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Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

In the early 1990s gangsta rap was becoming more popular. KRS-One took to the mic and continued to write socially conscious raps resulting in the hard-hitting 1992 album Sex And Violence which would be the fifth and final studio album under the Boogie Down Productions name. Produced by KRS-One, Pal Joey, Kenny Parker, D-Square, and Prince Paul, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. While singles like the alarming drum-driven "Duck Down" and the funky-as-hell "We In There" got most of the attention in ‘92, the deeper sequence reveals plenty of additional gems: the history lesson of the dark and dusty "Drug Dealer"; "Ruff Ruff", with scowling MC favorite Freddie Foxxx (aka Bumpy Knuckles); the grooving "Questions and Answers," and the frantic record industry track "How Not To Get Jerked." The album kicks off with an intro skit featuring KRS-One as a DJ in panic needing vinyl which at the time was a dying format while cassettes and CDs became the dominant format. Thirty-two years later vinyl DJs and Hip-Hop vinyl collectors no longer need to panic. Get On Down in partnership with Sony Music's CERTIFIED is proud to bring back to vinyl this underrated gem in the BDP catalog. Featuring one of the dopest album covers by American artist Robert Williams, Sex and Violence is pressed on colored vinyl and packaged in a gatefold jacket with full lyrics.

* A solid double A-sider from Partial Records with Everton Chambers and S'Kaya sharing the bill.
* On the A-side we have Everton Chambers, a long-time Jamaican singer whose work stretches back the 80's where he cut several memorable digital thrillers. Here he does his thing over a cut Paul Fox's `Wolf in Sheep Clothing' rhythm.
* Flip to the AA side for bass-rumbling boom shot from S'Kaya, a young promising vocalist/deejay who already has two previous releases for Partial under his belt (`Police' and `Eyes of Jah'). On this track he ride the same rhythm as Jah Marnyah's `Nah Partial' which was released last year.
* Both tunes come with dub-wise versions mixed by Dougie Wardrop.

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

Twentysix artists, lots of wine and pizza, no agenda. This compilation is a collection of vibes and memories from our PLYGRND Beat Retreat in Tuscany, Italy, wrapped in songs. Featuring tracks by Kiefer, Sara Kawai, Flozigg, Adia, Kaelin Ellis, Molly McPhaul, Burrito Eats, DAO, Desh, Dhanya, Elaquent, Elijah Fox, Glimlip, Joe Bae, K Le Maestro, Louk, Mad Keys, miamore, Miri, Nokiaa, Paul Grant, DEOVI, Relyae, Saltyyyy V, Sebastian Kamae, and Tom Doolie. Driving up a hill lined with pine trees and grapevines, arriving at a beautiful arrangement of terracotta colored houses embedded in an unreal scenery made of grapevines and verdurous greens. Roaming this area, worrying about nothing but the day that lies ahead. Bumping into fellow creatives who share the same passion for music and art. Collaborative energy coming out of this; exploring new sounds with new souls. You capture yourself getting lucky, and think to yourself: Don’t take it too seriously, it’s not that deep. But also, make some beautiful stuff, if you can. This year's compilation is a testament to the rich diversity of talent on display. The PLYGRND Beat Retreat Compilation 2023 is not just a collection of tracks; it's a celebration of the artists who brought their A-game to our event. Get your hands on this exclusive gatefold-vinyl, and immerse yourself in the sounds that defined the PLYGRND Beat Retreat 2023. Limited edition, high-quality, and a must-have for any music enthusiast.

REMO DRIVE, the longstanding project of brothers Erik and Stephen Paulson, want you to feel something. Following a six-year run of pristine emo-influenced rock "n" roll records comes Mercy, the band"s fourth album and third for Epitaph. It"s the band"s most lyric-focused offering to date, a record about reinvention, trusting yourself, and wearing your heart on your sleeve even when it"s painful or vulnerable. Sonically, Mercy is also a major departure for REMO DRIVE. It"s less indebted to the emo and pop punk that foregrounded the duo"s career and instead invested in thorny, baroque indie pop byway of Father John Misty and Fleet Foxes. It was produced by Phil Ek, a legendary Seattle-based indie rock producer who has previously worked with those two bands as well as the Shins and Band of Horses, among others. REMO DRIVE worked with Ek over the course of ten days. "It was refreshing to work with Phil," says Erik, "It made music feel like how it did when we were younger. He was like fuck it, let"s go, let"s have fun." Mercy is a study in intimacy, in being real with yourself, in entering an exciting new creative chapter where you are making the art you really want to make. That"s where REMO DRIVE is today.

Ace Frehley's Anomaly ist sein drittes Soloalbum, eine Sammlung von Studioaufnahmen, die 2009 veröffentlicht wurde. Das Album, das sowohl
Originalmaterial als auch ein klassisches "Sweet" Cover enthält, debütierte in den USA und Europa und ist den Rockerkollegen Eric Carr, Dimebag
Darrell und Les Paul gewidmet. Anomaly ist eine zeitlose Hommage an die Gitarrengrößen und wurde mit höchster Expertise produziert. Erhältlich in
Hellblau mit babyblauem Splatter.

PRESSING OF 200 COPIES ON CLEAR VINYL.

RIYL Zero 7/ Plaid / Hot Chip / Weather Report / Isolee / Baby Fox

Old friends Julian Bates and Alex Gray —working together as Mighty Truth for the first time since 1995’s From The City To The Sea — filled a car with old analogue synths, kids’ noise toys, and collected field recordings took a road trip down to hole up in an old water mill in southwest England’s bird-twittery, bee-loud Quantock hills.

Things got cinematic: unequal measures of early Weather Report, Wim Wenders, and Serge Gainsbourg kept them wonderfully lost in their imagined world. Back in London with guest singers Allonymous (Paris via Chicago) and Wayne Paul (London), they completed the album and decided to just call it Mighty Truth. With an aim to present the live show at moonlight pop-up cinema venues, Mighty Truth are here for the next chapter in their epic saga.

Back then….

Old friends Julian Bates and Alex Gray first met through their shared obsession with classic cars (both owned old SAAB 96s). At the time, Julian’s band Nightrains was signed to ACE Records in the UK whilst Alex worked first as a session keyboardist for the likes of Edwyn Collins, Billy Mackenzie, and Busta “Cherry” Jones, and later as a mixer and remixer working with S’express producer Pascal Gabriel, Malcolm McLaren, and soul DJ legend Dr Bob Jones.

Working together in the studio for the first time producing Vanessa Freeman (4 hero), Alex and Julian decided to embark on a drop-tempo jazz trip project they named Mighty Truth. Dr Bob heard that first self-released vocal track “Rebirth” and started dropping it on Kiss FM (UK). After guest DJ slots on Coldcut’s Kiss show, Alex and Julian signed to Tongue and Groove records.

The album From the City to the Sea produced a number of singles and both “Rebirth” and “Is it a Wizard or a Blizzard” were licensed to many compilations both in the UK and internationally (eg. Dope on Plastic, Mole Listening Pearls, Eight Ball).
The Sound of Sinners is a NYC boutique record label focused on vinyl and digital releases by Indie, ambient, avant-garde and electronic artists.

"Javelin" verbindet musikalischen Schwung mit emotionaler Weite. Manchmal hat man das Gefühl, dass das Album von einem großen Team produziert wurde - aber das ist es ganz und gar nicht: Fast jeder Sound hier ist das Ergebnis von Stevens zu Hause, der selbst etwas geschaffen hat, das sich manchmal wie ein Zeugnis der Studio-Opulenz der 70er Jahre in Los Angeles anfühlt. Die Beiträge stammen von einem engen Freundeskreis - Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui und Nedelle Torrisi -, die bei vielen Songs Harmonien beisteuern, sowie von Bryce Dessner, der bei "Shit Talk" akustische und elektrische Gitarre spielt. Der zärtliche und mystische Abschluss des Albums, "There's A World", wurde von Neil Young geschrieben. Während "The Ascension", das von der New York Times als "ein Schrei der Verzweiflung und ein Gebet um Erlösung" gelobt wurde, eine kunstvolle, aber dringliche Elektronik verwendet, um sich dem Moment zu nähern, beginnt "Javelin" wie ein Selbstporträt, detailliert und doch schlicht. Dies ist Stevens' intimstes Werk, das an "Seven Swans" oder "Carrie & Lowell" erinnert und den Hörer in die Nähe seiner inneren Abrechnung ruft. "Javelin" wird von einem 48-seitigen Booklet mit Kunst und Essays begleitet, die alle von Stevens geschaffen wurden, darunter eine Reihe von akribischen Collagen, zerschnittenen Katalogfantasien, Puff-Paint-Wortwolken und sich wiederholenden Farbfeldern. Die 10 kurzen Essays - abwechselnd lustig, tragisch, ergreifend, stumpfsinnig und spezifisch - bieten kleine Einblicke in Lieben und Verluste, die ihn und diese Lieder geprägt haben.

"Javelin" verbindet musikalischen Schwung mit emotionaler Weite. Manchmal hat man das Gefühl, dass das Album von einem großen Team produziert wurde - aber das ist es ganz und gar nicht: Fast jeder Sound hier ist das Ergebnis von Stevens zu Hause, der selbst etwas geschaffen hat, das sich manchmal wie ein Zeugnis der Studio-Opulenz der 70er Jahre in Los Angeles anfühlt. Die Beiträge stammen von einem engen Freundeskreis - Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui und Nedelle Torrisi -, die bei vielen Songs Harmonien beisteuern, sowie von Bryce Dessner, der bei "Shit Talk" akustische und elektrische Gitarre spielt. Der zärtliche und mystische Abschluss des Albums, "There's A World", wurde von Neil Young geschrieben. Während "The Ascension", das von der New York Times als "ein Schrei der Verzweiflung und ein Gebet um Erlösung" gelobt wurde, eine kunstvolle, aber dringliche Elektronik verwendet, um sich dem Moment zu nähern, beginnt "Javelin" wie ein Selbstporträt, detailliert und doch schlicht. Dies ist Stevens' intimstes Werk, das an "Seven Swans" oder "Carrie & Lowell" erinnert und den Hörer in die Nähe seiner inneren Abrechnung ruft. "Javelin" wird von einem 48-seitigen Booklet mit Kunst und Essays begleitet, die alle von Stevens geschaffen wurden, darunter eine Reihe von akribischen Collagen, zerschnittenen Katalogfantasien, Puff-Paint-Wortwolken und sich wiederholenden Farbfeldern. Die 10 kurzen Essays - abwechselnd lustig, tragisch, ergreifend, stumpfsinnig und spezifisch - bieten kleine Einblicke in Lieben und Verluste, die ihn und diese Lieder geprägt haben.

70's Movie Hits Collected is a compilation of Coloured Vinyl, High Quality, Insert 33 pop tracks released as 2-LP on 15 Dec 2023. 70's Movie Hits Collected includes a.o. the following tracks: “Giorgio Moroder - Chase (from "midnight Express")”, “Mick Jagger - Memo From Turner (from "performance")”, “Mike Oldfield - Tubular Bells (from "the Exorcist")”, “Isaac Hayes - Theme From "shaft" (from "shaft")” and more.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

(2022 REISSUE)

"...some of the most delightful electronica to arise in Britain since Aphex Twin, the Black Dog and Global Communication." - Bethan Cole, The Sunday Times

"...electronica rarely comes as intriguing and atmospheric and laden with weirdly unshakable tunes" - Alexis Petridis, The Guardian

The first in a complete series of Ghost Box re-issues, starts with the 2004 EP Farmer’s Angle by Belbury Poly. The very first release for label co-founder Jim Jupp was joyfully naïve yet oddly sinister electronica. It very much set out Ghost Box’s stall with its strong roots in library music, TV soundtracks, folk and psychedelia.

Farmer’s Angle is issued on 7inch vinyl, CD and all digital channels. Packaged in the original sleeve art by Julian House that was to establish the label’s strong visual identity. Drawing influences from library music albums and Penguin books of the 60s and 70s with a classic British modernist aesthetic, House’s work for Ghost Box predated the eventually ubiquitous use of paperback book visuals in popular commercial graphic design. Farmer’s Angle was included in an Electronic Sound magazine feature, A History of Electronic Music in 75 Records.

Belbury Poly
Jim Jupp has released EPs, singles and seven albums on Ghost Box under the name of Belbury Poly. He is also a member of The Belbury Circle along with Cate Brooks (of The Advisory Circle) and occasional collaborator, John Foxx. In 2019 he co-wrote and produced the music and spoken word album Chanctonbury Rings with Justin Hopper and Sharron Kraus. He has recorded library tracks for KPM, BMG and Lo-Editions. He has remixed tracks for several artists including John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

Still rooted in these early influences and with a consistent and strong visual identity, the label has developed over the years and now has a more international roster with a broader range of musical styles. But each new release continues to be a unique fit into the label’s distinctive parallel universe.

11 track album by Patrick Cowley. Perhaps one of the most revolutionary and influential people in the cannon of disco music, Cowley created his own brand of Hi-NRG dance music coined 'The San Francisco Sound.' By the mid-70ies, Patrick's synthesizer skills landed him a job composing and producing songs for disco superstar Sylvester such as 'You Make Me Feel (Mighty Real)', 'Dance Disco Heat' and 'Stars.' This helped Patrick obtain more work as a remixer and producer. Of particular note was his 18-minute long remix of Donna Summer's 'I Feel Love'. By 1981 Patrick released a string of dance 12inch singles, like 'Menergy' and 'Megatron Man', creating the soundtrack for a generation. Prior to his passing on November 12, 1982, he recorded two more Hi-NRG hits, 'Do You Wanna Funk' for Sylvester and 'Right On Target' for Paul Parker. In 1981 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. John had heard about Patrick's music from the legendary Sylvester and proposed he write music for his films. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scene. 'School Daze' is a collection of Cowley's instrumental songs recorded between 1973 and 1981 found in the Fox Studio vaults. Influenced by Tomita, Wendy Carlos and Giorgio Moroder, Patrick forged an electronic sound from his collection of synthesizers, modified guitars and self-constructed equipment. The listener enters a world of dark forbidden vices, introspective and reflective of Patrick's time spent in the bathhouses of San Francisco. The songs on 'School Daze' range from sparse prototechno to high octane funk to somber post-punk to musique concrete, revealing the depth of Cowley's unique talent.

Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhiteand Robert Smith, the exhibition surveyed the field of sound art. The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space.

The Sound exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery. For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP include Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde – such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan – feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands.

This first-time reissue is limited to 500 numbered copies. Comes with poster.

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

Building on his already impressive resume, DJ Kay Slay returns to set the streets ablaze with his latest offering, Accolades. Featuring the next installment in the highly-acclaimed posse cut series, Rolling Deep, DJ Kay Slay blesses listeners with the ultimate version, Rolling 110 Deep, containing over 40 minutes of pure bars from some of hip-hop royalty, including Sheek Louch, Styles P, Dave East, Crooked I, Black Thought, Raekwon, Ghostface Killah and many more. Other standouts include 72 Bar Assasin (feat. The Game), Extravagant Lifestyle (feat. Raekwon, Sheek Louch, Ghostface Killag & Tragedy Khadafi), & Harlem Block Money (feat. Dave East, Vado, Jim Jones, Shoota 93 & Talkit Trigga)