MUSIC

blueblue is the latest full-length from multi-instrumentalist and all-around vibe wizard, Sam Gendel. The record, out October 14 via Leaving Records, is a concise, tightly wound song suite whose 14 tracks each correspond to a pattern within sashiko, a traditional style of Japanese embroidery. This conceit remains playfully ambiguous — to what extent, if at all, is Kagome (籠目, woven bamboo) meant to evoke the pattern of the same name, for example? But there is an intuitive sense, throughout blueblue, that Gendel has, in this instance, narrowed his focus. To say that blueblue feels richly textural might be a little on-the-nose, thematically, but alas…it does. There is an intimacy, a humility, and a strength at play here that typifies the work of a master craftsman. Only an artist could make it sound so effortless. A Los Angeleno by way of Central CA, Gendel is by now an institution. Across a dizzying slate of solo releases and collaborations, he has amassed a reputation for not only virtuosic musicianship (primarily as a saxophonist, though the songs that would become blueblue were all initially composed on guitar), but also for his mercurial and prolific output — a corpus of work, which, while obviously indebted to jazz and hip hop (and the farther flung, experimental corners of both) is, in a word, unpindownable. In this regard, Leaving Records, with its cri-de-cœur of “All Genre,” is a natural home for Gendel. The bulk of blueblue was recorded in isolation in a makeshift studio built in a cabin floating atop a tributary of Oregon’s Columbia River. Having sketched out a set of guitar melodies, Gendel recorded the album in five-or-so weeks, during which time he became well-acquainted with the river’s tidal rise and fall. This organic rhythm, which daily lifted the house to meet the horizon, later setting it down gently upon the riverbed, permeates the record. There are pops and groans and artifacts, and, in Tate-jima (縦縞, vertical stripes)—one of blueblue’s more plaintive tracks—even the faint lapping of water. Equally essential to the feel of blueblue is Craig Weinrib’s kit work. Gendel and Weinrib collaborated long-distance during Gendel’s time in Oregon, with Gendel sending Weinrib half-finished songs, and giving him carte-blanche to record percussion. The end result is a relaxed, confident exchange between two clearly simpatico musicians, particularly evident in Weinrib’s gorgeously attentive brush technique. blueblue is a conceptually sound, mesmerizing, evocative, and sonically idiosyncratic LP. In keeping with its name, blueblue functions as Gendel’s color study, conveying, through repetition and deviation, his devotion to a certain mood — unnamable, but certainly noirish, nostalgic, quasi-psychedelic, and existing in some permanent twilight. Real ones know, and for those who don’t yet, blueblue is an accessible and intoxicating entry-point into Gendel's ever-expanding catalog.

AKARMA

Recorded at Harry J and Channel One in 1982 with iconic musicians as China Smith, Flabba Holt, Robbie Shakespear, along with Norris Reid and Delroy Williams on backing vocals.The album includes a recut of the classic "Java" and the singing of Hugh Mundell on "Ratafari Tradition". Reissued with the artwork of the original Jamaican press.

Part of a series of three new archival releases from Ndeya that showcase Jon Hassell and group in the late 1980s exploring a radical tangent on his Fourth World sensibility.

Further Fictions is a double CD anthology of the music on the vinyl editions, with a disc devoted to each album in hardbound book style
packaging, and an extensive booklet containing sleevenotes and archival images.

The first disc ‘The Living City’ documents a performance at the Winter Garden in New York City on 17 September 1989, mixed live by Brian Eno. The second disc ‘Psychogeography’ sees Jon taking a Teo Macero style scalpel to the original session tapes of the 'City: Works Of Fiction' album and coming up with a situationist inspired alternate version of the City album. Beguilingly different takes and the raw excitement of early demos are skillfully sequenced to concoct a different dimension of sounds from the original release.

Comes with 32 page booklet featuring extensive liner notes and photos.

Historical set recorded live on April the 28th in London, right before the departure of second drummer Bob Bert. The selection indulges on recent masterpiece Bad Moon Rising and the influential Kill Your Idols Ep

the most live-sounding Yo La Tengo album in years, This Stupid World. Times have changed for Yo La Tengo as much as they have for everyone else. In the past, the band has often worked with outside producers and mixers. In their latest effort, the first full-length in five years, This Stupid World was created all by themselves. And their time-tested judgment is both sturdy enough to keep things to the band’s high standards, and nimble enough to make things new. At the base of nearly every track is the trio playing all at once, giving everything a right-now feel. There’s an immediacy to the music, as if the distance between the first pass and the final product has become more direct.

Outsider released Early Live In Germany on Fri Dec 23 2022. The 4 track Leftfield release features Kraftwerk.

Grateful Dead played an extended set on Saturday night at Woodstock. Introduced by their friend Ken Babbs, the band took off with “Saint Stephen,” a song from their classic Aoxomoxoa album. A major shock to rhythm guitarist Bob Weir (the result of touching his ungrounded microphone and guitar at the same time) blew the power out momentarily, ensuring that the second verse of the song was not captured by either the film or audio recording. Perhaps it was this shock that forced the band to abandon the song halfway through, ducking into a cover of Merle Haggard’s “Mama Tried” instead.

Another side of Serge Gainsbourg permeates this 1963 film soundtrack about 'a stripper lost in the nocturnal world' of Paris, according to director Jacques Poitrenaud, who cast Nico in the lead role (after her appearance in La Dolce Vita and just prior to the single she cut with Jimmy Page for Andrew Loog Oldham). Created by Gainsbourg with arranger and longstanding collaborator Alain Gourager, the music is fittingly the cool jazz of dingy nightclubs and seedy bordellos, with Gainsbourg on piano, and there's the sultry title track, delivered breathlessly by Juliette Greco. Another lost gem for all serious Gainsbourg fans.

The song that marked the return of Joe Bataan in 2004 finally makes it into a 7” single for the first time. Recorded at the Daptone studio this is a dancefloor favourite by the King of Latin Soul!

Debut album by Ani Zinc, member of the Spanish experimental duo Diseño Corbusier and co-founder of the iconic record label Auxilio de Cientos. Originally released in 1986, this record is a showcase of her radical blueprint, comprising sound collages and voice experiments, and also welcomes the use of conventional instruments such as drum machines and keyboards, resulting a richer and more diverse outcome. First time reissue of this much sought-after record on the highly collectable Spanish experimental label Auxilio de Cientos.

In 2018 experimental festival Organ Reframed commissioned Éliane Radigue to write her first work for organ, 'Occam Ocean XXV'. Radigue worked closely with organist Frédéric Blondy at the Église Saint Merry in Paris before transferring the piece to Union Chapel for its premiere at Organ Reframed on 13 October 2018. The recording on this compact disc was made at a private session at Union Chapel on 8 January 2020. 'Occam XXV' inaugurates the very special record series of works exclusively commissioned by Organ Reframed, the organ-only, one of a kind experimental music festival, carefully curated by Scottish composer/performer and London's Union Chapel organ music director Claire M Singer. Paris-born Éliane Radigue is one of the most innovative and influential living composers of all time. After working under Pierre Schaeffer and Pierre Henry in the late 1950's/early 60's she mainly worked with tape before developing a deep relationship with modular synthesis in the early 1970's. Over the next three decades she pushed her own conceptions of musicality forward developing a deep relationship with her ARP 2500. Through endless exploration and drawing on her personal journey as a practicing Buddhist she created an entirely new landscape of experimental sound. In the early 2000's she made an extraordinary shift into writing predominantly for acoustic instruments. 'Occam XXV' is the latest chapter of Radigue's broader series of works Occam Ocean which she has been composing in the last decade. Carefully selected by Radigue she has closely collaborated with various extremely experienced yet sensitive instrumentalists. For Occam XXV Radigue collaborated with pianist, organist, composer, improviser, artistic director of the Orchestra of New Musical Creation, Experimentation and Improvisation (ONCEIM) Frédéric Blondy, which is their second collaboration in the Occam Ocean series. 'Occam XXV' premiered in 2018, and was later recorded privately in 2020 at London's Organ Reframed headquarters Union Chapel. "We live in a universe filled with waves. Not only between the Earth and the Sun but all the way down to the tiniest microwaves and inside it is the minuscule band that lies between the 60 Hz and the 12,000 to 15,000 Hz that our ears turn into sound. There are many wavelengths in the ocean too and we also come into contact with it physically, mentally and spiritually. That explains the title of this body of work which is called Occam Ocean.The main aim of this work is to focus on how the partials are dealt with. Whether they come in the form of micro beats, pulsations, harmonics, subharmonics – which are extremely rare but have a transcendent beauty – bass pulsations – the highly intangible aspect of sound. That's what makes it so rich. When Luciano Pavarotti gave free rein to the full force of his voice the conductor stopped beating time and you could hear the richness in its entirety. Music in written form, or however it is relayed, ultimately remains abstract. It's the performer, the person playing it who brings it to life. So the person playing the instrument must come first. I've always thought of performers and their instruments as one. They form a dual personality. No two performers, playing the same instrument, have the same relationship with that instrument – the same intimate relationship. This is where the process of making the work personal begins. The purely personal task of deciding on the theme or image that we're going to work from. Obviously, because this is Occam Ocean, the theme is always related to water. It could be a little stream, a fountain, the distant ocean, rivers. Out of the fifty or so musicians I've worked with no two themes have been the same. Each musician's theme is completely unique and completely personal. The music does the talking. This is one of those art forms that manages to express the many things that words aren't able to. Even at an early stage, all those ideas need to have been brought together." - Éliane Radigue

Genji Sawai’s classic LP “Sowaka”, featuring Midori Takada and Bill Laswell, reissued for the very first time. Sowaka will be re-released on February 10th with remastered audio. Sowaka, recorded in 1984, displayed an innovative sound that went beyond genre – mixing dub, world, jazz, electro, hip-hop and avant-garde. A perfect match of some of the most experimental artists of that time resulting in an extremely sought after and singular piece of music of the golden Japanese era. A talented crossover. In 1984, working with Bill Laswell, Michael Beinhorn and Midori Takada would be unlike working with anyone else Genji Sawai had before, pulling him out of the J-jazz experimental scene he was based on. Rather than work off written music, they’d build songs like cooks. Genji might supply the ingredients, perhaps the tonal choices – sax, FM synths, drum machines, and Bill would task himself to do the “cooking”, creating the overall image of the song. It’s the use of imagery to have a conversation with each other, musically, that just felt so different to Genji. Unlike the other musicians who contributed to Sowaka, musicians of impressive, rarefied technique like Midori Takada, Shuichi “Ponta” Murakami, and Kazuhiko Shibayama, notation or sheet music wasn’t a part of Genji’s vocabulary with Bill. With him, drawings were how songs were built from the ether. Whatever image a demo conjured up – that’s where the song had to go. You hear it on songs like “Hikobae” that predicted the chopped and screwed sound that would revolutionize hip-hop years later. On this track what started with a mental picture, of some kind of tree shoot, metastasizes a vision full of no-wave sax skronk dosed with pointillistic dub affectations. Although, Sowaka wasn’t tied inherently to it’s original meaning – the final utterance from the Buddhist Heart Sūtra – it’s philosophical meaning wasn’t too divorced from the true meaning (or at least, his truest meaning) Genji placed on it here: getting things done. Simply put, all his high-minded ideas wouldn’t have come to fruition unless all involved put some serious work into getting the project over the finish line. In five cracking days the album was put on tape and was then jettisoned off to NYC for Bill to put its final touches. What’s fascinating about Sowaka, or at least what will make it so, is just how it perfectly captures a certain atmosphere, somewhat alien to overground Japanese music at the time. Forget about a starry-eyed, futuristic, technopolis. The Japan heard in songs like “1969 (The Real)” is found in its iconic back alleys and constantly changing cityscape. It would use hip-hop, jazz, folk, and world music, to drop its sonic graffiti. That pull of “tradition” trying to co-exist with increasingly hypermodern ideas is palpably heard in music defined by its mix of organic and synthetic instruments paired with hard-nosed melodies. Genji’s Japan, as heard in Sowaka, pulls no punches, it wants you right in the middle of that public maelstrom. It wants you to sonically be there. Behind the mysterious chopped-and-screwed-with jazz of songs like “Hikobae” or the no-wave, nu wave-fried jazz of the titular track, there was a new kind of fusion being presented. Moving beyond world music, there was territory to be uncovered that was even more unplaceable. Somewhere, between the mind, body, and spirit, closer to one’s neck and booty, was this music urging you to simply move elsewhere, further, until you’re closer to where Genji’s music would land. Somewhere between history and his story, there’s still room to rewrite our story by absorbing this spectacular music that remains completely, forever, out of time.

Alga marghen very proudly presents the last chapter from the Feedback Works documentation series, a brand new LP including “In Memoriam-Ostinato” and “Danse des Dakinis”, two previous unreleased tracks by Eliane Radigue.
 
    Among the works of fixed duration from the feedback period, “In Memoriam-Ostinato” is the link between “Jouet Electronique” (alga marghen LP, cat. Alga029) and “Opus 17” (alga marghen 2LP, cat. Alga045), and allows us to understand the evolution of her approach. It is a measured gesture, slow, it is music without any major event, an extending state, contemplation. “In Memoriam-Ostinato” is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. The ear ventures into it, lets itself go and gets lost.
As Eliane Radigue recalls: “This piece was commissioned for a Happening, Mémorial. It was a sort of secular procession to the castle of Verderonne, a beautiful place. The pools bordering the edifice were lit, and everyone was dressed or draped in mauve. It terminated in one of the grand salons of the castle where I played “In Memoriam-Ostinato”.”
Eliane Radigue’s working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences.
 
    Even though it bears the same name as the third part of “Adnos III”, “Danse des Dakinis” is a peculiar work in Eliane’s oeuvre.
Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. The piece seems to resonate between two mountains. An echo folds time untiringly. We are in the memoir echo-chamber of Eliane Radigue’s spirit, a hall of mirrors that reflects and multiplies her, diffracting her as through a prism. Or, more precisely, reflecting her sensibility at different stages of her life.
There is a feedback ostinato conceived around 1969 and which refers to “In Memoriam-Ostinato” and “Opus 17”. All through “Danse des Dakinis” we plonge into the sound of a creek recorded at Mills College campus that brings us back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct “Elemental1” (alga marghen LP, cat. Alga029) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path.
There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So she left with just a few tapes taken from her own collection, drawn from different periods, and composed “Danse des Dakinis” with those old elements.
There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. Such versatility will surprise those who know the music of Eliane Radigue, it is a unique but powerful example of her way of dealing with sound, of exposing herself with it, integrating with it.
In this Elaine Radigue is faithful to the theme suggested by the title: A dakini is a female deity in Vajrayana Buddhism or a female demon in Hinduism. Spirits of nature, they are witches, or female demons in India and the Himalayas. In Tibetan Buddhism they can be subjugated earthly deities, wrathful female forms of bodhisattvas or buddhas, or simply historic or legendary figures. The dakinis symbolize a wild and natural state and, according to a buddhistic interpretation, absence of ego or mental obstacles, nature itself revealed.
“Dance des Dakinis” is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics.

Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigue's Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening.

Alga Marghen very proudly presents a remastered version of the complete documentation of Eliane Radigue sound installations from 1969-1970, including the broad tectonic vibrations of "Omnht," the celestial voices of "Usral," the massive chant of "Stress Osaka," and more -- the works of this artist's feedback period finally revealed. It is amazing that Radigue could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for Henry at the Studio d'Essai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance, who invited her to learn the techniques of musique concrète. Created 10 years after her Studio d'Essai experience, the feedback works of Eliane Radigue immediately take a new direction from the explorations of musique concrète. Her adventure intuitively goes towards flux, towards contemplative stasis -- a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. It is as if her musical work was in some way a martial art -- as if she meditated for 10 years before striking the first blow, with impressive precision. This is the context in which Eliane composed "Omnht" in 1970 for the architectonic spaces of the visual artist Tania Mouraud titled "One More Night," presented at the Gallery of the Rive Gauche in Paris; "Usral" (the title comes from a phonetic compression of ultrasounds slowed-down, in French "ultra-sons ralentis") is one of the first works by Eliane Radigue to be given in public as a sound environment for a sculpture by Marc Halpern in the Salon des Artistes Décorateurs at the Grand Palais of Paris in 1969; "Stress-Osaka" was conceived when the artist was invited to create a sonic environment for the International Fair in Osaka in 1970. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light -- a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music, a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. Includes a 16-page LP-size booklet with original photos, scores and liner notes.

Alga Marghen presents the new edition of Eliane Radigue's "Jouet Electronique" (1967) for feedback on magnetic tape and "Elemental I" (1968) for feedback of natural sounds on magnetic tape. This LP was first issued in 2010, and it's now presented for the first time with its own specific artwork and layout. Both works were recorded at Pierre Henry's Studio Apsome in Paris. Between 1967 and 1968, Radigue was Henry's assistant, mainly for the editing of L'Apocalypse de Jean (1969). Henry also put her in charge of organizing his sound archive; Radigue enjoyed doing this work, even if it took a long time. She decided to set the machines of the studio to do some work of her own. "Jouet Electronique" and "Elemental I" were born this way during her time as an assistant; working with feedback is something that Radigue learned through Henry. Do you remember Henry's Voyage (1969)? There's that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback; one has to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. Fine-tuning could yield beautiful results: low pulsations, high-pitched sounds (sometimes both at the same time), or long sounds. All of these could be slowed down or accelerated, which gave beautiful source material. With "Jouet Electronique", Radigue had a lot of fun, hence the title. As far as "Elemental I" is concerned, it was the first attempt at something which was important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. Using it, Radigue built a minimal sound library, consisting of not more than ten reel tapes. This was the starting point; in 1968 she used these recordings for her work with two reel tape machines. New edition of 200, with liners by Radigue and portrait photos by Arman.

After a long break, we're happy to present another masterpiece in The Fact Of Being collection. A long-awaited reissue of the legendary ambient/new-age album "Reflections" by Laura Allan with Paul Horn. The album was recorded in 1980 and marked by the participation of twice Grammy Awarded jazz legend flutist Paul Horn. The meeting of Laura and Paul was a true miracle that brought amazing fruit. Since 80th "Reflections" captivate the minds of spiritual ambient music fans all over the world. Magical sounds of flute, endless melodies of zither, Laura's heavenly voice lighted by meditative bells and synthesizers. A simple recipe but with great talents and unique results. Laura's reflections lead a listener to deep meditation, harmony, and to the eternal palace of inner peace. We hope you'll share with us the pleasure of listening to the record and the world become a bit more peaceful place for everyone. This is the first reissue on the vinyl since 1984 when the album was repressed the last time. After 38 years the record became collectors' dream and now it's available again as it should be. Moreover, as always, we love CDs and it's available as a limited DigiCD version. The record was mastered by Grammy-nominated Jessica Thompson which guarantees extra ordinal sound experience. Yes, a lot of Grammy here... Laura passed away on May 19, 2008, after a half-year battle with cancer. She was just 56. Enjoy Laura's art that makes her alive. Below you'll find memories by Steven Halpern: LAURA ALLAN ( 1952 -2008) was a gifted singer and songwriter who was a legend in the San Francisco Bay area in the early 1970s. REFLECTIONS is her beloved album, and features her original songs, one of which includes a collaboration with Paul Horn on “Passages”. Her voice and zither take center stage on “As I Am”, “ Waterfall” and “Nicasio”. Other artists, including Dallas Smith on Lyricon wind synthesizer, add to the mix. It is my honor and privilege to bring her music back into the world. I met Laura after her performance at a new age conference in 1975 held on campus at Sonoma State College. Her magical aura of angelic voice, luminous blonde hair, and energetic strumming or meditative Celtic harp-inspired zither, captured your attention instantly. My first LP had just been pressed, and this was my first public presentation. Nevertheless, my instincts were right on. Even though I had only one album and no track record yet, I invited Laura to record her album on my label. It was too early for both of us. Several years later, she signed with another local label, Unity Records. After Laura regained the rights to REFLECTIONS, she contacted me in the mid-1980s to see if I were still interested. Of course I was! She licensed the album to my indie label. I then re-released the LP and cassette on the Hear & Now imprint, (a division of Halpern Sounds) which was my main label name at the time. Our deal was actually a two album deal, and I would record and produce the album combining her voice and zither and my arrangements. Alas, that album was never completed." "In an unlikely collaboration between folk singer Laura Allan and New Age pioneer Paul Horn, Reflections capture two artists in perfect harmony of their talents. Allan, in addition to being an incredibly gifted songwriter, was something of a string instrument prodigy and made instruments for other Laurel Canyon heroes including Joni Mitchell and David Crosby. Her zither playing and vocals here match perfectly with the New Age aesthetic set by Horn and the sounds are beautiful and organic, characteristic of the early more experimental days of the New Age genre before it would later be marred by “easy listening.” Highly recommended for fans of Lauraaji, Alice Coltrane, David Casper, and Light In The Attic’s “I Am the Center” compilation." – Phil Cho

After a long break, we're happy to present another masterpiece in The Fact Of Being collection. A long-awaited reissue of the legendary ambient/new-age album "Reflections" by Laura Allan with Paul Horn. The album was recorded in 1980 and marked by the participation of twice Grammy Awarded jazz legend flutist Paul Horn. The meeting of Laura and Paul was a true miracle that brought amazing fruit. Since 80th "Reflections" captivate the minds of spiritual ambient music fans all over the world. Magical sounds of flute, endless melodies of zither, Laura's heavenly voice lighted by meditative bells and synthesizers. A simple recipe but with great talents and unique results. Laura's reflections lead a listener to deep meditation, harmony, and to the eternal palace of inner peace. We hope you'll share with us the pleasure of listening to the record and the world become a bit more peaceful place for everyone. This is the first reissue on the vinyl since 1984 when the album was repressed the last time. After 38 years the record became collectors' dream and now it's available again as it should be. Moreover, as always, we love CDs and it's available as a limited DigiCD version. The record was mastered by Grammy-nominated Jessica Thompson which guarantees extra ordinal sound experience. Yes, a lot of Grammy here... Laura passed away on May 19, 2008, after a half-year battle with cancer. She was just 56. Enjoy Laura's art that makes her alive. Below you'll find memories by Steven Halpern: LAURA ALLAN ( 1952 -2008) was a gifted singer and songwriter who was a legend in the San Francisco Bay area in the early 1970s. REFLECTIONS is her beloved album, and features her original songs, one of which includes a collaboration with Paul Horn on “Passages”. Her voice and zither take center stage on “As I Am”, “ Waterfall” and “Nicasio”. Other artists, including Dallas Smith on Lyricon wind synthesizer, add to the mix. It is my honor and privilege to bring her music back into the world. I met Laura after her performance at a new age conference in 1975 held on campus at Sonoma State College. Her magical aura of angelic voice, luminous blonde hair, and energetic strumming or meditative Celtic harp-inspired zither, captured your attention instantly. My first LP had just been pressed, and this was my first public presentation. Nevertheless, my instincts were right on. Even though I had only one album and no track record yet, I invited Laura to record her album on my label. It was too early for both of us. Several years later, she signed with another local label, Unity Records. After Laura regained the rights to REFLECTIONS, she contacted me in the mid-1980s to see if I were still interested. Of course I was! She licensed the album to my indie label. I then re-released the LP and cassette on the Hear & Now imprint, (a division of Halpern Sounds) which was my main label name at the time. Our deal was actually a two album deal, and I would record and produce the album combining her voice and zither and my arrangements. Alas, that album was never completed." "In an unlikely collaboration between folk singer Laura Allan and New Age pioneer Paul Horn, Reflections capture two artists in perfect harmony of their talents. Allan, in addition to being an incredibly gifted songwriter, was something of a string instrument prodigy and made instruments for other Laurel Canyon heroes including Joni Mitchell and David Crosby. Her zither playing and vocals here match perfectly with the New Age aesthetic set by Horn and the sounds are beautiful and organic, characteristic of the early more experimental days of the New Age genre before it would later be marred by “easy listening.” Highly recommended for fans of Lauraaji, Alice Coltrane, David Casper, and Light In The Attic’s “I Am the Center” compilation." – Phil Cho

"A Taste Of India" released in 1968 by Martin Denny's , the king of exotic fantasy music, has been re-released from ! This work is one of the most outstanding and unique works of Martin Denny, who worked on the theme of Indian music! In the midst of the psychedelic movement, the King of Exotica responded! A gentle, gentle and friendly Martin Denny manners sound trip with sitar and tabla! The Strawberry Alarm Clock's "Incense and Peppermints" is an impressive cover, and your own "Hypnotique" self-cover is full of highlights!

Limited Clear Vinyl edition, 500 copies! Recorded in NYC in 1958 and originally released in 1959 as "The Cecil Taylor Quintet - Hard Driving Jazz" this is in fact the only existing document of the meeting between John Coltrane and Cecil Taylor. Even if caught at an early stage in their career the two masters show great personality and deep respect for each other while trumpeter Kenny Dorham sticks more to his familiar bop idiom. Cordially backed up by Chuck Israel on bass and Louis Hayes, Coltrane swings madly on Taylor's dissonant comping producing a rare, fascinating friction between two worlds. A must for every Coltrane maniac out there.

Reissue, originally released in 1984. Cult reissue from this short-lived Bristol project. Their debut four-track EP was self-released on Restriction Records in 1984 giving birth to a collective experience fueled by several members: Andrew Clarke (AMJ Almighty Groove, AMJ Dub Collective) Clive Smith, Rob Smith (co- founder of the influential trip-hop band Smith & Mighty), plus members of Zion Band. Produced by Mad Professor at London Ariwa Studios and featuring extraordinaire trombone player Vin Gordon aka Don Drummond Jr. (The Skatalites, The Upsetters) this quintessential mini-album merged the original Jamaican reggae-dub feel with a more contemporary approach, focusing on the experience of established British bands like Aswad and Black Uhuru. Fully remastered and licensed; edition of 500.

Reissue, originally released in 1979. "This is an album that takes you on a supernatural journey to the discovery of ancient sounds that move our souls in the deepest of manners." Veronique Chalot was born in Normandy in the north of France, but it was in Paris that she first became interested in traditional French folk music. In 1974 she landed in Rome where she soon earned a small, but dedicated following. In 1979 she recorded her first studio effort, J'ai Vu Le Loup, for the Italian Materiali Sonori label. Over the past 30+ years she has given hundreds of concerts, presenting her repertoire of traditional French/Italian folk songs and building awareness of that fascinating patrimony of antique melodies and dance rhythms. She passed away unfortunately on the 3rd of July 2021. Fully licensed. LP includes inlay card featuring an exclusive essay by Emma Tricca; 180 gram vinyl; edition of 500.

ジョン・コルトレーンの妻でありデトロイト生まれの偉才、アリス・コルトレーンが、その結婚前、”Alice McLeod”と名乗っていた頃に、Terry Gibbsのカルテットで録音した3枚のアルバムのうち3枚目のアルバムである『El Nutto』の待望のアナログ再発盤！