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Funky Best is a jazz-funk/disco cover album recorded in 1975 by Jiro Inagaki and his band. Featuring bold yet refined arrangements of soul and funk classics by Stevie Wonder, Kool & The Gang, and Ohio Players, the album showcases powerful horn sections and groovy rhythm work. While preserving the essence of the originals, it fuses jazz improvisation with the delicate sensibilities unique to Japanese musicians. Backed by top-tier players who led Japan’s jazz-funk scene, the album captures the raw energy of studio sessions with striking immediacy. Crossing boundaries between jazz, funk, and disco, Funky Best remains a genre-defying gem that continues to shine with the timeless creativity and musicality of Jiro Inagaki.

Modern versions of Aktuala and Embryo ?? A multinational and greedy experimental groove that swallows everything from Indian classical flavors to spiritual jazz, modal tones and psychedelic improvisation sounds! Limited to 300 copies.

An outstanding raga-like drone lp with a distinctive cosmic vibe, Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.Originally released in 1980, the sound is completly analog and warm, this reissue maintain the first tape artwork + info and photos.

Italy's New Age / World label Black Sweat reissues 80 years of unknown electronic music from Italy.
A cassette work of a project called Futuro Antico. A meditation synth and a bewitching flute unfold, which is good because it has a gentle, violent, piercing sound. It's also reminiscent of Terry Riley and Don Cherry's legendary live performances in Cologne.

Unreleased high quality recordings of the italian experimental trio Futuro Antico. The sound experience it's a mysterious synergy between the elements of Nature, a magical encounter between different souls but with elective affinity. Maioli’s ancient and ethnic wind instruments are the breath of the Air, Sinigaglia’s electronic spirit produces liquid sequences of the Water, while Dabiré’s african percussions materialize the voice and rhythms of the Earth. The result is a total creative Fire, a foamed core of perceptions and multiple sensory universes of distant memory. The dialogue between archaic and futuristic already investigated in the historic "Dai Primitivi All’Elettronica" sees here another bright episode in this unreleased live, the music recorded on tapes directly by the mixing console is the result of the memorable performance held in Bologna at the festival Isole Del Suono on 17 July 1980. The secret harmony between sounds is complete but at the same time brings out the expressive specificity of the three individual personality: the subtlety of reiterate sonic textures; waterfalls of minimalist piano; Sufi atmospheres supported by sequence of organs that reinterpret the frequencies of harmoniums lost, the solemn gait of an African balaphone absorbed in electronic vortices endless...these are some of the coordinates of a musical and cultural poetics that after years continues to wonder for his source of formal purity and multiplicity of stimuli.

On a class debut for Biscuit’s choice Good Morning Tapes label, Kyoto’s dub specialist G Version III runs signature fusions of digidub steppers, drill and holographic, minor key FM synths - big FFO Devon Rexi x John T. Gast, Equiknoxx, TNT Roots, Element. One up to her 12” for Riddim Chango last year (plus the ‘Scenery From Double Glazing’ tape for Digital Sting in ’24), G Version III’s ‘Chapter II’ most finely chisels her lucidly rugged definition of the late ‘80s / early ‘90s mystic steppers sound. The OG Caribbean spirit is heard filtered thru UK dances and shored up in Japan, where G tessellates its salient points with a palette of glassy Japanese synth tones and chamber music to exquisite effect. If Wendy Carlos was a soundgyal?! Across 6 cuts she builds the dance around digidub x drill waltz ‘Livin 4’ and a haunted dancehall special in the harpsichord/horn riff of ‘An Idyll’, impressing her prowess on the fusion of subcontinental scales with a drill-tipped skip in ‘Queen G Theme Chapter II,’ and tucking right into an aerodynamic, flying steppers mode shades away from Element in ‘Motherearth Guidance.’ At a slower, wider stride her ‘Higher Grade’ goes eyes-down on massive subs, and ‘Voice of Mystique Warriyah’ adapts the classic skooled sound like TNT Roots in Tokyo. Big!

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens her exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.

Last Resort is an up-and-coming label in London, and also hosts a show of the same name on NTS Radio. G.S. Schray, a popular act on the label and an up-and-coming artist from Akron, Ohio, has released his first album in two years. The album is a masterpiece of new age/ambient jazz that weaves illusions into fantasies, passing from fourth world to Balearic. It's like watching Gigi Masin, Suzanne Kraft, and Joseph Shabason perform together on the horizon of Ibiza as the sun turns red. An exotic ambient trip of the highest order. The late Andrew Weatherall also praised him.

Green Arrow Sound System is the DUB sound system from Paris, organising underground parties all around the city and the country. Home-made SUB is the rule here. The label is directly from DUB Diggler, the manager of this project. Von D and Moresounds are the only ones pressing music on Green Arrow. We do not need to explain who they are ? Do we ? StayReo, the official Graphist of Green Arrow, is a major StreetArtist from Montreuil/Paris, as well as a great DJ and party provider This production is a true Underground Project from Paris defending Street & Sound System Cultures !

You could call Gabber Modus Operandi’s PUXXXIMAXXX LP a ‘scene-defining’ record. That’s except there’s no real ‘scene’ to speak of where the DIY electronic duo come from, deep in the belly of the neo-colonial beast of Bali—an island province of Indonesia where tourism is its biggest industry, mainstream house and techno its musical staple. “Bali is like an Australian backyard for some people,” jokes Ican Harem about the capital of Denpasar where they both live, just a four-hour flight from Perth. “It’s basically like when you go to Ibiza. Those are the sounds, that’s the kind of the people, that’s how they dress up, that’s how they dance.” Otherwise known by the project’s GMO initialism, Harem and DJ Kasimyn (aka Aditya Surya Taruna) first released PUXXXIMAXXX on influential Yogyakarta label Yes No Wave in 2018, before performing the Javan capital’s Nusasonic festival that same year. It takes its title from their original name that is a play on an unmentionable curse word, and it’s the result of a clusterfuck of influences that blew up with access to the internet in Indonesia, enabled by cheap Chinese smartphones in the mid-2010s. “Now, all the content that we posted in social media basically came from this layer,” says Kas about this new medium for cultural expression across the country’s diverse and disconnected archipelago—a girl in a remote village dances on Tik Tok, construction workers play act while on the job. “This is like the amazing channel where they make their own content. They make these absurd jokes—like, local jokes. They just celebrate it. I don’t think they think about making content. They just want to record shit, but it’s kind of an explosion of this amazing and beautiful thing; of people crossing the Island and then showing them, ‘Oh, basically behind my house, there is a traditional party where people get possessed by a tiger’.” From the derivative metal, punk and rock influences of the country’s first ‘indie explosion’ to the ‘lowbrow’ pop and local dance music hybrids of funkot and dangdut koplo, PUXXXIMAXXX is a brilliantly chaotic pastiche. It references breakcore and gabber while framed by traditional gamelan pentatonic scales. There’s the high-pitched trumpet opener of Sangkakala I and the ritualistic beat and looped vocal samples of Hey Nafsu, along with a fascinating montage of the Javanese jathilan possession dance for their wildly popular Dosa Besar music video. “If you think we’re doing ritualistic stuff, or playing gamelan, we’re not,” adds Kas. “We are around that area but at the same time, we also listen to Prodigy.” GMO’s speculative Indonesian rave is infectious. It’s been dubbed ‘post-alay’ by the duo in tribute to the cheesy cultural phenomenon of the suburban teenager and has since caught on worldwide. Follow-up EP HOXXXYA was released on Shanghai label SVBKVLT in 2019, earning the band slots at CTM Berlin, Kampala’s Nyege Nyege Festival and performances in China with Asian Dope Boys. This is a level of recognition that’s well-deserved for a sound that snubs the western canon in favour of a hybrid post-colonial sound that’s pure imagination. “We just kind of like suck that energy that, actually people kind of enjoy their identity,” says Kas. “Especially the people not from the big city, because people from big cities, they always want to have confirmation from the West. Like, ‘I would love to play techno, and then play in Berghain in Berlin and LA’, that kind of stuff. But there is a layer that people don’t give a shit about that, they just want to have fun.”

Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.

Portugal-based percussionist Gabriel Ferrandini spent years honing his skills in various free jazz ensembles, where he demonstrated his absorption of the styles of pioneering rhythm liberators like Sunny Murray and Milford Graves while forging his own energetic and agile sound. During this time, Ferrandini performed with everyone from Evan Parker and Alexander von Schlippenbach to Thurston Moore and Dirty Beaches' Alex Zhang Hungtai. At some point, the percussionist grew restless and began taking a more compositional approach, using his drums as primary sources from which to produce spectral tones and timbres via electronic manipulation. In Ferrandini's hands, cymbals become generative instruments with endless reverb tails and choir samples are distilled into vapor. With its subtle evocations of light and color and meticulous editing, Romance suggests an almost cinematic scale. The strings and grainy synthesizer of "Crying Game" lend an air of giallo dread to the deep sub-bass rumbles; "Afters Lisboa" processes cymbal crashes through a Leslie speaker to create a siren-like Doppler effect; "Fallen Angels," one of the few tracks to feature Ferrandini's mostly untreated percussion work, stacks layers of reverb effects of varying lengths (an old Autechre trick) to add friction and give the spatialized sounds a dissociative quality. Album highlight "Cova da Vaporwave" utilizes creative sidechaining, warbly VHS-like tones and drums amplified through a Fender Twin to gather apocalyptic momentum. Romance is a formidable artistic statement, establishing Ferrandini as one of the most vital composers on the contemporary avant-garde music scene. He is influenced by Renaissance composer Carlo Gesualdo, whose passionate yet dissonant chromatic approach can be detected throughout the album's seven uncanny tracks.

"UM" is the debut solo album by Gabriel Milliet, a singer-songwriter and multi-instrumentalist. It was digitally released by Matraca Records in September 2023 and was created during Gabriel's time as an immigrant in The Netherlands.

The album's poetry, which is both melancholic and hopeful, draws inspiration from the coast of the Atlantic Forest in Brazil, the bustling life in São Paulo, letters exchanged with distant friends, and reflections on facing life in the present moment while seeking inner peace.

The music in "UM" features moments of impressionism and baroque inspiration while maintaining honesty and a truthful sound. The album incorporates flutes, strings, percussion effects, analog synthesizers, and melodic drumming alongside guitar and vocals, resulting in a delicate album filled with sonic details, rich harmonies, and emotional melodies.

Parasymbiosis – the ability of two separate organisms to exist closely together I have long pondered the concept of connectedness in relation to life’s existence. The Dalai Lama teaches that destruction of one’s neighbour equates to destruction of oneself. In contrast, modern Western culture has placed the individual at the epicentre of existence – to the detriment of non-humans and humans alike. Ecological Memory influences present or future responses of a community; it is this shared memory that enables organisms, objects and the environment to connect to each other, and to the other. What happens when a community or ecological system loses this memory, this connection? The systems begin to break down; intergenerational memory evolves in rapid short steps, culture and connection becomes unrecognisable. Time speeds up. Yet with the naked eye, the universe reflects slow time. Its very distance provides a sense of stasis. Understanding the night sky could very well be the vastness of time we have forgotten through our ecological memory, our loss of the visible difference between the likes of night and day; non-referenceable and dictated by intangible rhythms that exist beyond the cyclic elements of nature. Through Parasymbiosis I imagined sounds of the inherent connection between the earth and the universe. Contemporary society has rendered invisible the heritage of the night sky and what it teaches us. The wonder and awe it inspires, in its pure, unadulterated form untouched by light pollution and modern satellite activity, has always informed non-human and human life cycles and human culture. In modern times, only 40% of human beings can still see the Milky Way. We have forgotten that the dark sky and the earth reflect each other – they are, as a metaphor, parasymbiotic. The Electric Cristal (EC) features strongly in Parasymbiosis. It is a microtonal, electro-acoustic instrument that has captured my imagination through its deep and fragile resonance created by touching glass rods encased in aluminium. Ceated by Dylan Crismani (AUS) in 2019, the EC conjures vast soundscapes. Electronics exploit the volatile vibrations and random frequencies that the instrument generates.

consciousness through ecstatic dance. Gabrielle Roth & The Mirrors were a world unto themselves.

Despite featuring an extraordinary cast of musicians (with credits including Sun Ra, Pharoah Sanders, Miles Davis, Santana, Stevie Wonder, Milton Nascimento and much more) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.

Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhythms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming.

Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”

At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years.

The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”

Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

Pleasure For Music present a reissue of Gail Laughton's Harps of the Ancient Temples, originally released in 1969. Gail Laughton, born Denzil Gail Laughton (1921-1985), was an American jazz harpist. He worked in Hollywood, playing on many film and cartoon soundtracks. Originally released in 1969 on the small imprint Rapture the record has been produced by famous sound engineer Paul Beaver (Beaver & Krause, Lalo Schifrin & Orchestra) the man who introduced the Moog to Stevie Wonder and Frank Zappa. Standing on the verge of both modern classical and space age, the record featured the track "Pompeii 76 A.D." as heard on the movie Blade Runner (1982). Gail Laughton can easily be considered a forerunner of new age, as documented on the highly influential compilation I Am The Center: Private Issue New Age Music In America, 1950-1990 assembled by project manager Patrick McCarthy for Seattle based Light In The Attic. "The shimmering, ethereal quality of the harp sings out under [his] loving care."

Gak Sato & Tadahiko Yokogawa — RENGA. Inspired by the Japanese poetic form of linked verses, this 10-track journey spans ambient, jazz, breakbeats, electronica, environmental music, techno, cinematic, library music, musique concrète and somewhere in between, with artwork by Aoi Huber Kono. Limited Edition.

When his Brazilian LP first appeared on Philips in 1967, both Gal Costa and Caetano Veloso had released only a few singles individually, so this is the first long player from either of them. Although presented as a team effort, this LP is actually mostly Caetano Veloso’s work, with him composing, performing and arranging most of the songs. Gal is featured as the solo vocalist on a few tracks and there are a few duets. These are almost art songs with a tropical wrapping, sometimes defying normal pop song convention by quickly fading out after only 90 seconds or so without a hook or chorus to grab onto, but there’s great vocal control and careful use of strings in the arrangements. This captures a moment when bossa nova was the best known musical export of Brazil, largely through the hugely popular work of Jobim and Astrud Gilberto, but neither Costa nor Velosos would ever sing and play so gently and lushly as this again…they both were to be major figures in the psychedelia-influenced Tropicalia movement that became a cultural and political force in Brazil only a year after this LP was released.

Essential 1969 album from Gal Costa, one of the defining voices of the Tropicalia movement. It showcases a bold fusion of psychedelia, Brazilian pop, rock, and samba, featuring standout tracks like Caetano Veloso’s ‘Baby’ and Caetano and Gilberto Gil’s ‘Divino Maravilhoso,’ as well as songs written by other iconic artists such as Jorge Ben and Erasmo Carlos. A timeless classic that still sounds fresh and relevant.

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every ​​electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying." As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday Night in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. The first sessions were loose. “I wanted to feel like you were tripping, maybe having a bit of heatstroke, or dehydration. Your body feels detached, your jaw clenched. People become furniture. Light becomes the main character, surfaces show their age in real-time. Wabi-sabi shit.” Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. "I was able to generate moods quickly now, a pad crying like a dozen detuned french horns. Frequency dithering towards red. An 808 comes to the forefront." Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. "In his straightforwardness + my willingness at the time to take the opportunity for what it's worth, I decided to go for broke and finish a lil mix, sort of like a rap mixtape you'd find off Datpiff.com." 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like “Fifty” and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run — the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lustwerk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favorite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can’t let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express loneliness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you." 100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every ​​electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying." As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday Night in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. The first sessions were loose. “I wanted to feel like you were tripping, maybe having a bit of heatstroke, or dehydration. Your body feels detached, your jaw clenched. People become furniture. Light becomes the main character, surfaces show their age in real-time. Wabi-sabi shit.” Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. "I was able to generate moods quickly now, a pad crying like a dozen detuned french horns. Frequency dithering towards red. An 808 comes to the forefront." Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. "In his straightforwardness + my willingness at the time to take the opportunity for what it's worth, I decided to go for broke and finish a lil mix, sort of like a rap mixtape you'd find off Datpiff.com." 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like “Fifty” and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run — the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lustwerk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favorite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can’t let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express loneliness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

It all started in 2018 when experimental musician Raquel Bell released a solo record and was invited by Mike Watt to be interviewed on his radio show - The Watt From Pedro Show. Raquel and Jared Marshall (Primary Mystical Experience) just happened to be in Los Angeles at the time. It was the early days of Galecstasy on the road, and they were somewhat living out of the tour van. Raquel and Jared played experimental music and free jazz together after both of them had played in bands and as solo musicians for many years. Raquel asked Mike Watt if they could do his radio show in person at his house, worried that they might not find a good internet connection while bopping from place to place in the tour van. Watt said yes! Galecstasy then drove out to Watt’s hometown of San Pedro, home of the largest port in North America and the birthplace of The Minutemen.

All three musicians sat on Watt’s carpeted living room floor surrounded by incredible records and mementos of music history. Before the live interview began, Watt reached over and held up D. Boon’s guitar and handed it to Raquel. Tears filled her eyes as she strummed, feeling the presence of one of her musical heroes. The Minutemen had influenced most every musician that came across their sound and had immortalized their lead singer, D. Boon as well as their now legendary bassist, Mike Watt. It was in this context that the three of them, Bell, Marshall, and Watt, got to know each other on-air.

Soon after this, in early 2019, Watt brought his Secondmen Trio to play Galecstasy’s music residency at The Grand Star Jazz Club in historic Chinatown, Los Angeles. It was an appropriate second meeting place as the plaza at Sun Mun Way had been the scene of some of the first punk and jazz music in Los Angeles many years before. After the show the three of them agreed to get together again and make a record some day.

They set the date for April 2020 for Watt to travel to Galecstasy’s recording studio in Joshua Tree, California. Nobody knew at the time that the pandemic was coming! Naturally everyone was quite disappointed that the recording had to be rescheduled. But it simply meant that when it did happen it was going to be truly special.

The day finally came In June 2022 and Watt and Galecstasy went into the studio. Primary Mystical Experience had spent time in preparation deciding on which microphones to use, where to place the mics and amps, which compressors, everything was perfectly set in anticipation of the recording session. Raquel Bell had been concocting which synthesizer sounds she wanted for the leads, making detailed notes and settings. The idea was to play completely free - no direction - no bandleader - no songs - nothing decided in advance - just to play in one room together for the first time and see what each musician would bring to the sound. The result of this experimental session is what you hear on “Wattzotica”. Very late that same night the three of them listened back to what they had recorded and a celebration under the desert night sky ensued.

The next morning Raquel awoke and discovered a young rattle snake in a perfect coil taking a nap a few feet away from Watt in the doorway. In that moment she knew that the record was going to be a success. They performed live as a trio for the first time out in the desert at the old Firehouse Outpost later that night.

The music from the recording session was then cut into tracks and mixed by drummer/producer Primary Mystical Experience. Once the record was finally ready it was mastered by Grammy-nominated Joe Lambert Mastering in New York City.

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music. Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. “Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities. As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like. – exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

Described by the Wall Street Journal as “one of modern music’s most compelling vocalists,” New York-born and Tamil Nadu-raised singer and multi-instrumentalist ganavya shares an ambitious new album, "Daughter of a Temple", via LEITER. The album follows her performance at SAULT’s acclaimed live debut in London in 2023, where, according to The Guardian, her “voice had a delicate emotive heft that could turn stoics into sobbing wrecks.” Her first single for LEITER, "draw something beautiful," was released earlier this year in July.

For "Daughter of a Temple", ganavya invited over 30 artists from various disciplines to a ritual gathering in Houston. Consequently, the album features numerous contributors, including renowned musicians such as esperanza spalding, Vijay Iyer, Shabaka Hutchings, Immanuel Wilkins, and Peter Sellars. The results—an innovative and deeply moving blend of spiritual jazz and South Asian devotional music—were initially recorded by Ryan Renteria and then further edited and mixed by Nils Frahm at LEITER's studio in Berlin in 2024.

2x LP with printed inner sleeves. A strong tip on this one! South-Asian vocalist, multi-instrumentalist and composer Ganavya releases her new studio album “Like the sky I've been too quiet” on Shabaka Hutchings’ Native Rebel Recordings. The album features contributions from artists including Kofi Flexxx, Floating Points, Carlos Niño, Leafcutter John and Mercury-nominated bassist Tom Herbert. Since graduating from Berklee College of Music, UCLA and Harvard, Ganavya has quickly become a much-in-demand artist on the US scene who consistently confounds expectations. Hailed as “among modern music's most compelling vocalists” (Wall Street Journal), “most enchanting” (NPR) and "extraordinary" (DownBeat), Ganavya has worked with an array of luminaries including the likes of Quincy Jones, Wayne Shorter and Esperanza Spalding and on new album "Like the sky I've been too quiet" she presents thirteen compelling tracks which showcase her ethereal voice and numinous energy.