MUSIC

Enter the captivating realm of Pratt & Moody as they unveil their new deep-as-the-oceans single, ‘Creeping Around’. This dynamic duo – consisting of Pratt and Moody – have honed their craft channeling their collective prowess into a singular fusion of dark soul and haunting melodies. Their previous sleeper hits “Lost Lost Lost” and “Wheels Turning” still resonate in spaces where contemporary soul ballads are treated as a valuable commodity. With ‘Creeping Around’, Pratt & Moody dive deep into the shadows, crafting a sonic narrative about infidelity that transcends boundaries. The velvety vocals of Pratt wrap themselves around Moody’s evocative guitar, creating a timeless soundscape that resonates with raw emotion. As the instrumental version gracefully embraces the absence of words, the music is left to speak volumes. Accompanied by the rock-solid artistry of Cold Diamond & Mink, ‘Creeping Around’ transports you to the hazy realm of late-night introspection, where each note carries the weight of longing and desire. The track immerses you in a David Lynch like world where melancholy, darkness and passion coexist.

Sun Ra's legendary 1978 Italian studio sessions, now available together for the first time ever on vinyl!

Nico's second solo album, 1968's The Marble Index, & third solo album, 1970's Desertshore, have long been out of print. These reissues include audio mastered from the original tapes and previously unreleased photos of Nico by Guy Webster.

Nico's haunting vocals predicted the Gothic movement and co-producer and Velvet Undeground's band mate John Cale's startingly modern classical production ensured The Marble Index's timeless appeal. The iconic music journalist Lester Bangs wrote, “The Marble Index is the greatest piece of 'avant-garde classical', 'serious' music of the last half of the 20th century so far,” and the New Yorker recently hailed both records as “austere miracles of will and invention.”

A rare early album by Creation Rebel back in print for the first time since 1979. Rebel Vibrations was originally issued by the pre-On-U Sound label Hitrun. The rhythms stem from one of the first recording sessions organised by maverick producer Adrian Sherwood, taking advantage of ace Jamaican drummer Lincoln “Style” Scott, sticksman for the Roots Radics, visiting the UK for the first time.

Pairing him up with UK-based players such as Crucial Tony, Lizard Logan, Doctor Pablo and Clifton Morrison, the result is a set of tough and uncompromising dub tunes, or as Sherwood describes it: “a structure of suppressed rhythms and unique possibilities in sonic space.”

Original Rockers is a compilation of singles, all recorded between 1972 and 1975. It was originally released in 1979 on Greensleeves Records and was compiled by journalist and photographer Dave Hendley. It features Robbie Shakespeare and Aston Barrett on bass guitar, Earl "Chinna" Smith on guitar and guest vocals from Dillinger on the track 'Brace a Boy'. It was recorded at Channel One Studios and Dynamic Sounds in Kingston, Jamaica and mixed by legendary dub producer King Tubby.

This record shows many different places, from some electronics, SambaJazz, Batucada, etc. Surprise. Perhaps almost unknown by many friends at Loronix. This is a work of a serious Jazz Band. This cover edition is sponsored by Varig Airlines that gave this album as a gift to their DC-10 passengers.

Fully licensed and ltd to 1000 copies on clear vinyl ! Vintage Collection! The Queens of Lover’s rock Louisa Mark, also known as "Markswoman" (and) the Creator of Lover’s Rock Clem Bushay as producer Featuring Aswad, Zabandis, The Heptones, Rico and Don Drummond Jr. , Dennis Bovell, The In Crowd, Dave Barker, Owen Gray..and more

Hermeto's first album recorded in Brazil, and his second solo album (the first one was recorded and released in the USA). Performs as composer of "Bebê" "Plin" and "Serearei", arranger, conductor and instrumentalist. The most experimental record of the master where he shows from beautiful themes like the choro Bebê, which is already a classic of his authorship to deconstructions of well-known themes like Asa branca and Carinhoso. On the track Sereiarei you can even hear an "orchestra" of pigs, geese and other animals. The opener track Bebê was sampled in 1994 by Japanese acid-jazz group United Future Organization.

This is a limited edition 2x7" edition of a wildly experimental and unique gem from 1981 (originally released on Japan's Pinakotheca). Spread over two records packaged in a bubble wrap outer sleeve - , the set features unreleased full length takes and unheard material from the band's master cassettes. All transferred and mastered with the blessing of the original musicians. The release features heavy involvement from Morioka based musician, Onnyk (key member of the near mythical The Fifth Column group) , an underground behemoth who's released music on seminal labels such as Vanity Records (JP), Insane Music (BE) & Thirdmind (UK) to name a few. 2 discs. 26 minutes of incredibly forward thinking music from 43 years ago... Ships with a scan code to liner notes - the information is as intriguing as the music.

Repress! Vinyl LP presented in a deluxe edition with printed innersleeve and a special transparent obi strip; the cover is also printed internally. Hand numbered. Making music is trying to start over again every time. It’s a matter of questioning and approaching. It’s never settling for the sound that fills the world around. It’s looking for a door in the sky. And maybe find it, open it, go beyond it. Rod Modell and Gigi Masin, this time together, are offering each other vibrations and insights. The former lives between two lakes, the latter between the Venetian lagoon and the sea. Everyone on their own shore, building electronic bridges in semi-darkness to allow us to cross too. No words would be needed to explain this work... It is the meeting of two people, an exchange of different points of view. A way to meet and then break up. Rod has reworked a piece of Gigi making it his own... and so did Gigi with a piece of Rod. A magnificent intersection of sounds and thoughts... remaining suspended to watch the passing of time, to listen to the noises and silences of life that passes inexorably around us.

Subtropic Cosmos is the international debut album by Japanese artist Hitomi Moriwaki. Composed and recorded at her Fukuoka home during the worldwide pandemic between 2020-2022, the album was produced by Hideki Urawa, who has also worked with Kikagaku Moyo and other musical acts on Guruguru Brain. "Subtropic Cosmos" in particular is a wonderful work that conveys the "joy of making things" to listeners, as it is filled with various influences from her diverse activities. As suggested by the album title, most of the songs were created under the unprecedented conditions of corona--and as a result, were inspired by the consciousness of traveling through imaginary foreign lands and nature. As if adventuring through the universe inside of her own mind, Moriwaki's versatility is best experienced through her fearless fusion of hip-hop, pop and experimental music. Through a lens of psychedelic production by Hideki Urawa, this album is a truly special, one-of-a-kind space experience for listeners to enjoy and embark upon.

Two lost & found lofi nuggets from the Jahtari vault, appearing on 7" floppy disc for the very first time. "Arcade Addict" is the original Dub cut of Mikey Murka's "Sensi Addict", a version of the sweet Ujama classic that came out as a Jahtari Net-7" in 2006. Sprinkled with field recordings from early 80s Arcade Halls (done by kids with a walkman) this little oddity never made it to vinyl until now. "Proper Tings" on B is taken from a home made video from 2012, originally made to show the capabilities of a DIY Synth project using a Commodore C64 home computer sound chip, the growly SID synth. Sounds are made from scratch, sequenced out on a MPC - and the ensuing Dub jam turned out to be a lucky shot, eventually shaping up as Paul St. Hilaire's "Who Goes There". There's a raw, beautiful 8bit magic to this Dub, finally making it to wax for the first time. Check the video above to see how it was made.

Restored and re-mastered from the original tapes comes Gigi Masin’s much sought after first album ‘Wind’. Never commercially released the LP was in fact only given away at a number of small concerts, with many of the remaining copies destroyed during floods in the Venice based musician’s house. 

Quickly becoming seen as something of a landmark ambient album in recent years, ‘Wind' is now lovingly presented again in it’s entirety. True to it’s original private issue it is once again being made available through Gigi Masin’s very own ‘The Bear On The Moon’ label.

Acclaimed guitar duo Loren Connors and Alan Licht celebrate their 30-year collaboration with release of their eighth album — At The Top Of The Stairs.Across the decades, their improvisations turned increasingly abstract and atonal, while still maintaining complex, ethereal arrangements. The harmonious blend of Licht's meticulously crafted feedback and harmonic patterns with Connors' ghostly blue tones remains the core sound of this partnership. At The Top Of The Stairs was recorded live in 2018. Across two side-long pieces, the duo ascends slowly, through layers of atmospheric tension punctuated by thunderous waves of Connors' effects.For fifty years, Connors's adaptation of acoustic Delta blues has transmuted into miniature gray scale compositions and howling riffs. His collaborators include Oren Ambarchi, Keiji Haino, and Kim Gordon. Rock/experimental musician Alan Licht was a member of the bands Love Child, Run On, and Lee Ranaldo & the Dust, and has released a range of acclaimed rock and experimental albums. He is an author with books published by Rizzoli, W.W. Norton, Faber & Faber and Blank Forms.

Following on from last year’s acclaimed Vrindavan 1982 by rudra veena master Z.M. Dagar, Black Truffle is thrilled to present a pair of archival releases from the Dagar Brothers, among the most revered 20th century exponents of the ancient North Indian dhrupad tradition. The vocal duo of Moinuddin and Aminuddin Dagar (sometimes referred to as the ‘senior’ Dagar Brothers to distinguish them from their younger siblings, Zahiruddin and Faiyazuddin Dagar), belonged to the nineteenth generation of a family of musicians in which dhrupad tradition has been kept alive through patrilinear transmission, each generation undergoing a rigorous education of many years’ duration that can include singing up to twelve hours each day. Famed for the meditative purity of their approach to dhrupad, the Dagar Brothers helped to keep the tradition alive in the years after Indian independence in 1947, when the royal courts that had traditionally patronised dhrupad musicians were abolished. Many Western listeners were first introduced to dhrupad by the Dagar Brothers’ tour of Europe in 1964-65 and their LP in UNESCO’s ‘Musical Anthology of the Orient’ collection, both organised by pioneering musicologist and scholar of Indian culture Alain Daniélou. Documents from this tour are especially precious, as Moinuddin Dagar passed away in 1966. Berlin 1964 – The Lost Studio Recording (released alongside BT115, a newly discovered concert recording from the same trip) presents two unheard side-long performances in crystalline fidelity, recorded at the International Institute for Comparative Studies and Documentation in Berlin headed by Alain Daniélou. These stunning recordings were consigned to the archive because, as Peter Pannke explains in his liner notes, which recount his meeting with Danielou many years after these recordings were made, the tape ran out during ‘Raga Jaijaivanti’, which terminates abruptly soon after the entry of the pakhawaj. Accompanied only by Moinuddin’s wife Saiyur on tanpura and Raja Chatrapati Singh on pakhawaj (a large double-headed drum), the brothers present stunning performances of the severe, serious midnight ‘Raga Malkauns’, set to a ten beat cycle once the pakhawaj enters, and the complex early evening ‘Raga Jaijaivanti’, set to a fourteen beat cycle in its rhythmic section. True to the traditional dhrupad structure, both performances are dominated by the long free-floating alap section, where the notes of the raga are gradually introduced, slowly climbing in pitch and intensity as the two singers trade improvisations that display a stunning range of vocal tones and remarkable subtlety in mictrotonal nuance. The performance of ‘Raga Malkauns’ is divided roughly in half, with the pakhawaj and unison singing entering around thirteen minutes through; Raja Chatrapati Singh’s performance is particularly striking in its endlessly inventive metrical nuance within the overall crescendo and acceleration. On ‘Raga Jaijaivanti’, the alap lasts almost twenty minutes, with Singh joining only for a few minutes of sparse pakhawaj hits before the tape cuts off, the absence of the more active concluding section serving only to magnify the mystical calm the Dagar Brothers establish in this setting of a 16th century love poem. Illustrated with a striking full colour concert photograph, Berlin 1964 – The Lost Studio Recording is accompanied by extensive liner notes by Peter Pannke celebrating musicologist Alain Daniélou, whose study, documentation and promotion of dhrupad was so important for spreading awareness of this great musical tradition, ready to be discovered anew in this stunning recording from two of its master exponents.

Elders is the debut release from Ensemble Nist-Nah, a nine-piece percussion group led by Nantes-based Australian drummer and percussionist Will Guthrie. The diverse group of French musicians that make up Ensemble Nist-Nah – whose collective experience encompasses traditional Gamelan performance, contemporary composition, noise, jazz, and everything in between – perform on drum kits, traditional and junk percussion, and a complete set of Javanese Gamelan instruments. Though building on the foundations of Guthrie’s solo work with Gamelan instruments (Nist-Nah, BT057) and primarily performing his compositions, Ensemble Nist-Nah is a collective endeavour, propelled by a breathtaking enthusiasm that has seen the ensemble manage to rehearse, perform, and even tour Europe during the Covid-19 pandemic. From the first seconds of opening track ‘Geni / Tirta’, it becomes immediately obvious that this is no dry academic exercise or exotic indulgence. Rapid arpeggiated figures are propelled by manically busy kit drumming while slow-motion melodic lines float above. After a series of abrupt tempo changes and fragmented unison passages that crossbreed the rhythmic intensity of the Balinese Kecak with the joyride of an Ornette Coleman head, the music slows to a monumental groove, equal parts Javanese court music and Dark Magus. Another sequence of thrilling divagations leads us to the unexpected guest appearance of acclaimed vocalist Jessica Kenney, who elaborates a haunting Javanese Bedhaya across a spacious backdrop of massive gong hits, shimmering cymbals, rustling bells, and gritty textures. The remaining pieces that make up Elders explore a dizzying variety of approaches, from the shifting rapid-fire muted textures of ‘Overtime’ to the ghostly bowed tones and ominous swells of the title piece (developed from a track on Guthrie’s solo Nist-Nah release), which gradually builds into waves of shuddering low resonance and asynchronous percussive clicks like a haunted clock mechanism. On the aptly titled ‘Rollin’, virtuosic twin drum kits criss-cross errant metallophone patterns in propulsive polyrhythms, while ‘Planeker’ manages to achieve a bizarrely effective fusion of Harry Partch and Autechre. Arriving bedecked in beautiful monochrome images of gongs drawn by ensemble member Charles Dubois, Elders is a feast for the ears: music that burrows deep into timbral and rhythmic possibility while possessing an intoxicating physicality and revelling in the joy of collective performance.

"The first vinyl release of Charlemagne Palestine's Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca's Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the 'golden sound'. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the 'Rolls Royce' of pianos. With the piano's sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature. Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, 'The Lower Depths' stages a slow descent from the piano's mid-range to the Bösendorfer's cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine's journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of 'Strumming Music' performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine's enthusiasm for Debussy and Ravel. 'Timbral Assault' is like an evil twin of 'Strumming Music,' transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine's later collaborations with Christoph Heemann. A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine's ecstatic and mysterious sound world" --Francis Plagne. Remastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Presented in a deluxe gatefold sleeve designed by Stephen O'Malley.

An interest in ancestral Latin American cosmology has always run right through the music of Ecuadorian music producer Nicola Cruz. His creative process involves an attentive, careful search for the living roots and rituals that are part of South American identity—its Andean and African origins in particular—valuing its rhythms, its oral traditions, its instruments and the energy they transmit. His first record, Prender el Alma (2015) explored the development of the consciousness and spirituality, and how they connect with music. In Siku, his most recent production, Cruz continues this exploration, expanding his vision towards new stories and other cultures as sources of inspiration. A crucial aspect on this journey is his collaboration with other artists from around the world. The siku is a wind instrument of Andean origin, highly symbolic in ancestral rituals, made up of two separate, complementary parts, the arca and the ira. It is a representation of duality, an essential element of the indigenous world view, associated with involvement and complementarity, far from the binary thinking typical of western societies. That duality is reflected on this record in the coming together of sounds, whether electronic or organic, past or present, local or global. On Siku, Nicola Cruz combines instruments with symbolic, spiritual connotations, such as the sitar, the siku, and the balafon with hints of electronica. Studies of the samba, cumbia and rhythms of African, Andean and Hindu origin are combin

Written and recorded with the goal of creating a one-movement suite in the least amount of time possible, "Succo di formiche" reflects the archetypal joy of music making, the spontaneous impulses underlying its formation, and a love of the record album form.

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. This four LP box set includes a 12-page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.

Spectre is the third album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1984, the album finds Strom exploring the darker corridors of human mythology under the influence of vampiric lore, evoking a hushed gothic solitude and showcasing her breathtaking dexterity of sound design. Despite its shadowy hues, Spectre offers generous glimpses of a vivid light that could only have come from a heart wide open to the cosmos. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

Plot Zero is the second album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1983, Strom envisioned the album as a “mind trip without chemicals,” utilizing boundless imagination to cover a canvas with brilliant synthesized shapes and tones. The pieces on Plot Zero flow freely and infinitely, evoking a transportative momentum with Strom’s distinctive synthesizers soaring across infinite horizons into vast, colorful nebulas. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

Trans-Millenia Consort is the near mythical debut album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1982, the album is a bold and beautiful evocation of a life that exists between and beyond time. Evoking ancient rituals and primordial futures, the music of Trans-Millenia Consort glows with a strange iridescence; its pulsing embryonic waveforms flutter and drift, tones fall like raindrops of the long-ago, and melodies shimmer and dance across the ages like fireflies of a lost world. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

Limited to 1000 copies! The first collaboration between Amelia Meath (Sylvan Esso, Mountain Man) and guitarist / producer Blake Mills, who have long respected each other. When the scent or lighting hits the face, it unfolds quietly and strangely, evoking the outline of the memory floating outside the frame. Mills' characteristic fretless baritone guitar and sparse decoration form the basis of the song, and the gap between the instrument and Meath's delicate voice comfortably leads to the night scene. On the B side, the performance of the same song by the genius Sam Gendel is recorded with an original interpretation. The wonderful performance that distorts the existing melody and coexists with mystery and eerieness invites you to sleep deeper at night.