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An overview of Laraaji’s earliest works, Glimpses of Infinity gathers selections from his 1978 debut Celestial Vibration and six additional studio sessions from the era. Full of discovery and wonderment, Glimpses of Infinity is a miraculous chronicle of new age’s most fabled artist. A condensed version of the 2023's sold out 4xLP Boxset.

The definitive collection of Laraaji’s earliest works, Segue To Infinity compiles his 1978 debut Celestial Vibration and six additional side-long studio sessions from previously unknown acetates from the same period. A lengthy essay by Living Colour’s Vernon Reid chronicles the origins of Edward “Flash” Gordon, illustrated with dozens of previously unpublished photographs that capture this beautiful and elusive young artist. Full of discovery and wonderment, Segue To Infinity is a miraculous chronicle of new age’s most fabled artist.

Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century.Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years.Now Vision Songs rewrites Laraaji's musical history. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as "We Shall Be Lifted", "All Of A Sudden", and "Is This Clear?" belong in any great American songbook.Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergically-spectacular anthems for a continually arriving new moment, "channeled," as Laraaji states in the album's eloquent liner notes, "from the sky," previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time.

Alleviated Records is proud to present a special re-issue of the Alien project. Larry Heard's productions always hinted at deepest outer space, but Alien was his first actual science-fiction record. It's almost as polished as the most mainstream dance production, but just as sublime as any Detroit producer. Heard's house roots often show themselves, while the chords and shimmering production make this an album almost on par with Heard's mid-'80s peak. The project was a recording & sound-development experiment that was mostly constructed around a Korg O1/W workstation keyboard.

reissue of Larry Heard´s Longplayer yahh

Alleviated Records presents the first-time vinyl reissue of Larry Heard's mid-90's gem "Sceneries Not Songs, Volume 1". The album stems from a time when the tempo slowed down and Heard reached a perfect synthesis of jazz influences, deep electronic ambiance and the house sound he was known for. The result is a brilliant album that should cater to both house and R&B heads alike. Now for the first time released as a 2x12'' with an extra track previously only available on cd.

Larry was born in Lawrence Park in the garden parish of St. Ann. He attended Keith Primary School and began his singing career in 1960 on the TOP DECK LABEL. Hits flowed from him, such as Too Young To Love and Snake In The Grass, I've Got Another Girl was recorded for Prince Buster. In 1968 the first reggae - hit, now a classic, was done by Larry, We all remember Nanny Goat with the sharp cutting guitar - riffs and the calypso sounding organ chords, Thelma followed and then Mean Girl, All these were on the Coxsone Label. Recently, Larry's hits have been I ADMIRE YOU, Brand New Baby, and Can't You Understand.
I now give you Larry's LP titles I ADMIRE YOU, 12 shots are here to thrill your reggae - infused soul. King Tubby's mixed the tracks, and Federal Records made the stamper, Quality processing from studio disc

originally released on Perception in 1973. A welcome reissue of this pure underground jazz classic from Newark, NJ's own Larry Young. He's in 'out' mode here, putting aside his more well-known styles (as heard on his classic Blue Note LP Unity) and laying down some Arkestra-style jamming alongside the shredding of James Blood Ulmer and some other underground cats. A killer melting of funky, cosmic, Eastern, Afro and free music vibes.

Recorded in Lary 7’s legendary apartment studio Plastikville over nearly a decade, Larynx is the first full-length retrospective of the East Village icon’s hybrid music and engineering practice. The record mobilizes 7’s array of homemade instruments, which he ‘frankensteins’ together from offcast and outmoded bits of technology. An ode to the long-lost Canal Street junk shops he frequented in the 1970s and ’80s, Larynx brings together numerous thrift finds and sonic inventions used in his theatrical performances and installations. To play “le concretotron,” a board covered with twenty years worth of unspooled magnetic tape, 7 runs a tape head topographically over the flattened strips, picking up snippets of their recorded contents. The spring tree, another of his contraptions, is simply turned on and left to its own devices; feedback loops cause the amplified coils to resound in space and slowly increase in volume. The track “Mechano-Bleep” features a pattern generator constructed from a telephone sequence switch, 150 oscillators from an electric accordion, a sewing machine motor, and an early computing system called a “select-a-board.” Meanwhile, antiquated electronic instruments abound—7 employs the Ondioline, a precursor to the synthesizer; a Philicorda organ; and a homemade Trautonium, among other gadgets. Following Delia Derbyshire of the BBC Radiophonic Workshop and Raymond Scott of Manhattan Research, 7 adopts a painstaking editing process that is entirely analogue. With lacquer cut directly from reel-to-reel and mastered by Paul Gold, Larynx is, in 7’s words, “the sound of the twentieth century going haywire.”

Lasse Marhaug has for 35 years been one of Norway’s most prolific and active sound and visual artists. As a producer, studio engineer, curator, photographer, designer, filmmaker, composer, improviser, self-publisher and writer Marhaug has worked across a wide range of formats. Collaborators include artists like Joe McPhee, Merzbow, Jenny Hval, Okkyung Lee, Jim O’Rourke, Paal Nilssen-Love, Kevin Drumm and many more. Despite being involved in hundreds of releases Marhaug’s solo albums are more rare efforts, and ‘Provoke’ marks the fifth album on Smalltown Supersound, a 25 year long collaboration that started in the late 1990s. ‘Provoke’ is the follow up to 2021’s ‘Context', and is the first solo recordings Marhaug has recorded since he moved back to his native home in the Arctic, northern Norway. Marhaug states that moving north again has given him a sharper focus and that the album could be seen as a meditation on how growing up in this rural environment shaped his aesthetics and approach to sound, music and form. While it can be a harsh and cold climate, northern Norway also offers, he says, an ever-changing palette of light and is an incredible landscape. While the music is largely electroni, ‘Provoke’ also features sounds recorded outside in the winter, which the final track’s ‘Minus 14’ title is perhaps a giveaway. The album took a year to record and was mixed during the two-month’s Polar night season, a time where the sun does not cross the horizon. The title ‘Provoke’ is like ‘Context’ an ambiguous word play. It means everything and nothing at the same time. Does noise music provoke anymore? Did it ever? What are its subversive qualities? One reference is the 1970’s Japanese photography magazine of the same name, an experimental small-press publication that with artists like Koji Taki, Daido Moriyama and Yutaka Takanashi at the forefront set out to subvert and find a new language for photography. The difference between photography in Tokyo in 1970 and electronic music the Arctic in 2024 is of course huge, but the radical attitude to form certainly shares common ground. Marhaug still does not consider himself a musician, but rather a visual artist that got sidetracked by the possibilities of sound. Musically ‘Provoke’ follows up where ‘Context’ left off, with an elegant mix of angular electronic juxtapositions and horizontal lines. Marhaug is now working with a stronger emphasis on pulse and rhythmic constructions, as well as more tonal and (almost) melodic elements. This clarity and sense of design makes the music come across as more defined and luminous. The music is less of a dense layer of fog, yet Marhaug manages to create a feeling of great depth and three-dimensional space. ‘Provoke’ is a journey through the elements, rippling time space and displacing gravity, but also grounded and earthbound. Music both as architecture and landscape, sound that describes light. ‘Provoke’ feels like a landmark and high point in Marhaug’s already extensive catalogue.

Laughing Hands worked in the experimental music scene in Melbourne in the very early 1980s. They were an improvisation group using tapes, synthesisers, guitar and hand percussion much of which was then treated through the synthesisers, producing their soft, insistent and rhythmic sound. “Dog Photos” was originally releasedin 1981 by band´s own label Adhesive records. The sounds in these 11 pieces are a combination of direct to tape & cassette to tape recordings, a perfect mix of electronic tape explorations, spectral synths shadings and foreground rhythm abstractions. For fans of Chris & Cosey, Dome, Cabaret Voltaire, Coil… Engineered by David Chesworth. Remastered at Plataforma Continental by José Guerrero. Released under exclusively license by B.F.E records 2020 *Postage prices are for standard mail. It has no tracking code. If you want registered mail with tracking code, airmail or any other way please get in touch.

After a long break, we're happy to present another masterpiece in The Fact Of Being collection. A long-awaited reissue of the legendary ambient/new-age album "Reflections" by Laura Allan with Paul Horn. The album was recorded in 1980 and marked by the participation of twice Grammy Awarded jazz legend flutist Paul Horn. The meeting of Laura and Paul was a true miracle that brought amazing fruit. Since 80th "Reflections" captivate the minds of spiritual ambient music fans all over the world. Magical sounds of flute, endless melodies of zither, Laura's heavenly voice lighted by meditative bells and synthesizers. A simple recipe but with great talents and unique results. Laura's reflections lead a listener to deep meditation, harmony, and to the eternal palace of inner peace. We hope you'll share with us the pleasure of listening to the record and the world become a bit more peaceful place for everyone. This is the first reissue on the vinyl since 1984 when the album was repressed the last time. After 38 years the record became collectors' dream and now it's available again as it should be. Moreover, as always, we love CDs and it's available as a limited DigiCD version. The record was mastered by Grammy-nominated Jessica Thompson which guarantees extra ordinal sound experience. Yes, a lot of Grammy here... Laura passed away on May 19, 2008, after a half-year battle with cancer. She was just 56. Enjoy Laura's art that makes her alive. Below you'll find memories by Steven Halpern: LAURA ALLAN ( 1952 -2008) was a gifted singer and songwriter who was a legend in the San Francisco Bay area in the early 1970s. REFLECTIONS is her beloved album, and features her original songs, one of which includes a collaboration with Paul Horn on “Passages”. Her voice and zither take center stage on “As I Am”, “ Waterfall” and “Nicasio”. Other artists, including Dallas Smith on Lyricon wind synthesizer, add to the mix. It is my honor and privilege to bring her music back into the world. I met Laura after her performance at a new age conference in 1975 held on campus at Sonoma State College. Her magical aura of angelic voice, luminous blonde hair, and energetic strumming or meditative Celtic harp-inspired zither, captured your attention instantly. My first LP had just been pressed, and this was my first public presentation. Nevertheless, my instincts were right on. Even though I had only one album and no track record yet, I invited Laura to record her album on my label. It was too early for both of us. Several years later, she signed with another local label, Unity Records. After Laura regained the rights to REFLECTIONS, she contacted me in the mid-1980s to see if I were still interested. Of course I was! She licensed the album to my indie label. I then re-released the LP and cassette on the Hear & Now imprint, (a division of Halpern Sounds) which was my main label name at the time. Our deal was actually a two album deal, and I would record and produce the album combining her voice and zither and my arrangements. Alas, that album was never completed." "In an unlikely collaboration between folk singer Laura Allan and New Age pioneer Paul Horn, Reflections capture two artists in perfect harmony of their talents. Allan, in addition to being an incredibly gifted songwriter, was something of a string instrument prodigy and made instruments for other Laurel Canyon heroes including Joni Mitchell and David Crosby. Her zither playing and vocals here match perfectly with the New Age aesthetic set by Horn and the sounds are beautiful and organic, characteristic of the early more experimental days of the New Age genre before it would later be marred by “easy listening.” Highly recommended for fans of Lauraaji, Alice Coltrane, David Casper, and Light In The Attic’s “I Am the Center” compilation." – Phil Cho

After a long break, we're happy to present another masterpiece in The Fact Of Being collection. A long-awaited reissue of the legendary ambient/new-age album "Reflections" by Laura Allan with Paul Horn. The album was recorded in 1980 and marked by the participation of twice Grammy Awarded jazz legend flutist Paul Horn. The meeting of Laura and Paul was a true miracle that brought amazing fruit. Since 80th "Reflections" captivate the minds of spiritual ambient music fans all over the world. Magical sounds of flute, endless melodies of zither, Laura's heavenly voice lighted by meditative bells and synthesizers. A simple recipe but with great talents and unique results. Laura's reflections lead a listener to deep meditation, harmony, and to the eternal palace of inner peace. We hope you'll share with us the pleasure of listening to the record and the world become a bit more peaceful place for everyone. This is the first reissue on the vinyl since 1984 when the album was repressed the last time. After 38 years the record became collectors' dream and now it's available again as it should be. Moreover, as always, we love CDs and it's available as a limited DigiCD version. The record was mastered by Grammy-nominated Jessica Thompson which guarantees extra ordinal sound experience. Yes, a lot of Grammy here... Laura passed away on May 19, 2008, after a half-year battle with cancer. She was just 56. Enjoy Laura's art that makes her alive. Below you'll find memories by Steven Halpern: LAURA ALLAN ( 1952 -2008) was a gifted singer and songwriter who was a legend in the San Francisco Bay area in the early 1970s. REFLECTIONS is her beloved album, and features her original songs, one of which includes a collaboration with Paul Horn on “Passages”. Her voice and zither take center stage on “As I Am”, “ Waterfall” and “Nicasio”. Other artists, including Dallas Smith on Lyricon wind synthesizer, add to the mix. It is my honor and privilege to bring her music back into the world. I met Laura after her performance at a new age conference in 1975 held on campus at Sonoma State College. Her magical aura of angelic voice, luminous blonde hair, and energetic strumming or meditative Celtic harp-inspired zither, captured your attention instantly. My first LP had just been pressed, and this was my first public presentation. Nevertheless, my instincts were right on. Even though I had only one album and no track record yet, I invited Laura to record her album on my label. It was too early for both of us. Several years later, she signed with another local label, Unity Records. After Laura regained the rights to REFLECTIONS, she contacted me in the mid-1980s to see if I were still interested. Of course I was! She licensed the album to my indie label. I then re-released the LP and cassette on the Hear & Now imprint, (a division of Halpern Sounds) which was my main label name at the time. Our deal was actually a two album deal, and I would record and produce the album combining her voice and zither and my arrangements. Alas, that album was never completed." "In an unlikely collaboration between folk singer Laura Allan and New Age pioneer Paul Horn, Reflections capture two artists in perfect harmony of their talents. Allan, in addition to being an incredibly gifted songwriter, was something of a string instrument prodigy and made instruments for other Laurel Canyon heroes including Joni Mitchell and David Crosby. Her zither playing and vocals here match perfectly with the New Age aesthetic set by Horn and the sounds are beautiful and organic, characteristic of the early more experimental days of the New Age genre before it would later be marred by “easy listening.” Highly recommended for fans of Lauraaji, Alice Coltrane, David Casper, and Light In The Attic’s “I Am the Center” compilation." – Phil Cho

Laurel Aitken, a true pioneer of Jamaican music and legendary rude boy, co-starred with Skatalites in the compilation "Original Cool Jamaican Ska" released by in 1964 (the title of the board is A re-edited work centered on Laurel Aitken's songs recorded in "After Sunset") has been released from ! Here is a wonderful combination that is the basis for being passed down from generation to generation. In particular, "Freedom Train," "Zion City Wall," "Let My People Go," and "One More River to Cross" have hints on the declaration of independence and spirituality that will influence later reggae music. be! Come and enjoy the pinnacle of pure Jamaican sound of the time, recorded intermittently at Kingston's Federal Studios in 1963!

Atlas, the latest album from renowned electronic artist Laurel Halo, is a suite of sensual ambient jazz collages, designed to take the listener on a roadtrip through the subconscious. Blending both synthetic ambient textures and acoustic instrumentation, the album is a series of endlessly listenable maps, rife with hidden detail. “Belleville” - the first single on Atlas - is a disarming piano ballad, recorded in one take during the spring of 2021. It's embellished with undertows of processed vibraphone, as well as a sudden, gorgeous stack of vocal harmonies featuring Coby Sey.

Atlas, the latest album from renowned electronic artist Laurel Halo, is a suite of sensual ambient jazz collages, designed to take the listener on a roadtrip through the subconscious. Blending both synthetic ambient textures and acoustic instrumentation, the album is a series of endlessly listenable maps, rife with hidden detail. “Belleville” - the first single on Atlas - is a disarming piano ballad, recorded in one take during the spring of 2021. It's embellished with undertows of processed vibraphone, as well as a sudden, gorgeous stack of vocal harmonies featuring Coby Sey.

Written and produced by Laurel Halo
Mixed by Cole MGN
Mastered by Jason Goz at Transition

Laurel Halo - Piano, synth, vibraphone, guitaret, vocals
Eli Keszler - Drum kit, dumbek, glockenspiel
Max D - Cowbell (Jelly)
Klein - Vocals (Sun to Solar, Jelly)
Lafawndah - Vocals (Jelly, Syzygy)
Michael Salu - Vocals (Who Won?)
Craig Clouse - Wurlitzer (Who Won?, Syzygy, Like an L, Do U Ever Happen)
Julia Holter - Cello (Do U Ever Happen)
Michael Beharie - Electric guitar (Moontalk)
Diamond Terrifier - Tenor saxophone (Arschkriecher, Who Won?)

“Sun to Solar” lyrics adapted from “Servidão de Passagem” by Haroldo de Campos (Something Else Press / Primary Information)

This recording was made at and with the support of the Curtis R. Priem Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy, NY.

Album design by Bureau Mirko Borsche
Photography by Phillip Aumann

Laurel Halo's debut album

Jessica EKOMANE « Manifolds » Entirely computer-generated, Manifolds is a work that explores the multiple possibilities of polyphonic writing, extending it to the “multiphonic” universe where sources and timbres diffract themselves in the listening space. The different voices of the composition no longer follow the traditional parallel trajectories of musical dialogue, but find themselves propelled as if into a particle accelerator, a “collider” freed from all formal rhetoric to reach a state of liberation of energies that is truly confounding. It is then that, in the multi-layered universe of sonic electrons, as if against its own will, a “chant” of overwhelming humanity is revealed. Laurel HALO « Octavia » (2022) Octavia, a piece for piano and electronics, explores the relationship between melodic motifs and textures in a singular way, intermittent moments of melody, harmony and sound materials connecting and disconnecting, to indicate a series of nets or webs, swaying in and out of one another. These sonic nets gently float, spin and merge, and the effect is one of gently floating over an abyss. The work is inspired by the “spiderweb city” of the same name in Italo Calvino's Invisible Cities: “Below there is nothing for hundreds of feet: a few clouds glide past; further down you can glimpse the chasm’s bed….Suspended over the abyss, the life of Octavia’s inhabitants is less uncertain than in other cities. They know the net will last only so long.” — François J. Bonnet, 2023

“Clockworks”, composed in the 1970s by computer music pioneer Laurie Spiegel at Bell Laboratories on the GROOVE digital/analog hybrid system, is a mesmerizing and mathematical polyrhythmic number. Machineries of Joy is proud to present two remixes of this seminal piece of electronic music. On the A side, SØS Gunver Ryberg turns in an intense and atmospheric interpretation of the original, while on the flip side, David Morley crafts an elegant, focused and hypnotic excursion.

The Expanding Universe is the 1980 debut album by composer and computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP or 2CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new 2018 edition. Since this album's first reissue in 2012, it has gone on to be widely established as a classic of electronic, ambient, and 20th century classical music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, "East River Dawn" and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s. The 3LP vinyl edition was cut by Rashad Becker at Dubplates and Mastering, Berlin.

The Expanding Universe is the 1980 debut album by composer and computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP or 2CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new 2018 edition. Since this album's first reissue in 2012, it has gone on to be widely established as a classic of electronic, ambient, and 20th century classical music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, "East River Dawn" and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s. The 3LP vinyl edition was cut by Rashad Becker at Dubplates and Mastering, Berlin.

We’re glad to be back with the second instalment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club. Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before. On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013. On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler. Ben’s instalment is out early October in loud 12” format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the Artists. Graphic design by Atelier ChoqueLeGoff, illustration and animation by Nevil Bernard and for the audiophiles out there, remastered and cut at half speed by Matt Colton at Metropolis Studios!

Rapid Light is the first quartet in Lauritz´s own name, formed in the winter of 2023. The quartet recorded this album in February 2024 in Studio Paradiso, Oslo, Norway - Together with the great sound engineer Christian Engfelt. Rapid Light is a result of a need to create a raw, powerful and open musical landscape where the musicians can thrive and explore together. The tunes are inspired by my love for strong melodies in orchestral film music and the raw energy and creativity in American and European free jazz. I have put together a band with some of the most inspiring and interesting musicians I know and I believe that together we make up a powerful quartet, which with the help of melodious compositions, great rhythmic drive, and a sincere urge to explore, conjures up a raw and energetic primal force.