MUSIC

This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more. Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered. The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges river. Classical music in India was perhaps at its height during the 78rpm period as the raj era was ending and the world was globalizing. 2-LP gatefold with 12 page full-color booklet insert - features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Robert Millis from his collection of 78rpm records and ephemera.

A bearhug of chill-out room gouching gear from MFM spanning the golden era of ‘90s ambient dance music with gems from David Moufang, LFO, Global Communication, Kirsty Hawkshaw, Sun Electric and many more notables of that era. Since the world turned into a big chill out room in early 2020, albeit with a heavy sense of anxiety, this set could hardly be better placed for downtime in the comfort of your own home, rolling out mystic highlights such as LFO’s MDMA-tingle arps and pads in ‘Helen’ and the sublime suspension systems of Global Communication’s remix of ‘Arcadian’, along with Move D’s early nugget ‘Sergio Leone’s Wet Dream’, and the lush pads of his close spar Jonah Sharp’s Spacetime Continuum, plus a strip of killer slow acid in Sideral’s ‘Mare Nostrum’, and the blissed romance of ‘Love 2 Love’ by Sun Electric. One for the lovers and the ravers.

Strut present a new definitive collection of singles released by jazz maverick Sun Ra during his Earth years, spanning 1952 to 1991. Released prolifically during the 1950s and more sporadically thereafter, primarily on the Saturn label, the 45s offer one-off meteorites from Ra’s prolific cosmic journey, tracing the development of his forward-thinking “Space-Bop” and his unique take on jazz and blues traditions which sounded unlike anything else from the period. As with his LPs, most 45s were only pressed in small runs and were sold at gigs and have since become extremely rare and sought after. Some have only been discovered in physical form in recent years; some were planned and pencilled but allegedly never made it to vinyl and some appeared as one-off magazine singles and posthumous releases.

‘Singles’ will be released in various formats across two release dates. All formats feature fully remastered tracks, rare photos, poster artwork, extensive sleeve notes by Francis Gooding, an interview with Saturn Records founder Alton Abraham by John Corbett and detailed track by track and session notes by Paul Griffiths. 

consciousness through ecstatic dance. Gabrielle Roth & The Mirrors were a world unto themselves.

Despite featuring an extraordinary cast of musicians (with credits including Sun Ra, Pharoah Sanders, Miles Davis, Santana, Stevie Wonder, Milton Nascimento and much more) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.

Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhythms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming.

Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”

At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years.

The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”

Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette early on in the label's history, while the two remaining pieces are presented by the label for the first time.

XKatedral Anthology Series III is the third installment in a series of archival releases dedicated to presenting music by composers working within the realm of slowly evolving harmonic and timbral music. The pieces presented here focus on the use of synthetic and acoustic sound as well as algorithmic composition as tools for precise work within the realm of spectral exploration. This double-vinyl set is issued in celebration of the label’s decennalia and contains works from 2014 - 2025. It is released in conjunction with reissues of XKatedral Anthology Series I-II.My Falling Sinks by Kali Malone is a sparse descending melody for justly tuned organ, cello and acoustic guitar featuring Lucy Railton and Stephen O’Malley. The piece is a compositional sketch in septimal just intonation made on an experimental tuning organ at La Temple de La Tour-de-Peilz while in residency at La Becque in 2021. Empyrean Flare by Maria W Horn was composed in 2022 for The Dawn Chorus by choreographer Stina Nyberg. This piece uses the Tintinnabuli technique created by Arvo Pärt to animate four supersaw oscillators in slow diatonic arpeggiation, circling around a minor tonic triad, and destabilizing the harmonic framework by means of glissandi and amplifying the sum of its parts by means of analog tape saturation.Tessellation by David Granström was composed using generative synthesis methods in the summer of 2017. The musical periodicity and harmonic movement heard within the piece emerges as a result of fixed synthesized tape loops - exploring a space that opens up between antithetical worlds.To Whoever Shall Inherit the Earth is the first piece of solo music made by Jessica Ekomane and it came together, according to the composer, almost by accident. The work was recorded late one night a decade ago and captures a fleeting, fragile, and unrepeatable moment preserved exactly as it happened.Smoking Mother by Stephen O’Malley was created for Gisèle Vienne’s Der Teich / L’Etang by Robert Walser. It was composed during a residency at the SMEM synthesis archive in Fribourg in 2018 and produced at EMS in August 2020. The piece draws from the works of Zia Mohuiddin Dagar, Krzysztof Penderecki and Popol Vuh while exploring the roots of minimalism. Att böja själarna by Mats Erlandsson was composed in 2018 and was included in On Eternity, a collection of four texts and four ten minute cassette loops released in the form of a limited edition box set in 2021 by Irrlicht Förlag. This work features performances by Gaianeh Pilossian and Sara Fors, on violin and voice respectively.This will be my last piece for organ was composed by Theodor Kentros in 2025 and uses groups of clustered oscillators through resonant feedback to synthesize the fluctuating frequencies heard wandering through physical space when detuning an organ. Fault Lines was composed by Daniel M Karlsson using generative methods with a deterministic and finite output solidified for this release. This piece features vocal performances by Sara Fors, Ansis Bētiņš and Artūrs Čukurs.

The percussive new age soundtracks of '80s and early '90s Japanese TV, anime and manga built alternative worlds and pushed boundaries in the process.

When Japanese composer Yas-Kaz left Tokyo for Bali in the mid 1970s he had little idea of how influential his trip would become. In studying the storied art of gamelan, the jazz and avant-garde percussionist opened a door to a world of sound and rhythm left behind by the West. The music he and his contemporaries made would become known as new age. It also happened to soundtrack the golden era of anime.

Awash with money and with the prerogative to entertain the burgeoning middle classes, anime in the 1980s experienced a creative and commercial boom. Not constricted by generic expectations, production houses such as the now renowned Studio Ghibli were able to experiment liberally with both form and content. And with it came the space for composers to be similarly adventurous.

TV, Anime & Manga New Age Soundtracks 1984-1993 charts this moment across eight tracks spanning classics of the genre and previously unknown rarities. The collection brings together music that found kinship in electronic and acoustic instrumentation, often combining spiritual or environmental themes with percussive, varied and highly refined syncopations of non-Western musical traditions.

Among them is ‘Kaneda’ by Geinoh Yamashirogumi, the shape-shifting group of self-styled musicians, anthropologists and computer scientists that masterminded the soundtrack to game-changing dystopian anime Akira - and with whom the sound, tuning and breakneck speed of Balinese gamelan has become indelibly entwined.

Reflecting the desires of the era to reach beyond Japan’s borders, many of the soundtracks featured were commissioned for narratives set in distant lands or alternative worlds. There’s violinist and composer Norihiro Tsuru’s ‘Farsighted Person’, written for The Heroic Legend of Arslān, set in ancient Persia; Yas-Kaz’s own ‘Hei (Theme of Shikioni)’, for period sci-fi manga & anime series Peacock King - Spirit Warrior; and two tracks - Tassili N’Ajjer and Fiesta Del Fuego - from Yoichiro Yoshikawa’s soundtrack to NHK’s proto-Planet Earth series The Miracle Planet.

Such was the variety and quality of the music produced, if there is a guiding principle to the tracks collected here it is a sense of escapism and adventure that came with the confluence of modern electronic instruments and a fascination with percussive traditions.

Elsewhere, pioneering children’s TV composer Chumei Watanabe’s ‘Fushigi Song’ (performed by a vocal group Korogi ‘72) offers a trippy and infectious groove with sonic similarities to Don Cherry’s ‘Brown Rice’; little-known jazz-funk library group Columbia Orchestra showcase the best of Tokyo’s session musicians on ‘Hearts Beats - Theme for Andrew Glasgow’; before lawyer-turned-composer Kan Ogasawara closes out the compilation with a dramatic flourish on ‘Gishin Anki’.

Following on from Time Capsule’s acclaimed deep-dive into the world of manga & anime synth-pop in 2022, this vinyl only collection is set to broaden and diversify an understanding of how soundtracks shaped the sound of new age music in Japan for a generation.

Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.

A rare collection of music that has been long awaited by Thaemlitz fans comes highly recommended by Meditations! He is a charismatic DJ, Terre Thaemlitz (=DJ Sprinkles), who has been active in New York's transexual clubs in the 90's, and is currently based in Japan, but travels around the world and continues to develop his artistic music with house music. He has been traveling around the world and developing his artistic music through house music. This is a best-of album that includes one-off compilation tracks as well as self-remixes related to his solo projects. Self-released on Comatonse Recordings, this 2-CD set comes in custom packaging assembled by the artist himself, and includes two double-sided insert cards (100mm x 100mm), a 4x4 panel poster insert (472mm x 472mm) printed on newsprint, and more. This is a great introductory title for this artist. This is a great introductory title for this artist. ....!!!

Viewing-ADMIT IT'S KILLING YOU (AND LEAVE) (SPRINKLES' DEAD END) (Excerpt)
Viewing-MEDITATION ON WAGE LABOR AND THE DEATH OF THE ALBUM (SPRINKLES'UNPAID OVERTIME) (Excerpt)

Violostries (1963/64), 16'39

Premiered and recorded in April 1965 at the Royan Festival - France, by Devy Erlih (violin) & Bernard Parmegiani (sound projection).

Violostries represents the intersection of several musical research directions, presented as two simultaneous dialogues - composer/performer and instrument/orchestra.

After a short introduction tutti very spatialized:

1. Pulsion/Miroirs: multiplied by itself, the violin is projected into the four corners of the sound space.

2. Jeu de cellules: concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds.

3. Végétal: slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter.

Capture éphémère (1967, 1988 version), 11'48

This work was composed in four tracks in 1967 for quadraphonic diffusion.

Remixed in stereo in 1988.

Premiered at the Studio 105 of the Maison de la Radio, Paris, May 1967.

Sounds - noises that circulate as time unfolds - continue to exist despite our recording them.

Breaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear.

Some day, a desert, a sound, then never again....

Somewhere, in my head and body something still resonates... resonance, what could be more ephemeral.

La Roue Ferris (1971), 10'45

Premiered at the Festival des chantiers navals, Menton, on August 26, 1971.

Sound projection: Bernard Parmegiani.

La Roue Ferris (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls high-altitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving us with an illusion of duration.

What exactly is Spiritual Soul anyway? At the confluence of congas and Fender Rhodes, the Civil Rights Movement and vegetarianism, jazz-funk and gospel-soul, a Black-to-the-land movement in song sprung forth in the 1970s. Where Rotary Connection, Alice Coltrane, and Roy Ayers dared to fly, others flapped their free love wings, transcending the trappings of Top 40, sexuality, and capitalism at once.

On Eccentric Spiritual Soul, Numero digs deep into the private annals of the Black music diaspora, unearthing ten heavenly grooves for the tranquility bound listener. From Kalima's existential boogie banger "Where Is The Sunshine" to Fathers Children's proto-dub workout "Linda Movement," Lenny White's Bitches Brew comedown "Sweet Dreamer" to Spunk's Balaeric rainstick R&B "La Bimini," Eccentric Spiritual Soul has everything you need for your next incorporeal awakening. Flute not included, but encouraged.

Eccentric Sweet Soul explores a refined corner of soul music that came into focus in the late 1960s and 1970s, running parallel to — but distinct from — the harder, funk-driven sounds dominating the era. Curated and released by Numero Group, the collection captures a style built on warmth, melody and poise, favouring elegance over urgency.

Often described as sweet soul, this sound softened the genre’s edges without losing emotional depth. Arrangements lean towards symphonic ease and lowrider calm, while vocals are intimate and unforced, designed to linger rather than overwhelm. It’s music shaped for slow moments and repeat listens, its appeal undimmed decades on.

The compilation brings together defining voices of the style, including Majestic Arrows, Timothy Wilson, The Exceptional Three, Ujima, Family Connection, Third Generation, Sweet Breeze and The 5 Stepping Stars. Together, they map a lineage that feeds directly into what’s now understood as modern soul: tender, melodic and quietly assured.

"The only boogie record you'll ever need to own."

Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the '70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

"Bridging the gap between American primitive pioneers John Fahey, Robbie Basho, and Leo Kottke, and the California modernists William Ackerman, Alex de Grassi, and Michael Hedges, Guitar Soli explores the private side of the solo guitar movement from 1966-1981. While Takoma and Windham Hill were laying the groundwork for the new age marketing juggernaut of the mid '80s, these fourteen loners were picking away in tiny cafes, selling records hand to hand. The single disc set comes housed in a digipack chipboard slipcase with a 40-page booklet and features Ted Lucas, Daniel Hecht, Dan Lambert, Jim Ohlschmidt, Tom Smith, Mark Lang, Richard Crandell, Tree People, William Eaton, George Cromarty, Scott Witte, Brad Chequer, Dwayne Canan, and Dana Westover." 

Bulayo gathers extraordinary acoustic guitar performances recorded across Kenya, Tanzania, Zambia and DR Congo in 1979–80 by British-Kenyan musician John Low. Travelling as a student rather than a producer, Low sought out masters of regional fingerstyle traditions, visiting and sometimes staying with artists including Jean-Bosco Mwenda, Losta Abelo and Emmanuel Mulemena, while also documenting under-recorded players such as Francis Kitime and Mtonga Wanganangu. Captured in homes, village squares and bars, these recordings are relaxed and immediate, with laughter, conversation and everyday sounds woven into the music. Far removed from studio polish, they offer a rare sense of how this guitar music was actually heard and shared. Some tracks previously surfaced on John Storm Roberts’ long out-of-print Original Music compilations; others appear here for the first time. All have been restored and remastered from Low’s original tapes by Andrew Walter (Honest Jon’s, Abbey Road). With notes and lyrics by John Low and commentary from Tanzanian scholar John Kitime, Bulayo stands as a vital document of East and Central Africa’s rich guitar traditions.

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson of (then-) Throbbing Gristle travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz. Genesis and Sleazy started the daunting task of compiling the experimental sound works of Burroughs, which, up until that point, had never been widely heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word “cut-ups”, collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Over the following year, P-Orridge, Christopherson and Grauerholz spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and experimental prowess for audio anomaly within technical limitations. In early 1981, Burroughs had relocated to Lawrence, KS to escape the violence and manias of New York City life. There, P-Orridge and Christopherson put the finishing touches on the record that would be known as Nothing Here Now but the Recordings. Released in Spring 1981, the album would end up as the final release on Industrial Records, brought about by the dissolution of Throbbing Gristle. It was quietly out of print until 1998, when John Giorno and the Giorno Poetry Systems included the album on a retrospective CD box set, which compiled the majority of Burroughs's seminal recordings. In 2015, Dais Records worked closely with the Estate of William S. Burroughs to finally re-release, for the first time in 36 years, a proper vinyl reissue of William S. Burroughs Nothing Here Now but the Recordings to celebrate the centennial anniversary of William S. Burroughs. For the 2023 edition, Dais has remastered the audio with renowned engineer Josh Bonati, and restored the original artwork with a new dedication to Genesis Breyer P-Orridge and Peter Christopherson. Releasing in tandem with Break Through In Grey Room

The fantastic disco/world music project from Bremen, Germany that was never meant to be. Formed by Bremen DJ Ralf Behrendt in 1982, Saâda Bonaire was a unique concept band centered around two sultry female vocalists (Stefanie Lange and Claudia Hossfeld) as well as dozens of local musicians culled from the local immigration center. Originally signed to EMI in 1982, their first and only single, “You Could Be More As You Are” was produced by legendary Matumbi, Slits and Pop Group producer Dennis Bovell in Kraftwerk’s studio in Cologne. Its fusion of husky female vocals, Eastern instruments, dub and African music aesthetics, drum computers and synthesizers remains unique to this day. 

Saâda Bonaire compiles two songs from the original EMI single along with eleven previously unreleased songs recorded between 1982 and 1985. Also included are never before published photos, in depth interviews with band members, and a full gate fold cover for dedicated vinyl buyers. These lost recordings from the early eighties still sound fresh on today’s dance floor.

Vital 1977-’79 dubs by the wee legend, all cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. Holding 40 minutes of golden era dub heat, ‘Disco Devil Vol. 1’ spotlights Lee “Scratch” Perry at a crest of his innovative powers. The title cut is a certified all-timer, full of chants, cauldron bubble and ten tonnes of bass that would be sampled in a ‘90s anthem by The Prodigy. Likewise he takes all the time needed to crease your Clarks with a 9 min discomix of Junior Murvin’s sparrow-voiced trotter ‘Roots Train’, and nearly 10 mins of the unreleased Seven Leaves disco mix to ‘Such is Life’, cooling Lord creator’s croon on duskiest sway and FX balm, next to soul-stir fire of Winston Watson’s ‘Dispensation.’

Volume 2 of this series focused on the amazing sonic treasures Bollywood music has to offer. This second volume is centered on the incredible instrumental gems that populate Hindi cine­ma soundtracks. 14 tracks of pure Bollywood instrumental genius to continue the dive into the mind-blowing world of Hindi cinema music. Covering a time span of 3 decades, this compilation mixes well-known names (like S.D. and R.d. Burman or O.P. Nayyar), with lesser-known talents from the endlessly thrilling vaults of Hindi mo­vie soundtracks and throws a couple of delicious covers for a truly unforgettable sonic experience. Includes liner notes.

12 tracks of pure soviet disco fever. Alright, put on your dancing shoes and get ready for a weird trip to the dance floor, to a time when the Soviet Union - still alive and under the flag of the hammer and sickle - managed to produce some wonderfully odd and hypnotic disco hits, mutant funk smashers and electro hip breakers. Coming from all over the huge landscape that the USSR was, the artists on this killer compilation showcase a variety of visions on the subject of shaking the ass that will surprise even the most cynical connoisseur of the genre. TRACKLIST SIDE A A1. Mirdza Zivere - Vienmer but (Latvia, 1979) A2. Оригинал - Сен Қайдан Биласан (Uzbekistan, 1981) A3. Anzhelina Petrosova / Анжелина Петросова - Танцующий Остров (Uzbekistan, 1987) A4. Pervouralsk / Первоуральск - Наташка (Russia, 1990) A5. Güljan Hümmedowa / Гүльджан Хүммедова - Ак Пагта / Белый Хлопок (Turkmenistan, 1984) A6. Roza Rymbaeva / Роза Рымбаева - Жездеке (Ka¬zakhstan, 1988) lika - Noktirne (Latvia, 1981) SIDE B B1. Махфират Ҳамрақулова & Гульшан - Резаборон (Tajikistan, 1989) B2. Janina Miščiukaitė - Amžinas šokis (Lithuania, 1980) B3. Verasy - Polet (Belarus, 1985) B4. Formula Dreyka / Формула Дрейка - Репка (Russia, 1990) B5. Eolika - Noktirne (Latvia, 1981) B6. Raduga / Радуга - Рассветает (Bashkortos¬tan, 1979)

Eduardo Polonio (1941–2024) was one of the foundational figures in the emergence and development of electroacoustic music in Spain. The anthology "Eduardo Polonio: Obra electroacústica 1969–1981" revives his legacy with a selection of essential pieces from his early electroacoustic period. The album includes eight compositions created between 1969 and 1981, spanning from Polonio's early experiments at the Alea Electronic Music Laboratory in Madrid to his later work at the Phonos Laboratory in Barcelona. From the raw electronic textures of "Para una pequeña margarita ronca" (1969) to the timbral subtleties of "Flautas, voces, animales, pájaros..." (1981), this collection showcases Polonio’s artistic evolution and highlights different facets of his work as a composer and musician. The included works reflect this multifaceted aesthetic. "Oficio" (1969) is a real-time improvisation recorded using two low-frequency generators and a modified electric guitar amplifier for sound modulation. "Rabelaisiennes" (1969), for prepared guitar, explores minimalism and instrumental experimentation. "Continuo" (1970), a piece for electric guitar and bass, anticipates ambient music while engaging with free jazz and psychedelia. "Me voy a tomar el Orient Express" (1976) stands out for its rhythmic and harmonic interplay between the lines forming the sonic texture. "Valverde" (1981) offers a microscopic study of a distinctive way flamenco guitar concludes bulerías phrases. "El reclinatorio en el tejado de la lejana abadía" (1971) is structured as an imaginary soundscape in the form of a suite. Polonio’s life and work parallel the history of electroacoustic music in Spain. As one of the most significant composers of his generation, he was both a witness and participant in the technological evolution and various aesthetic movements of the late 20th century. From his beginnings at Alea, Spain’s first electronic music laboratory, to his collaborations with figures like Horacio Vaggione and Josep Maria Mestres Quadreny at Phonos, Polonio carved a unique path in the history of Spanish experimental music. "Eduardo Polonio: Obra electroacústica 1969–1981" is released by Buh Records as a limited double LP edition and in digital format, in collaboration with the Asociación de Música Electroacústica de España (AMEE). The audio in this edition has been restored and mastered directly from the master tapes by Víctor Aguado. The album includes extensive liner notes written by Víctor Aguado and Ramón del Buey, with artwork and design by Gonzalo de Montreuil.