NEW ARRIVALS

シカゴ・ハウス meets フリー・インプロヴィゼーション!??前衛的サックス奏者のSeymour WrightとパーカッショニストPaul Abbottによるユニット、”XT”が10年に渡る共同作業の成果として発表した2021年作品『Deorlaf X』。版元はロンドンの実験音楽/インプロヴィゼーションの聖地的ライブハウス〈Cafe OTO〉が運営する先鋭的レーベル〈Otoroku〉。

Otoroku present the first vinyl reissue of Louis Moholo Octet's Spirits Rejoice!, originally released in 1978 on Ogun Recordings. One of the most legendary free jazz records ever produced, Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody. Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti, and Kenny Wheeler, this is former Blue Note artist Louis Moholo's first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza's 'You Ain't Gonna Know Me 'Cos You Think You Know Me" alone is enough to make your life a better place. Made with permission and in association with Ogun Recordings. Features an exact reproduction of the original artwork and liner notes, along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi. High gloss sleeve.

NEW one from 1/2 of acclaimed duo BLACKWATER... more sooon.. (Mint / New - limited version with screen print) Debut solo album from The Dengie Hundred, one half of London’s Blackwater whose slo-motion synth-pop LP ‘Navigation’ was acclaimed by cult record shops Monorail, All Night Flight and World of Echo, which included it in its review of the best releases of 2021. Named after a clifftop cabin overlooking Whitsand Bay in Cornwall’s ‘forgotten corner’, ‘Brackenbank’ charts the first weeks of a new relationship between long-distance lovers in London and the South West. Desiring vocals move like the tide toward and away from drones and dub-soaked drum machines that recall heart beats, train tracks, the clinks of boat rigs and clunks of ferry chains. Composed of sounds recorded in an unfamiliar landscape of sea and rock and sky, ‘Brackenbank’s’ electronic sonic atmosphere was processed on the lines of the Great Western Railway as The Dengie Hundred travelled back and forth: looking forward; longing after. Kingsand, Cawsand, Eddystone, Firestone – the album’s grid references are both geographical and emotional, offering love songs and instrumentals as pulsing trances from places that can be traced with a finger across the map of The Rame, Cornwall’s ‘most unsung’ peninsula. Brackenbank was mastered by Carim Clasmann, mastered and cut for vinyl by Stefan Betke (aka Pole).

In These Times is the new album by Chicago-based percussionist, composer, producer, and pillar of our label family, Makaya McCraven. 

Although this album is “new," the truth it’s something that's been in process for a very long time, since shortly after he released his International Anthem debut In The Moment in 2015. Dedicated followers may note he’s had 6 other releases in the meantime (including 2018’s widely-popular Universal Beings and 2020’s We’re New Again, his rework of Gil Scott-Heron’s final album for XL Recordings); but none of which have been as definitive an expression of his artistic ethos as In These Times. This is the album McCraven’s been trying to make since he started making records. And his patience, ambition, and persistence have yielded an appropriately career-defining body of work. 

As epic and expansive as it is impressively potent and concise, the 11 song suite was created over 7+ years, as McCraven strived to design a highly personal but broadly communicable fusion of odd-meter original compositions from his working songbook with orchestral, large ensemble arrangements and the edit-heavy “organic beat music” that he’s honed over a growing body of production-craft. 

With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators – including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill – the music was recorded in 5 different studios and 4 live performance spaces while McCraven engaged in extensive post-production work from home. The pure fact that he was able to so eloquently condense and articulate the immense human scale of the work into 41 fleeting minutes of emotive and engaging sound is a monumental achievement. It’s an evolution and a milestone for McCraven, the producer; but moreover it’s the strongest and clearest statement we’ve yet to hear from McCraven, the composer. 

In These Times is an almost unfathomable new peak for an already-soaring innovator who has been called "one of the best arguments for jazz's vitality" by The New York Times, as well as recently, and perhaps more aptly, a "cultural synthesizer." While challenging and pushing himself into uncharted territories, McCraven quintessentially expresses his unique gifts for collapsing space and transcending borders – blending past, present, and future into elegant, poly-textural arrangements of jazz-rooted, post-genre 21st century folk music. 

*Berlin-based ambient artist N Kramer is releasing his new album Altered Scenes and Slight Variations on May 17 via Leaving Records. *Created over 2020-2022 as a variation on themes Niklas revisited over time with playful adjustment, Altered Scenes is the result of curiosity for complex harmony and composition techniques pursued via searching Youtube for tutorials on music theory. *Inspirations were drawn from a variety of sources such as the mixing of Studio Ghibli chord progressions with Jon Hassell soundscapes. We can also hear the retain of acousmatic percussive/harmonic processes & performance established on 2021's Habitat w/Berlin percussionist J Foerster. *Compiling a series of scenes (or tracks) soundtracking an imaginary film in episodic fashion, these scenes feature various musical motives used in alternating contexts. *Presented with a scene sequence, the listener is invited to experience the album as an “Opening” scene, continuing through a “Soft Lit Room”, “Wading Through The Grass” in the next moment, and so on. *Altered Scenes reconciles opposites amidst ASMR backgrounds: serendipitous or random vs. designed or composed, static vs. the free-flowing, sparse & quiet vs. dense & pulsating.

*Vinyl only - No digital* WRWTFWW Records is very happy to announce the official vinyl reissue of the highly sought-after Haruomi Hosono-produced Interior self-titled debut, originally released in 1982 on legendary label Yen Records. The LP comes in a heavy 350gsm sleeve. Interior is Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto. Their classic 1982 debut, produced by Yellow Magic Orchestra’s Haruomi Hosono, is one of a kind - a very rare breed of feel-good ambient music blending instrumental synth-pop, soft electronic minimalism, and cozy sound design in the most heartwarming ways. It evokes the intimate pleasures of daydreaming in a hotel lobby, holding hands in a museum, or napping by the pool. It depicts the urban landscape as a caring environment, where simplicity and repetition is mind soothing and smile inducing. Interior takes you into an alternate reality, where nostalgic modernism makes the present time feel like the fondest memories. The unique sound of Interior caught the attention of William Ackerman and Anne Robinson who re-released the album in 1985 on their famed label Windham Hill Records (with a slightly different tracklisting) and then proceeded to put out their follow-up, Design, in 1987. After that, members of the group continued their careers separately, Daisuke Hinata notably recording an overlooked but absolutely amazing solo album, Tarzanland, in 1988. A1 Technobose A2 Giant Steps A3 Flamengo A4 N.F.G. B1 Reply B2 Timeless B3 Cold Beach B4 Luft B5 Ascending B6 Park

Originally released in 1972 in very limited numbers. A trip of an album rich in percussive energy and African chant - made in Brazil! The sounds of continents colliding in a young, funky & soul fuelled 70s ....this is one is on full burn from start to finish ! This the only album by Massáhi Tribe and it became notorious for it’s unique sound and the almost complete lack of information about its creators. Check!

the Label say:

'This is a sound made in Brazil. All the members are Brazilians.
But the goal is to show the young african music, with all his distinctions that features the origin of the black continent’s music.

In this record we launch several curious things. Starting from a rhythmic draw, based on the camel steps that match the division 4/4, on the same line of YÁ YÁ YÁ and SOUL MUSIC, which was given the name of OGA, this, because in Lagos, Nigeria’s capital, is an intimate treatment among friends. There, a man feels good when compared to a OGA (camel).
Purposely and proudly we launch this new and different LP, not only dedicated to all record collectors in the world but also to all party lovers, nights in club, and even for who’s loving, because on both sides, there aren't intervals. It’s a contagious and crazy rhythm."

This is how, in 1971, Embaixador and Maestro João Negrão described the record on his back cover. These words did not aged a bit.

We are very happy and proud to announce, 44 years later, the first 100% official reissue of this genuine work that became legendary and considered as the "Holy Grail" of Brazilian music among collectors around the world.'

His musical career began with his debut on the prestigious Powershovel Audio, which is known for its numerous masterminds including Directorsound, Asuna, Kath Bloom, Killer Bong, Xiu Xiu, Zs, and many others. He has not only composed music for award-winning films at numerous international animation and film festivals, including "Otoppe" and "MODERN No.2," but has also worked as sound director for the National Art Center, Tokyo and ISSEY MIYAKE installation events, as well as for SONY "toio" and SHISEIDO "EFFECTIM," among others. He has also been involved in a wide range of activities, including sound design/production/composition for SONY's "toio" and Shiseido's "effectim. He is a Tokyo-based musician and sound designer with a musical background ranging from sampling music, electronic music, beat music, hip-hop, and breakbeats to Ethiopian music, ethnic music, spiritual jazz, and the latest ambient music. Twoth's latest album "PLAYBACK THE COMPACT" will be released on cassette in a limited edition. His music has been featured on compilations by Wire Magazine and Fogpak, and he is also a featured artist on Roy Tamaki x Low High Who's "Fighting! This is TWOTH's first new album in two years, following his Idly Chip Records masterpiece "MIMIC BEATS" released in 2020. The album is remixed by Meitei, a Japanese composer of ambient/electronic music of the new era who seeks "lost Japanese atmosphere," and by BERVATRA, a unit consisting of Shinichi Suda himself and filmmaker Kosaku Shimamoto. BERVATRA, and artwork by Junpei Fujita. The album was mastered by Taylor Deupree, a veteran of the prestigious New York-based electroacoustic/ambient label "12k". The album opens with the post-classical/ambient drone "When unwrapping things," a ray of light shining through a frozen landscape reminiscent of the rugged nature of Northern Europe. Transformable pieces", which intersects layers of melancholic synths and heavy beats in a dignified atmosphere tinged with nostalgia that evokes the visions of electronica of the zero's. The minimalism of June Chikuma's electronic music and Midori Takada's Mkwaju The majestic soundscape of "Joy and wonder" is an electronica/ambient pop piece that seems to blend the minimalism of June Chikuma's electronic music with the vast childhood memories of Midori Takada's Mkwaju Ensemble, and the grandiose soundscape of the original piece with the Japanese and oriental view of nature and life that only Meitei could create. When unwrapping things (Meitei Remix)" is a solemn soundscape that incorporates Meitei's unique view of Japanese and oriental nature and life into the magnificent soundscape of the original song. This is a piece filled with a sense of openness, where even the sick minds of post-Corona people who have experienced the once uninhabited urban landscape are returned to their childhood, as fragments and memories of imaginary everyday life soar through the air. Tsunaki Kadowaki / Meditations

Shin Otowa, is a legendary Japanese psychedelic musician who is coveted by psychedelic enthusiasts around the world.
Makoto Kubota and the Sunset Sunset Orchestra participated in the release of his acid masterpiece "Wasuretami" (self-produced in 1974) on LP for the first time in 48 years!

Self-produced album (1974) by a singer/songwriter known for having contributed lyrics to Makoto Kubota's first solo album "Machiboke" (1973).
Makoto Kubota, who made full use of his 12-string guitar and contributed so much to the overall sound that it could be said that he almost produced the album, Yoma Fujita, who created a fantastic space with his slide guitar, and Takashi Onzo, who played the bass guitar in a lighthearted and eerie manner. The members of the Yuyake Gakudan (Sunset Sunset Band), including Makoto Kubota, who contributed to the overall sound, Yoma Fujita, who creates a fantastic space with his slide guitar, and Takashi Onzo, who plays a nice and light bass, all played on this simple but richly expanded world of Otowa's songs, inviting our consciousness into a world that extends far "beyond", but gives a mysterious sense of peacefulness. In other words, it is a masterpiece of acid folk. In this era of rock, this album is a pure and miraculous album of intense rock that abandons any superficial rock sound in order to be rock. Therefore, it has been enthusiastically supported by psychedelic enthusiasts around the world and has been talked about for a long time in Japan, although only a small portion of the Japanese public has heard of it. In 1976, just after the release of this album, Otowa suddenly left for Ibiza, Spain, and is said to have returned to Japan in the mid-1980s.

Lily’s early life runs parallel to an untold story of post-war Japan, that of the marginalised hafu - children of half Japanese / half foreign parents. Likely to be a target, a vessel for the bitterness, from
the humiliation of the American Occupation, to the buried guilt
of Japan’s own atrocities, enacted on their Asian neighbours. Her troubled formative years - an absent father, and losing her mother
in her teens - possibly contributed to the development of the bluesy edge of her vocal style, or maybe it was the smoke from the jazz bar her mother ran.

As with many outsiders of the 60s and early 70s, she turned up in Tokyo’s Shinjuku, a famed spot for many a writer, actor, artist
and musician. It was here her songs first aired, and she was swiftly booked to record her music.

With a groove set in stone with her Bye-Bye Session Band - later including Ryuichi Sakamoto and jazz keyboardist Hiroshi Sato - this selection covers her 70s period, with strong seams of soul, funk, touches of folk- and space-rock, and her signature (in Japan) heartbreaking ballads.

Vibrations from the other side of the globe, in the same period as classic Curtis Mayfield, Stevie Wonder, Cymande, Sly & The Family Stone, and the rest, all with Lily's voice make this music utterly unique.

Compiled by Howard Williams, whose Japanese music show
Japan Blues has been a mainstay on NTS Radio since 2014. He has released several retrospectives of Japanese music for various record labels, covering traditional folk (Nippon Folk, Japan Blues for The Trilogy Tapes); kayoukyoku & Nihon Indigo (also TTT); 70s female gangster soundtracks (Killing Melody, Ethbo); 50s rockabilly (Nippon Rock’n’Roll, Big Beat); surf guitar and funk rock (Nippon Guitars, Big Beat); soul, funk and disco (Lovin’ Mighty Fire, BGP); and the jazz singer Maki Asakawa for Honest Jons, after co-compiling their Moondog retrospective, Viking of Sixth Avenue.

With liner notes written by Lily’s original producer, Yukiji Teramoto translated by Alan Cummings, and the photography of Jin Tamura.

Lily’s early life runs parallel to an untold story of post-war Japan, that of the marginalised hafu - children of half Japanese / half foreign parents. Likely to be a target, a vessel for the bitterness, from
the humiliation of the American Occupation, to the buried guilt
of Japan’s own atrocities, enacted on their Asian neighbours. Her troubled formative years - an absent father, and losing her mother
in her teens - possibly contributed to the development of the bluesy edge of her vocal style, or maybe it was the smoke from the jazz bar her mother ran.

As with many outsiders of the 60s and early 70s, she turned up in Tokyo’s Shinjuku, a famed spot for many a writer, actor, artist
and musician. It was here her songs first aired, and she was swiftly booked to record her music.

With a groove set in stone with her Bye-Bye Session Band - later including Ryuichi Sakamoto and jazz keyboardist Hiroshi Sato - this selection covers her 70s period, with strong seams of soul, funk, touches of folk- and space-rock, and her signature (in Japan) heartbreaking ballads.

Vibrations from the other side of the globe, in the same period as classic Curtis Mayfield, Stevie Wonder, Cymande, Sly & The Family Stone, and the rest, all with Lily's voice make this music utterly unique.

Compiled by Howard Williams, whose Japanese music show
Japan Blues has been a mainstay on NTS Radio since 2014. He has released several retrospectives of Japanese music for various record labels, covering traditional folk (Nippon Folk, Japan Blues for The Trilogy Tapes); kayoukyoku & Nihon Indigo (also TTT); 70s female gangster soundtracks (Killing Melody, Ethbo); 50s rockabilly (Nippon Rock’n’Roll, Big Beat); surf guitar and funk rock (Nippon Guitars, Big Beat); soul, funk and disco (Lovin’ Mighty Fire, BGP); and the jazz singer Maki Asakawa for Honest Jons, after co-compiling their Moondog retrospective, Viking of Sixth Avenue.

With liner notes written by Lily’s original producer, Yukiji Teramoto translated by Alan Cummings, and the photography of Jin Tamura.

Jacks meets Makoto Kubota & The Sunset Gang! Yokohama Rock guru Daisaku Yoshino's early masterpiece "Lamp Factory" (self-produced in 1974) is being released on LP for the first time in 48 years! Produced by Makoto Otowa, this album is known as a brother album to "Wasagetami".

Daisaku Yoshino has been performing live mainly in Yokohama since the early 70's. His musical style is diverse and elusive, from the folk rock period of the 70's to the post-punk/free form period of the 80's. Although he has never received a solid reputation, his early work "Daisaku Yoshino Lamp Manufacturing Factory" ( Although his music has never been well received, his early work, "Yoshino Daisaku Lamp Factory" (released in 1974), is well known and popular in later years, mainly in Europe, as a masterpiece of acid folk. The band's philosophical and modern poetry was expressed in straight American rock, dynamic and thirsty country rock, and acid folk style, and was regarded as "Jacks meets the Sunset Band". The band was praised by Makoto Kubota for their performance at the Hibiya Nohe rock festival, where they outclassed Tokyo bands. The bluesy, weeping electric guitar sounds are reminiscent of Neil Young's "After the Gold Rush," a superb world. The hidden masterpiece that will remain in the history of Japanese rock music is now being released in its original format for the first time in 48 years. The strength of the music is so pure that it has not wavered at all, and it is an album that must be listened to now more than ever.

Dripping sound...rippling into the womb and beyond. Yutaka Hirose "Nostalgia" world premiere LP release! The compilation of Japanbeat is here! Yutaka Hirose created the masterpiece ambient work "Nova," which was discovered and reevaluated from overseas. Nostalghia", a work that records the "drops" of sensitivity and sound that spring from within, free of all restrictions, has finally been released as the world's first sound source! The sound space of another dimension from the ambient/environmental music that abounds in the market blends into the everyday world in your wireless phone environment, and even expands horizontally into the space in a speaker environment? We Japanese will be the next ones to experience the sensibility of Japambient. NOVA", a piece from the environmental music series "Soundscape" planned by the Sound Design Office of the Misawa Home Research Institute in 1986, was re-evaluated overseas and released on CD in 2019 with bonus tracks by a Swiss label. Yutaka Hirose became a big topic of conversation. After the production of "NOVA", Yutaka Hirose faced with his own sound and recorded in his home studio, and released it in a limited 2-CD analog format with additional tracks different from the CD version!

Invisible City continues to celebrate its 10th anniversary as a record label by reissuing the overlooked 1994 UK LP Accura - Five x Five! The best records make you want to grab the steering wheel and feel the sunny coastal drive. Frank Ed’s unique blend of genres on his LP “Five x Five” does exactly this by melting G-funk, smoothie Rnb and NYC Disco a la Larry Levan, a genre he coined “Street Jazz”. A Ghana expat inspired by the endearing levity of the sounds of Hilife along the Gold Coast, Frank Ed fuses downtempo keys and throbbing basslines on the opener “The Vibe”. Taking turn on the sunny coast, “Groove Control” is a euphoric minimal disco gem teasing the padlocked grooves of Gwen Guthrie and the West End setting sun into a fiery Loleatta sample that sparks into a fiery vocal “You got me burning up”. Dervish vibraphones, inspired by the Jazz-Funk renaissance, mesmerize the interlude “Ghetto Strings”. The punchy sampledelic psychedelia of conscious hip hop continue with the car sounds of “Jazz Maiden” opening with a screeching car halt, alongside MCs Cap D and Darkstorm rapping about a girl on the town, before being snapped and interjected by a female vocal chiming in“Excuse Me!” “Freestylin’” is a top down portamento G-funk glider, a nod to everything from the West Coast hip hop highway. “The Good Times'' - a CD-hidden only cut - is the real jewel here, emblematic of Frank Eds distinctive style. Expect low slung, nasal rapping and sine wave G funk grooves paired with lyrics about baggy jeans and Kangol kits that land with the chorus: “ I walk the walk I pay the price of this hip hop rhyme.” The pacific highway drive continues with “Summer Jazz” a breezy cruiser with the line, “Just move your body and slow…Summer Jazz.” You can feel the sun and wind in your hair as the keys trill along the reverb vocals of “I Feeeel It.” This pressing Includes two other CD-only releases featuring the NHB remixes of “Feelin Jazzy” and “Summer Jazz.” An essential LP, lovingly remastered and adjacent to the African diaspora genre UK Street Soul and the fervent UK RnB explosion of the early 90s. Glimmering with the disco ball of The Paradise Garage and the simmering smoothness of bumpin’ West Coast hip hop. Official Limited Pressing made in collaboration with Frank Ed and Toronto local selector Matt Stein. Not to be missed!

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995. MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor. ‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

You’ll Never Get To Heaven (Alice Hansen and Chuck Blazevic aka Slow Attack Ensemble) returns with their fourth release Wave Your Moonlight Hat for the Snowfall Train, a collection of ethereal songs that move through the mercurial weather patterns of minimalism and dream pop. The duo named this album after the closing track on Phil Yost’s 1967 release Bent City, inspired by its prescient use of delay processing in elevating spare beatless arrangements into haunting arrays of sonic afterimages — an approach Hansen and Blazevic explore on this outing in their own way, with a few favoured instruments and a Chorus Echo and Revox in hand. The result is a collection of sparse, lightly dub-infused songs and instrumentals, equally icy and wistful, characterized by melodic fretless basslines, spaced-out harmonics, watery piano and marimba, hushed vocals, and tape echo treatments. Stylistically, it’s almost as if the duo was imagining what an early This Mortal Coil demo might have sounded like had Ivo enlisted in lieu of the usual cast, with a pared back L’Empire Des Sons as the session band, and June Hardin or a young Julee Cruise on lead vocals. The album evokes an overcast autumnal evening of cloud-watching, an inner journey witness to an expansive spectrum of moods, from nimbus clouds to shimmering sun showers. RIYL: Broadcast, Weekend’s ‘81 Demos, Chantal Weber, Orquesta de las Nubes, Hydroplane, The Moon and the Melodies, Eberhard Weber.

Across two 7"s, 'Death Or Glory' (1982) and 'Death Rocks' (1983) and one 12", 'Anguish' (1982) Jimmy Smack carved his own bleak chasm amidst the Los Angeles death rock scene that he inhabited. After decades dormant in the crypt, Knekelhuis compiles Smack's full recorded output, providing it a lavish place to rest on the 'Death Is Certain' LP. The album comes with a printed inner sleeve featuring rarely seen archival photos, liner notes by Cooper Bowman and excerpts from an interview with Jimmy Smack by Juan Mendez (Silent Servant).

Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music. If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same. This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing. It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner. In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”. As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985). Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.

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.

Anthony Naples, a New York producer / DJ and co-founder of , who has left behind a number of different works on numerous labels such as and , which he is also involved in managing, is exactly "deep house". Under the curation of DJ Python, a cult hero who sent out the original sound of "meets reggaeton" under the name of "deep reggaeton" and swirled the world into a whirlpool of enthusiasm, the rainy day "Air Texture" The latest work in the series is here. An ambitious compilation album created by two of Brooklyn's leading producers and music selectors who are leading the current electronic music community! In addition to their own collaborative songs, Huerco S., Parris, Aurora Halal, Organ Tapes, Nick León, DJ Trystero, Beta Librae, Waon P, downstairs J, Meitei, etc. It is full of great songs by gorgeous people who crossed the dance music to Experimental and post club area!

MONOBIRDS From Ahmedabad to Xenon, 1969 / 1979 In December 1969, David Tudor made a series of recordings at the Electronic Music Studio at the National Institute of Design in Ahmedabad, India, using Moog Synthesizers that he himself had brought from the United States and installed there. Ten years later, on March 1, 1979, Tudor used one of these recordings, which he now called Monobird, as the primary source track for a recording session at the New York discotheque Xenon. This album includes two 33rpm vinyl records of these works and an essay by You Nakai, When David Tudor Went Disco, that provides an in-depth study of Tudor’s performance at Xenon and its relation to Monobird. VINYL 1 A: Monobird (NX) 26”28’ / B: Monobird (SX) 29”31’ Recorded at the Electronic Music Studio at the National Institute of Design, Ahmedabad, India, December 1969 VINYL 2 A: Laser Performance (Take 1) 29”23’ B: Laser Performance (Take 2) 27”43’ Recorded at Xenon, New York City, March 1, 1979 David Tudor: Monobirds - Edition of 200

In late 1965, Billy Klüver, a research engineer at Bell Telephone Laboratories, arranged for ten New York artists -- John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman -- to meet with a group of his fellow engineers and scientists from Bell Laboratories to work together to develop technical equipment to be used as an integral part of the artists’ performances. 9 Evenings: Theatre & Engineering took place at the 69th Regiment Armory at 25th Street and Lexington Avenue in New York City, October 13 to 23, 1966. More than 10,000 people attended the performances over the nine evenings, where each artist presented his or her work twice. 9 Evenings is recognized as a major event of the 1960s. It was the culmination of extraordinary activity in art, dance and music in New York in the late 1950s and early 1960s, as well as the beginning of a new era in which artists in these fields explored the use of technology in their work. Variations VII was the next to last of Cage’s Variations, a series of indeterminate compositions begun in 1958, for a variety of instruments and performers which in the mid-1960s made increasing use of electronic equipment and systems. Cage described the work in the 9 Evenings program: "It is a piece of music, Variations VII, indeterminate in form and detail, making use of the sound system which has been devised collectively for this festival, further making use of modulation means organized by David Tudor, using as sound sources only those sounds which are in the air at the moment of performance, picked up via the communication bands, telephone lines, microphones together with, instead of musical instruments, a variety of household appliances, and frequency generators." For the performance, these sources were from radio stations, Geiger counters, and contact microphones placed on household appliances like a food blender, juicer, fan, and toaster, as well as sensors attached to one of the performers to pick up body sounds. In addition, Cage had ten open telephone lines to bring sound from places in New York City, like the restaurant Luchow’s, The New York Times press room, the ASPCA stray dog holding pound, the 14th Street Con Edison electric power station, choreographer Merce Cunningham’s dance studio, and the turtle tank in composer Terry Riley’s apartment. The mechanical and electronic components were placed on two long tables facing each other. The four performers, David Behrman, John Cage, Anthony Gnazzo and David Tudor, worked in a free and unscripted manner connecting, activating, and modulating the various sound sources. Photocells were mounted on the performance tables aimed at lights placed at ankle level under the facing tables. As the four performers moved along the aisle between the tables, the light beams were broken and different sound sources were triggered and sent to speakers around the Armory. The shadows cast by these lights created what Cage later described as “enlargement of activities” as “inside composers picked up outside sources... Fishing.” For the second performance of Variations VII, Cage invited the audience to leave their seats, and they approached the performance tables, wandered around the Armory space, or sat on the floor listening to the performance. A sound recording of Variations VII was made on 7" reel-to-reel audio tape. TOPOS proposed making vinyl records of the full recording of the performance; and they worked to prepare this master recording to fit the requirements of the vinyl medium: dividing it into four roughly equal parts, but preserving the integrity of the composition by making breaks where there was a transition happening in the sound, for example when one sustained sound would die out and another begin. - Julie Martin, New Jersey, 2019

Numero Group boxset providing chapter and verse on American slowcore pioneers Duster. Although short-lived, the trio dealt in uniquely spaced-out post-rock soundscapes over the course of two albums, one EP and a handful of singles and compilation contributions around the turn of the millennium.