MUSIC

Clear vinyl. Edition of 500 The Danish-Chilean composer Molina (b.1992), explore the transformation between organic and synthetic musical landscapes. She weaves her own tapestry of dreamy guitar surfaces, soaring flutes and atmospheric vocals.

Suicide Squeeze is thrilled to deliver a reissue of Interloper, the 2020 album from Holy Wave. Interloper sees Holy Wave adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on its most esoteric and thought-provoking themes. "I'm Not Living in the Past Anymore" is a mantra about breaking the cycle of the mundane, and "Escapism" is a dream-like meditation. "Interloper" serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward to blissed-out moments on album opener "Schmetterling," the saccharine haze of "R&B," and the freak-out catharsis of live favorite "Buddhist Pete." With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

Kieran Hebden is arguably at the height of his career so far, making Three his most highly anticipated Four Tet album yet. Since the 2020 triple drop of Sixteen Oceans, Parallel, and 871, Hebden has been pretty much ubiquitous in the scene, from all dayers with Skrillex and Fred again.. to revered collaborations with Madvillain, Burial, Thom Yorke, and William Tyler. And as multifaceted as the cover design by Jason Evans and Matthew Cooper would imply, Three capitalises on a busy decade in progress with an amalgamation of all things we love from Four Tet: ambient sonics meeting crisp club beats, glorious MIDI instruments paired with noise and intricate texture, celebrations of his eclectic influences from hip hop, folk, electronic and abstract sound art that coalesce ever so sweetly into a concise tracklist bursting with life. There’s always a sense of brightness and joy to the feasts of electronic articulations that Hebden prepares, where gauzy psychedelic guitars open a hypnagogic portal to boom bap inflected grooves and mosaics of choral synths. The cerebral, enigmatic moments of scribbling glass plucks amplified into distorted ethereal waves are offset by rejuvenating pools of ambience, lax downtempo beats with reverb throws like skipping stones, and rosy hued melodies swaying and slingshotting across the scales. For the ravers, there’s the battery acid soaked electro rhythm of ‘Daydream Repeat’, evidence of the dance muscles Hebden’s been flexing with his KH singles as a roiling throttle is overtaken by idyllic glittering harps, flipping the track from sweat-drenched heater to luscious euphoric aftermath. For the romantics, there’s the frothing drums and subtle snatches of vocals commanding space all over the album, capturing a full, heartfelt sense of depth that hums, buzzes, and vibrates in the awestriking closer ‘Three Drums’. Whether you’ve just become acquainted with Four Tet or you’ve known him for a lifetime, Three is a stunning work from an inimitable talent.

Ephemera is the debut album by Fergus Jones, the artist formerly known as Perko, an Edinburgh-born, Copenhagen-based producer, DJ and founder of the FELT record label. The nine-track release is out now. Ephemera was developed with collaborative energy as the creative priority, produced by Jones alongside an extensive list of like-minded musicians, lyricists and vocalists including Huerco S, James K, Koreless, Birthmark, ELDON and Withdrawn of Bristol’s Cold Light crew, Laila Sakini and Lia T. The album embodies Jones’ inner journey as he ranges further than ever sonically and emotionally, emphasising instinct, intensity, tactility and rapture. “Heima” was written and produced with Huerco S and James K between Iceland, Copenhagen and the United States’ East Coast. Developed during and named after the same Icelandic artist residency that birthed Perko & Huerco S’ debut co-production “Prang,” “Heima” is a shimmering piece of fortified trip-pop featuring vocals from James K, appearing here following solo releases for AD 93 and collaborations with Yves Tumor. “Tight Knit” aligns Jones’ graceful production with the raw and restless emotions thundering from the performances of Birthmark, ELDON and Withdrawn of Cold Light, the shadowy Bristolian collective channelling the city’s deep sonic history into an equally rich future. The album makes a distinctive impact that reverberates and glows long after its runtime. Analogue audio sculpting, adaptive processes and imaginative approaches to creating sound are at the forefront – whether resulting from an endless exchange of iterative stems with Huerco S, or hydrophone recordings with Koreless. Evocative vocal performances and songwriting combine with weighty sound design, gliding easily between the organic and synthetic to reflect and expand the thin spaces of transcendence in each. “This album was made over the last five years in various studio and outdoor locations around the world, reflecting my ongoing emphasis on natural collaboration as a creative ideal. It’s my most personal record yet, written with experimentation and an open attitude as guiding lights.” – Fergus Jones Ephemera follows three prior releases on Numbers under the Perko alias – 2018’s NV Auto, 2020’s The City Rings, and 2023’s Prang, which was included on Resident Advisor’s Best Tracks of 2023. Jones has contributed DJ mixes to the long-running FACT and Truants series, is a frequent guest on radio stations such as NTS and Rinse, and has toured globally.

Acoustic Rhythm & Texture Sequencer Available as C60 Limited Edition of 50 mirror dubs- (same on both sides) + Inserts written and produced by S.Gordon 2024. additional percussion by Islay Spalding - TRK 7, recorded at SFS studios 2024 Synths & Radial - SDGordon. The Radial instrument was designed to explore various material's acoustic characteristics in ways that could only be achieved through mechanical and electronic control. It creates sporadic dense percussive sequences & sharp reciprocating sweeps or can focus in on tiny acute angles to produce deep shaking drones among a host of other planned and unplanned acoustic sounds. Radial uses 5 voltage controlled motors and interchangeable textured cylinders captured via contact microphones positioned within the chassis. The cylinders can be synchronised or independent & the blades are interchangeable allowing the flex of certain materials to skew and augment the movements and sounds and sequences. Playing the Radial instrument is a direct visceral experience. Its sequences sound unlike anything else i have used and the simple design by no means limits the scope of its rhythmical output. After feeling out the controls you arrive somewhere in-between the rubbery juddering fuzz or clockwork blasts of percussion and can step back allowing the physicality of the instrument itself to dictate how things proceed. Minor adjustments can have a butterfly effect on the entire tone inmate rewardingly unpredictable but controllable way. On certain tracks there’s some synth work in a move away from the potential “instrument study” vibe of the release and Islay Spaldings blistering scrap metal percussion on Track 7 was incredible to watch.. Additional thanks to Stephan P Richter “SPR” for the advice and encouragement through the whole build.

版元完売。Theo Fabunmi Stonn (404 Eros) & Jon Phonics (Astral Black)の2名が主宰しているロンドンの気鋭レーベルであり、Lunch Money LifeやVanessa Bedoretといった面々による先鋭的な作品を送り出してきた〈Scenic Route〉のショーケース的コンピ盤をストック。レフトフィールドでサイケデリックなテイスト抜群のドリーム・ポップやインディ・フォーク、オルタナティヴR&Bを中心に、知られざる現行の地下アクトたちを一挙20組紹介した意欲的な1本！

Jiro Inagaki was one of the central musicians in the development of jazz rock in Japan. Sensing the limitations of existing jazz music, Inagaki said, “I want to play something that has never been done before, not to mention jazz rock, with a band that has a strong rock flavor,” and in 1969 he began working in earnest in the soul media. This work, “Head Rock,” recorded in 1970, symbolizes his activities and musicality.

Music From Memory is thrilled to introduce Dead Sound, the collaborative project of Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods. Both artists are no strangers to the label; Sterk forms one third of the trio Gaussian Curve, while Moods released the 2022 album ‘Hidden Gem’ with The Zenmenn. Their collaboration was both planned and spontaneous; Sterk initially reached out in 2022 expressing his desire to work with Moods. The pair finally got together in 2024 to produce ‘Into The Void’, an album that burst into life over the course of a few creatively charged days in each other’s company. Moods’ dream-like, emotionally charged music wears its heart on its sleeve; its very human vulnerability makes it a perfect match for Sterk’s strong sense of melody and textural sonic visions. ‘Into The Void’ carries these psychedelic traits in its DNA, but they exist layered deep amongst the shadows. Painting on a wide canvas that effortlessly skips between genres, the pair weave anything that inspires them into a truly unique tapestry; a bold attempt to touch at the beyond. Exploring the space between perception (level of the mind) and the nature of the universe (actual level of reality) seems traditionally like an impossible task. But there’s gotta be a time and a space for the profound and this album invites the listener to go deep, letting go of concepts such as love and opening oneself up to one’s own authentic journey. This transformative force of healing is a central theme of ‘Into The Void’, a path that is lined with light and darkness in equal measure. But, as Moods says, “do not skip the darkness, let that door open and swallow you. And maybe you’ll find, it's not as dark as you perceived at first."

Minami Deutsch 3rd full studio album "Fortune Goodies" "Everyone has their own imagination about outer space, and each one us gets to daydream about what exactly floats or exists there. ‘Fortune Goodies’ is Minami Deutsch’s long-awaited 3rd studio album. While not all the songs on the record function as straightforward Krautrock this time around, they still manage to capture the spirit and heart of the genre. After relocating from Tokyo to Berlin, Miula’s musical vocabulary has greatly expanded, thus resulting in this ultimate Japanese take on cosmic music in 2022.”

In 1980, Les Rallizes Dénudés, with the participation of Fujio Yamaguchi, made a legendary studio recording.

Side A
1. 氷の炎 / Flame of Ice
2. 夜の収獲者たち / Reapers of the Night

Side B
1. 夜、暗殺者の夜 / The Night, Assassin's Night
2. The Last One_1980

This essential reissue presents a rare collection of dub instrumental reggae tracks recorded by Tommy McCook (who you may know as the sax man from super ska outfit The Skatalites) and Bobby Ellis (who played the trumpet for dub legends The Upsetters) in 1977. Originally licensed to Grove Music, this still remarkable album features renowned musicians such as Sly and Robbie, Ansel Collins on organ, Clinton Fearon from The Gladiators on lead guitar, and Bernard Harvey of The Wailers on piano. The recordings took place at Channel One and were mixed at King Tubby Studio and every single tune cuts deep and with great authenticity.

Caetano Veloso is one of the great masters of Brazilian music. This is the analog reissue of his fifth studio album, "Alaska Azul," which was released in 1973 and showcased the most experimental sound of his career. The album's refracted experimentalism is even more fresh than the image in the bizarre cover photo, bleached with plagian tropicalia and psychedelics.

Brast Burn's Debon -- a classic of Japanese Kraut obscurity originally released in 1975 on Voice Records, now digitally-remastered. Brast Burn are often linked with Karuna Khayal, with many aficionados concluding that they were actually the same band. Whether this is true or not remains an unsolved mystery, but one thing is for sure: Brast Burn's one and only recorded outing left an indelible stamp on those who were to follow. Nurse With Wound's Steve Stapleton thought highly of Debon and included it on his "legendary list" that appeared on the sleeve of his band's 1979 debut album. Featuring orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired, Debon is an album that's a must for headphones and for devotees of the likes of Faust and Can. A rare musical experience and a vital addition to any record collection.

Nothing innocent about this record – because the groove is hard and heavy, wild and trippy – a really heady brew of funky jazz and more psychedelic influences – all recorded with some weird sounds in the background too! The album's a great one from Japanese groove pioneer Takeshi Inomata – and it's almost a fusion of earlier 60s funky band jazz with some of the more tripped-out modes of the jazz rock era. Vamping rhythms and full-on organs are undercut by wiggy guitar parts and soaring organ lines – all augmented by spoken Japanese passages, sound effects, and production styles that abstract out some instruments into very unusual modes.

In celebration of the 10th anniversary of Tomaga's debut album, 'Futura Grotesk', Hands in the Dark are re-releasing the long sold out record in a limited edition of 500 copies. The reissue will be accompanied by the first-ever vinyl pressing of the band's inaugural EP, 'Sleepy Jazz for Tired Cats', featuring new artwork and 300 units available. Both records have been remastered by Marta Salogni for the occasion. Established in 2013 by Valentina Magaletti and Tom Relleen, the duo operated until 2020 as a creative laboratory for the London-based musicians to explore beyond their traditional musical endeavours. They sought to deconstruct their usual sonic frameworks, venturing into a novel and unfamiliar auditory landscape. Their work seamlessly integrated various forms of multi-instrumentalism, traversing the realms of industrial, jazz, psychedelia and minimalism. The band's self-released cassette debut, 'Sleepy Jazz for Tired Cats' presents an unconstrained, complex and abstract introduction to their distinctive and darkly thought-provoking sound. In contrast, Tomaga’s seminal album, 'Futura Grotesk', further elevates their sonic explorations, leading to compositions that are more elusive and profoundly evocative, resembling the surreal and unsettling language of dreams and other subconscious wanderings transposed into a unique musical expression.

Sounds created for no reason. Sounds that come and go, and disappear into the air like a scent, as soon as they materialize. Atonal phrases that hold the meaning of words that existed before the advent of language. The wonders of a vortex pulsing with life. Just as a new discovery is actually a new way of looking to see what has always been there, OOIOO, seemingly from the core of their being, created a world of sound made up of parts well known that is strikingly precise and intensely original. After a six year hiatus, OOIOO has created a new album that goes back to the roots of being a four-piece band. The music shows the full spectrum of the unique sound they have crafted throughout the years, which can only be described as “OOIOO”.

It might come as a surprise that nijimusi was recorded mainly using a conventional rock ensemble of two guitars, bass, and drums. OOIOO viewed their instruments simply as “objects that make sounds”, and took a primitive and basic approach to creating the music. The drum tones fluctuate powerfully through the air, while sounding as if they are being observed under a microscope. Bass notes and electronic bursts are so dense that they sound like they’ve been vacuum-sealed. The arrangement of the tones seem to be almost ancient, transcending the notion of a musical ensemble, suggesting the connectivity and oneness that is inherent in all living creatures.

Founded in 1995 by legendary percussionist/guitarist/vocalist YoshimiO, OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. The music they create is a collection of moments and essences of their favorite sounds, captured as they were created before returning into the ether. In 2016, drummer MISHINA joined the band, allowing more freedom in their rhythmic approach and overall sound. Just as each cell in the body consists of a microcosm of its own, the vibrations of each of the members resonate together to create a new life form, a process reflected in nijimusi.

nijimusi can be considered music, but is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time. If music is an art form based on the sense of hearing and the concept of time, this album may be deviating from the conventional definition of music. The work is a reflection of the sounds resonating from OOIOO while as they were completely present in the moment. The sounds are like the cries emanating from a creature called OOIOO, proof that it is a living, breathing being. Experience the sounds of OOIOO that can only be heard in the here and now. 

Like the days of Steely Dan or Harry Nilsson releasing a classic album every year (or less) comes Mac DeMarco's Another One, a Mini-LP announced one year after the release of the meteorically successful Salad Days. Written and recorded during the downtime between a relentless touring schedule, Another One is an eight-track release that expands the arsenal of Mac's already impressive catalog, showing the maturity of Mac's progression as songwriter: it's a bit more refined, a bit more sophisticated, but nonetheless retains the guts and soul of classic Mac. Despite working at the same pace as artists like Creedence and The Rolling Stones, coupled with an equally unending schedule of touring and press, it's odd that Mac is labeled as a slacker. With two full-lengths and two EPs released and hundreds of sold out shows performed in the last several years, a recent late night television debut on Conan following a special performance on The Eric Andre Show, it seems, as Mac nears his 25th birthday, there's not a slack bone in the man's body. Great songwriters don't need to reinvent themselves; they just need to keep going and let the songs out in the world. Thus, here's Another One.

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music. The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards. New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Kristin Hayter sheds her Lingua Ignota guise for the debut release under her Reverend Kristin Michael Hayter project. ‘SAVED!’ is inspired by American religious music of the god-fearing past, Southern gospel, and various strains of pre-rock folk and country. It picks up where ‘Sinner Get Ready’ left off, applying degraded audio and stripping the instrumentation down to the barebones minimal of twangy guitars, piano, and her haunting vocals. Imagine a countryfied, infernal spin on the murder balladry of Nick Cave, PJ Harvey, and Nico, and you’d get this magnificent album.

"Zul'm" is an album of contrasts. It is evocative of a culture caught up in a web of local and global politics.

The narrative appears as a slice of urbanity - up tempo, carefree soundscapes of human activity interspersed with digitized spatial rhythms. The boundary between East and West coalesces, melding and jutting into a changing whole.

Muslimgauze are from Manchester, forming in the post-industrial early eighties. Theirs is a world music based on western rhythms, integrated with ethnic instruments and atmospheres. The music is a minimal, polyrhythmic soundscape. A vision of unresolved cultural change.

"Zul'm" sees a further step in the interaction of two very different nations, with guest musicians Said Nasser on Arabic percussion and voice and Zorawar Singh on Indian percussion and voice. Also appearing on the album is Mark Lawrence on keyboards.

The title "Zul'm" is derived from the name of the Muslim prophet "Zulkifl", meaning fate. The plight of the Palestinian people continues to inspire the music of Muslimgauze.

Original press release from Extreme.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

The original release of Nurse with Wound's gargantuan "Thunder Perfect Mind" in 1992 coincided with that of Current 93's homonymous genre-defining album. Legend has it that the gnostic name initially appeared to Steven Stapleton in a dream as the title of Tibet's then still nameless upcoming album. Both records feature contributions from David Tibet, Colin Potter, Rose McDowall, John Balance of Coil, Alan Trench of Orchis and Joolie Wood amongst others. The title and the partial overlap of the personnel on both albums isn't quite where the similarities end, both albums have since become undisputed milestones in their respective artists' oeuvre. At the core of the definitive 2023 Infinite Fog re-release fully overseen by Steven Stapleton are the two original tracks "Cold" - a classic unsettling rhythmic Nurse collage-fest, significantly closer to jittery psychelia than the oft-cited "industrial feel" and the epic "Colder Still", easily one of the most mind-bending breathtaking NWW compositions up to this point and well beyond. The track soothes ghostly atmosphere and reveals new surprises with every listen, not least of which is a direct link to its sister release from c93 as well as the first appearance of the signature rhythm loop that would mutate and re-emerge on several later tracks. The album also is the first full-length collaboration with genius sound wizard Colin Potter who has since become a ubiquitous sidekick both on Nurse albums as well as in live performances. As a follow-up to what is widely acknowledged as one of the best-loved exercises in drone of the 20th century "Soliloquy for Lilith", TPM is a much more varied but at least equally rewarding experience. Infinite Fog are beyond pleased to be able to offer a significantly enhanced, remastered and extended 3 LP version for old and new fans alike.

A vibrant abstract bossa nova sound in the vein of Tropicália, incorporating hip-hop, soul, reggae, and more!

In addition to Céu, the album was recorded at Linear Labs Studio in Los Angeles, produced by Adrian Younge, one of the founders of Jazz Is Dead, and Pupillo, drummer of the legendary eight-piece Brazilian mixed hip-hop band Nação Zumbi. The album was recorded at Linear Labs Studio in Los Angeles. The album features American female rapper LadyBug Mecca, French senegalese singer anaiis, Loren Oden, a member of the psychedelic soul band Venice Dawn led by Adrian Young, Thee Sacred Souls on vocals Jensine Benitez, French keyboardist and producer Hervé Salters (General Elektriks), and Brazilian national treasure Marcos Valle. Nominated for a Grammy Award in the World Music category, this is Céu's first ambitious album in five years, which continues to captivate audiences at prestigious festivals around the world.

Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980. Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet. With this album Glynne and Zwier, based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty. My long time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’:“Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80’s. A beautiful and sad, unmistakable masterpiece.”

Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980. Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet. With this album Glynne and Zwier, based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty. My long time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’:“Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80’s. A beautiful and sad, unmistakable masterpiece.”