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Brother Theotis Taylor is a 92-year-old spiritual singer and piano player known throughout South Georgia and beyond for his powerful voice and heavenly falsetto. His music took him from his home in Fitzgerald, Georgia, to the stage with Sam Cooke and the Soul Stirrers, to Harlem’s Apollo, and even to Carnegie Hall.
Though his releases are limited to six stunning and rare singles on the Pitch label and a single small-press LP, his recorded archive is vast. For much of his life, Brother Taylor kept a reel-to-reel recorder atop his piano at home.
“The music just comes down on you,” Brother Taylor told us late last year. “You always have your machine where you can catch everything. ‘Cause what you can catch today you can’t remember tomorrow.”
Brother Taylor recorded himself on his DIY home setup only when he was inspired by a higher power, often fasting and praying for days before recording. These intimate home recordings were digitized in 2020 and are being heard for the first time with this release.
Revisiting these old songs brought Brother Taylor to tears. “[When I hear this music] I pick up the same spirit that I did it in. And you see me cryin’. It made me feel good ‘cause I know I did it and I did it well. And I want to see it get out, because if it made me feel good, it make somebody else feel good. Right? This is spiritual music.”
'Denshi Ongaku No Bigaku Vol. 4' is Cosmocities' new compilation put together by label owner Matt Soulie which further explores the depth and diversity of Japan's electronic underground music scene. "Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers. Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit. On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood. The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors. Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination. A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music."
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.
Olvido Records is proud to present African Steel, a follow-up to 2019’s African country-western compilation Bulwayo Blue Yodel. Here we have a compendium of beautiful songs highlighting the early years of the slide guitar in southern, central and eastern Africa. Featuring traditional and popular regional styles adapting the acoustic lap-steel guitar, African Steel reveals intriguing influences from southern American country and blues, Argentinian and European tango, and back to the Hawaiian origins of the instrument, long before the shimmering electric slide guitar of Docteur Nico, and the pedal steel mastery of Demola Adepoju of King Sunny Ade's African Beats. Ranging from up-tempo dance numbers, to plaintive bottleneck-blues style ballads, to a Ugandan string-band cover of a Jimmie Rodgers classic, each song presented here is a unique glimpse into the early years of the slide guitar’s incorporation into various African musical cultures. These fourteen songs have been carefully restored from rare shellac and lacquer discs to honor and celebrate a previously under-represented chapter in global music history, and includes a booklet with contextual notes and translated lyrics.
Released by French reissue specialists Only Roots and Deep Roots, the Augustus Pablo vinyl LP, titled King Tubbys Meets Rockers At 5 Cardiff Crescent Washington Garden Kingston, compiles a treasure trove of mostly previously unreleased material licensed from the vaults of Augustus Pablo’s Rockers International. Recorded at Lee “Scratch” Perry’s Black Ark studio, mixed at King Tubby’s, and anchored by the Rockers All Stars’ timeless riddims, the album delivers dub versions of gems like The Immortals’ Why Keep A Good Man Down and A House Is Not A Home, Pablo’s own New Lots Express, Roman Stewart & Barrington Spence’s No Peace In The City, Ricky Grant’s Far Far Away, and Hugh Mundell’s defiant Run Revolution A Come. Of particular interest are two alternate cuts of Pablo’s Unfinished Melody, along with a rare partial vocal of Jacob Miller’s Stop Them Jah, voiced on the same classic riddim that underpins the iconic Who Say Jah No Dread. These tracks first appeared decades ago on a scarce 10-inch release and now makes a welcome return.
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)
This is just sublime: Stroom & Hessel Veldman illuminate 13 unreleased gems by a sacred figure of ‘80s DIY Dutch tape music, nestling deeply precious, noctilucent synth works for lovers of BoC, Eno & Harmonia, Vangelis, Tangerine Dream & Klaus Schulze, Dominique Lawalrée...
Trust the Lowlands standard bearers at Stroom to pluck this quietly breathtaking bouquet from behind the ear of DIY synth and ambient music history. Adding to prized reissues of Enno Velthuys’ work over the past decade - from albums to songs secreted on comps for LSD and Light in the Attic - ‘Music From the Other Side of the Fence’ helps fill gaps in the patchy knowledge of his cultish catalogue 1975-1990. While the label are being typically, poetically playful with background info, a crudely educated guess can assign pieces to recordings that made up his four cassettes issued 1982-1987, but it’s better taken as a lovingly sequenced overview of his harmonious short stories, each riddled with an exquisite atmospheric magick that tiles up to an adorable portrait of the troubled artist.
If memory serves, it was a pair of LSD comps that first anonymously seeded Velthuys’ ohrwurms ‘Blue Heron’ & ‘The Day After’ to our lugs, at least, and it wasn’t until a reissue of their motherships ‘Landscapes in Thin Air’ (1985) & ‘Different Places’ (1987) that things began to fall in place. A slightly broader picture now emerges via this new raft of signature, woozy arabesques and powdered ambient pads threaded with a feel for extended melody that ties it all off with a ribbon bow. A solitary, melancholic presence guides from the frosted carillon of ’Something Special’ thru the reedy romance of ‘Uplands (Unplugged Alt Version 2)’, sashaying to types of aerial waltz in ‘Underneath a Dark Sky’ and slowed, Vangelisian brass fanfare with ‘Moonlight Serenade’ that surely shiver nostalgic timbers with an evocative, tongue-tip timbre that tickles places others don’t reach.
100% no brainer for hopeless ambient synth romantics and introverts.
Strut presents Nigeria 80, the next essential chapter in the legendary Nigeria 70 series, diving deep into the explosive sound world of 1980s Nigeria. Following the global impact of 2001's Nigeria 70, which helped introduce rare Nigerian recordings to international audiences, Nigeria 80 continues the journey, unearthing a rich, restless, and wildly creative decade of music from Lagos to Enugu. Despite economic instability and restrictive political conditions in the 1980's, Nigeria’s music industry flourished, driven by a growing network of independent labels such as Tabansi and Phonodisk, which championed local artists and expanded creative freedom. The 1980s also marked a significant rise in visibility for female artists, with trailblazers like Onyeka Onwenu helping to reshape the landscape and open doors for a new generation of performers, writers, and producers. Nigeria 80 showcases the extraordinary breadth of this era, with all tracks reissued here for the first time. The compilation brings together essential recordings from across Nigeria’s musical spectrum: highlife greats Victor Uwaifo and Nico Mbarga appear alongside Paulson Kalu, whose personal favourite “Akugbue Nwa Ewu” stands out as a prime example of the style. Prince David Bull’s “Soko Soko” (later reinterpreted in Starboy’s Afrobeats hit “Soco”) features as a key touchpoint between eras. Segun Adewale delivers a driving juju workout, while Lekan Animashaun, longtime bandleader of Africa 70, contributes a late-era Afrobeat classic produced in collaboration with Fela Kuti. The compilation also highlights more experimental and hybrid sounds, from I.C. Rock’s proto–hip hop gem “Advice” to Evi-Edna Ogholi’s self-produced reggae statement “The World”. The set closes with “Apama” by Ibealaoke Chukwukeziri, the “Apama Boy” from Achi in eastern Nigeria, featuring hypnotic vocals and percussion from his Anaedeonu band. Nigeria 80 is available as a Strut Exclusive Edition 2LP including an extra 12" insert, a black vinyl 2LP housed in a gatefold sleeve, or CD digipak, which includes a 16-page booklet with artist photos and liner notes by Francis Gooding. Compiled by Duncan Brooker. Audio restoration by See Why Audio. Mastered by The Carvery.
Strut presents Nigeria 80, the next essential chapter in the legendary Nigeria 70 series, diving deep into the explosive sound world of 1980s Nigeria. Following the global impact of 2001's Nigeria 70, which helped introduce rare Nigerian recordings to international audiences, Nigeria 80 continues the journey, unearthing a rich, restless, and wildly creative decade of music from Lagos to Enugu. Despite economic instability and restrictive political conditions in the 1980's, Nigeria’s music industry flourished, driven by a growing network of independent labels such as Tabansi and Phonodisk, which championed local artists and expanded creative freedom. The 1980s also marked a significant rise in visibility for female artists, with trailblazers like Onyeka Onwenu helping to reshape the landscape and open doors for a new generation of performers, writers, and producers. Nigeria 80 showcases the extraordinary breadth of this era, with all tracks reissued here for the first time. The compilation brings together essential recordings from across Nigeria’s musical spectrum: highlife greats Victor Uwaifo and Nico Mbarga appear alongside Paulson Kalu, whose personal favourite “Akugbue Nwa Ewu” stands out as a prime example of the style. Prince David Bull’s “Soko Soko” (later reinterpreted in Starboy’s Afrobeats hit “Soco”) features as a key touchpoint between eras. Segun Adewale delivers a driving juju workout, while Lekan Animashaun, longtime bandleader of Africa 70, contributes a late-era Afrobeat classic produced in collaboration with Fela Kuti. The compilation also highlights more experimental and hybrid sounds, from I.C. Rock’s proto–hip hop gem “Advice” to Evi-Edna Ogholi’s self-produced reggae statement “The World”. The set closes with “Apama” by Ibealaoke Chukwukeziri, the “Apama Boy” from Achi in eastern Nigeria, featuring hypnotic vocals and percussion from his Anaedeonu band. Nigeria 80 is available as a Strut Exclusive Edition 2LP including an extra 12" insert, a black vinyl 2LP housed in a gatefold sleeve, or CD digipak, which includes a 16-page booklet with artist photos and liner notes by Francis Gooding. Compiled by Duncan Brooker. Audio restoration by See Why Audio. Mastered by The Carvery.
Strut present the first ever official compilation bringing together the complete in-demand reggae / disco singles of Risco Connection between 1979 and 1980.
Drummer “Drummie” Joe Isaacs had already created history as the house drummer at Studio 1 in Jamaica on countless pre-reggae classics before moving to Canada in 1968 and is credited with slowing down the fast pace of ska during the rocksteady era. With Risco Connection, Isaacs released a series of choice reggae / disco covers, from ‘Ain’t No Stopping Us Now’ and ‘Good Times’ to ‘I’m Caught Up (In A One Night Love Affair)’ and ‘It’s My House’ as limited 12” singles on his own Black Rose imprint. “Arriving in Canada, we were one of the first set of musicians out of Jamaica coming here,” explains Isaacs. “With Risco Connection, we wanted to try something new, songs that would have a crossover between disco and the rocksteady feeling and the right lyrics. We had trouble getting them well distributed widely at the time but people still picked up on the sound.”
Recorded at Glen Johansen’s small studio Integrated Sound in Toronto, musicians included Jamaican, US and Canadian players with Isaacs on drums and percussion, bassist Clarence Greer, guitarist Tony Campbell and keyboardist/singer Glen Ricketts. Isaacs also called on a number of great independent vocalists including Terry Hope (‘It’s My House’), Merlyn “Lorna” Brooks, (‘Caught Up’), Otis Gayle and Juliette Morgan (‘Bringing The Sun Out’ and ‘Sitting In The Park’) and Tobi Lark (‘Good Times’). The biggest hit of all the singles was Risco’s dynamite cover of McFadden and Whitehead’s ‘Ain’t No Stopping Us Now’. selling over 5,000 copies in Toronto and New York with the dub version becoming a firm favourite of David Mancuso at his famed Loft parties.
‘Risco Version’ brings together all of the vocal versions, dubs and extra tracks from the singles. Both formats feature an interview with Joe Isaacs and liner notes by journalist Angus Taylor. Audio is restored by Sean P and fully remastered and cut loud and proud by The Carvery.
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.
Gilles Peterson presents International Anthem is a Deluxe Double LP compilation chronicling the infamous London-based radio host, DJ, label head, curator and cultural impresario's long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. The RSD exclusive 2LP is on "Frozen Lake Michigan" colored vinyl. This album is released via International Anthem as part of their "IA11" series of releases and events – where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.
Pressed for Record Store Day 2025 for "Frozen Lake Michigan" Color 140g 2 x LP, in a heavyweight UV-Gloss jacket, with 12"x12" insert booklet, with IA OBI Strip & printed poly-lined inner sleeves.
A companion mini-album to Heavy Combination, last year’s career-spanning compilation documenting some of the amazing music recorded over five decades by the late Joseph Kamaru, a towering figure in post-colonial Kenyan culture. This new record presents five more gems from the archives, chosen by Disciples and Joseph Kamaru’s grandson, the sound artist KMRU. Carefully remastered from original tape transfers, with liner notes by Kenyan academic Maina wa Mũtonya.
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.
Paradise Is A Frequency present their first compilation, The Style of Life — a 70-minute guided vacation for the mind assembled from thrift-store obscurities and forgotten formats. Known for unearthing strange sonic artefacts from the world of YouTube deep dives and bargain-bin treasure hunts, the collective gathers a dizzying mix of “wine cooler-core” moods, consumer-grade smooth jazz, aerobic VHS ambience and elevator-ready tape loops. Across four sides, the set features contributions from Metamorphosis, Lorad Group, Ski Johnson, Mensah and others. Presented as a kind of fictional lifestyle software update, the compilation is accompanied by a booklet of reflections, dig sites and visual fragments — extending its strange corporate-dream aesthetic beyond the music itself.
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.
Geoff Farina’s Southern Records tenure was not just about Karate. His late-90s guitar-and-vocal solo output included the bedroom-recorded Usonian Dream Sequence that echoed The Secret Stars’ intimate lo-fi sentiments, Reverse Eclipse that rode the more delicate fringes of Unsolved-era Karate, and the single Steely Dan, a paean to a contemporaneous guilty pleasure. FFF collects all three long-out-of-print releases here on vinyl for the first time, fastidiously packaged and punctuated with Farina’s written reflections on their making.
Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard rage-baiting. ”A roar of nothing”—HeartattaCk
Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard rage-baiting. ”A roar of nothing”—HeartattaCk
Forgotten electronic treasures by composer Ton de Leeuw rediscovered: first release in the Dutch Oscillation Series Dutch Oscillation Series (DOS) proudly announces the release of a box set featuring the complete electronic works of Ton de Leeuw (1926–1996). This publication marks the first instalment in a new series that brings the history of Dutch electronic music to life for a broad audience. The official presentation will take place on Saturday, 12 September, during the Gaudeamus Festival for contemporary music in Utrecht. Unique discoveries from the archive. For far too long, twentieth-century Dutch electronic music has remained hidden away in dim archives, only occasionally accessible under optimal conditions. Many compositions have not been heard for decades, perhaps after being presented to an audience only once. For this project, the original tapes were carefully traced in basements and archives, including the mysterious work Chronos, which was rediscovered in the collection of the Netherlands Music Institute (NMI). Even close collaborators of De Leeuw were unaware of the existence of Chronos. Another highlight of this release is the radiophonic oratorio Job (1956), which was awarded the Prix Italia radio prize by broadcaster Rai. The recordings were digitised by experts at the Institute of Sonology and the Instituut voor Beeld en Geluid (Netherlands Institute for Sound and Vision). The music was then meticulously restored and mastered in the studio of Jos Smolders (EARLabs), in accordance with modern standards, while strictly adhering to the composer’s original artistic intentions. The edition includes eight works composed between 1956 and 1982. The collection is released as a deluxe LP and CD box set and is also available via streaming and as high-resolution downloads. For an optimal listening experience, originally four-channel works such as Elektronische Studie (Electronic Study) and Antiphonie (Antiphony) are available as special Dolby Atmos downloads, allowing listeners to experience at home the unique spatial sound world envisioned by Ton de Leeuw. About Ton de LeeuwTon de Leeuw was one of the most influential Dutch composers of the twentieth century. A thinker with a distinctly cosmopolitan outlook, he immersed himself deeply in musical cultures from India, Japan, and Indonesia, among others. His work consistently sought to bridge Eastern and Western musical traditions and concepts. In addition, De Leeuw enjoyed a distinguished academic career. He served for many years as senior lecturer and director at the Amsterdam Conservatory and was affiliated as a senior research fellow with the University of Amsterdam. His book Muziek van de twintigste eeuw (Music of the Twentieth Century) remains a standard reference work.