MUSIC

“Absorb the pain and react smoothly… don’t become distracted by the white noise of possibilities… experience a flow-like state, even an Ultra Instinct” — Platinum Mike Perry The collection of instrumental piano-based pieces, Kirby says, is the outcome of “trying to accept the duality of the world, and through that find peace”. Though he recorded Conflict about a year ago, Kirby decided to spontaneously release it in response to the escalating global crisis, with the hope that it might help fortify the listener and induce inner calm.

From the late 1950s onwards a music scene developed around Cambodia's capital Phnom Penh, inspired by the prevalence of imported rock & pop records arriving in the country from US & UK and also chanson and bolero records from France & Latin America. This collection documents some of these early home-grown slow rock, pop & rnb 45 recordings from the early 60s, prior to the further embrace of US psych & garage rock-orientated sounds in the mid 60s and into the Vietnam war era.

Don’t DJ meets Fourth World, Indonesian Music and Exotic Ambient Sound! Asa Tone is a multidisciplinary, multinational group formed in New York City comprised of Melati Malay, Tristan Arp and Kaazi. Originally commissioned by Yu Su as an event-specific work for the New Forms Festival in Vancouver in 2020, Asa Tone worked together virtually during quarantine, embracing new approaches in chance-based composition. The group’s members individually recorded a pool of generative loops and field recordings in lieu of performed “songs,” adhering to general tempo and key parameters, yet each responding to their respective lockdown environments in Mexico City, New York and the Australian rainforest. From this nonlinear web of possibilities, Asa Tone prepared a continuous 30 minute piece via zoom, which was later adapted and spatialized for the 4D sound / 32-channel audio system at Lobe Studios in Vancouver by producer and festival curator Yu Su.

Spells is the debut release by Los Angeles based multi-instrumentalist and composer Nailah Hunter on Leaving Records. Each of the EP’s six tracks represent a spell, a unique sonic place forged by imagination and incantation. Ambient in nature, each spell highlights Hunter’s skills as a composer. “It really started off with me just wanting to kind of reclaim the way that I thought about creating music and then also performing it,” Hunter says. “I was like, okay. I need to get back to the basics of why I like to create and what it does for me … so I set out to make spells, in the sense that each layer is one of the steps in incantation... It became about purpose... the procedure and the ritual, so that when it came to performing it, I wasn’t able to get into my head about it because I was just carrying out these steps. Each track is its own incantation, its own spell, its own world.” Colorful atmospheres permeate Spells, each track offering tranquil, reflective setting. Hunter explains, “Another thing that I always wanted to focus on and through making this project have sort of been able to name is that, I like to create places, songs as locations ...whether there are field recordings [involved] or not.” Opening track “Soil” is accompanied by a poem: “a seed is sown, a song from silence.” Its beautiful harp and angelic voices establish the album’s mode of beautiful stillness. This is followed by “Ruins,” a tranquil soundscape abetted by insect field recordings and a slightly warped, heaven-bound trajectory, described by Hunter as a love spell. “Another thing that’s really important to me about my relationship with music is synesthesia. It’s all very palette based... For the song “Ruins,” it comes on like magenta and clementine.” On the colors present in the single “White Flower, Dark Hill,” Hunter describes “the idea of the purples and navies of the night sky and the way that shadows appear under full moonlight, the different shades of moonlight, and how it always brings out the color white.” Each track’s nuanced production and big, emotional sounds do carry a charged energy, colorful and magnetic. The shifting phases and sustained drones of “Enter” mimic the feeling of approaching and walking through a rift into a fantastical world. The listener is advanced into album highlight “Quiet Light,” which Hunter states captures, “that feeling of being like golden light in a cold still pool of water, this very specific image and feeling that I just love so much.” Spells is a powerful opening statement that uses this musician's innate artistic gifts to promote healing and self awareness. Of the album’s inspirations, she adds, “definitely rune magick and just the idea of creating places of rest … sonic places of rest, places to ponder and consider your feelings. Me making music, it’s always been about healing for me and making myself feel better. If other people listen to it and also feel better, then that is delightful.”

The Caretaker is a dark ambient who has been making cross-border music under a number of names including The Stranger and V/Vm. The Caretaker is a dark ambient gentleman who has been making cross-border music under many names, including The Stranger and V/Vm, etc. The first half of the album, which was romantically sparkling with cheerful sampled melodies from pre-war SP discs, has been blown away, and the cruel noise sounds that are beyond decadence and collapse are exchanged. As time progresses, the darkness and depth deepen, and you can only sink into the face of this overwhelming music that is so isolated.

Mark Leckey presents the soundtrack to his autobiographical allegory ‘O’ Magic Power of Bleakness’, a mind sluicing fantasy inspired by folklore and half-remembered tales of teenage life growing up in the Wirral, a personal history woven into screwed 808s, ringtones, sacred chimes, smudged synths and levitating ambience that sounds like nowt else.

Following his seminal, hauntological trips ‘Fiorucci Made me Hardcore’ (2012) and ‘Dream English Kid 1964 - 1999AD’ (2016); the 3-part accompaniment to ‘O' Magic Power Of Bleakness’ captures the Turner Prize-winning artist moving beyond signature collage tekkers to create an entirely original arrangement for his latest audio-visual installation at Tate Britain in 2019 - a life-size replica of a motorway bridge on the M53 on the Wirral, Merseyside. In situ, the soundtrack is a vital component of the installation, livicating its liminal space with a narrative arc that magically turns familiar, popular and folkwise tropes into an occultural tale about provenance and a reminder of the supernatural in the modern world.

Leckey approaches the piece as "an autobiographical allegory” in an attempt to locate the enduring enigma of sub/urban British life with uncanny insight. Alongside his own narration, a plethora of Scouse-kids play out the story of an aspirational kid who escapes the Wirral not to London, but to the faerie realm spoken of in Northern European folklore. When he crashes down to earth, his friends don't understand who, or what, he's become. It ultimately concludes in a symphonic supernatural riot, culminating a sort of metaphysical transformation common to Traditional Ballads and reminding us of the angel/redemption sequence at the end of Lynch’s ‘Fire Walk With Me’.

'O' Magic Power Of Bleakness’ is a well-worn story that's brutally familiar to anyone who's escaped the clutches of one of Britain's forgotten, Tory-scoured battlefields. But Leckey's treatment is transformative; he offsets observed reality with the surreal verve of folklore like a theme park ride thru a Britain the country prefers not to remember, decorated with themes that have been looped around our collective consciousness for thousands of years. Leckey’s art has essentially come to reflect the psyche of a generation, divining the poetic and occult from the seeming banality of British life by tapping into leylines that riddle the concrete landscape to the imagination. Specifically (if allegorically) it’s Leckey’s life in focus but, on the broadest level, the work speaks to the politics of big town parochiality vs. the elusive lure of big city glitter, in a way that’s bound to resonate with many listeners who’ve made that same transition and questioned their place in-between worlds in the process.

180G heavy vinyl. The long awaited remastered vinyl reissue of the first album from 2001 by Pub, the ambient/electronica genius from Glasgow who has been making music since he was 14 years old and runs Ampoule. While the original LP version has been rising in price, this 2LP reissue is finally available as a 20th anniversary edition. It's a chill ambient gem that sublimates into a polished beauty by stoically pursuing a simple sound, with a relentless repetition of rough beats and a sweet daydream-like synthscape entwined therein. Remastered by Dubplates & Mastering, this album is highly recommended for fans of Porter Ricks and Boards Of Canada!

1972's Psychonaut, by the Swiss-based Brainticket, is early seventies space rock at its finest. While the band's debut album, 1971's Cottonwoodhill, was a heavily acid-laden affair dominated by droning organ, disturbing vocals and a collection of cacophonic sound effects (causing it to carry a warning label and be banned in several countries) for their second effort, band-founder Joël Vandroogenbroeck brought in a completely new line-up and changed the band's sound dramatically. While Psychonaut still takes listeners into the realm of altered consciousness -- making heavy use of a droning Hammond, sitar, tablas, etc.-- this time the vocals are more melodic and the music itself is more song-oriented. This is by far Brainticket's most accessible album, and perhaps their most timeless. Fully remastered from the original master tapes! 

During the mid-1960s, deep in the Sussex countryside of southern England, aspiring musicians Peter Howell and John Ferdinando played in a few school bands before recording together in Howell’s father’s garage. Through Ferdinando’s connections with a theatre group, the duo created a musical companion for their production of Alice Through The Looking Glass, which the duo pressed privately; then, Fly Away, credited to Agincourt, was produced in a spare bedroom, an advertisement bringing Lee Menelaus, whose lilting voice provided a stirring female counterpart to theirs. Much of this psychedelic folk oddity has a quaint innocence fitting of the era and along with English folk-rock there are shades of pop, a touch of West Coast and even jazz in places. Pressed in minute quantity on another private press, original copies have been known to sell for £1500 or more; the duo continued recording, notably on work credited to Ithaca, before Howell became a full-time member of the BBC Radiophonic Workshop, where he notably worked on the Doctor Who theme.

On behalf of re:discovery records, it is with great excitement that we announce the release of the Mysteries of Science compilation. Mysteries of Science aka Dominic Woosey (Neutron 9000) was a fixture of the ambient, ambient house and trance scene in the late 80s until the mid 90's.

These selections have been carefully chosen to show the timeless sound crafting Dominic was capable of with his wide array of sound modules. They range from space music, ambient to a proto-techno and back again. In the vein of Berlin School ambient or Tangerine Dream type sequencing, but made during the post-rave world of the early 1990s during the chill out era. Tracks to search the stars with! All of them are here for the first time on vinyl and were chosen in this order for the best listening experience.

'Virtual Wake' starts off the a side with the opening track from the self titled Mysteries of Science album. Eerie and spacey it welcomes you to the scientific space music Dominic Woosey so much excelled in. 'Technological Womb' is from the 2nd self-titled album and further hones in on the sci-fi ominous journey. 'Diffusion' bridges the album with a fantastic voyage into floating space. Finally on side d has 2 tracks featured on compilations only at the time. 'Chaos Pleasures' & 'Stranger in a Strange Land'. Both show the avante-garde approach Dominic took with this project even including an acid line combined with a violin! Yes, you heard that right! Space music at it's pinnacle in the analog sequencer realm before the true digital age. 5 songs with nearly 60 minutes of beauty. Take a listen! 

On behalf of re:discovery records, it is with great excitement that we announce the release of Deep Space Network's 'Big Rooms'. Deep Space Network was a joint project by David Moufang (Move D) & Jonas Grossman and it explored electronic music that wonderfully combined ambient, chill out themes, sci-f techno and IDM. Originally released on David Moufang's Source Records and distributed by Instinct Records in America a year after. Now, 27 years later, finally released on vinyl for the very first time with original artwork with a gatefold cover

'Khalik Hena' was recorded in 1973 by legendary Arabic Diva Warda who has been sampled by Jay Z and J Dilla. The album recorded in public mixes traditional Arabic music with a tinge of 70s grooves. Here Warda delivers a deep hypnotic performance backed by her full-size orchestra featuring those unparalleled Arabic strings that made recordings by Oum Khalthoum, Farid El Atrache and Abdel Halim Hafez so famous. 'Khalik Hena' is one of her all-time classics, written by equally legendary composer Baligh Hamdi and the audio has been newly remastered. This release features the LP original artwork with a 2 page insert featuring a new introduction by Mario Choueiry from Institut du Monde Arabe who curates Wewantsounds' Arabic series of reissues.

Already low stock at the distributor. A miraculous analog release of the first collaborative work between masters Ryuichi Sakamoto and David Toop, an album that includes the entire concert held in London in August 2018! They have collaborated with Evan Parker, Akiko Yano, Arto Lindsay, Christian Fennesz, and many others in various fields, including film music, sessions in the popular music field, and sound installations. The title is inspired by Japanese horticultural aesthetics, and the recording is a masterpiece of minimalism, with spatial metaphors woven throughout by the two artists' outstanding aesthetic sense.

Michèle Bokanowski's art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds “be”, even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition. François Bonnet, Paris, 2020.

ミュージック・コンクレート創始者、ピエール・シェフェールによって設立されたフランス音楽研究グループ〈INA-GRM〉の最重要人物にして、Aphex TwinやAutechre、Keith Fullerton Whitmanにも影響を与えた仏の電子音楽家Bernard Parmegiani。69年にLPリリースされた激レア・アルバム「Violostries / Bidule En Ré / Capture Éphémère」より”Violostries”、そして、同アルバムに収録された”Capture éphémère”の88年ステレオ・リミックス版、72年度発表「Chronos」に収録されていた”La Roue Ferris”の3曲をコンパイルした電子音楽好き必携の特大編集盤が〈Editions Mego〉と〈INA-GRM〉協賛で運営される重要レーベル〈RECOLLECTION GRM〉から登場！1965年4月にフランスの“Royan Festival”にて、Devy ErlihとBernard Parmegianiによって初演及び録音された作品であり、作曲家／演奏者と楽器／オーケストラの同時対話として提示される、幾つかの音楽研究の方向性の交差点を表すという”Violostries”（1963年〜64年）、パリの〈Maison de la Radio〉のStudio 105にて67年5月に初演、録音したにも関わらず存在し続ける存在し続ける「時間の経過と共に循環するノイズ」である”Capture éphémère”（1967年に作曲、88年版）、マントンの”Festival des chantiers navals”にて71年8月26日に初演、観覧車を回転させることで、そのレゾナンスと融合して、そのバリエーションをどこまでも永続させ、一定の軸を中心に定期的に進化する動きをスケッチするという”La Roue Ferris” (1971年)の3作品を収録。Rashad Beckerによって〈Dubplates & Mastering〉にてカッティング。Stephen O'Malleyによるレイアウト。やはりクオリティは折り紙付きです！

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work «Northern Stair Projection.» “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Radiohead's fourth album "Kid A" and their fifth album "Amnesiac" were recorded at the same time and are regarded as twins. To commemorate the 21st anniversary of the release of "Kid A" and their fifth album "Amnesiac", which was recorded at the same time and can be regarded as a twin work, they have been released as a single 3-CD set "Kid A Mnesia" with unreleased/rare material!
At the time of its release in 2000, Radiohead's innovative fourth album "Kid A" caused controversy with its style that abandoned the guitar rock format and incorporated cutting-edge electronic music from the likes of Aphex Twin and Ooteca.
The band's 2001 album, Amnesiac, was recorded around the same time and became the template for the band's mature sound in recent years, mixing electronics with classic music such as kraut rock, jazz and bluegrass.
This time, 20 years after its release, the band presents 12 songs including B-sides and other versions discovered from the recording sessions, the unreleased song "If You Say the Word," which has been known among core fans but passed down as an urban legend, and the first official release of "Follow Me Around. Kid A Mnesiae", a 3-disc set with 12 bonus discs including the previously unreleased "If You Say the Word" and the first official release of "Follow Me Around", renews the great history of the band.
"Everything in It's Right Place" --- a work that revolutionized the history of music in the 2000s, but took two different trajectories, is now coming together after 20 years. Now they become one.

"The album's one of Ra's greatest from the 70s -- recorded in Italy in 1978, and featuring some incredibly otherworldly keyboards that are some of his most enigmatic on record! Original tracks from the album include "Disco 3000", an incredible workout on synthesizer, with a tiny bit of drum machine, a little "Space Is The Place" breakdown, and all of the wild sound you'd expect from a Sun Ra album -- plus more long tracks -- the sweetly soulful "Friendly Galaxy", a great soul jazz number, and "Dance Of The Cosmo Aliens", which has spooky organ, frenetic bass, and somber percussion" Check!

Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'

Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

At long last, after remaining out of print for decades, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Steve Lacy’s LP, "Straws", issued as the sixth instalment of the label’s DIVerso series in 1977. Truly singular in the legendary American saxophonist’s discography - featuring stunning solo excursions and dialogs with himself - it remains one of the great documents of 1970s improvisation, and is as engrossing, creatively riveting, and as ahead of its time today as it was when it was laid to tape. Complete with original liner notes penned by Lacy himself, it’s not to be missed! **Edition of 300 LP on black vinyl. Audiophile pressing, including printed inner. Perfect replica of the original packaging and newly remastered for optimal sound.** For the scale of its impact, Cramps was a relatively short-lived endeavour, running for roughly seven years between 1973 and 1980. Founded in Milan by the producer, publisher, and graphic designer, Gianni Sassi, the label was a near perfect emblem of revolutionary temperaments emerging within Italy during that era; creatively radical, globally minded, without profit motive, and bridging numerous musical idioms. Subsequently, few labels associated with experimental music have garnered as much affection, or as devoted a following as Cramps. It’s seminal albums by John Cage, Gruppo di Improvvisazione Nuova Consonanza, Giusto Pio, Demetrio Stratos, Juan Hidalgo, Robert Ashley, Walter Marchetti, Cornelius Cardew, Raul Lovisoni / Francesco Messina, Alvin Lucier, Derek Bailey, and so many more - the vast majority of which have remained largely out of print and nearly impossible to obtain for decades - rank among experimental music’s great holy grails. Now, at long last, the Milan based imprint, Dialogo, has begun a stunning series of vinyl reissues from the Cramps catalog. A little while back we celebrated their reissues of Costin Miereanu’s Luna Cinese and David Tudor’s Microphone, and now they’re back with the seminal American saxophonist Steve Lacy’s 1977 LP, Straws, their first exploring the Cramps’ legendary DIVerso series. First emerging during the mid 1950s, saxophonist and composer, Steve Lacy (1934 – 2004), has long been regarded as one of the most important contributors to 20th Century musical canon, producing groundbreaking records with Cecil Taylor, Don Cherry, Thelonious Monk, Kenny Burrell, The Jazz Composer's Orchestra, Alan Silva, Roswell Rudd, Globe Unity Orchestra, ICP Orchestra, Miles Davis, and numerous others. An early adopter of free improvisation and experimental forms of jazz, despite his incredible catalog of collaborations, it is Lacy’s work as a solo artist and band leader that towers above the rest. Released in 1977, Straws encounters Lacy more than two decades into his professional career, brimming with confidence, versatility, and at the top of his game, building on the back of an incredibly prolific period of recording that grew from his move to Paris in 1970, where he remained for the bulk of his remaining years. The album, sparse and visionary, features six individual works - two solo pieces, two with celeste accompaniment, and two tape collages - dedicated to figures from various disciples of the arts, Brion Gysin, Janis Joplin, Art Tatum, Marilyn Monroe, Igor Stravinsky, and his wife, the singer Irene Aebi. Easily among the most adventurous of Lacy’s output from the period, Straws deftly rises to the demands of each challenging venture, creating something entirely brave, singular and visionary from clusters of tone, airy spaces, deconstructed melodic structures, playful moments, and truly radical dialogs with himself. Freejazz that’s not quit freejazz, and experimental music as it should be understood and rarely is, Straws, heard more than fourty years after it first emerged, heaves with life, and stands as a potent reminder of what a powerful creative voice Lacy was. It’s absolutely incredible and engrossing from the first note to the last. This first-time vinyl reissue from Dialogo comes in a beautifully produced sleeve that faithful reproduces the original cover artwork and inner sleeve. A must for fans of Cramps, Lacy, or experimental music and freejazz at large.

Cosmic traveler Herman ‘Sonny’ Blount became Sun Ra after an alien abduction, proclaiming that he came from Saturn and using music to point to human failure on earth, offering space as ethereal alternative. Supersonic Jazz was released in 1957 on Ra’s Saturn label and regularly reissued, even making it onto Impulse in 1974, its blend of bop, avant-garde and galactic well ahead of its time. More melodic and cohesive than many subsequent titles, ‘Advice To Medics’ is a troubling Ra piano diversion, and ‘Super Blonde’ a big-band stomp; ‘Soft Talk,’ by trombonist Julian Priester, is one of the vehicles for John Gilmore’s tenor sax and ‘Kingdom Of Not’ has uncommon swing. A must for all Sun Ra scholars!

2 x LP in die cut card inner sleeves, in wide spine outer sleeve with thumb cut and embossed cover, postcard sticker insert, download card insert

A1 Acroyear2
A2 777
B1 Rae
B2 Melve
B3 Vose In
B4 Fold4,Wrap5
C1 Under BOAC
C2 Corc
C3 Caliper Remote
D1 Arch Carrier
D2 Drane2

2 x LP in printed inners with spot UV, in wide spine outer with spot UV, download card insert

A1 Cipater
A2 Rettic AC
A3 Tewe
B1 Cichli
B2 Hub
C1 Calbruc
C2 Recury
D1 Pule
D2 Nuane

Amelia Cuni, who was born in Milan and has lived in Berlin for many years, has lived in India for more than 10 years and studied with the masters of the classical Dhrupad vocal style. Amelia Cuni, who was born in Milan and has lived in Berlin for many years, spent more than a decade in India, where she studied with masters of the classical Indian vocal style of dhrupad. Amelia Cuni, who has performed John Cage's vocal music and collaborated with Werner Durand and Terry Riley, is a legend who has passed on the traditional Dhrupad style of singing to the present day.