorie Bevins, and C.O.P. and is housed in a deluxe dye cut linnen sleeve and comes with an insert and a mini Nor cut out made by Gerard Herman. De Nor is a sculpture-pavillion in the grounds of the Middelheim Museum conceived and designed by Dennis Tyfus and FVWW Architecten. In peace time it hosts concerts, lectures, and various presentations throughoutthe summer.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

We met Moonilena in Stockholm a few years ago. Pedrodollar told us that she plays weird music and we'd get along - he was completely correct. The subsequent mixtape she put together for the Rinse FM show became a total obsession and it wasn't until months later that we found out some of our favourite tracks included were unreleased, so here we are a year or so later and we hope it soothes and uplifts you in equal measure.

This is the last volume of this very sucessfull serie, Ten volumes were pressed from 2014, 17.000 copies of the LANOIRE around the world to spread the good words of Rhythm'N Blues, Gospel & Soul. Volume Ten ends up on a naughty early funk mood!

• When David Bowie and Iggy Pop relocated from LA to continental Europe, taking trains to Berlin, Paris and Warsaw, they would have come across new music that was very different to the burgeoning disco scene they left behind. “Cafe Exil” – named after one of Bowie’s favourite Berlin haunts – imagines the soundtrack that would have informed “Low”, “Heroes” and “Lodger”. It’s an awesome mix of electronica, Krautrock and experimental treats.

• There are key tracks from members of Can and Tangerine Dream, fascinating obscurities by German act Streetmark and Italian library maestro Piero Umiliani, the Herzog-soundtracking Popul Vuh, and highly collectible avant-strangeness by Annette Peacock. Czech-born Jan Hammer’s beautiful, light, atmospheric groove is among myriad surprises.

• “Cafe Exil” has been put together by Saint Etienne’s Bob Stanley and Jason Wood, author of multiple books on cinema and programmer at Home in Manchester. It fits in with other recent Ace compilations such as “English Weather” and “76 In The Shade” – it creates a mood, a time and a place. You’re right there, sat next to Bowie, drinking his Pernod and black, in a darkly lit Berlin bar.

• This 2LP set features a bonus track from Edgar Froese.

* The Menahan Street Band includes members of The Roots, Budos Band, Lee Fields and The Expressions and The Dap-Kings...an all star Brooklyn line up!

* First album in 9 years.

*LPs are In gatefold sleeve and contain download code.

* MSB tracks have been the foundation for some of modern hip-hop's most successful beats; their music has been sampled by the likes of Eminem, Jay-Z, Kendrick Lamar, Travis Scott, 50 Cent, Curren$y, to name a few.

Menahan Street Band, a veritable supergroup of some of today's most prolific songwriters, arrangers, and producers return with this beat-forward, cinematic masterpiece.

Their unique brand of instrumental soul has not only been the foundation for some of modern hip-hop's most successful beats, it has also become the perennial soundtrack and veritable vibe-generator for countless parties, art shows, and restaurants throughout NYC and abroad.

While this album carries the aesthetic torch that MSB has skillfully woven into the tapestry of their DNA, it also delves deeper into the experimental, exotic sounds that fill many of the coveted Sound Library and Soundtrack LPs of the late sixties and early seventies - an amalgamation of moog synths, electric pianos, drum machines, and a bevy of analog instrumentation, that ebb and flow in lush swells of Morriconian grandeur.

This first ever re-release of William Stuckey's extremely rare southern soul LP. When Brian Sears told me William was still with us and living locally I was shocked that nobody had spoken to him up till now. Not only that but he still had the multitrack tapes at his house.

Unfortunately the tapes were in a bad way and needed some serious work. Our good friend Dan at Audio Archiving Services in Holywood went above and beyond to restore the tape in small sections (despite baking it was still oozing gunk onto the tape transport and heads) then joining the audio back together perfectly. I know not many people would have gone to this trouble and I'm grateful as this music had one last chance.

The mix down at AOTN studio is brighter and clearer than the o.g whilst being true to the original mix, William was over the moon with the result when he heard it and we are excited to bring it to Vinyl, CD and Digital

Special thanks to Brian, Dan and Linkwood for the work on this project. Securing special music for the future is what we do and we just caught this one in time.

Martin Georgi is not a newcomer. He is more like one of those who like to stay under the radar. The sample-based music producer made his debut in the deephouse sector on his own more than 10 years ago, completely without a label or distribution. In 2016, the Berlin record label OYE Records became aware of the hitherto unknown artist and finally re-released the tracks from his debut. Since then, his early tracks have been compared around the world with the early works of Moodyman or Theo Parrish.
After more than 10 years and the maxi “9 to 5 is killing me” (2018), a second album is finally released on the underground label quietelegance records. Stylistically it ties in with the first work. “Money from the trunk” is the title of the new album and it includes socially critical issues such as class differences that are created by capital. Georgi plays with a large portion of irony and of course plenty of samples, which the passionate record digger skillfully processed into eight new songs.
Georgi not only stands out from the conforming deep-house crowd with his raw, unconventional production style, but also ensures that old-school sampling continues to have its place in current club music. In doing so, he reacts to global music trends, which he incorporates into his tracks through the finest sample operations. So it is not surprising that his new album “Money from the trunk” has a rap song as title song, for which the renown artistic-activist rap duo Fokn Bois from Ghana is jointly responsible. Also on the list of prominent guests are Felipe Gordon from Colombia and Delfonic from Berlin as well as Cornelia Lund from fluctuating images. Roskow Kretschmann appears as co-producer, whose name is associated with many other well established musicians.

As bassist in the Jimi Hendrix Experience, Noel Redding made an indelible impression, but
guitar was his chief instrument since the age of 17, when he backed Neil Landon in The
Burnettes, and when Landon reconnected with Redding after a spell with Engelbert
Humperdinck, Fat Mattress was born with Humperdinck’s drummer, Eric Dillon, and
bassist/keyboardist Jim Leverton. This indispensable debut was the only LP to feature
Redding, the sound a pleasantly-melodic shade of psychedelic folk rock, with a few rough
edges. Reproducing the original fold-out poster cover, this edition has four bonus tracks from
the same sessions, two of which were issued on a 1969 single, the other two left in the can.

Limited 180gr vinyl reissue in poster sleeve, faithfully reproducing the original version.

The incredible sonic beauty of the Sphincter Ensemble results from musical spontaneity, a random jam session undertaken by a loose group of friends in the unlikely setting of the
Harrovian Club in Barnes, west London, on 2 January 1972. The sumptuous free jazz/prog rock/avant-classical fusion features top session players at their peak, with Trevor Morais’
funky drumming loosely tied to Quatermass bassist John Gustafson’s rough melodic lines, embellished by Anne Odell’s far-out synths, Martyn Ford’s French horn and arrangements by Elton John’s orchestrator, Paul Buckmaster. This hugely enjoyable rarity is appearing on vinyl here for the very first time—a thing of wonder for all discerning prog fans.

Kënnlisch, one of the rarest haunting psychedelic acid folk LPs from France, was the work of brothers Philippe and Jean-François Macherey.

Originally released in 1976 on the mega collectable label Le Kiosque d'Orphée, it contains some of the most beautiful sounds to come out of the 1970s alternative music scene.

An instrumental album, it opens with a burst of sunshine vibes and takes them into the experimental scene of French alternative folk avantgarde with a strong Cosmische influence. Beauty is the word, grown over acoustic guitar parts harmonised with the most elegant Moog Satellite lines you'll ever hear to create atmospheres of sound that make this is the perfect record for your mind to float away on a peaceful Sunday morning under a clear blue sky - it does have that therapeutic quality that we miss so much in modern music.

Wah Wah presents the very first official reissue of this mega rare LP, housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing and including a 4-page colour booklet with photos and text provided by the Macherey brothers themselves.

500 copies only!

Transparent Red Vinyls

"Iza jinjô ni… Shôbu!” Be prepared for the battle!

Wayô Records and SNK Corporation are pleased to announce their first collaboration project! For the coming of the new Samurai Shodown game from the legendary fighting game series, we are proud to present the international release of its soundtrack in both CD and Vinyl formats!

With its beautiful Japanese instruments, the music of Samurai Shodown (2019) combines the power of modern times with the spirit from the roots of the series, performed by the best traditional Japanese players, including the legendary HIDE×HIDE duo! This soundtrack features the theme song Revive the Soul and each of the character themes, for a total of two hours of epic music!

The original soundtrack on Vinyl includes 19 tracks on two 180g LP red-marbled discs in separate sleeve into a gatefold package.

LIMITED TRANSPARENT RED WITH BLACK SWIRLS DOUBLE VINYL

Nine years after it’s initial release, 'The Ripper At The Heaven's Gates Of Dark' is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto’s personal request here it is. And I agree with him that it’s definitely the best AMT studio album from that short lived four piece line up.

With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. 'The Ripper At Heaven's Gates Of Dark' maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.

Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :Tsuyama Atsushi : monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru

Recorded at Acid Mothers Temple, Japan Produced & engineered by Kawabata Makoto
Digital mastered by Yoshida Tatsuya.