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While no bust of Ned Doheny appears alongside those of his Laurel Canyon brethren in the pantheon of classic rock, it’s not for lack of songwriting abilities or recording chops. After Doheny and his buddy Jackson Browne were expelled from Elektra’s failed recording ranch, he and his Nudie-decked Canyon cohorts would go on to form the bedrock of Geffen’s Asylum label. But while his peers were looking east to Bakersfield for inspiration, Ned was applying skills foraged under the tutelage of classical guitar god Frederick Noad and west coast post-bop jazzer Charles Lloyd. Rolling Stone called his self-titled 1973 debut, "a sort of Southern California Astral Weeks," but that complimentary comparison brought few copies of the album to Tower on Sunset's cashiers and Doheny was dropped unceremoniously. Two of Ned's most enduring compositions were written during his free agency. The tongue-in-cheek "Get It Up For Love" began as a rollicking folk number, only to be stretched out by the likes of David Cassidy, the Fabulous Rhinestones, Johnny Rivers, Tata Vega, and Ned himself on his sophomore album Hard Candy. Also appearing on the Steve Cropper-produced album was "A Love Of Your Own," co-written with Average White Band's Hamish Stuart, and covered over the coming years by the Ebonys, Melissa Manchester, Millie Jackson, and AWB. Despite featuring a who's who of California heavyweights, including David Foster, JD Souther, Don Henley, Glenn Frey, Linda Ronstadt, HB Barnum, and the entire horn section for Tower of Power, the 1976 album was no match for Columbia's real blue eyed priority Boz Scaggs, whose "Lowdown" battleship blew Ned's cutter out of the water. His last taste of American chart success would come in 1981 via “What Cha’ Gonna Do For Me,” another cowrite with Stuart that Chaka Khan took to the top of the charts. Over the last three decades, Doheny’s albums have slid in and out of print on LP and CD, budget jobs without any involvement from the self-described “avatar for casual vulgarity.” Separate Oceans examines Ned Doheny’s first ten years adrift in song, pulling together choice album cuts and 11 previously unissued demos. An 8000 word essay is illustrated by images from the archives of noted rock photographers Henry Diltz, Moshe Brahka, Clive Arrowsmith, and Gary Heery, creating the first ever overview of this unheralded marina rocker.

"nehan is a Japanese free improvisation and avant-garde rock quintet formed in August 2022. Their performances are initiated by a 9hz brain wave emitted from a testee who has been brought into a deep meditative state via either hypnosis or acupuncture. nehan doesn't begin until the testee has gotten into the state of 'nothingness.' It is only then that the improvisation can begin. The role of improvisation has been key to all the musical projects of Masaki Batoh. In 2010, as Batoh was winding down the activity of his long-standing 'heavy chamber folk' group, Ghost, he became involved in the design of a machine to generate sonic data based on brain waves. An acupuncturist as well as a musician by trade, his interest was spurred by the rhythms of the body and the brain, and a desire to access the 'pulses' of brain waves to initiate improvisations. Following the release of Brain Pulse Music, Batoh toured Japan and the US, making demonstrations of his process using a local volunteer and guest performers, when available. Today, nehan arrive at their performance space prepared with a Brain Pulse testee, bringing a wide array of instruments including gongs, timpani, tabla and other drums and percussion, Crumhorn, bagpipes, mellotron, oscillators and additional sound effects. Their performance is a transformative electro-acoustic display that passes through the prism of music styles, from east to west, from traditional folk and classical to rock, jazz, and avant electronic. While nehan's performance presentation invokes a sense of ritual, they understand their process as being far removed from any type of spiritual endeavor; this is an action of improvisation, occurring in reality between the five musicians on stage, in response to the brain waves of an individual. For the personnel of nehan, Masaki Batoh asked players with whom he had good previous experiences in improvisation: Futoshi Okano (Ghost, Acid Mothers Temple, The Silence), Haruo Kondo (Espvall & Batoh) and Junzo Tateiwa (Ghost), along with female Brain Pulse testee Gozen on oscillators. The performance here, recorded live in August of 2022 at GOK SOUND in Tokyo, demonstrates their communal dedication to the improvisation. The players act as listeners and musicians simultaneously, inspired to make extended pieces of music out of the 'nothingness' of brain waves. The possibilities of nehan's chosen approach are almost infinite; An Evening With Nehan is only the beginning of their journey."

In 1972, Joyce and Nelson recorded the LP Nelson Angelo e Joyce, her only professional recording between 1971 and 1975. Sophisticated in its simplistic sound, the album explores Joyce’s tender voice and Angelo’s melancholic mantra-shaped melodies. The duo fuse bossa nova and acoustic psychedelic rock in arrangements that incorporate nature sounds and ritual drumming. The opening track stands out with its angular chord changes and pretty melody, a perfect start. They trade tunes, Joyce sings Hotel Universo and Nelson sings the next track and then back to Joyce. A cohesive work from both musicians.

The debut album of Istanbul born, Berlin & Copenhagen based artist Nene H (real name Beste Aydin) titled ‘Ali’. In this record Aydin has used her background as a classically trained pianist and her deep, foundational knowledge of musical theory to synergise contrasting electronic compositions and the mental process of mourning the death of a loved one. Born as a tribute after the passing of her late father, Aydin has found catharsis through a personal odyssey, the reflection of which can be seen through these 8 tracks. Raised in a traditional Turkish family and now living in Germany with its westernized lifestyle, informs the intersections of identity and duality that Aydin exists and creates from within. This consolidation of identity has pushed her to seek solitude and confidence in the power of being able to represent the process of her existence in the scene as a Middle Eastern woman with Muslim upbringing.

Debut album by Ani Zinc, member of the Spanish experimental duo Diseño Corbusier and co-founder of the iconic record label Auxilio de Cientos. Originally released in 1986, this record is a showcase of her radical blueprint, comprising sound collages and voice experiments, and also welcomes the use of conventional instruments such as drum machines and keyboards, resulting a richer and more diverse outcome. First time reissue of this much sought-after record on the highly collectable Spanish experimental label Auxilio de Cientos.

Anyone fascinated by Debit or Elysia Crampton’s Chuquimamani-Condori investigation of South American folk heritages or even The Haxan Cloak are advised to check Nervio Cosmico’s electro-acoustic spirit quest, notably recorded at Peter Gabriel’s Real World studios.

““Singing Vessels” draws inspiration from the sonorities and aesthetics of Amazonian medicine ceremonies and traditional Andean music. At its heart is a collection of clay whistles from ancient South America, whose timbres conjure the vibrant soundworld of the Andes. The piece also incorporates shamanic instruments from the Amazon, such as the shacapa — a bundle of dry leaves whose rustling produces a deep, soothing texture with remarkable sensory resonance.

Interwoven with generative electronics, live looping and synthesisers, these organic timbres create evolving psychoacoustic spaces where the mystery of nature meets inner realms of perception and consciousness. The piece unfolds as a ceremonial passage through a shamanic ritual: beginning in a dense jungle of sounding entities, rising into moments of cathartic purging, dissolving into states of blessing and communion, and finally returning to the here and now with renewed awareness.

Nervio Cosmico is an electroacoustic experimental duo based in Bristol, formed by Chilean composer Daniel Linker and Italian sound artist Matteo Amadio. Blending acoustic instruments from ancient South American shamanic traditions with live looping, generative sound design, and live electronics, they craft sonic journeys that explore perception, consciousness, and a spiritual connection with nature.”

Releasing now for well over a decade - Neue Grafik: known to friends as Fred, has successfully transplanted from Parisian rookie to one- man London Institution. Beginning as a solo producer and DJ, Fred spread his wings upon relocating to South London - at first with his Neue Grafik Ensemble and later with his now iconic twice-weekly Orii Jam - the latter of which has given agency to an entire new generation of musicians; spawning an aesthetic, nurturing a unique sound and becoming a launchpad for countless artists.

Dalston Tape Volume 1 is Fred’s attempt to fall back in love with beatmaking - taking it back to the roots of where the project began. I say “attempt” because he’s simply learnt too much and made too many friends along the way to make a mere DIY beat tape. Since his early MPC-led productions on Parisian label, Beat X Changers, Fred has learnt to play the keys to a concert hall standard, he has become proficient in double bass and built up a dense network of collaborators who he has composed, recorded, engineered and produced for both at home in SE London and in the iconic Total Refreshment Centre Studios in Dalston.

This experience adds unavoidable dimensions to his toolbox - resulting in something more akin to a miniature-magnum-opus than a simple beat-tape. Yes, we hear the influences of Pete Rock, Mad Lib, J Dilla and Al Dobson Jr but we also hear the musicality of D’Aneglo, James Blake and live contributions from an ever growing army of young graduates of the Orii School.

Beats are finely crafted, virtuosically finished and at times - excruciatingly short! So short it’s almost a flex - but a humble one at that. If this is what Neue Grafik can do on his lunch break imagine what he could do with enough time and budget!?

The “ Volume 1” suffix reassures us more is to come, and the “tapes” suggests that whilst these may be brief sketches , there’s nothing throw away about them - on the contrary, we’re witnessing an artist in full flow, moving solo as nimbly as he does with an orchestra, a man with too many ideas and not enough time offering us a brief glimpse into his musical world and reminding us that despite all he has learnt he is, at his core - a beat maker.

The only question which remains is whether he is intentionally teasing us with these bite size nuggets or inadvertently elevating the art-form to new heights. That, is for you to decide... 

Rare dubs, version excursions and unreleased tracks from the vault 1980 - 1983.

In the tradition of archival On-U Sound compilations of recent years such as the Return Of The Crocodile and Churchical Chant Of The Iyabinghi sets for African Head Charge; and the Displaced Masters LP of early Dub Synidcate rarities, we’ve gone through the tape vaults to put together this special record of unreleased versions and rarities from the white hot early days of the New Age Steppers, the group that launched the On-U Sound label by appearing on both the first single and album.

Highlights include a restored track from their infamous and long-lost 1983 John Peel session (an ebullient cover of Atlantic Starr’s “Send For Me” featuring a beautifully spirited vocal performance from the much-missed Ari Up), the Jah Woosh deejay cut of “Love Forever”, some rare dubs previously only available on Japanese import CDs, all bookended by two very different takes on Chaka Khan’s “Some Love”. An essential set for collectors of post-punk, dub and other outernational sounds.

New Age Steppers" is the first release from UK dub genius Adrian Sherwood's ON-U SOUND label. The project, which brought together 17 of the foremost artists of the time such as the Pop Group, Slits, and Creation Level, with Adrian at the center, created an unprecedented sound that went far beyond the categories of rock, punk, new wave, reggae, and dub. This is the first vinyl reissue in 40 years of a classic album that undoubtedly represented the 80's scene and is still appreciated for its innovation year after year!

New Age Steppers" is the first release from UK dub genius Adrian Sherwood's ON-U SOUND label. The project, which brought together 17 of the foremost artists of the time such as the Pop Group, Slits, and Creation Level, with Adrian at the center, created an unprecedented sound that went far beyond the categories of rock, punk, new wave, reggae, and dub. This is the first vinyl reissue in 40 years of a classic album that undoubtedly represented the 80's scene and is still appreciated for its innovation year after year!

Early Future Records is proud to present the official reissue of the iconic 1979 spiritual jazz classic Visions Of The Third Eye, newly remastered for limited vinyl release and digital download. - Including a 20 page zine featuring an in-depth testimonial and interview with Brandon Ross, and an essay by Andy Votel, as well as archival photos, scores and reviews.

This is NEW MANUKE's first album. Shake your hips, shake the world, keep on movin', Maximum volume!

This is NEW MANUKE's first album. Shake your hips, shake the world, keep on movin', Maximum volume!

Nexcyia’s inaugural project delicately explores the realm of sound design, eschewing the over-visited constraints of a tempo grid. Upon immersing yourself, the immediate departure from conventional song structures becomes apparent. Instead, it feels as though the artist fills the silence with disruptive yet evocative sonic experimentation. The compositions appear to surrender to the ebb and flow of textures, revealing a musical journey driven by spontaneity rather than a predetermined destination. The musical endeavor of the London-based sound artist revolves around the essence of sound itself, transcending the pursuit of memorable melodies. It invites listeners into a realm of moods and atmospheres that both surprise and elicit a deeper connection to one’s inner realities. Given Adam Dove’s background in sound art practices, it’s no surprise that his inaugural full-length release is a rich soundscape, weaving through the realm of harsh sampling and gentle synthesis. Requiring the listener to explore with him the boundaries between reality and illusion, he neatly manipulates granular synthesis, and interweaves a library from his own archived audio, while pondering the very essence of our universal desire to belong. “Endless Path of Memory” delves into themes of otherness, skilfully arranging a tapestry of reflections and existential exploration, his use of samples mirrors a forest stream winding through a lush environment, blending field recordings, creating a sonic world where grains pan circularly, engulfing you. Some compositions echo the universal tones of despair, while others emphasize bliss, encapsulating elements of memory with innovative recording techniques. A track featuring Racine emerges as a poignant commentary on modern anxiety, challenging the very ontological questions that define our human limits, in its essence, it invites listeners to embark on a journey into the intricacies of the human experience. The full-length extends a sonic embrace to those who have experienced the weight of otherness, confronting haunting memories while simultaneously crafting a narrative that foretells the sonic contours of the future.

Kohei Matsunaga aka NHKyx arrives on the Kasm wing of legendary Manchester label Skam with four cuts. Opening with the vibrant, joyous, intricate breakbeat techno of 'Filled With Vacuum' and a darker vision in the squirming 'Ancient Behave' on the A-side. Over on the flip, we get the melodic, squidgy 'Same Point Different Coordinate' propelled by flickering percussion, before the bubbling 'Formulated Rhythm 4s' rave signal from 20,00 leagues under the acid sea closed the EP in fine style.

Released in 1969, Five Leaves Left is Nick Drake’s debut album. Produced by Joe Boyd and recorded at Sound Techniques in London, the record features leading figures of the British folk scene, including Richard Thompson and Danny Thompson. Widely regarded as a landmark of British folk, the album showcases Drake’s delicate vocals, intricate guitar work, and beautifully arranged strings.

Nick Drake’s final masterpiece, Pink Moon, released in 1972. It is an album of eternal resonance—a solitary soul’s delicate balance between a quiet prayer and a silent resignation.

This collection recounts the journey leading up to the release of Nick Drake's debut album by Island Records in 1969, featuring unaccompanied demos, studio outtakes, and previously unreleased tracks.

Produced by Joe Boyd and remastered by John Wood, the original engineer of the album, this 4-LP set includes the final version.

A 60-page booklet co-written by Neil Storey and Richard Morton-Jack is included, detailing the recording process, charts, and recording history of all tracks.

Tucked in the heart of Koreatown lies The Libra Hotel—the titular architecture of Nick Malkin’s new album and site of his musical and psychogeographic exploration. Unlike most musical “site-specific” studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin’s work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled. Much like Sinatra’s own spatial residency immortalized on “Live at The Sands,” “At The Libra Hotel” showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light. Ultimately, the pensive atmosphere of “At The Libra Hotel,” powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture.

Legendary performer Nico of the Velvet Underground released his last album in 1985. Featuring The Faction as his backing band, this eight-track album features the lead singer's voice and readings, striding with overwhelming presence through a variety of post-noise, industrial, and improvisational productions.　The album, which is also considered to be Nico's best work in the latter half of his career, includes a cover of the jazz standard "My Funny Valentine". For this RSD release, the album has been remastered from the original analog tapes to 24-bit HD audio, and reissued on blue vinyl in limited quantities.

Nico's second solo album, 1968's The Marble Index, & third solo album, 1970's Desertshore, have long been out of print. These reissues include audio mastered from the original tapes and previously unreleased photos of Nico by Guy Webster.

Nico's haunting vocals predicted the Gothic movement and co-producer and Velvet Undeground's band mate John Cale's startingly modern classical production ensured The Marble Index's timeless appeal. The iconic music journalist Lester Bangs wrote, “The Marble Index is the greatest piece of 'avant-garde classical', 'serious' music of the last half of the 20th century so far,” and the New Yorker recently hailed both records as “austere miracles of will and invention.”

After the 1974 release of The End...the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)... Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes "Purple Lips" but adds the tracks "Saeta" and "Vegas" released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground's "I'm Waiting for the Man" and David Bowie's "Heroes".

Nico's second solo album, 1968's The Marble Index, & third solo album, 1970's Desertshore, have long been out of print. These reissues include audio mastered from the original tapes and previously unreleased photos of Nico by Guy Webster.

Nico's haunting vocals predicted the Gothic movement and co-producer and Velvet Undeground's band mate John Cale's startingly modern classical production ensured The Marble Index's timeless appeal. The iconic music journalist Lester Bangs wrote, “The Marble Index is the greatest piece of 'avant-garde classical', 'serious' music of the last half of the 20th century so far,” and the New Yorker recently hailed both records as “austere miracles of will and invention.”

California’s Nico Georis has always straddled (or, rather, negotiated) multiple dimensions. As a child, Georis flitted between the rigors of classical training and DIY experimentation—studying under a disciple of Franz Lizst (a mentorship that would enshrine the piano as his primary instrument), then squirreling away to the basement of his childhood home, strewn as it was with his father’s instruments and home-audio equipment, to play and record freely. Despite his evident virtuosity as a trained pianist, Georis has, across numerous projects, stints, incarnations, and chapters, persisted in this gentle and exploratory approach to music-making. Foregoing the pursuit of technical mastery and acclaim within the confines of the contemporary classical world, he has dedicated his talents to songcraft, broadly-defined — channeling unseen (or inaugurating altogether new) worlds through melody and repetition. Conceived after an isolating, five-year struggle with a severe case of Lyme disease, Cloud Suites (out June 9th on Leaving Records) documents Georis’s initial return to experimental ambient keyboard compositions. Conceptually, there is little ambiguity here: the songs—the “suites”—are clouds, or, rather, reflections of clouds, each named after a particular formation. Track titles range from the meteorologically specific to the expressive: “Cumuloids,” “Sundog,” and “Soft Yellow Gazers.” Georis composed the suites in real-time, peering out the windows of his Big Sur cabin-home/recording studio (dubbed The Sky Shed), responding improvisationally to render specific clouds as music—in effect to pluck them from the sky. Georis has referred to this process as a kind of musical game, and, indeed, its end product conveys the recurring and joyful revelations of play. But for a project born of levity and improvisation, Cloud Suites’ path to realization has been winding—harrowing, even. Over three years in the making, the recording process was beset by all manner of technological and environmental setbacks, ranging from broken equipment to a mudslide that tore through the Sky Shed. Nevertheless, even as other projects saw fruition (see 2022’s beautifully elegiac Desert Mirror) the Cloud Suites continued to gestate. When circumstances finally aligned, Georis entered the studio with a rag-tag collection of tape recordings. Performing over these Cloud demos, Georis would eventually weave these initial recordings into finished tracks, an analogue collage/cut-up approach recalling his childhood basement experiments, and his long-time affinity for Dub. Morphing seamlessly across eleven tracks, Cloud Suites functions wonderfully as a record (that is to say, as a discrete release—a standalone musical artifact), but one also senses the limitlessness of the project. Having stumbled, largely by accident, upon this inviting dimension (at once bracingly psychedelic and achingly nostalgic), Georis may not wish to close the door behind him. Or maybe it isn’t his door to close.