MUSIC
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The latest cassette release from Tokyo‑based electronic musician and painter Akhira Sano. Evoking the stillness of late‑night hours and the lingering echoes of memory, it’s a work whose delicate details reveal themselves more and more with each listen.
A masterclass session of Japanese synth pop, new wave, and cosmic oddities from legendary Osaka-based DJ Mori Ra. Recorded live at ISC Records on Fairfax Ave. May 6th, 2023
I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with its innovative sound and uncompromising attitude.
This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.
Vinyl LP pressing. Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.
"Real Emo" only consists of the DC emotional hardcore scene and the late '90s Delaware Valley screamo scene.... Frail were at the epicenter of that vibrant straight edge youth gaggle, screaming their throats bloody in baggy pants. Discontent with the metallic hardcore format, the quintet pursued Gen-X's ferocious, noisy rage against everything at San Diego's galloping pace. No Industry—the band's first and only vinyl compilation—includes vital singles for the Yuletide, Bloodlink, and Kidney Room labels, plus rare comp tracks from across their '93-95 run. This 17-song limited run of 300 LPs is housed in a hand-silk screened chipboard jacket and includes a 24-page 'zine chronicling the band in notes, quotes, photos, flyers, and revolutionary literature. Make Your Own Noise.
Luv, pain, the profound, the mundane: nyxy nyx is for the dreamers and true believers. Down the rabbit hole, caught in a snare, the project’s cyclical riffs and self-references blur the lines of time and reality, backing listeners into a deja vu box-trap of uncanny melodies and foggy-eyed double takes.
Known for their temporality, the Philly-based outfit have spent years manipulating their degenerative discography. Tracklistings shift, masters are swapped, and songs re-recorded. In many cases, a release is solely accessible by those with a download or physical copy. For the first time ever, nyxy nyx will commit to contract-backed perpetuity. Cult Classics Vol. 1 is out via Julia’s War records on September 12th, 2025.
Brian Reichert, Tim Jordan (Sun Organ), Benjamin Schurr (Luna Honey), and Alex Ha (ex-Knifeplay) are joined by Madeline Johnston (Midwife) and Josh Meakim (A Sunny Day in Glasgow) for nyxy nyx’s first full-band studio record. Recorded by Dan Angel, Cult Classics Vol. 1 represents the heaviest iteration of nyxy nyx, capturing their sludgy and transcendent live energy–the ideal (re)introduction for heads and new initiates alike.
nyxy nyx began in 2014 as a performance art project between Brian Riechert and Drew Saracco. The duo played noise and underground punk shows, collaborating with countless friends and guest musicians. Home recordings, tapes, and CDs of “nyxy nyx” music have been distributed by labels, but most are DIY: handmade, shared with friends, and found in little libraries. By 2020, nyxy nyx assembled a live band and played consistently, toured the east coast, and then recorded Cult Classics Vol. 1. Every song on this album was performed live, but none played the same twice.
Tending to his crop with dreams of rotation, Bruce sows and scythes four new grains in the porky mill. Of this strange fruit, that further explores his increasingly familiar, hyper-real and sonically surreal work within this current “movement,” he finds his foothold once more in a wild world intensity: fear and fury grappled in equal measure.
What's more, in celebration of the plentiful harvest thus far, (let alone in the interest of seed diversity), Bruce invites four fellow reapers to the farm, offering their recipe from the spoils of the label's yield:
Vancouver based Brit-abroad, dj_2button pulls apart 'The Hand,' with his 'Accidental Mood Mix,' to be reborn as an Odyssian 13 minute stomper: "a fight of emotions, of light and dark; in quiet protest to the incessant fear mongering that slowly numbs us on a global scale." Balearic shores can be seen glimmering in the distance, whilst you are dragged by part man part (very horny) bull into the depths of dancefloor madness.
re:ni proves she is the captain of her own ship as sweet SSRI numbness billows in the sheets and fraying, dubwise halyards tether and tear through her devilishly elegant 'sertraline queen mix'. polyrhythms plotted and percussion plundered; the vocal from 'Golden Water Queen' sounds oh so sweet in the claws of its new Regina.
Hotly titted deep house reviver, fka boursin empties clips with their bubblegum 'boomkat mix,' of 'The Price,' swivelling the original's brash and bawdy bonce, to face a 120 reality we all need to wake up and start sniffing. Sprinkled with trauma on an icing of a bassline more than a little rood, boursin is packing enough cake for the whole function to take home in (dreadful) goody bags (and even allowed compression in the mastering - mental).
Last and indubitably not least, from lying somewhat dormant in the depths of UK dance music legend, none other than flippin' Untold (!?) rises to seal the release with typically megalithic prowess. Proving he was just resting his eyes for a bit, his 'A1 Mirabelle Mix,' weaves and whips an otherworldly beauty, technically tantalising 'Dham's Jam' in adornments both sour and sweet. It's nothing short of a cloaks and daggers banger, primed for the darkest of dancefloor cosmic moments, and serving as a little less-than-warm-reminder that Untold’s presence in the world of dance music is crucial as ever.
Frankly, if you couldn't tell from all the verbose waffle, they have all absolutely smashed and finessed it: they were all approached after expressing a real resonance from the previous releases and it's such an honour to have them and their fantastic visions on the label.
Available digitally or on high quality cassette, the final chapter of the Poorly Knit's first act has been woven whimsically into the fraying folds.
Romeo’s Fall is an original score for voice by artist and composer EXLRUTH, a new work traversing romance and romanticism in a post-industrial North East England. Performed by countertenor Nik Rawlings with accompanying double bass from Caius Williams.
Informed by congregation, community and euphoria, exploring the meeting points of contemporary dance music cultures, traditional hymnal form, and the sonic appropriation and influence of regional industry, influenced by the legacy of the New Monkey. Addressing alternative trajectories of communion; on dancefloors (Makina) versus the nuclear act of togetherness within an industrial Northern landscape (classical/hymnal form).
This book features images taken from recently developed family super8, taken in and around Sunderland - 1960's onwards.
A must-have for fans of free soul and rare groove! Hawaiian AOR's pinnacle "LEMURIA" will be reissued for the first time in the cassette format that was released at the same time as the record in 1978 when the album was released!
LINE is proud to announce the new solo release by Mark Fell, Ten Types of Elsewhere. Topology is a branch of mathematics concerning possible spaces and spatial objects – curves, surfaces, knots, manifolds, phase spaces, symmetrical groups, etc. The work explores a link between objects and alterity through spatial and temporal deformations, twistings, rotatings, reflections and stretchings. Here spaces and objects are not self-evident and singular, but multiple, irregular, anomalous.
The work began as a documentation of recent installations some in public spaces, some gallery works, some large works, some small etc. Inspired by the problems brought up by this activity, instead of using recordings to document these, ten processes came about each of which relates to the spaces and works in a different way – a recording, or system used to run the work, a pattern, a method or technique, a way of working, a name, or a reference point outside the work. This is Mark Fell’s first solo full length release in the United States and is a exciting new departure for LINE.
In 2025, ermhoi — a member of Black Boboi — composed the music for a video work screened at the Japan Pavilion of the Venice Biennale Architettura in Italy. To coincide with the homecoming exhibition held at the Sakurasuikan of the Kyoto City KYOCERA Museum of Art from January 24, 2026, she is releasing an album that reconstructs and reimagines the music originally created for the piece.
In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.
Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.
Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”
But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.
The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.
“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.
Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.
-Andy Beta
"Natural Information Society, like their partners in time Bitchin Bajas, live their days in flow motion. Rhythms come and go, instruments sound as a means to a greater end. Music is the way of their life. Their debut convergence, Automaginary, feels as natural as it does inevitable. Both groups were first heard in 2010, both emerging from solo endeavors that accessed a vastness, more room than a single player might ultimately fill -- a place then for fellow travelers! Joshua Abrams, a questing bassist and improviser by trade, with an extensive discography of solo recordings and collaborations with a wide variety of artists, formed Natural Information Society as a conduit for the live presentation of his guimbri music. Abrams had delved into the sound of the threestringed Gnawan lute on his own, intrigued by the instrument's ability to provide melodic and rhythmic direction with a minimal, hypnotic palette. Known for the drone also are Bitchin Bajas. Cooper Crain of CAVE started the Bajas to explore his fascination with vintage electronics and recording techniques. With Dan Quinlivan on keyboards as well, Bitchin Bajas' discography has explored a range of dynamic approaches, producing various proportions of atmosphere and soundtrack that move from becalmed stasis to synthetic beat-building with a prescient liquidity. Both Natural Information Society and Bitchin Bajas are in pursuit of the unconscious in their musical expression, and through their independent methods, both have ridden the wind to unseen places, using the playing as the carpet that will take them there. A multitude of influences swarm amoebically in their sounds, from the mud of ancient Afro-groove to 20th-century classical austerity, from the clatter of freedom jazz to the 4/4 of kraut and disco and fusion beyond -- and then beyond the music and into the air. Wrapped up in a screen-printed jacket from visual artist Lisa Alvarado, whose aesthetic sense is a touchstone for the vision of Natural Information Society, Automaginary is psychedelic and ambient and jazz -- yet none of it either, the whole being more than the sum of former parts. This is music of unique variance, a remarkably perfect congregation of the two tribes that are Natural Information Society & Bitchin Bajas."
Originally released in 1997 by Sub Pop, 'Loneliest In The Morning' was Doiron’s second solo release and her first release as Julie Doiron (having dropped the moniker Broken Girl). This re-issue comes complete with three bonus tracks: “Second Time” from split 7” with Snailhouse and the tracks “Who Will Be The One” and “Too Much” from the 7” release Doiron recorded with the Wooden Stars. Loneliest In The Morning — an album Pitchfork described as “catchy enough to knock Liz Phair upside the head” — is a critical piece to the Doiron catalog and given the wonderful relationship Doiron and Jagjaguwar have forged over the last decade, this re-issue is particularly significant.
Julie Doiron began her career in music in 1990 at the age of 18 in Moncton, New Brunswick, Canada playing bass in Eric's Trip, a folky yet psychedelic band that were to become the undisputed underground darlings of Canadian music. Eric's Trip were the first of many maritime Canadians signed to Sub Pop and found international recognition, releasing several albums and touring widely. Following 1996's Purple Blue, Eric's Trip announced their breakup and Julie Doiron embarked on her solo career, first releasing songs as Broken Girl and soon under her own name starting with Loneliest In The Morning, which was recorded in Memphis, TN with producer Dave Shouse of the Grifters. She has released seven full-lengths and three EPs, including the Juno Award-winning Julie Doiron & the Wooden Stars album.
In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi “Shadow” Radebe and the late Zwelakhe “Malemon” Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path—one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn’t long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born.
(Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.)
With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito’s style.
“Kwaito was the thing ‘in’ at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy,” says Radebe. “We didn’t have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar.”
That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke ”H.” They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn’t have music production or engineering backgrounds so they required support from engineers together their ideas down on tape.
They were inspired by South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs—a perfect blend of local flavor and global influence.
Goja means “chaotic” or “nonsensical” in various Japanese regional dialects.
This new work is packed with freely rambling music that leaps over the boundaries of orthodox musical instruments, homemade ones, and random objects. Listen out for taiko, drums, bits of wood, and a piano, marimba, accordion, rhythm machine, effector, wooden washtub, pot, impact screwdriver, power tool charger, and more…
Features 8 tracks. Download code available.
0on Zero-on, a label run by the percussion group "Kodo 鼓童" which has its roots on Sado Island, has released a cassette recording of a solo performance by percussionist Yuta Sumiyoshi, a member of the "Kodo" group.
KENTATAKU YUTATAKU’s 3rd album “Zero On” is the eponymous first release on Kodo’s new label 0on.
Featuring four improvisational tracks, ranging from large ensemble works without musical instruments to vast sound collages, KENTATAKU YUTATAKU’s latest work is packed full of heart, soul, and fresh new sound.
Limited release of 200 cassettes + download code.