MUSIC

Swiss powerhouse The 18th Parallel presents another slice of fine modern roots reggae! All Fruits Ripe is a heavyweight showcase album rooted in the foundations of reggae while firmly anchored in the present. Recorded between 2015 and 2025, the project brings together a powerful lineup of Jamaican vocalists — Micah Shemaiah, Keith Rowe (from rocksteady duet Keith & Tex), Rod Taylor, Var (Inna De Yard, Pentateuch), Hezron, and Itral Ites — each representing a different generation of conscious reggae music. The album features six vocal cuts and five dub versions, highlighting both lyrical strength and sound system culture. Carefully mixed by master engineer Roberto Sánchez, All Fruits Ripe stands as a transnational reggae statement: Jamaican voices carried by a European band deeply connected to the roots with a profound respect for the culture that gave birth to reggae and dub. It features legendary guest Jamaican musicians Leroy ‘Horsemouth’ Wallace, Scully Simms, Dalton Browne, or Errol ‘Blacksteel’ Nicholson. A mature and carefully crafted release where every track feels essential — like fruit finally ready to be harvested.

Live At Fondazione Museo Pino Pascali sees Grischa Lichtenberger transfigure a forty-minute set into a tactile, visual, and kinetic experience. Industrial clangor, mechanical pulses, and fleeting ambience merge, sculpted with rigor. Issued by Hermit Records as a collector’s vinyl, it stands at the edge between noise, rhythm, and abstraction With Live At Fondazione Museo Pino Pascali, Grischa Lichtenberger distills the art of sound into forty minutes of fiercely organized chaos. Recorded in the unique space of the Pino Pascali Museum in Polignano a Mare and released by Hermit Records, the album is a study in constructive friction—mechanical pulses and ferrous textures recurring, splintering, and coalescing in real time. Lichtenberger's palette draws from the imaginary of Russolo and Brinkmann, yet forges its own path: rhythm and abstraction in an endless handshake, frequency as sculpture, and every crackle a gesture or a mark. This release, limited to a black vinyl edition and including original music and artwork conceived over more than a decade, is purposefully an object as well as a document. No digital footprints, just a testimony pressed in the grooves—an encounter with matter, with noise, with control. Here, listening is not passive; it is as much a process as the performance itself, alive with tension and raw poetics. [Soundohm] An abstract painting with expressionist hues and futurist echoes, a mix between action painting and informal art: this is the first impression from Grischa Lichtenberger's live performance recorded at the Pino Pascali Museum in Polignano a Mare. The artist, based in Berlin, makes the rhythms creak, cuts them with a laser, weaves imaginative harmonic coils, smoothes with electric razors and draws figures with echoes and industrial clangs. Then he uses ferrous materials that, with a precision lathe, are abraded and cause sparks. Suddenly steel springs fall to the ground, generating a cascade effect. In the distance, you can hear the roar of speeding cars and the ringing of bells. Lichtenberger pulps, compresses, dilates, mixes, electrifies, heats up, liquefies: he does all this in just less than forty minutes, treating the sound material with violence, transforming it from time to time, shaping it and succeeding in the arduous task of controlling its effects. It is as if Luigi Russolo, Alva Noto and Thomas Brinkmann were closed in a workshop on the edge of a highway, parodying the famous definition of techno.

In May 1984 I appeared at a German festival called Pro
Musica Nova, organized by Radio Bremen. I then travelled to
Berlin by car with Rolf Langebertels, the owner of Galerie
Giannozzo who had driven to Bremen to hear me perform. I still
remember very vividly the experience of passing through the
checkpoint to enter West Berlin, a city that floated like an island
in the middle of the still socialist GDR. I had previously visited
Berlin in 1982 to perform at Kunstlerhaus Bethanien at an event
that Rolf had organized. This time too Rolf had organized a
concert for me at the Technische Universitat. Playing off the title
of the piece (“Study Time”) I had performed at Pro Musica
Nova, I titled the piece for this concert “Zeitstudie”.

I owe Rolf a great deal of gratitude, as it was him who
encouraged me by releasing my very first cassette tape,
“Zeitstudie von Akio Suzuki”. In recent years it has become
difficult for me to carry heavy instruments around with me, and
I have started to do simpler performances with objects
assembled on site. So it feels wonderful to have the sound of
the battery of instruments I used back then to be returned to the
light of day.

On “Zeitstudie von A.S.” I used an ANALAPOS, the echo
instrument I invented in 1970, and the Suzuki-type glass
harmonica that I created in 1975. The ANALAPOS resembles the
tin-can telephone that children used to play with: two metal
cans, open at one end and connected by a coil spring. You
play it by stretching out the spring horizonally and then
projecting your voice into the open end of one of the
cylinders. The second piece features a variation, where I
would suspend several ANALAPOS vertically and play them like
a percussion instrument.

The Suzuki-type glass harmonica is in a simpler form than the
pre-existing glass harmonica, and consists of five long glass
tubes of varying diameters suspended horizontally in a metal
frame. As well as rubbing the tubes with wet hands, I developed
my own style of playing it using sticks. Once when I was
practicing with it in the Netherlands, outside the window I was
surprised to hear a bird imitating my sounds. However, later I
discovered that the bird always sang that way, and as a token
of my regret for having ever doubted it, I borrowed the bird’s
Dutch name, De Koolmees, and I s till use it for my instrument.
Recently, as I listened back to the cassette of “Zeitstudie von
A.S.”, one of Hiromi Miyakita’s drawings was lying in front of me.
There was a sympathetic resonance between the sounds and the
drawing, so I decided to use it on the cover. This is a joyful music. 

In 1979, Akio Suzuki recorded a performance, ¡ÇNew Sense Of Hearing¡Ç, at the Nagoya American Centre. During the performance, Suzuki used voice, turntables, glass harmonica and his self-designed instrument the Analapos to create a series of improvised pieces that effectively charted out his sonic investigations for the proceeding decades. In 1980 these recordings were issued by ALM records as Analapos, the first work made publicly available by Akio Suzuki. For going on six decades now, Akio Suzuki has been responsible for creating amongst the most otherworldly, yet deeply affective sound works of his generation. As a musician, sculptor and sound artist, Suzuki¡Çs work threads an important linkage between Eastern and Western sound art practices. His approaches, that focus primarily on intense states of listening, ¡Çthrowing and following¡Ç and a relentless sense of open curiosity, have allowed him to continuously deepen his work. Originally published in an edition of just 200 copies in 1980, Analapos has been out of print literally since its release. Clocking in an over an hour, the original pressing of the recordings to a single LP, presented some technical limitations. This 40th anniversary edition of Analapos is entirely remastered and is published with a booklet that includes a long form interview with Akio Suzuki conducted by sound artist and collaborator Aki Onda, plus extensive photographic documentation of the development of the Analapos. The publication of this edition is announced in conjunction with the Sense Of Ekō retrospective exhibition which opens at The Substation in Melbourne late January.

A note from Lawrence English
 In late 1975, Annea Lockwood realised her composition World Rhythms. It represents one of the first creative works exploring the potentials of field recordings in a multichannel setting. It is a landmark work and a composition that, on its 50th anniversary, has gently carried forward over the decades, but arguably now is only starting to come into true focus, and be understood for exactly how revolutionary it was. World Rhythms was a work concerned with a practice of sustained listening into the world, and beyond. It expanded outward from many of the compositions and themes Annea Lockwood had been exploring since the 1960s. It sought to take those learnings and apply them to a new set of terrains and circumstances. Moreover, it suggested a sensing of sound that was drawn from profound curiosity, matched only by patience. In 2019, I reached out to Annea and started a conversation about a revisitation of World Rhythms. My initial proposition was a simple one: a re-issue that was remastered and touched up, reflecting Annea’s thoughts on the piece in this moment. The conversation quickly spun outward though, and before long Annea had asked if I might be interested to revisit the master tapes with the thought that the work could be revived and prepared for performance presentations going forward into this century. On listening to the materials, during the period of restoring the audio from the original master tapes, I was struck by the profound dynamism of the recordings. Each of the sound-fields held an attentive flux, a rhythmic pulse that was breathing. Each one a story of the pulses of the world, and our universe, that spoke to a possible reading of reality that sits in excess of our everyday capacities. A poetics of pulse if you like. Here then is the result of those conversations and also the presentations of the piece that followed - several of which Annea has overseen herself. On this newly rendered imagining of World Rhythms, new relations, listening paths and ways of exploring her sound-fields are brought into focus. The core of the piece remains, a prioritised zone of listening, but emerging from deep within it new sonic formations emerge, a reminder of the dynamism of our energetic world and its surroundings.

"As if this Anglo-Brazilian duo´s debut album wasn´t impressive enough, its version arrives training a magnifying glass on the studio wizardry of Dubkasm. This dub is lean, stripping the original´s rich sound far down to the bone – ”Ta Gravando Agora` is empty streets and alleyways in which we catch glimpses of a lone, wandering melodica. Out from among the trees denuded of their leaves soars the lone sprial of a saxophone on ”Woodsman Dub”. Tena Stelin opens ”Play I Some Dub” strong and brash before slipping down the echo chamber to a fanfare of horns, after which the bass and drums are left to explore the chasm left open. Stelin attempts to regain a foothold in the song, but the edges of the bottomless pit are too slippery. And when Christine Miller´s beautiful voice rises with a single, "only so much to give", the entire less-is-more aesthetic is justified for all time. Not every track is boiled down to the skeleton. ”Beto´s Yard” is lush in detail and features the bounciest bassline on the entire album. And not every track reworks album material. ”Memories of Xylon”, for example, is a tribute to Lidj Xylon, a passionate, lion of a singer who recently passed away in Ethiopia. The partnership of DJ Stryda and Digistep, though stretching back to the mid-nineties, has certainly spilled forth delights in the past months from the horn of plenty which is the Transform I project. The trilogy was completed recently with a remix album featuring exciting and innovative names from the far reaches of the reggae diaspora." - Stephen Fruitman, Sonomu

Dubkasm teamed up with some of the top Dubstep producers from their home town, Bristol. Each producer was given a copy of their debut album 'Transform I' and asked to pick a favourite track to remix. Over time, the original LP was reinvented. The result is a highly varied ten-track set featuring a heavyweight selection of Bristol bass scientists. in 2011, the album was followed by a series of 12” vinyl discs.

Great little record here from Brisbane based Drew Id. "Intersteller Dub" on the A-side is a real corker that combines the driving bass weight of steppers with the spacey atmospherics of dub techno, all tied together with some spectacular Tubby-esque mixing desk prowess. Then flip it over for the the more meditative delights of "Aphid Steppa" which slows the pace and brings in some dreamy guitar and melodic melodies.

Emerging from the European roots scene, conscious singer Congo Lion delivers his long‑awaited full‑length album Silver Dragon. Having moved to Africa in his teens and drawing deep inspiration from legends like Burning Spear and Peter Tosh, he channels sharp social commentary through a classic roots reggae framework. Produced by Karigan, the album blends warm, vintage‑style analog textures with a clean, modern sound. From the title track “Silver Dragon” to songs confronting colonial legacies and cycles of violence, the record is rich in message and spirit, with dub versions on the B‑side adding further depth. A standout contemporary roots release for 2026.

Undisputed grime heavyweight and sublow architect Jon E Cash is spotlighted on an overdue retrospective hustling rare plates back on vinyl for 1st time in decades - utterly essential tackle for UK ‘nuum fiends on the line from jungle to UKG, grime and dubstep. A serious VIP for Sneaker Social Club and the grime scene at large, ’SUBLOW’ scrolls back a quarter century to grime’s earliest days - before it even had a name - when artists such as Jon E Cash, Jammer, and Wiley were reshaping prevailing UKG styles and patterns in their own image, coming out with something rudely altered in translation - or by their technical limitations. While the latter melded Jamaican sound system inspirations of dancehall and jungle into their grimy prototypes, Jon E Cash would bring a ruggeder swerve, carried over from his early ‘90s days as part of the pivotal Britcore hip hop sound with Construction, and prevailing traces of later ’90s R&B and D&B, to his take on the 140bpm framework, with the exaggerated bass levels of his productions, and their bashy drums, bestowing the sound its mantle, SUBLOW, and soon recognised as a whole subgenre in its own right. These are sacred plates for grime, a key part of its DNA, and Sneaker Social Club are doing the Lord’s work by saving you a month’s rent in Zone 3 if you were to pick them up individually. All from the fascinating interzone 2000-2004, when the sound was shaped as an ecology of pirate radio, white labels, and raves, it’s burstign at the seams with legendary gear from the murky steez of ‘Hoods Up’ thru the NSFW intro of his absolute steamer ‘Kettle’, brukking out the digi-dub style horns on ‘War’ and ‘Battle’, or ramping R&B with speedy G pressure on ‘All About the Sex’, not to mention his Timba-turned-horny Terminator turn ’Spanish Fly (V.I.P.).’ If you ask us, it’s one of the hardest reissues/compilations of 2025, bar none, and a strong example of how much perceptions of grime have changed over the decades, from outlaw genre to something to be fetishised, archived, admired as distinguished cultural artefact, rather than feared and legislated against.

Gabber Eleganza’s Never Sleep serve a prime slice of ’94 house in effect: an hour and a half of soulful, strutting, haughty party momentum captured live at Cocoricò; a legendary club housed in a glass pyramid outside Rimini, Italy, with Matteo Sorbellini on the mic. “Never Sleep charity tape series breaks towards Riviera Romagnola with an early 90s live recording from the most revered. Insula Romana activist DJ Ralf segues generational bliss with a masterclass of Balearic, Hi-NRG, Ballroom and Disco. A literal lesson in how to command a DJ set and hosted by Matteo Sorbellini. Omitting a sumptuous as Culatello di Zibello technique, hypnotic, deeply human and showboating the longest of blends. Utilising all vinyl rotary magicianship, pulsating drums and flawlessly complex acapella fades . Ralf tears the dancefloor up with shapeshifting vocal arrangements, quantified maximalist piano harmonies and late night / early morning "pick me up" textural rapture. Recorded at the world famous Cocoricò club in the heyday of 1994 this audio document showcases the hedonistic sounds of the era. DJ Ralf is known for his community work, political activism and DJ work across the globe."

Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.

src="https://www.youtube.com/embed/XOCSkXzLRJs?si=rTifM57rLB4dBW0g" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="">

Sakura is without doubt the most loved and lauded entry in Susumu Yokota’s catalogue.

The music unravels like cascades of petals falling from the eponymous cherry blossom trees. Yokota intended to ‘express ki-do-ai-raku (the four emotions; joy, anger, sorrow, and happiness) through music’, and throughout Sakura, the effect fluctuates between profound tranquillity, hesitation, melancholy and joy with ease, addressing the fickle nature of human emotion, while transcending the inclination to label moods entirely.

Sakura became Yokota’s best selling album. It was greeted with universal acclaim, lauded by Philip Glass and Brian Eno and launched Yokota internationally.

‘A bittersweet beauty, heightened by the sadness that all things must one day end.’ - Martyn Pepperell

Mesmerising album of Yokota’s earliest sonic explorations that demonstrates his unique vision and sublime transcendence of boundaries.

‘Image 1983-1998’ is a collection of short miniatures, composed in two different time periods. Tracks 1-5 were recorded with guitar and organ between 1983-4 and tracks 6-12 were composed through 97-98, being inspired by the earlier material.

A musical scrapbook, or sonic design board. The sleeve notes give an insight into Yokota’s belief in a close connection between music, memory and his active imagination: ‘Encountering Acid House made me visualise music – I could clearly see the sounds sparkling… this experience led me to create electronic music.’

First re-issue album from the Skintone Edition Volume 1 Box Set

Magic Thread is Susumu Yokota’s deeply soothing and delicate debut release on the Skintone label. With a spartan palette of sounds and textures, Yokota taps into a fundamentally human need to fuse and connect disparate fibres, magically forming work which glistens and pulsates with life.

Magic Thread originally came out in 1998 as a limited-edition CD release of 500 copies. Initially intended for the Japanese market, it came without any artwork in a standard transparent CD case adorned only by a sticker containing essential album information and a quote:

‘Somewhere in the process of evolution, the spinning and weaving of thread became possible for humankind. How did this come to pass? It can only be that the thread is possessed of magical properties.’ – Yokota, 1998.

First chapter of a futuristic dub experiment series by The 18th Parallel. Geneva based collective invites engineer extraordinaire Roberto Sánchez to revisit 10 scorcher riddims from the Fruits Records vault to craft this inventive modern classic. Reminiscent of the greatest dub albums by King Tubby, Scientist, Prince Jammy, or Lee ‘Scratch’ Perry.

Fruits Records presents the first volume of a series of dub albums by Swiss collective The 18th Parallel. Following in the tradition of Jamaican producers who revisited their catalogues in dub versions, such as Bunny Lee and his Aggrovators with King Tubby, Junjo Lawes or Linval Thompson teaming up with Roots Radics and Scientist, or Joe Gibbs and his Professionals with Errol Thompson, Fruits Records is launching a series of dub albums produced by the label's studio band, The 18th Parallel, which will invite different sound engineers to (re)mix the tracks throughout the albums: DUB AVALANCHE. This first volume offers a deep dive into the label's catalogue through ten classic or unreleased riddims revisited by Fruits Records' long-time partner, Spanish sound engineer extraordinaire Roberto Sánchez. The instrumentals are brilliantly performed by The 18th Parallel and punctuated by the voices of legendary artists such as The Viceroys, Lone Ranger, Cornell Campbell, and Dennis Walks, who appear fleetingly before disappearing into clouds of echo. Roberto Sánchez performs ten explosive, creative sound deconstructions, playing with stylistic codes to stimulate our memory and offer a timeless sensory experience.

Like the classics of the genre, the cover art evokes a quirky retro-futuristic imaginary space where, breaking with convention, the talent of Mexican artist Melissa Santamaría is expressed through a striking metaphor of a sonic avalanche.

DUB AVALANCHE VOL. 1 is already establishing itself as a future must-have for fans of uncompromising reggae and dub!

Yokota's most upbeat and playful release on the Skintone label.

Will heralded a disarming, groove-based return to deep house. A wild melange of bumping beats, freestyle samples and esoteric goodness. Recorded over the same period as Grinning Cat this anomaly within the Skintone catalogue was seen as a way to circumvent the swirling politics of his club-oriented releases elsewhere.

In itself Will was a reminder of Yokota’s ability to deliver a complex array of sounds within a more recognisable format.

The Boy and the Tree was composed after a visit to Yakushima Island, an outstandingly beautiful world heritage site off the southern tip of Japan, scored by a deep, lush and ancient ravine, home of the ancient 7000-year old ‘Jōmon Sugi’. Tree. Also the inspiration for Miyazaki's epic anime Princess Mononoke, a conflict between the rampant greed and destructive force of humanity, and the stoic, mysterious fragility of nature. This fleeting immersion in nature lent the album a profound introspection and mystery, and the its twelve tracks unfold in dream sequence, each drifting seamlessly into the next while still managing to steer the listener in myriad directions, from eerie butoh atmospheres, to ebullient raga, to desolate, cavernous chanson. The Boy And The Tree is definitely one of, if not the most, visually evocative and cinematic Yokota releases.

Laputa, a title taken from the fantastical floating island of Gulliver's Travels is aptly named as 'The album that never landed' for, apart from a limited touchdown in Japan, Laputa was never released. This mystical world is a summation of Yokota's journey so far, a complex and at times challenging work but immeasurably rewarding. Beguiling and bewitching in equal measure. Over fifteen undulating sonic fugue states, he guides listeners round a liminal world, made up of familiar materials but formed in a way defying all laws of perspective and physics. Background murmurings give way to almost uncomfortably foregrounded chattering, and one perceived soundstage segues into another impossible tableau of sonic apparitions, some recognisable in form, but all boldly decontextualised and arranged in expertly cluttered amalgams. Laputa's obscurity was a prime reason Lo Recordings decided on the Skintone retrospective. Falling as it did between The Boy and the Tree on The Leaf Label and our own debut of Symbol. It was something of an audio crime that the album had never been properly explored and discovered. Lo Recordings hope Laputa can now ascend to its rightful place... hovering above us.

Black Editions presents the expanded and definitive edition of White Heaven’s brilliant third album Next to Nothing. Originally released in 1994 by Tokyo’s Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought-after artifacts of the 90’s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead guitar on the group’s first two albums. The pairing is revelatory as they weave luminous melodic lines, sometimes in parallel, sometimes opening into sustained intricate counterpoint. Bassist Koji Shimura and drummer Ken Ishihara shuffle and swing in parallel with a fluid, sinuous rhythm, while flourishes of synthesizer, mellotron and the introduction of Go Hirano on keyboards and piano deepens the group’s sound with orchestral colors and a soft cinematic haze. Across the album, clear, shimmering guitar tones and gentle chord progressions are layered with bright arpeggiated figures and darker minor-key passages. The songs develop through gradual changes in tone and dynamics as Ishihara's voice reveals a gentle yearning and wistfulness. An extended version of Burt Bacharach and Hal David’s “The Look of Love” serves as the album’s entrancing focal point; Stretching the song’s familiar lounge-pop swagger, the group renders it as a slow-burning, psychedelic meditation crackling with electricity as it drifts into the night. Available for the first time on vinyl in over 30 years and for the first time ever digitally (a truncated four song CD EP was also released in 1994). Remastered and expanded to include a second LP featuring three previously unreleased song versions cut at 45RPM. Presented in a heavy tip-on gatefold with metallic and ink pigment foil stamping, spot colors as well as a gatefold insert. House in a custom vellum wrap with a mirror metallic sticker seal. Lacquers cut by Kevin Gray at Cohearent Mastering, pressed at Record Technology Inc.

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.

All rhythm tracks by Bunny Lee at Studio One. "This form of music started in the dance halls in the early '60s by some of the pioneer record producers. Mainly Lee 'Scratch' Perry and Bunny 'Striker' Lee, by both of whom I've been tremendously influenced... As a youth, from Jones and Trench Town, I've learned you must have an adequate power amplifier, right preamp and speakers... For the right sound and effect, King Tubby's 'the dubmaster' is a must, knowing when to bring in the rhythm and leggo the bass and drum. This album, it's clean, heavy and right effects; we digged into the rhythm vault and came up with ten of the hardest rhythm tracks. You'll be convinced that this is the King Of Dub." --

Electrifying heavy sessions recorded in 1997 featuring the classic Mainliner + Musica Transonic lineup of Nanjo Asahito (High Rise), Kawabata Makoto (Acid Mother) and Yoshida Tatsuya (Ruins) driving into new divergently fried terrain(s). Here, Nanjo and co. are on a quest to find new directions, and while the sessions were for an abandoned Mainliner album, a good portion of Solid Static hews more closely to the moment-to-moment deconstructions of Musica Transonic. The propulsive ten-minute opening title track is a lost gem in the canon of Japanese psychedelia and rock and roll -- beginning with one of Mainliner's bludgeoning motor-psycho riffs, it veers off into auratic space, Kawabata's snake-charming guitar weaving around Nanjo's buzz-fire bass and Yoshida's multi-limbed drumming. Musica Transonic's improvised and jazz-informed take on psychedelic rock is writ across the distended rhythms and arcing bass and guitar lines that scrawl across "Prosecutor" and "Topsy Turvy," or the slurry of distorted tone that rolls through "Rot Way." Available for the first time on LP or any physical form aside from a clutch of CDR's sold at a few live dates in the late '90s. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve.

Stuart Dempster created Underground Overlays From The Cistern Chapel in the same cistern where the legendary Deep Listening album was recorded. Reverberating with powerful, deep tones, this double LP is intended as a companion to the acclaimed Oliveros/Dempster/Panaiotis album Deep Listening. Underground Overlays From The Cistern Chapel is one of the deepest drone albums ever recorded. Nine trombones, didjeridu and Tibetan bells fill the massive two million gallon cistern with dense sonic reverberations that are both haunting and healing. Packaged in a heavy duty paper sleeve printed with metallic gold ink to match the Deep Listening design.