MUSIC

Alison Statton of Young Marble Giants, an avant-garde / indie pioneer in Wales, has established himself as a masterpiece released from the prestigious Rough Trade in 1982, a band formed with guitarists Simon Booth and Spike. The debut album "La Varieté" has been completely remastered from And is a happy reissue! !! This work is a bold work that breaks the flow of post-punk by incorporating various elements such as bossa nova, afrobeat, and truly original contemporary exotic pop based on jazz! A masterpiece of Neo-acoustic that was highly evaluated by critics at the time of its release and had a great influence on Saint Etienne and Belle and Sebastian, who later became active in the indie world! !! Clear vinyl specifications. Limited to 500 copies.

South Africa is in fact the only country in the whole African continent that has developed a strong jazz tradition. Initially influenced by the great American stylists, (Ellington, Gillespie...) South Africa gradually developed its own soulful style based on a distinctive taste for melody and a deep sense of groove. Masterfully selected from the so-called "Golden Age" of the genre, (late '50s/ early '60s), this compilation represents the best introduction to the work of a large and varied body of musicians and composers who inevitably developed their music as part of the historical Anti-Apartheid struggle, and as means of self-expression in the dark times of exile. Kippie Moeketsi, Hugh Masekela (in The Jazz Epistles), Dollar Brand, Chris McGregor, Dudu Pukwana (in Chris McGregor & The Castle Lager Big Band), Mongesi Feza (in Chris McGregor & The Castle Lager Big Band), Barney Rabachan, Nick Moyake (in Chris McGregor & The Castle Lager Big Band), and of course the queen Miriam Makeba are just some of the main voices represented here. A bunch of true warriors. Also features John Mehegan, Dollar Brand Trio, and Gideon Nxumalo.

A marvelous compilation as tribute to the genius of Allen Toussaint, one of the greatest musicians, composers and arrangers in the history of American popular music as well as an incredibly influential figure in the New Orleans r&b tradition. "Nola Soul" features a selection of 16 Toussaint's productions within the crucial time frame 1960-1963. 16 gems performed by the cream of the New Orleans Scene, Irma Thomas, Lee Dorsey, Aaron Neville... The best of southern soul music experience, What else?

This double album retrieves a radio broadcast of the Grateful Dead dated 1970. The title refers to a concert in San Diego, California, without giving further indications: what is certain is that the repertoire includes some songs recorded for 'Workingman's Dead' (' Dire Wolf ',' Black Peter ', outtake' Mason's Children ') released in June of that year as well as covers of Otis Redding's' Hard To Handle', Rascals' 'Good Lovin' 'and Buddy Holly 'Not Fade Away', to country and western 'Me and My Uncle', to traditional 'Cold, Rain and Snow', 'I Know You Rider' and 'Goin' Down The Road Feeling Bad’ , framed by numerous jams.

‘The Syd Barrett of the avant-jazz scene’ British jazz composer, pianist, songwriter, Mike Taylor died tragically young, leaving just two albums as well as co-writes with Ginger Baker for Cream’s Wheels Of Fire album to his name. In 1973, under the direction of Neil Ardley, several of the performers who had worked with him recorded an album of Taylor’s surviving orchestral music, jazz tunes and songs as a memorial to him and to preserve his work as a composer and song writer for posterity. Taken from Ardley’s master tapes, this is their critically-acclaimed tribute to a master of his art by friends and colleagues, themselves representing a cross-section of the cream of modern British jazz talent of the day.

未発表デモ音源も収録したUKポストパンク・バンド、MEDIUM MEDIUMの決定的コンピが2LPリリース!! UKポストパンク・バンド、MEDIUM MEDIUMの決定的コンピレーション・アルバムが2LPがRECORD STORE DAY 2022に登場! オープニングナンバーにして代表曲"HUNGRY, SO ANGRY"は、数々のコンピにセレクト、言わずもがなのホワイト・ファンク金字塔的名曲。イントロのサックス、腰にビシビシとクるベース、鋭角的なギターと完璧! 1981年、UKレーベルCHERRY REDよりリリースされたスタジオ・アルバム唯一作『THE GLITTERHOUSE』収録曲に加え、ライブ音源、そして1982年10月のデモ・テープからの未発表曲を含む、NW / ポストパンク・フリークはスルー厳禁の内容! 完全リマスター / 180グラム重量盤 / 500枚限定プレス

Radiation Roots continues its exploration of Jah Thomas' Midnight Rock label with the releases of this sought after and rare early dancehall album. Recorded at the legendary Channel One Studio, Osbourne and Palmer are two sublime vocalists and they are backed here by The Roots Radics, with Scientist on the mix.

Reissue on vinyl for this classic album originally released in 1978 on Carib Gems. Arranged and produced by Bunny Lee. Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music.

This is the only album by Darris Carr, the legendary project of Japan's Mick Kahn and Bauhaus' Peter Murphy, which was released in 1984. The album contains seven songs, including the single "The Judgement Is The Mirror", which was recorded on Captain Beefheart's classic album "Trout Mask Replica". The band borrowed its name from a song on Captain Beefheart's classic album "Trout Mask Replica," and the artwork, which features a portion of Maxfield Parrish's famous painting "Dawn," was selected as one of FACT magazine's 20 best goth albums. For this RSD release, the album will be reissued on a limited-edition magenta vinyl with the latest remastering from the original analog tapes.

Rudra is Shiva, the Absolute Truth. It is truly music for meditation. Heir to one of the most important musical lineages in the North Indian classical=Hindustani musical tradition, the great man who contributed to the revival of Rudra Veena as a solo concert instrument, more widely known by its release than the Ideologic Organ sponsored by Stephen O'Malley His latest studio recording, made on January 6, 2020 at Studio Swarkul in Mumbai, India, is the latest in a long line of works by Mohi Bahauddin Dagar, the son of Ustad Zia Mohiuddin Dagar, who has unearthed much of the Italian avant-garde music of recent years. Recorded, mixed, and mastered by Maurice Mogard.

Ajdin Asllan was born in Leskovik near the present-day southern border of Albania on March 12, 1895. At the age of 30, on July 12, 1925, he married a girl named Emverije, who was one month shy of her 16th birthday, in her native town Korçë, about 80 miles north. He arrived in New York by himself less than a year later on September 20, 1926, and when he filed his Declaration of Intent to become an American citizen in 1928 as a resident of Detroit, he gave his occupation as "musician." Emverije joined him in New York City on July 27, 1931. Asllan appears to have made his first recordings in November 1931 as a clarinetist on four songs issued as 12” discs by Columbia sung in Albanian by K. Duro N. Gerati. In January 1932 he recorded again, this time singing and playing oud on three Columbia 12”s along with several Albanian singers and the violinist Nicola Doneff (born March 21, 1891 Dichin, Bulgaria; died July 19, 1961 New York). In 30s Asllan launched an independent label called Mi-Re (roughly “With New” in Albanian) Rekord primarily to release his own recordings, but it stalled out after about 6 releases. In October 1941 he accompanied a Greek singer and songwriter named G.K. Xenopoulos as an oudist along with the beloved Greek clarinetist Kostas Gadinis and accordionist John Gianaros for the Orthophonic subsidiary of Victor Records run by Tetos Demetriades. The trio of Gadinis, Asllan, and Gianaros cut another four sides for Orthophonic May 1, 1942. Shortly thereafter, Asllan relaunched his label as Me Re with the help of Doneff and then quickly renamed it, more generically, Balkan. Gianaros came in as a business partner, and Balkan released scores of records, some of them seemingly selling thousands of copies in the mid-40s, but Gianaros split angrily with Asllan after just a few years over money problems. By 1947, Doneff had trademarked the Kaliphon label, which drew from much of the same roster of New York musicians of the Greek- and Turkish-speaking performers as Balkan and apparently collaborated in distribution, marketing, and manufacturing into the 1950s, but some business distinction had been drawn. A third label, Metropolitan, was launched and became at catchall for further Greek, Turkish, Armenian, and Ladino material by New York players, but it's not clear who was in charge or how things were divided up. Maybe Metropolitan was started by Asllan as a separate business to dodge the taxman or old creditors? We don’t know. All three labels shared a standard black-on-red color scheme that, it would seem reasonable to guess, was based on the Albanian flag and Asslan’s original, core purpose as an artist and impresario. Adjin and Emverije lived during the 1930s into the 50s first at 143 Norfolk St. and then at 42 Rivington St. (where Asllan opened a record shop), in Manhattan's Lower East Side, where Eastern European Jewish immigrants surrounded the small Albanian community and Turkish-speaking Sephardic Jews, and abutting Little Italy and a strip of Greek coffee houses on Mulberry Street. He worked within a network of primarily Turkish- and Greek-speaking performers in New York and released recordings prolifically made both locally and overseas through the 40s and 50s. He corresponded with his brother Selim (who sings on track 1, side A, later worked on the radio in Tirana and co-founded the National Ensemble of Folk Songs and Dances) back home, who was able to secure masters of Albanian performers recorded in Istanbul and Athens along with performances by Turkish- and Greek-speaking stars including Rosa Eskenazi and Udi Hrant (both of whom subsequently made extended visits to the U.S.) Greeks and Armenians had, even at the low ebb of immigration during the 1940s-50s, substantial immigrant populations in New York and around the country - Boston, Chicago, Cleveland, and many other cities. Those markets kept the Balkan label afloat for nearly 20 years. But Asllan also issued about 40 discs for the Albanian-language market ca. 1945-50 (at which point he retained a 500-series numbering scheme for them, picking up where he’d left off with his Me Ri label a decade earlier), including both folk music of southern Albania and choral music, much of the latter anti-Fascist Communist songs. In addition, three discs were issued as part of Balkan’s Greek series of uncredited musicians from Pogoni and Konitsa, towns about 30 miles south as the crow flies from where Asllan was born. The total Albanian-speaking population in the U.S. at the time was less than 10,000, and many couldn’t afford record players. But despite the small market for Albanian-language songs, he made sure to release discs for his countrymen. It was a time of immense political and social turbulence in both Albania and Greece, and the sense of duty to music is palpable in his work. Balkan’s business model was haphazard. Its numbering system, if one can call it that, indicates a tendency to start a series, then add to it - or not - sporadically, driven largely the question, “can we sell 500 of these? (And if so, can we sell 1000?)” The last Balkan 78s were issued around 1959; a few LP releases appeared around 1960, more than 20 years after Asllan released his first discs. We know he visited his native home and family in 1951, 25 years after having become American. He died in New York in October 1976. He had no children, save the records. ========= We have so far been able to trace a biographical narrative of only one of the other immigrant performer among those who play on this collection, Chaban Arif, who apparently sings on track 9. He was born May 22, 1899 in Berat, Albania, attended school through the second grade, and arrived alone at Ellis Island on November 2, 1920 at the age of 19 under the name Aril Shaban. His intention upon arrival was to meet up with a cousin, Mahomet Hajrules (who, in turn, had arrived only six months earlier under the name Mehemet Airula) in Southbridge, Massachusetts. However, there was a family of four from Shaban’s hometown on the same steamship who were headed to Pittsburgh, Pennsylvania (via a stop first at the south Philadelphia home of a relative), so Shaban wound up in Pittsburgh. He filed his first papers to become a U.S. citizen in Canton, Ohio in 1925, but he had returned to Albania in June of 1928, where he married an 18 year old woman named Nadire, and by 1931 had returned to Allegheny County, Pennsylvania, where he was working at the Duquesne, Pennsylvania Carnegie steel mill. (When his cousin Mehmet Hajrulla filed his Declaration of Intent to naturalize as a U.S. citizen in 1937, he was a widower living on Braddock Ave. in Pittsburgh and working as a painter.) The 1940 census found Shaban Arif relocated to 55 Clinton St. on the Lower East Side of Manhattan, about seven blocks from Adjin Asllan’s place on Rivington. Arif told the census enumerator that he worked 60 hours a week, 52 weeks a year for $916 a year (about $17,000 a year in today’s money) at the counter of of a restaurant. The man he listed on his WWII draft registration card as his closest contact was named Kardi Braim, who gave his country of origin either as Albania and Macedonia on different documents, had himself worked for a brick manufacturer in Erie County, Pennsylvania in addition to a string of other laboring jobs and worked at the time at Stewart’s Restaurant. It would seem reasonable to guess that both Shaban Arif and Kardi Braim were in Adjin Asllan’s limited social circle of Albanians in the neighborhood in the early 1940s when he recorded on this song. The $1 that the disc cost could have represented three and a half hours of labor at the restaurant. We know nothing else of Shaban Arif’s life except that he died in New York City in September, 1971. (Kardi Braim died in 1978.)

Workshop caretaker Lowtec returns with two extended, collage-like tapestries of abstract house and disjointed electronics spanning early electronic intimations and hazy house structures. Stitched from studio research over the past few years, ‘Old Economy’ is presented as a reflection “of the end of the old economy” according to the pivotal Berlin producer and label owner. A sort of last signal from the transition between two eras, it balances classically searching, radiophonic optimism, with a more melancholic, even foreboding feel that could be taken as a Janus-faced metaphor for the artist’s feelings on the precariousness of a new decade. Perhaps more akin to Burial’s collage tekkerz or a long lost ambient house mix from Berlin’s halcyon days than a typical album, ‘Old Economy’ deeply absorbs in the lokey nuance of its layers and eddying flow. On the first side we hear him transition from intercepted dream signals and outta reach field recordings to plumb depths of murky house abstraction with a wonderfully groggy logic that sloshes between all its aspects, pooling into lush passages and flowing out into odder parts, on the B-side’s untangled fronds of electro-dub, bleary-eyed dub chords and beautifully blunted Berlin-style sensuality.

EM Records is proud to present a new tune from Chisako and Junta. Osaka-based Chisako and Junta is a vocal unit of MTG (Chisako), a member of Casio Toruko Onsen, and BIOMAN (Junta), a musician/DJ/designer and member of Neco-nemuru. In this duo, Chisako is in charge of vocals, while Junta is in charge of song production, visuals, etc. The song 'Yume no Umi' released in 2016 received a strong response and was followed by the first album “Chisako, Junta and You”. Their tunes are highly acclaimed for its works, which have the appearance of just ‘J-Pop’ but are embedded with strange musical details, including a sense of acoustics.

Jan Steele and Janet Sherbourne gained a reputation for being ambient musicians thanks to their appearance with John Cage on 1976’s Voices And Instruments from Brian Eno’s lofty Obscure series. But in a fascinating catalog spanning more than four decades, these English multi- instrumentalists’ variegated sonic sojourns have proved that label to be far too narrow. In the long-gestating, decades-spanning collection, Distant Saxophones, Steele and Sherbourne flaunt a nuanced vision that encompasses ECM-esque chamber jazz, minimalist modern composition, cinematic soundtracks, and an embryonic, contemplative form of experimental pop. Distant Saxophones—many of whose tracks have been re-recorded and improved from their original incarnations—invites you to lean in and bask in an interiorized zone of revelations. These songs simultaneously freeze time and exist outside of it. Community Library’s anthology is offered in a single LP format with a tracklist more limited than the CD version; the LP’s digital download ticket provides the full music set.

We Release Jazz announce the official reissue of Ryo Fukui's only solo piano album, recorded live, June 4-5, 1994 at The Lutheran Hall in Sapporo. Originally released on CD only by Sapporo Jazz Create in 1994, My Favorite Tune is a beautiful bop adventure which includes two superb compositions that Ryo Fukui wrote as an homage to his beloved Hokkaido region, the fan-favorite "Nord" and "Voyage", a tribute to his mentor Barry Harris ("Nobody's"), alternate versions of his mega classics "Scenery" and "Mellow Dream", and, last but not least, bewitching takes on timeless gems by Sonny Clark and Avery Parrish. My Favorite Tune plays like a cool summer night, full of contemplative notes and deep feelings, with Ryo Fukui baring his heart on the piano and displaying the soulful sophistication he is loved for. A true masterpiece completing his amazing discography. Comes with liner notes by Yusuke Ogawa. Sourced from the original masters. LP version comes on 180 gram vinyl mastered at half speed for full audiophile sound.

The 2022 repress that I'm happy with the rare one. It's a great sound field. French writer Ernest Bergez, who has left his works in famous places such as and , and the French drone band "France", which is also known to recur from the current New Age / minimalist sanctuary . Tanz Mein Herz is a large experimental folk group composed of members Jeremie Sauvage and Alexis Degrenier, a hurdy-gurdy player who is also active in network groups such as Ensemble Minisym and La Tene. A 2029 work consisting of a 2015 session sound source containing exceptional content! A powerful sound source jointly released by and . A mantra-like psychedelic and spiritual drone sound by hurdy-gurdy and bagpipes forms an overwhelming sound field while a strange folk lore of unknown nationality breathes. This is swallowed if you're not careful! Limited to 100 copies only.

Wisdom from the child’s mouth always tells us the truth. It’s hard to overstate the influence of Ditterich von Euler-Donnersperg on A Colourful Storm; indeed, it’s almost impossible to imagine the label’s existence without it. A figure whose movements within Germany’s industrial avant-garde span almost forty years, it would be in 2010 that he unknowingly entered our orbit through two important releases. At the time, SPK’s Auto-Da-Fé and Throbbing Gristle’s Journey Through A Body left some impression on us, their discovery propelling an interest in the possibilities opened up by industrial music that we still explore today. Responsible for publishing these releases was Walter Ulbricht Schallfolien - who, or what, were they? Founded in 1980 by Hamburg-based Uli Rehberg, Walter Ulbricht Schallfolien was a base for Laibach, Asmus Tietchens and Werkbund as well as Rehberg’s own artistic endeavours: the most devilishly humorous his adopting of the name Dr. Kurt Euler, spokesperson of a satirical political party comprised of musicians Felix Kubin and Gregor Hartz. The project would foreshadow the life of Ditterich von Euler-Donnersperg, an alias unveiled in 1998 with the first in a series of spoken word 7” picture discs that have since become highly collectable. Attracting an enviable list of collaborators throughout his career (John Duncan, Thomas Köner and Column One have all lent their expertise), it is perhaps the enigmatic Werkbund project that remains most coveted within the world of von Euler-Donnersperg. Cloistered and clandestine since their inception in 1987, their brooding, synthetik atmospheres have long been speculated to be the work of von Euler-Donnersperg himself. Listen to Werkbund’s Skagerrak or Stahlhof and tell us we’re wrong... The culmination of decades of sound research and electroacoustic investigation, Weisheit aus des Kindes Mund tut uns stets die Wahrheit kund is significantly also a tribute to von Euler-Donnersperg’s children, their voices and spoken word hocus-pocus conjuring clairvoyant visions amongst soaring metallic sheen and spectralist digital debris. Cybernetic ooze spilling into servers and causing subdued bleep signals and static. A slasher film soundtrack starring the German avant-garde dressed in laboratory coats. The latest piece of von Euler-Donnersperg’s peerless, endlessly imaginative puzzle.

Genius-level, fractal re-arrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving ‘Generators' project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mindgames of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game. Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his ‘Generators' set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators' was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno. In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators' patch. Recorded in a single take using luxe analog-to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release. "Very little manual interaction happened," Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece's 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose-limbed and deadly variety. General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor's quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all-important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously. KFW is without question one of the greatest contemporary artists to prize electronic music for electronic music’s sake, addressing its fundamentals and relishing its capacity to generate peculiar forms and trigger hard-to-place feelings. ‘Generators (GRM)’ is an ideal case in point, providing essential brainfloss for anyone who appreciates the concept, but ultimately connects to the visceral, fluid energy of anything from Parmegiani to Autechre to DJ Nate. Unreal.

The NetCast improvisation with Reynols (Miguel Tomasin, drums; guitarist Robeto Conlazo, guitarist Anla Courtis) Monique Buzzarté - trombone and Kevin McCoy-computer processing is my first International collaboration in this form. So far I have been involved in several multi-site improvisation NetCasts in the USA only. Through Pauline Oliveros Foundation I am interested in helping in the evolution of the INTERNET as an international venue where diverse collaborators can engage with one another. I met Reynols as a group in Buenos Aires a few years ago when I was leading a Deep Listening Workshop. I was impressed with this group when they played a serenade for me on my departure. All were playing brass instruments that they had never played before. It was clear that they understood and negotiated the element of risk in the kind of improvisation that I value. Reynols also has communicated with me since the workshop in many ways. I love the feedback and connection. My solo concert given at the National Library in Buenos Aires is remixed and released as the limited edition CD with hand painted covers Pauline Oliveros in the Arms of Reynols. How wonderful it is to be embraced by young people of South America.

The band project Drums Off Chaos was one of the central and on-going projects of the recently deceased drummer Jaki Liebezeit (who is normally associated first and foremost with the Cologne-based band CAN). In the early 1980s he had initiated an – at first – loose collective of drummers, who created a rhythmic concept on the basis of simple, strictly binding codes that enabled expansive improvisations.

Over the years the ensemble became smaller and refined its collaboration marked by repetitive patterns and their variation. “You have to play monotonous,” a member of the audience had already told Liebezeit in the 1960s. He took this to heart and there was hardly any other formation where he could bring this concept to life as regularly and with as much inspiration as in Drums Off Chaos.

During a development spanning more than three decades, this extraordinary band, which never saw itself as such, made numerous recordings but rarely any releases. However, in the last few months of his life Jaki Liebezeit, with colleagues Reiner Linke, Maf Retter and Manos Tsangaris, earmarked some tracks for imminent release on vinyl and CD – on different compilations. Liebezeit’s death is all the more reason to go ahead with this plan.

Recorded over the course of 4 years during late-night, afterhours sessions at RCA's Studio @ Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early 70's.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only.

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only

Recorded in 1971, Amon Düül’s only album for Ohr was a visonary slice of acid-folk which has gained cult status as years passed by. Ritualistic folk-rock, pastoral hippie songs, stoned jams, eastern flavours, mystical passages and heavy hypnotic riffing which are in fact very different from the early Amon Düül epic freaked-out improvisations (Psychedelic Underground) or Amon Düül II complex and psyched-up progressive works (Phallus Dei).
 
These were in fact archival recordings done by a different incarnation of Amon Duul, one that combined members of both factions into a floating line up welcoming many a guest, and which were released by R.U. Kaiser without the musicians knowledge or authorisation, most likely in order to catch up with Amon Düül II rising popularity.
 
All in all, a mythical recording featuring such underground classics as “Love Is Peace”; “Snow Your Thurst Sun Open Your Mouth” and “Paramechanische Welt”. Included also on our edition is their sought after Ohr single:  “Paramechanical World” / “Eternal Flow”.
 
Sleeve reproducing original artwork.

Featuring bonus tracks  “Paramechanical World” and “Eternal Flow” (originally released as  7” single). 

Siloah were a German progressive psych / folk band in the vein of Kalacakra, Langsyne and others "curiosities". Siloah are one of the best kept secrets of the krautrock production. Siloah had a hard core including Thom Argauer, Manuela von Perfall, Heinrich 'Tiny' Stricker and Wolfgang Görner, plus a host of guests coming and going, everybody was free to join and play at any time, guest members often joining from the Baumstassen commune around which the band was living before they eventually moved to an abandoned farm on the outskirts of town A collective hippie musical tribe largely inspired by mysticism, LSD and sexadelism. Their music features a heavy use of stoned vocals (in English), mantric like guitar parts, flute, "ethnic" percussions. Their first drugged item released in 1970 offers a dangerous and imaginative ocean of trippy, perpetual jammings. A bombastic psychedelic explosion in the mood of the best german prog folk releases. The atmospheres are beautifully "acoustic", sometimes dreamy and ethereal but never away from krautrock "primitive" sound.