MUSIC

A one-sided 7” single! A great and rare song, never before reissued, an early 80s electric molam classic produced by Surin Phaksiri. This release celebrates “Classic Productions by Surin Phaksiri 2: Molam Gems from the 1960s-80s”, an upcoming EM Records compilation spotlighting this legendary producer; however, this song will not be available on the compilation, so get the vinyl or DL, and don’t miss this groovily swaying paean to the pick-up truck share taxi, performed by Chabaphrai Namwai and molam queen Banyen Rakkaen. Remastered and lacquer cut by D&M Berlin, with English and Japanese lyrics translations. Hop in and let’s go! 

Footnotes: 
‘Songthaew’ is a passenger vehicle in Thailand and Laos adapted from a pick-up or a larger truck and used as a share taxi or bus. This molam tune “Lam Phloen Songthaew Fan Club” is about the period in which Songthaew began to appear as a new means of transportation for people in Thailand.

The goddess of British folk mythology, Vashti Bunyan's first self-produced and final album.
It's been 9 years since the previous work Lookaftering. When she was recording alone, which she liked, she produced most of the work herself, trying to return to the state before the release of the masterpiece "Just Another Diamond Day". Therefore, it seems that this production time was necessary, but Vashti Bunyan. All the sounds that come out are Vashti Bunyan. The warm singing voice and the world of poetry, the simplicity of the performance packed with it, is a crystal that no one else can create... The artwork is produced by her daughter Whyn Lewis following the previous work Lookaftering. It is said that it is paired with Lookaftering.

"Rhythmic Brutalism" is the title of this release, available also as a double CD set or two separate 12" vinyl LPs; the title is also a very apt description of the music itself. Romania-born Alexandra Atnif is fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnifs music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

Because it was released between 1975's proto-ambient DISCREET MUSIC and 1979's similarly-titled AMBIENT 1: MUSIC FOR AIRPORTS, 1978's MUSIC FOR FILMS is often mistakenly lumped in with Brian Eno's ambient releases. However, while MUSIC FOR FILMS shares some of the facets of Eno's ambient music, particularly in the lack of vocals, the structure of the album precludes its description as an ambient release. While Eno's definition of ambient music focuses on the extended length of pieces and their meditative content, the 18 tracks on MUSIC FOR FILM are very brief--only one reaches four minutes and half are under two--and they cover an appropriately cinematic range of moods, from tranquility to fear. At times, Eno and his collaborators, including Fred Frith, Phil Collins, and John Cale, recall such soundtrack composers as Bernard Herrmann and Nino Rota, but MUSIC FOR FILMS is quintessential Eno.

This is the first solo album in six years from British musician Richard Greenan, who runs Kit Records and is a resident DJ at NTS Radio. The album features contributions from BAT (Best Available Technology), Yaaard, Mr. Beatnick, and other artists from the surrounding area. Rehearsing Heat" is an ambient jazz/modern classical masterpiece. Topple a River" is a classic drone/classical piece with shadows and nostalgia, and a glitchy underwater ambient picture scroll "Roméo Wept", which seems to have been dedicated to Roméo Poirier, is full of great tracks. Limited edition of 300 copies.

We enjoyed comping Volume one so much and had such a positive response, we went right onto producing For the Love Of You Volume 2.

Having bumped this in the car for months I can assure you Sam’s selection here probably betters the first. Again it is strictly soul covers featuring interpretations of Grover Washington Jr., Midnight Star, Meli'sa Morgan and Simply Red and loads more.

Its been great working with Sam brining attention to such a wonderful UK music scene and we both would like to thank all the artists and producers who went the extra mile to make this happen…

…The end of 2021 just got a bit sweeter.

Includes the song "Why can't we live together", which has been covered by Sade and has been used as a sampling source for many other songs. The first album by keyboardist Timmy Thomas, released in 1972. This is a masterpiece of Miami soul with a new soul flavor, using only the rhythm box and Hammond organ, which were rare at the time.

Recorded between between 1963 and 1967. Tracklisting: Tiny Pyramids, Between Two Worlds, Music from the World Tomorrow, Angels and Demons at Play, Urnack, Medicine for a Nightmare, A Call for All Demons, Demon's Lullaby. 

Originally released on SATURN in 1970, this album has been reissued. cosmic echo, modern jazz, experimental elements and Sun Ra's modal playing.

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.

Jamaican singer-songwriter Micah Shemaiah, who has been producing a musical message with a keen focus on the relief of Rastafari and the unification of Africa for more than 10 years, has released the latest album of 21 years from for the first time in 3 years. The work consists of eight vocals and two dubs, produced by Zion I Kings. Following their trademark hardcore roots reggae style, Micah's vocal genius is greatly introduced.

The long-awaited repress. Limited edition. Paradise Cinema, a new project by multiplayer Jack Wyllie, who is also known to participate in the next-generation jazz trio "Szun Waves" formed by Luke Abbott. An ambitious work recorded with Khadim Mbaye (saba drums) & Tons Sambe (tama drums), a percussionist of the country's dance music "Mbalax" in Dakar, the capital of Senegal, is released as an analog from Manchester's . A masterpiece of gems that blends from Balearic to ambient, drone, minimal rhythms derived from West African music, and even Jon Hassell's Fourth World in a rich jazz feel!

The long-awaited repress! The label's Warfaring Strangers Comp and Josefus-based proto-heavy metal hot 71st edition !! Missouri's unknown four-piece heavy psychedelic, Bulbous Creation's only album is back from Numero!

Highly recommended for fans around ~ ~ ~ ! The latest work of Garrett, a nickname of the famous writer "DAM-FUNK" who has been released from etc., is now available from the prestigious who wants the title of the world's best excavation label! It feels good ~. The endlessly refreshing sound of the resort is still alive in the 20s! A good downbeat / modern boogie / chill-out that shines into the twilight of cosmopolitan.

Music From Memory · A3. Garrett --Room With A View (5:32)

Psychedelic music all began with the tiniest possible bang: a minuscule pressing of a self-produced LP by Zen Buddhist scholar Alan Watts. In one cosmic flash of inspiration and group improvisation, the next two decades of musical innovation was pre-supposed: psychedelic rock, spiritual jazz, and even new age. As this micro pressing barely made it out of the ashram, it was his writings that actually spread his ideas, usually through osmosis: he was profoundly influential on the beat poets and the subsequent counter-culture. He became the forebear of '60s counter-culture's spirituality, much as William Burroughs was the forebear of its hedonism. Released in 1962, This Is It is an imaginative cacophony of percussion, non-verbal chanting, and free-flowing expression, punctuated occasionally by leisurely passes at a terrestrial piano, marimba, or french horn. It is at once, experimental, intellectual, and experiential. Three years before Ken Kesey's inaugural Acid Test, This Is It! constitutes the first transmission for a tuned-in counterculture of hippies, beats, and psychedelic revolutionaries of all stripes.

Satomimagae’s Hanazono is an invitation to revel in your immediate and imagined surroundings, to make time and space for guileless curiosity and garden variety enchantment. A tribute to everyday mysticism, Hanazono is an ecology of simple, cyclical refrains and elegiac entreaties cross-pollinating with ludic and layered folk vibrations.

Conscious avant-garde free jazz featuring Roland P. Young originally released in 1975 on the eclectical 1750 Arch records.

“1750 Arch was a beautiful Spanish-style hacienda,”recalls composer and multi-instrumentalist Roland P. Young. “It had a wonderful recording studio in the basement and the salon was converted into an intimate performance setting.” Young played solo gigs at that venue, in Berkeley, California, and also performed there in a duo with cellist Chris Chaffe. He remembers it as a particularly “transcendent” setting for concerts by Infinite Sound, his trio with singer Aisha Kahlil and bassist Glenn Howell.

Infinite Sound’s Contemporary African-Amerikan Music appeared in the uniquely diverse 1750 Arch catalogue in 1975. For Roland Young such a context was not incongruous. Contemporary African-Amerikan Music is a title that positioned the record quite specifically in 1975. But Young shares Buckner’s distaste for labels that fix expectations too rigidly and close down creative possibilities. Culturally and politically the early 70s appeared to Young to be a time of change and spiritual renewal. “There was a vibe in the air that we connected with, along with other kindred spirits world-wide. What appeared to be ‘experimental’ was reaching for sounds and emotions that were unfamiliar. We often performed at rallies in support of various causes: Black Liberation, Women’s Movement, Anti-War Movement, Gay Liberation. While the music came out of the Black Liberation struggle our ultimate goal was a blending of cultures.”

In 1968 Young was working as a DJ at KSAN, an underground rock station in San Francisco. “Glenn Howell used to call me when I was on air to comment about the music I was playing. He told me he was a musician and I invited him to come down to the station. We started to talk about music, then decided to get together and play. Young and Howell met Aisha Kahlil at one of their concerts. “A mutual friend introduced her and told us she was a good vocalist, loved our music and wanted to sing with us. We invited her to a rehearsal and soon after we invited her to join the group. Infinite Sound came together very easily and had a natural feel. We definitely had a shared intuition, and we created a lot of music. Each of us would bring ideas to rehearsals and we would work on them. Glenn tended to bring jazz tunes, Aisha tended to bring African-influenced compositions and I brought world, electronic, classical, jazz and avant garde material. Occasionally we would rearrange standards by composers like Duke Ellington and Charles Mingus. We talked a lot about how to present our material and how compositions would flow, one to the other. We were also conscious of how we dressed for performances, how we moved on stage, how we interacted with each other and the audience. We wanted it to be a ‘happening’. On occasion we would invite dancers to perform with us, friends of Aisha.”

Contemporary African-Amerikan Music preserves a fascinating glimpse of the trio in action. It testifies to the energy that Infinite Sound channelled into their music, but also to their imaginative breadth and expressive versatility.Their compositions embrace mobile forms, with Howell’s buoyantly springy and resilient bass taking on a strong pivotal role around which Young’s horns and Kahlil’s voice dance and spar and soar and play. Well-defined rhythms dissolve into textures; melodic shapes soften into shadings of timbre or flare into exuberant bursts of tonal colour. The music’s mood swings unpredictably from flamboyance to introspection; pacing shifts spontaneously from languor to urgency. Moments of musical allusiveness, sly quotation or stylistic reference, mutate into passages of wild inventiveness.

Tantalisingly this stimulating and varied set of pieces was this trio’s only release. Times have changed, yet increasingly in recent years creative artists have come to accept the need to erase musical boundaries and erode the constraints of aesthetic categorisation. Infinite Sound, and their enlightened host Tom Buckner, were decidedly ahead of the game.

- Julian Cowley

An Island In The Moon is the perfectly conceived minimal ambient project from Italian composers Pier Luigi Andreoni (Doubling Riders, ATROX) and Silvio Linardi. Andreolina being a mix of the names of the two musicians who were both deeply involved with the label Auf Dem Nil on which the album was originally released in 1990.

The duo stick to a disciplined and simple palette using only two synthesizers and a Roland S50 sampler. They are joined by fellow electronic journeyman Riccardo Sinigaglia who contributes piano and samples on two tracks. Taking influences from Italian minimalism while adding some jazz hints Andreolina sprawls, weightless instrumentals that never stay soporific for too long on this singular rare album.

Auf Dem Nil or ADN was one of the most adventurous Italian record labels of the 80's and early 90's with releases by De Fabriek, Riccardo Sinigaglia and Pierre Bastien. Leaving their mark on the experimental music scene back than and influencing musicians worldwide up until today.

Edition of 500 copies.

An amazing property has arrived. Don't miss this one. TIBOR SZEMZŐ is an experimental musician and media artist from Budapest, Hungary, who is part of the legendary "Group 180" ensemble that has performed with Steve Reich, Philip Glass, and Frederic Jevsky of MEV. TIBOR SZEMZŐ is an experimental musician and media artist from Budapest, Hungary, whose masterpiece "Snapshot from the Island" with László Hortobágyi was also reissued on LP. A Guest of Life" was released in 2006, and was inspired by the life of Alexander Csoma de Körös, a 19th century orientalist. A total of 14 newly layered tracks are included. The result is an avant-garde modern classical masterpiece that will appeal to lovers of fourth world and imaginary landscape!

The Caife label was an undiscovered sweet spot in Quito, Ecuador, in the 1960s. Honest Jon's presents a compilation album of 24 tracks from the label's fascinating catalog, guided by an expert. The unprecedented oil boom and the influx of musical styles from abroad, such as cumbia. Before that, the music was left over from the golden age of Ecuador's Musica Nacional. This is a masterpiece compilation that captures the painful, beautiful, fantastic, and utopian music that fuses indigenous and mestizo traditions. This is just an unknown zone. High quality press at . Comes with a luxurious full-color booklet.

The first vinyl reissue of Flow Goes The Universe, released only on CD in 1992 and regarded as one of Laraaji's greatest works!

Born in 1943, New York-based new age/ambient legend Laraaji is still active today.
Born in 1943 in New York City, Laraaji is a living legend of new age/ambient music. After seeing him perform in Washington Square Park, Brian Eno invited him to participate in Ambient 3: Day of Radiance, the third installment of Eno's Ambient series, which was released in 1980.
After that, he has collaborated with various artists such as John Cale (Velvet Underground), Harold Budd, Bill Laswell, Pharaoh Sanders, Haruomi Hosono, Audio Active, etc. He released his masterpiece "Flow Goes The Universe" only on CD in 1992, and this is the first vinyl reissue!
The album was recorded at studio sessions and live concerts in Tokyo, Osaka, New York, and the Lake District in England, and was edited by guitarist Michael Brook, who is known for his collaborations with Brian Eno, Robert Fripp, and David Sylvian.
For this reissue, Stefan Betke, who is also known for his work with Pole, did the cutting for this album, which is regarded as one of Laraaji's best works.
The LP is housed in a gatefold sleeve redesigned by David Coppenhall based on the original design.
The liner notes include a rare interview with Laraji by Andrew Parkes.

From the uncharted musical worlds of Azerbaijan and Martinique to the underground of Switzerland and the electrified rai of France, Bongo Joe is the great sanctuary of contemporary obscure world music. Derya Yıldırım & Grup Şimşek, a group of Anatolian psychedelic pop singers from Germany who made their debut in 2017, have released their second album in two years on the same label. Their latest album is the ultimate in modern ethno-psychedelia! With this album, they once again enter a new zone by shining a light on classic Anatolian songs from a modern perspective, not only for fans of Selda and Edip Akbayram, but also for fans of Altin Gün, Geometric Patterns and Khruangbin!

Limited clear vinyl edition. No matter how long it's been since Phew's debut solo album, made with CAN's Holger Schukay and Jaki Liebezeit in the studio of art punk band Arndt Sally and Connie Plank, he's not about to let us down.

New Decade," her first album on MUTE in almost 30 years, is a resolute rebuttal to the world's self-absorbed phonies, "I wanted to get rid of sentimentality. I guess I'm lucky," she says, "considering my current situation. Last year, I was especially lucky to be alive in a way. As a musician and an artist, it's a privilege to be able to speak your mind openly and honestly under such circumstances, and I felt that I shouldn't abuse it.

This has been a guiding principle for Phew in recent years, as he has created a number of solo works that combine his distinctive vocals with feverish drone synthesizers and brittle drum machines. Long before the pandemic, she was accustomed to working on her productions in the isolation of her home, even keeping her voice down so as not to disturb her neighbors. In "New Decade," the atmosphere is more and more intense, which she attributes to her absence from touring for the past 18 months. The bleak, haunting album is composed of empty words, unspoken screams and moans chanted in English and Japanese against a backdrop of cracked, dubby electronics.

The title "New Decade" used to mean hope and dynamism, but many of the newspaper and magazine articles published at the dawn of the 2020s predicted how much worse things would get in the future. "Thirty years ago, the word 'new' was synonymous with progress and things getting better," says Phew, recalling the expansionism that fueled Japan's bubble economy in the 1980s. "And there's a loose concept of time perception that runs through the album. "In the 80's and up until the 90's, things were moving from the past to the present to the future, but I feel that this has changed, especially since the beginning of the 21st century. Personally, I don't see a future that is connected to the present anymore." This is reflected in the disorienting nature of her current work. Phew is not deliberately retro like many analog synth revivalists, nor does he waste time trying to keep up with the latest trends. Phew's music is timeless, resonating in its own frequency.

the masterpiece is repressed. Dope minimal experimental dub techno with dots and lines intersecting in a cold, dark monochrome space. It's a chilling space created by thoroughly inorganic acoustics, dynamic heavy bass, dubwise from a deep epicenter, and unsettling melodies. he sampled from Tarkovsky's "Solaris" and covered Pink Floyd's "Set The Controls To The Heart Of The Sun". The cover photo, taken by Mika Vainio herself, is also very beautiful.