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"Drag City presents the first official reissue of Dorothy Carter's 1976 album debut, her folk-music exegesis, Troubadour. In her lifetime, Dorothy, a self-made traveling musician and folklorist, brought forth masterful evocations on hammered dulcimer and psaltery from a myriad of times and places. Her music was played, produced and sold outside of that era's mainstream music distribution. Troubadour reissue producer Eric Demby can look back to a childhood spent off the grid: the early '70s in rural Maine, and later on, in Boston -- wherever his freewheeling father brought the family, at one point or another, there too was Dorothy, as she lived and breathed, playing her hammered dulcimer. The early '70s found everyone living up on the farm up in rural Maine; it was here that Rutman, Constance, Dorothy and some others formed Central Maine Power Company, a troupe of almost feral improvisers playing on a combination of self-made and found instruments, with live video feedback to boot. In 1976, Dorothy had been playing music for decades, but had yet to record any of it. That year, she went to Cambridge's Studio B with Rutman and friend Steve Baer at the console. Constance and Sally Hilmer accompanied her. The performances captured there were released later that year as Troubadour. In addition to hammered dulcimer and psaltery, Dorothy played the flute and sang. She chose songs from all over: Appalachian folk tunes, old and ancient psalms and hymns, Scottish, Irish, French and Israeli melodies, with a few of her own songs for good measure. They all flow together effortlessly under Dorothy and friends' hands in a syncretic space that we can identify today as a garden of world musics -- a highly energized, alternately meditative and proselytic recital whose vitality has only burgeoned in the decades since it appeared. As it should be: the music of Dorothy Carter is akin to a portal, linking her with the eternal. This edition of Troubadour reproduces the original album package, adding an insert adorned with additional photos of Dorothy and her collection of instruments, as well as notes from Eric Demby exploring the era -- his childhood -- from a vantage point of some 50 years. This reissue is a long-held family dream come true, and it is dedicated in loving memory to Bob Rutman, Constance Demby, David Demby and Dorothy Carter."

Palto Flats / Putojefe Records present the first ever reissue of the work of American composer Dorothy Carter, master of the hammered dulcimer, zither, and other instruments of the hammer chord zither/psalterium family. A true musical vagabond, Dorothy was born in New York in 1935, though her spiritual pursuit of an expansive musical knowledge would take her to monasteries in Mexico, conservatories in France and London, and the founding of the Central Maine Power Music Company (CMPMC), with new-age/minimalist luminaries such as Constance Demby and Robert Rutman. Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album. The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song. She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove, dropping January 10, 2025. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick.

It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it:

“I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel’s latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so [once I heard Decay] I reached out and sent Fatboi Sharif and dove some kind words about that record. The rest is history.”

At the end of December 2023 dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done.

“I’m not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear,” doseone explains.

Listening to All Portrait, No Chorus you can hear the battery in doseone’s back as he pythons his way through each instrumental. For his part, steel tipped dove—a prolific producer over the last two years—delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.

Dots written by Atom™. Recorded 1994 at "Sel I/S/C", Frankfurt/M. Under exclusive license from the AtomTM_Audio_Archive.

Invisible Inc once again presents another incredible full-length album from the talented Double Geography. Following on from 2020's “The Indoor Gardener”, the new LP “Open Water” is bathed in a similar blissful atmosphere. Double Geography aka Duncan Thornley (one half of Weird Weather and studio engineer at MAP Studios), following the success of his debut album now presents his second album for Invisible Inc. Leaning towards the label's more ambient and laidback output, the album is themed around water, transience and escape and sounds as unshackled and free-flowing as you'd expect...you can almost feel the breeze in the air and the sun on your skin. There is a noticeable progression in the music from his previous releases, this time featuring several additional musicians to compliment Thornley's electronics with live instrumentation...adding a complexity and depth to each of these compositions and an overall 'organic' quality that makes these new pieces sound like quite a departure from the first album. Fretless bass, clarinet and saxophone decorate the music with refrains and melodies that have been enchanting our imagination even in their absence since first hearing them.

Spittle Records in co-operation with Officine Fonografiche Italiane present The World Of The Doubling Riders, The Doubling Riders' complete works. The Doubling Riders were born in the middle of the '80s from the ashes of A.T.R.O.X. and around the trio of Francesco Paladino, Pier Luigi Andreoni, and Riccardo Sinigaglia. Especially thanks to their collaboration with international artists such as Pascal Comelade, Ira Stein, and Vox Populi, The Doubling Riders stand out from the rest of other Italian bands of the time. Starting from an electronic music approach and working freely with ethno, folk and wave elements, the sound of the Doubling Riders was extremely original and quite hard to classify. Even if often compared to some of the more intellectual new wave bands like Tuxedomoon, Doubling Riders can be easily considered a unique project within the Italian new music scene. This six-CD box contains the whole of their four albums produced between 1985 and 1991: Doublings & Silences Volume I (1985), Doublings & Silences Volume II (1988), World! (1989), and Garama (1991). All properly remastered, including the first two available on CD for the first time, plus a bonus CD containing a selection of previously unpublished material and rare tracks from the same period. Includes 24-page booklet collecting all information together with some unpublished pictures.

Cut in three days in 1975, Doug Firebaugh’s Performance One captures a young songwriter alone in a Roanoke, Virginia motel room, chasing Nashville dreams through cosmic Americana haze. Self‑written and performed, with only a single pedal steel guest, it first appeared on a small grey‑market label. This Numero Group 50th‑anniversary remaster preserves its faded, wandering beauty.

DOVS are the duo of Vienna’s Johannes Auvinen, aka Tin Man, and Mexico City’s Gabo Barranco, aka AAAA. Psychic Geography is their second album together, but it differs considerably from both their respective solo work and their 2019 debut LP together, Silent Cities: Where that album’s hardware-based acid kept its gaze focused squarely on the dancefloor, Psychic Geography is a strictly ambient affair.

The album has its roots in a trio of beatless tracks that peppered Silent Cities; this time, the duo decided to try making an entire album with no drums. “It opened up the chance to make a different, more narrative style of music with more complex structures,” Auvinen says. Ambiguity and uncertainty are key watchwords for their music, which moves with eerie, liquid grace. Untethered from 4/4 kicks, their music drifts and morphs; familiar acid sequences give way to surprising shifts in tone and mood. And with no drums to distract the ear, the seeming simplicity of their silvery synth lines opens up to reveal remarkable depth and dynamism.

Barranco and Auvinen recorded the album together in the studio utilizing machines like the Roland TB-303, Juno G, Prophet 5, Elektron Octatrack MKII, Make Noise DPO and René, Mutable Clouds, Roland SH-101, Behringer TD3, and Sherman Filterbank. Listen on good speakers or headphones, and you can tell: Their gear yields a tonal richness that recalls the ambient and cosmic music of decades earlier. You can practically feel the heat from their circuits warming the air.

The meaning behind the name DOVS is as ambiguous as the duo’s music. (Dig, if you will, the picture of Picasso’s dove of peace—or, perhaps, the outline of a bird pressed into a small white pill.) But Psychic Geography needs little explanation. DOVS’ album is a collection of mental maps of imaginary places. Set your coordinates for the mirage on the horizon and prepare to dissolve. 

"In 1971, Dr Tree emerged as a highly innovative jazz-fusion ensemble from Auckland, formed by two of New Zealand's most seasoned session musicians, Frank Gibson Jr. and Murray McNabb - the pair had jammed together since grammar school. Drawing sizable crowds while working the Auckland circuit, the band caught the attention of EMI scout, Alan Galbraith, who wasted no time signing them up for an album. Galbraith, a trained musician and adventurous producer, brought in additional support from Julian Lee, an internationally acclaimed arranger and producer (who had recently returned to New Zealand after a decade Stateside on Frank Sinatra's insistence). The album's an all-instrumental excursion into territory mapped out by the likes of Return To Forever, Weather Report and Tony Williams Lifetime - all acolytes of Miles Davis's late- 60s explorations. The session combines experimental studio techniques with blazing artistry, juxtapositioning trippy electronic textures and improvised jazz, creating a hypnotic kaleidoscope of sound." Double LP featuring previously unreleased recordings and outtakes. Restored and remastered at�Abbey Road Studios by Grammy award-winning engineer Sean Mage. Heavyweight tip-on gatefold sleeve featuring archival band photography. Restored and newly remastered at Abbey Road Studios. Limited edition of 600 copies (300 in New Zealand, remaining 300 worldwide).

Reissue of the drop-dead classic album from 1978, Alimantado with Horace Andy, Lee Perry, King Tubby, Gregory Isaacs, Jah Woosh, Jimmy Radwell and Jackie Edwards. Recorded in several sessions, at the Black Ark, Channel One, Randy's and King Tubby's studios, it was the first album put out by Greensleeves, now reissued by the good Dr. himself on his Keyman label. Alimantado's graffiti, daubed round Westbourne Park and Notting Hill back in '78 survived longer than any Banksy could, without a sliver of perspex in sight.

For more than two decades, Dr. Dog have maintained a shared devotion to the unruly alchemy of making music. When it came time to create their eleventh studio album, the Philadelphia-bred band adopted an entirely new way of working together, embracing a multilayered process designed to foster a deeper synergy among its five members (bassist Toby Leaman, lead guitarist Scott McMicken, rhythm guitarist Frank McElroy, keyboardist Zach Miller, and drummer Eric Slick). After beginning that journey with a close-knit session at Leaman's uncle's cabin in the Pennsylvania woods, Dr. Dog steadily made their way toward the joyfully unfettered psych-rock of their new self-titled LP.Mixed by multi-Grammy-winner Matt Ross-Spang (Jason Isbell, Drive-By Truckers), Dr. Dog finds McMicken taking the helm as producer for the first time in the history of the decidedly egalitarian band. True to the eclectic spirit that's always animated the band, Dr. Dog's 11 tracks shift from soul to surf-rock to symphonic pop with an exuberance made all the more powerful by their revitalized creative energy. "There isn't really a concept or cohesive idea that unifies this collection of tunes," says McMicken. "In the end it's about us being together, doing the work, and showing up as our truest selves." Their first full-length since 2018's Critical Equation, Dr. Dog reveals a band – over twenty years into their storied career – growing together and evolving, fully committed to the singular work of dreaming up songs that brighten the mind and expand the soul.

A first Relaxin Records release by Dr. Pit, one half of the band Primitive Art. For Vista Mare version, Dr. Pit operates on Lolina's "Music Is The Drug”, taking it to a sinister cocktail bar terrace with an unexpected view.

The 1974 season finale of the Chicago based Soundstage series came billed as "Dr.John’s New Orleans Swamp". A wild southern party featuring the cream of New Orleans music scene. Some sort of Louisiana soup bone including Earl King's downhome blues, Professor Longhair's colorful creole pianism, The Meters's swampy, gritty grooves and Dr. John himself with his special mix of funk, blues, psychedelia and African music. Gumbo is ready! Are you?

This is a work released in 2008 by Dragging an Ox through Water, a solo project by Portland-born musician Brian Mumford, and was later released on CD by Yellow Swans' Pete Swanson's label Freedom To Spend and the famous Japanese indie label Sweet Dreams Press! It's a masterpiece of deviant, underground country music, filled with a penchant for industrial, noise, and punk, and exuding an outsider atmosphere throughout!

Official re-release of this 'lost' 6-track mini album by New Yorker Ben Cenac (of Newcleus fame). Recorded and released in 1990, this is an absolute gem of a record - very much in the vein of Larry Heard's best recordings. Now available again for the first time in 22 years, remastered + full artwork. A truly dreamy, beautiful classic deep-house mini-album from the golden-post-Larry Heard era.

‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ is a new in-depth compilation of works by Japanese musician Dream Dolphin. Co-compiled by long-time friend of the label Eiji Taniguchi, it draws from a vast discography of music oscillating between IDM, Pop and Ambient. First appearing on Eiji’s compilation ’Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)’, this selection of rediscoveries, further shines a light on the singular musician known as Dream Dolphin and her place in Japan’s rich electronic music legacy. Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and even Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics. Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format. MFM062 will be released in 2xLP, 2xCD and digital format.

"The debut 2023 disc of narcotised, tranced-out dub from Naarm collective Dregs resurfaces on venerable UK imprint Purely Physical Teeny Tapes, its dense textures and abyssal groove splayed across two sides of wax for wider appreciation among those with an ear for corporeal sludge and blurred sound-system sonics. Centred around the core trio of Sina (vox/synth), Drop Dylan (vox/guitar) & Ossian (production/electronics), this particular session of endless-nite trip-hop finds the group bringing Rip Van Hippy (percussion) into the fold, the revered trance figurehead whose tendrils have also reached into the works of far slung sonic explorers such as Boredoms, Ollie Olsen & Osamu Kitajima. The affinities between the pairing are at once sonically obvious & ripe with potential, both parties sharing an ability to convolve diffuse strands of sound (slow-motion dnb, blasted dub, the luxuriant languor that arises at the meeting point between trip-hop & post- rock) into a jet-black molasses of infinite groove, drowned melodics, and dense hallucination. This self-titled debut is best described as a sensual ooze, smeared & smudged textures riding heavyweight bass pressure & trudging rhythms that dissolve into one another, strung-out siren songs from the gutters of the night. Not a music for the club so much as one born of it, the LP plays out in deeply carnal styles: vox swimming in layers of murk writhing among shadow, the faint murmur of a guitar etching out the suggestion of a melody only to be devoured by un-bottled pressure, endless tremors rattling through a hall of mirrors. A sound to be felt equally in the most heart-melted zones as well as firmly in the cavity of your sternum, in states altered or otherwise; delicate & ethereal, evanescently grimy, and deeply, deeply addictive."

Scottish experimental/electronic musician Drew McDowall’s lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil’s legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection’s four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable – that which refuses to be spoken." McDowall’s palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album’s centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there’s a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record’s latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album’s harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does – grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall’s multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.

All Genre artist & beatmaker in anonymity Droopy Eye debuts the full-length album Embruja. After nearly a decade of exchanging genre-fluid demos and audio email attachments with Leaving Records founderperson Matthewdavid, Embruja surfaces as the perfect anomaly with playfully aligned experimental sonic & philosophical influences that include Terence McKenna x Underground UK Dance Music Culture, and The LA Beat Scene.

Following the release of Drop Nineteens’ first album in 30 years, Hard Light and the re-issue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens’ 1991. This LP comprises the band’s first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adorn these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991’s songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

On the eve of Drop Nineteens' first live performances in 30 years, we are excited to announce the reissue of the band's 1992 shoegaze masterpiece, Delaware. "Reissue" is slightly misleading as Delaware has never actually been issued on vinyl in the United States. Delaware is the debut studio album by American band Drop Nineteens released on June 19, 1992. Despite the albums release over 30 years ago, and the band remaining inactive from 1993 onwards this album has remained a favorite of shoegaze fans for decades, and was listed as one of the 50 best shoegaze albums of all time by Pitchfork in 2016. This lasting love of the record has cemented the band as one of the most influential bands of the genre from their time. Over the last several years the album has found a new audience that has championed Delaware along side of the band's mostly UK 90's contemporaries. A new legion of Drop Nineteens fans have likely discovered their music through streaming services, rather than on 120 Minutes. Tracks like the towering "Kick The Tragedy" and pop songs "Winona" & "Delaware" sit next to more experimental moments like "Reberrymemberer." And while the album is certainly a wild ride, it all flows together as easily as singers' Greg Ackell and Paula Kelley's vocals.Now for the first time, this record will be available via a USA pressing on yellow colored vinyl. Remastered for vinyl by Carl Saff the album will be available on June 21st.

2025 has been a big year for Drop Nineteens. They finally officially released their long lost pre-curser to 1992’s Delaware, the demo collection 1991. These releases comprise the band’s early run and as Pitchfork noted in their review of both albums earlier this year, “established Drop Nineteens’ reputation as leading lights of U.S. shoegaze.”

The band follows up the release of the 1991 LP with their first ever 7”, White Dress b/w White Dress (demo). The 7” features the band’s cover of the Lana Del Ray classic in two versions. It comes on the anniversary of the band’s digital release of “White Dress.”

This is an edition of 500 black 7”s and 200 white 7"s and is sure to be a collectable item for fans of shoegaze and Drop Nineteens alike.

MAAVAK a two 10xCD box sets presenting the intense, present, sometimes fragile & often challenging music of Swedish/Israeli composer, musician, artist and activist DROR FEILER, celebrating 50 years of musical, artistic and political actions in Sweden and around the world. These two box sets presents his wide range of styles; from noise attacks to orchestral compositions, from chamber music to solo saxophone pieces. There is a sort of brutal sensitivity to his works, or maybe rather a sensitive brutality. Let it be works for solo acoustic instruments or full symphony orchestra works (in one of them with Blixa Bargeld as vocal solist). Each volume is limited to 300 copies and is mastered and designed by Lasse Marhaug. To be released in Stockholm on October 7th 2023 on Feiler’s new archival label The Celestial Fire which is a sublabel to iDEAL Recordings.

MAAVAK a two 10xCD box sets presenting the intense, present, sometimes fragile & often challenging music of Swedish/Israeli composer, musician, artist and activist DROR FEILER, celebrating 50 years of musical, artistic and political actions in Sweden and around the world. These two box sets presents his wide range of styles; from noise attacks to orchestral compositions, from chamber music to solo saxophone pieces. There is a sort of brutal sensitivity to his works, or maybe rather a sensitive brutality. Let it be works for solo acoustic instruments or full symphony orchestra works (in one of them with Blixa Bargeld as vocal solist). Each volume is limited to 300 copies and is mastered and designed by Lasse Marhaug. To be released in Stockholm on October 7th 2023 on Feiler’s new archival label The Celestial Fire which is a sublabel to iDEAL Recordings.