MUSIC

This is the official reissue of the fantastic 1998 solo album by Naoki Toushi, a solitary guitarist who was an original member of the "King of Noise", JUKAI-KAIZEI, and also a member of the Japanese psychedelic rock band "Nagisa de". The latest mastering from the original mixed DAT master!

We are pleased to reissue the masterpiece cassette of the early Acid Mothers Temple, which is an exquisite mix of psychedelic and noise that creates an unidentifiable sound. The reason for the mysteriousness of the sound is the editing that forms the composition and development of the sound in a way that would normally be unthinkable, and will reaffirm the uniqueness of Acid Mothers Temple.

(advaita records)

Salad Days is the follow-up to Mac DeMarco’s lauded 2012 album 2, which saw the Edmonton local propelled into the limelight. Written and recorded around a relentless tour schedule, Salad Days gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format.In celebration of the 10 year anniversary of DeMarco’s career-defining album, this limited edition 2xLP compiles both the original Salad Days and Salad Days Demos into a unique ‘Chamber Of Reflection’ package complete with full color poster, 12-page booklet with DeMarco’s Salad Days Tour dates, original rider, previously unpublished photos, and new liners written by Mac. “DeMarco channels Harry Nilsson, The Beach Boys, Steely Dan, and The Beatles, but the offbeat stoner vibes are all him.” - Rolling Stone“An outstanding crystallization of [DeMarco’s] gifts” - Pitchfork“The real-talk advice of Jonathan Richman with a far more accessible poetic dreaminess.” - Pitchfork

Naoki Zushi - Live CD reissue with bonus track, mastered to suit the CD format! The original member of Hijokaidan, Naoki Zushi, one of the most prominent underground guitarists in Japan and currently active in Nagisa Ni Te, will reissue a CD of a trio of live performances at the 2006 Gyuune Autumn Festival. It features performances demonstrating the quintessence of Japan's psychedelic underground, represented by “les rallizes denudes” and “Fushitsusha.” A heavy psychedelic version of “May a flower bloom” is remarkable; it makes you feel intense passion, completely different from the delicately blooming beautiful version that decorates the end of the 4th album. It is a masterpiece that Zushi himself said, “It might be the best live performance of this song.” The lyrics, which seem to ask the universal question since the birth of human beings of where human beings came from and where they will go, are also wonderful, and you should listen to each word.

Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek. His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all. 14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out. All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé Mastering & Cut by Rashad Becker Art by Pieter Kock and Meeuw

Downtempo, Folk, Pop … Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation.

〈Captured Tracks〉The biggest seller! Along with masterpieces such as "Salad Days", this is definitely an introductory board for this person! Mac Demarco is a current indie pop cult icon from Canada, known for his activities in Makeout Videotape, sampling Sekito Oshigeo's "The Word II", and the popular split single "Honey Moon" with Mr. Hosono. The 10th anniversary edition of the masterpiece "Rock And Roll Night Club" released in 2012 has been released as an analogue. A masterpiece of psychedelic and addictive indie pop that makes you feel like you're listening to Deerhunter's "Microcastle" cassette demo!

Japanese two-piece rock band Taika's third album “On Chitou Jichi”, released in 2023, will be made into a record. Their music is more earthy and eerie than Kikagakumoyo's, and they can't dance like Khruangbin. When you listen to their music, you will have a magical landscape in your mind, as if Les Rallizes Dénudés were playing in the great outdoors. In this album, the post-Force World Revival soundscape intersects with the muddy physicality that is etched into their fundamentals, creating a unique ecosystem. In the Far East, Taika localizes the rock band form of expression by exploring and reexamining the residual, imported discomfort in a form of expression that has become commonplace even in Japan, and arranges it so intensely that the original form is no longer preserved. Japanese folk-like singing and krautrock-like repetition swirl and explode, accompanied by environmental sounds. This product comes with a DL code for a subversive remix track by Japanese abstract dub musician Yo.

Have you ever been to Miyazaki? It’s a prefecture on Japan’s southern island of Kyushu, facing the Pacific. Palm trees. Humid subtropical climate. This is the home of Maple Fyshh, a musical artist whose late-80s/early-90s recordings have been collected and reissued here. Liberated by the advent of 4-track cassette home recording technology, inspired by a love of 60s pop oddball production mavens like Phil Spector and Joe Meek, as well as American hot rod and surf music, these Maple Fyssh songs glow with an outsider’s love of the transformative power of newly-available sound technology, allowing him to pull his inspirations across decades and oceans to his 1990s Miyazaki home studio. The tracks here are a d.i.y. dream-pop wonderland, compiling songs from his first LP “Mariko” and second LP “Dokitto Station!!”, both self-produced, both released in 1995. The A-side of this release features tracks from the concept album “Mariko”, a masterpiece of daydream pop introspection, recorded in 1994-95, inspired by a poem submitted to a manga magazine. The B-side features tracks from “Dokitto Station!!”, slightly earlier recordings that draw inspiration from a range of 60s pop including girl groups, surf music and acid folk. All the music here demonstrates Maple Fyshh’s deep understanding and appreciation 60s pop moves, and also his mastery of the limited technology at his disposal. Remastered in 2024, the sound of Miyazaki has been reborn for a new audience. Available on Vinyl LP and download, with English/Japanese lyrics and entertaining and informative English/Japanese liner notes by the artist.

A limited edition 2024 repress of 'Descending Moonshine Dervishes' by Terry Riley. Originally recorded live in Berlin in 1975 and released by Kuckuck in 1982, Beacon Sound reissued the album in 2016 to widespread acclaim.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising. So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence. With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement. For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together. The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work. In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

"The Clean broke up (for the first time) in 1982. After a break, the Kilgour brothers pursued a new aesthetic and started recording on a four-track at home. Poking fun at their past, they called themselves The Great Unwashed. Clean Out Of Our Minds was made in two months at the beginning of 1983 and released on Flying Nun Records. The Kilgour's glorious pop hooks are still at the heart of everything but supplanted with a laid-back charm and maybe some of the spirit and mystery of '60s psychedelic folk. However, rather than hippie cosplay, the vibe is more akin to fellow New Zealanders The Tall Dwarfs and/or Syd Barrett. Beautifully remastered by Tex Houston. Vibrant 3D sound allows you to hear everything better than ever before. Housed in a Stoughton tip-on sleeve and available on vinyl for the first time in years. Don't miss out this time!"

A trio of Moroccan brothers, coming together here with a very groovy sound – rock at the core, with some very trippy elements and harmonies on some of the best cuts – but also tinged with some slight traditional instrumentation as well – used to flavor the tunes and really make them stand out from more Anglo styles of the time! The songs are all original, and nicely different than other Mid-East pop work we know from the time – maybe a bit headier overall, on titles that include "Hey Di Dam Dam", "Leili Twil", "El Harib", "Sebar", and "Galouli Ensaha"

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane. At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation. 'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too. Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul. Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993. 'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Research Records indicate their inclination for cosmic instrumentation and kraut pervaded polyrhythms once again with an introduction to newcomer Glass Beams. Recorded at the beginning of 2020, Mirage is the first release from the artist, issuing four compositions that lend from a profusion of sounds and influences. "I was looking for new energy & inspiration to write a bunch of new music. I recalled a childhood memory of my parents and I watching a DVD they had bought: ‘Concert For George’ (a tribute concert for George Harrison from the Beatles). George’s long time collaborator and friend Ravi Shanka put an Indian Orchestra together for that concert, and even though I hadn’t even started playing music at the time that I watched this, the sounds really stuck with me. My father was born in India and moved here when he was 17, and after recalling this memory I decided to look up musicians from my father’s hometown and surrounding areas. I found a wealth of Indian classical, disco and pop music that formed the building blocks for this record. As soon as I had that vision of what I wanted to write and why I wanted to write it, the songs just flowed out really." – Glass Beams The album's opener and title Mirage arrives with a coiling vocal mantra that conspires with a sliding bassline and transcendent synthwork, reminiscent of early 70’s prog jams yet inverted and futuristic. Taurus is a brisk arrangement, steeped with spaghetti-western elements and space-jazz to pave the way for the agile Kong. Rife with psych-fusion guitar phrases and instrumentation, Kong unfolds like a forecast lysergic voyage. The finale Rattlesnake nudges the serpent with intergalactic scales and spellbinding riffs. We may not know much about the enigmatic Glass Beams but Mirage is one epic inauguration, leaving the listener with more questions than answers.