NEW ARRIVALS

Side A
1. 自分のことだけ考えよう (Remixed by Cornelius)
2. Flow (Remixed by YANN TOMITA  ”A BRAND NEW CADILLAC AND ETERNAL LIFE MIX”)

The album opens with the rarer 12” mix of Samuel Jonathan Johnson’s seventies disco funk offering, “You”. And if you thought you owned every track by Glenn Jones, Earth Wind & Fire and Gladys Knight & The Pips, all three will delight with previously unreleased recordings. It’s astonishing how the mid-pacer “Share My Love” was omitted from Glenn’s 1983 Everybody Loves A Winner. Indeed, who decided that Gladys’s “How Deep Is Your Love” should not make the final line-up of her 1985 set, Life? As EWF’s “Club Foot” was not included on the 1983 Electric Universe album, it does make you wonder how many other unreleased gems could be unearthed from the Sony Music vaults. And then there’s Aretha…nothing more needs to be said! Side two opens with Phyllis Hyman’s joyous dancer “Forever With You”, recorded in 1991 (released posthumously in 1998 on her final CD of the same name) and where her hallmark vocals have never sounded better. There are also some spectacular downtempo moments; “Never Stopped Loving You” from Tyrone Davis, “Right Time For Love” from Don Covay, and Garland Green’s “I Know What Love Is” are long forgotten knee- tremblers that have always been out there, but many may have been missed. The album closes with the mighty Dells, clearly at their very best on the gorgeous Gamble & Huff penned and produced “Somebody’s Gotta Move”. Originally included in their 1992 set I Salute You, it was a CD-only release in the US and very hard to find on the Jamaican vinyl-only version.

Legendary Sun Ra-bassist Ronnie Boykins stepped out on his own for his first and only release as a leader on, "The Will Come, Is Now". He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins' solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins' six originals create a variety of moods and textures that not only evokes the music of Sun Ra but also reflects Boykins' own sensibilities as an artist.

It has occasionally been assumed that Henry Grimes got this recording date as a reward for his long service in the avant-garde of jazz. Having already honed his musical conception with a varied range of players, from Benny Goodman and Arnett Cobb to Lee Morgan, Gerry Mulligan, and Sonny Rollins to McCoy Tyner, Steve Lacy, Albert Ayler (including ESP 1020, Spirits Rejoice), Don Cherry, and Cecil Taylor (to name just a few), the service was certainly there, but he got this gig fully on his merits. For The Call Grimes teamed with highly original clarinetist Perry Robinson (as label owner Bernard Stollman has noted, "a virtuoso who merits far wider recognition... and this recording reflects both of their contributions, in equal measure") and stalwart drummer/ESP-Disk' regular Tom Price. As a bassist, Grimes's melodic style is well up to the task of being co-equal voice with a horn, resulting in a thoughtful and texturally rewarding LP with a level of quality far above the rote sideman session cliche, and far away from equally cliched ideas of unrelentingly full-bore free jazz. It offers the sound of three excellent musicians listening to each other and responding superbly. The Juilliard-trained Grimes appeared on six other ESP LPs besides those already mentioned. He retired at some point after the last of them, 1967's Marzette Watts LP, and went so far off the scene that it was rumored that he had died. Happily, that was not the case, and he reemerged in 2003, moved back to New York, and returned to his prolific ways.

Lowell Davidson recorded this singular session on July 27th, 1965 with Gary Peacock and the ever amazing Milford Graves. Sadly the only recording ever released by Davidson, it remains fresh and exciting 40 plus years later. On Ornette Coleman’s recommendation, ESP-Disk’ owner Bernard Stollman signed up pianist Lowell Davidson (then majoring in biochemistry at Harvard) for this album without having heard him play. Davidson came to New York and got to work with the elite rhythm section of drummer Milford Graves and bassist Gary Peacock, both stalwarts of the ESP catalog. The interplay among the members of the trio is dazzling, but in all ways the pianist is the star of the album. His playing inevitably drew comparisons to Cecil Taylor (can’t blame the critics too much, as there just weren’t that many pianists going this far out in 1965, so there weren’t many comparisons available), but he is his own man stylistically, and puts more space around his notes. He’s equally likely to unleash complexly intertwining two-handed runs, spicy dissonances, shimmering Impressionism, or poignant lyricism. When European labels licensed this album for CDs, the sound was a bit grimy, but on the 2008 remaster, all the instruments – even bass – sound much more present, making this secret classic of avant-jazz more enjoyable than ever.

A longtime favorite among Brazilian music collectors! Trio Ternura’s ‘A Gira’, originally released in 1973, blends mid-tempo grooves with percussive funk and soul in a way that feels effortlessly timeless. We're excited to make this incredible single available once again, cut at 45 RPM and remastered from the original tapes. *****AUDIO*****: www.youtube.com/watch?v=UATvde65bzI ¡Uno de los singles favoritos entre los coleccionistas de música brasileña! ‘A Gira’, del Trio Ternura, publicado originalmente en 1973, combina ritmos de tempo medio con funk y soul percusivo de una forma que resulta atemporal. Nos alegra poder ofrecer de nuevo este increíble single, cortado a 45 RPM y remasterizado a partir de las cintas originales.

‘La Balsa’ was the first Argentine massive rock hit. In 1967 Los Gatos became the most famous local rock band with this song. At the front, as composer and singer, was Litto Nebbia. Although this milestone has remained eternally linked to Nebbia's name, almost eclipsing the rest of his work, it is really his solo career that unveils the artist's overwhelming talent and his determination to create music freely, regardless of commercial considerations. “Fuera del cielo” (1975) is an art rock/space jazz masterpiece infused with prog scents from one of the true legends of Argentinian rock. The sounds of floating acoustic pianos, organ and harpsichord, basslines and even bandoneon combine with Litto’s own voice and create a unique blend of deep and delicate beauty. It is an album to be filed next to the highly acclaimed “Bazar de los milagros” and “Cosas que no quieren morir”, released the following year, creating an outstanding body of work that represents Nebbia’s talent at its best. Nebbia's genius transcends beyond the Southern Hemisphere. The international scene of DJs and vinyl collectors shows signs of its taste for Litto Nebbia recordings, now highly sought after in their original editions, probably as part of a rediscovery of little-explored global sounds, within a journey through music always hungry for exciting new sounds.

The music in this cassette comes from 1985 and is part of a cycle of sound experimentation (1983-1988) whose results have remained almost entirely unpublished, and whose recordings were even lost for decades until a few original tapes reappeared by chance. The Lost Tapes is conceptual noise music made without resorting to any type of musical instruments, not even synthesizers; using artisanal methodologies in order to generate noises, recordings with radio-cassettes, modifications through basic pedals for electric guitar and assembly techniques in cut-ups, loops and superimpositions. This reassambled edition has been published in 2024 with the reference EGK023, following the legendary k7 series edited by Discos Esplendor Geométrico back in the 1980s. To purchase the complete k7 with extensive liner notes by Marcelo Expósito and Mattin: www.rotordiscos.com/catalogo/the-lost-tapes/4912/ www.soundohm.com/product/marcelo-exposito-lost-tap "The Lost Tapes offers us some secret homemade gems recordings from the 1980s rich Spanish underground. The Spanish transition from fascism to democracy was not as smooth as they wanted us to believe. Still, there were many traumas to deal with, and noise music was the perfect medium to channel them. If noise in the 80s Japan was the acceleration of transgression resembling the economic boom that was going on in the country, Marcelo Expósito has worked through the unconscious shit that Spain was still dealing with at the time. Unfortunately, we still suffer those resonances. These recordings are part of an avant-garde that still has not been fully recuperated and give us a lesson from the past into the future: never give up on the power of noise to denaturalise and challenge the values of fascism." Liner notes by Mattin. Anti-copyright. Author of, among others, Noise & Capitalism (Co-editor, 2009), Object of Thought (LP, 2010), Unconstituted Praxis (Book, 2012), Social Dissonance (Book, 2022) and Seize the Means of Complexity (LP, 2023).

Hazy Eyes Maybe is the debut album by Grimm Grimm, the musical project of singer‑songwriter and composer Koichi Yamanoha, who works between Tokyo and London and has been active since around 2014. He has performed at alternative music festivals around the world, including Le Guess Who? and All Tomorrow’s Parties, and has also expanded his activities into film and video‑game fields through collaborations with game creator Hideo Kojima, contributing music and making a cameo appearance in Death Stranding 2.

Regarded as one of the finest releases to emerge from Chicago’s legendary Cadet label, Marlena Shaw’s The Spice of Life stands as her definitive masterpiece. Released in 1969, the album showcases Shaw’s remarkable expressive range, elevated by the meticulous arrangements of Richard Evans and Charles Stepney. Together, they crafted a soul‑jazz landmark where lush orchestration, sharp rhythmic sensibility, and Shaw’s commanding vocal presence come together with striking clarity.

In the early 1970s, Roy Ayers formed his own band: Roy Ayers Ubiquity. Its lineup included artists well known to funk and soul fans such as Bernard Purdie, James Mason, and Edwin Birdsong. This 1973 album presents Roy Ayers in the midst of a creative evolution toward a sound increasingly influenced by soul and funk, moving beyond the early phase of his musical career, which was more rooted in orthodox jazz. On “Red Black & Green”, he teams up with highly accomplished collaborators such as keyboardist Harry Whitaker, arranger and producer William S. Fischer, and Strata-East musicians Charles Tolliver and Sonny Fortune. Here, however, the latter two do not venture into the spiritual jazz sounds so characteristic of their own recordings; instead, together they embrace a sophisticated funk groove where Ayers showcases his extraordinary vibraphone talent. The album includes outstanding versions of ‘Ain’t No Sunshine’ and ‘Day Dreaming,’ as well as original compositions such as ‘Cocoa Butter,’ ‘Rhythms of Your Mind,’ and the superb title track, ‘Red Black & Green.’ After years out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Pressed on 180g vinyl.

Marcos Valle is one of those artists you simply can’t overlook if you have even apassing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba,psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By thelate 1960s he had already released enough outstanding records to secure a place amongthe greatest Brazilian artists of all time, but fortunately his career didn’t stop there. Hehas continued recording fabulous albums over the following decades, right up to thepresent day.This second album by Marcos Valle (1965) is one of the foundational works of bossanova. In fact, the record includes one of the most widely heard and covered Braziliansongs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside hisbrother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer,with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy ofthe nighttime atmosphere in which he composed most of the songs.The arrangements were co-written with Eumir Deodato, with the participation of otherrenowned Brazilian musicians, and they surround Valle’s compositions with elegant stringorchestrations, bossa rhythms, and jazzy touches of swing. Highlights include thesophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel oftracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’First vinyl reissue in over 50 years! Pressed on 180g vinyl.

A powerful survey of 1970s Pinoy rock, spanning hard rock, glam, acid rock and heavy blues across a golden era of Philippine music. Drawn from recordings between 1971 and 1978, this compilation captures the grit, swagger and invention of a scene firing on all cylinders. Featuring key figures including Juan de la Cruz Band, Judas, Anak Bayan, Hot Dog, Maria Cafra, Sampaguita, Joey Smith and Wally Gonzalez, the collection moves from fuzz-laden stompers to groove-driven rock’n’roll with ease. Each track reflects a distinct strand of the era’s sound while contributing to a broader picture of a vibrant and often overlooked movement. An essential introduction to the depth and energy of 70s Philippine rock.

Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.

Parisian label Latency presents "Without References / Cindy van Acker (Variations)", a new release by goat (JP) and legendary producer Ricardo Villalobos. For this project, Villalobos reinterprets two tracks – "Orin" and "Factory" – originally composed by goat (JP) for choreographer and performance artist Cindy van Acker’s dance piece "Without References". The release follows Latency’s recent publication of Villalobos’ variation on percussionist Mohammad Reza Mortazavi’s "Swamp" (Latency, 2025), continuing the label’s exploration of reinterpretation and rhythmic dialogue. goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In “Without References/Cindy Van Acker”, goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group’s simultaneously tribal and futuristic sound is reshaped by Villalobos’ distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions. Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet’s regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture. Cindy van Acker’s dance piece "Without References" features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s precise yet fluid movements, interacting with goat (JP)’s percussive, stripped-down compositions to create a visceral and immersive performance. The artwork features photographs by Magali Dougados from a staging of "Without References" at the Maison de la Culture de Seine-Saint-Denis.

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

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Tortoise have been expanding the definition of rock music for almost 30 years, nodding to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography. The resulting sounds have always been distinctly, even stubbornly, their own. Rhythms, Resolutions & Clusters has not been available on LP since it was released in 1995. The record ushered in a late 90’s remix craze, and launched a 12” series of remixes by a wide range of artists. This extremely limited re-press for our 30th Anniversary is a Tortoise record unlike any other, as Tortoise turned their iconic early songs over to their friends to play with. We love the sense of community & unlimited creativity that this record represents! Remixes include mixes by Steve Albini, Jim O’Rourke, Mike Watt (Minutemen), Brad Wood (Liz Phair), and Rick Brown (75 Dollar Bill). Original songs recorded by Dan Bitney, Bundy K Brown, John Herndon, John McEntire, and Douglas McCombs.

"Phil Pratt (George Phillips Pratt) was an influential figure in the Jamaican music industry, recognized for his work as a producer, singer, and songwriter. Beginning his career in the 1960s as a vocalist, he soon transitioned into production, becoming an important contributor to Jamaica's golden era of reggae throughout the 1960s and 1970s. As a producer, Pratt worked with leading artists including Al Campbell, Dennis Brown, Horace Andy, and Ken Boothe, creating recordings that became foundational to the reggae genre. His production credits include notable releases such as The War Is On, as well as key tracks like Dennis Brown's 'Money in My Pocket' and Horace Andy's 'You Are My Angel.' Pratt's production legacy -- defined by his ear for melody, rhythm, and artist collaboration -- continues to hold significant influence in reggae history. Phil Pratt has since passed away, but his work remains widely respected and celebrated. Originally released by Burning Sounds in 1978, Star Wars Dub highlights Pratt's distinctive production style. This new edition faithfully reissues the album, featuring an insert with sleeve notes and pressing on limited edition 180gram Purple Transparent vinyl."

Originally released in 1989 as Violin Solo. Sept. 3-4, '89. Takehisa Kosugi's improvisations, both with violin and miscellaneous sounding objects, have a sense of emerging from the bottom of a spiritual unconscious. From this place comes a music based more on the feeling of sounds than conscious arrangement. Memory, physical action, tactile perceptions, environmental conditions, and awareness of subconscious microcosmic and macrocosmic extremes inform his work as much as the intention to assemble sounds into music. When listeners connect with his sounds, a direct identification of experience occurs between audience and performer. Personnel: Takehisa Kosugi - electric violin.

''Love is lovely and war is kinda ugly. This mix tape will take you through the duality of mankind. Raggamuffin style. A style that's large and in charge.'' Mixtape by DJ Vera Righteous.

Ebalunga!!! is thrilled to announce the first official reissue of the self-released, self-produced, and self-titled 1985 LP Scott Seskind. The album is a lo-fi singer-songwriter jewel. Don't miss it. "Authentic and personal, at times it reminds this writer of luminaries such as Jackson C. Frank, PF Sloan, Skip Spence, and Phil Orchs while never feeling derivative. The songs are melodic and haunting, fueled by existential woes, political angst, and good ol' fashioned love. Scott's rich voice has an unpretentious gravitas, his simple-yet-effective guitar playing ranging from delicate fingerpicking to angry bashing. Created at home on a Tascam 4-Track Portastudio, the recording features few frills and is all the better for it. Unlike most mid-80s records it sounds like it could have come from any time since the late '60s onwards. As a testament to its greatness, and despite the late recording date, it even gets a nod on Patrick Lundborg's "Acid Archives" compilation website, Lysergiawhere it's described thus: "Late phase downer-loner folk and singer-songwriter trip, mostly acoustic, some tracks with a small band." - Andrew Ure for Ugly Things. Read a long story about the album in the upcoming Shindig! issue: www.silverbackpublishing.rocks/product/shindig-136-pre-order-on-sale-2nd-february-2023/ The reissue is available on vinyl with a lyric insert. Mastering(as always) by Jessica Thompson. Feedbacks and reviews: "Almost totally unheralded singer-songwriter Scott Seskind gets the reissue treatment, and I couldn't be happier. About a year ago I pulled Seskind's sole vinyl release out of the used bin of a Boulder record store, and with its almost Wallace Berman-esque cover art, could immediately suspect it was something special. The first listen didn't dispel that notion one bit; here was an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that didn't really snyc with its 1984 recording date. Definitely on the loner-ish end of the folk spectrum, with some aspects of the album harkening back to Skip Spence's iconic Oar, while other moments revealed the urgency of the '80s lo-fi revolution. But most importantly, the songs were just really, really great and managed to remain haunting long past their leaving. Here, I thought, is an album that needs to be heard by more people, NOW. I asked around amongst some record collecting friends and discovered it was pretty highly rated by a small circle of people in the know, and that it had even managed to garner a mention in the Acid Archives despite its late recording date, and most excitingly that there was talk that the digital reissue label Yoga had managed to track Seskind down and secure the rights to his LP. (...) So here we have it, the best songs from Seskind's eponymous LP. (...) I really hope this release continues to garner the listeners that it deserves." - Michael Klausman "The one that struck us the most this year was the almost totally unheralded work of singer-songwriter Scott Seskind, who recorded an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that doesn't really sync with its original 1984 release date. Definitely on the loner-ish end of the folk spectrum, with songs that are really, really great and which manage to remain haunting long past their leaving. Truly an album that deserves to be heard by more people immediately. " - Other Music

The home-recorded album everything pointed to - now on vinyl and CD for the first time. After several delays, we finally received the long-awaited production date from the pressing plant - and are happy to share this long-overdue announcement. Following the 2022 reissue of Scott Seskind’s 1985 debut, there was never a question - we wanted to go further. Ebalunga!!! exists to restore forgotten gems, and Scott’s music has been warming our hearts for years. So, to our own joy - and in response to all your emails, questions (and demands!) we’re thrilled to announce that his second album Chance (1991) will be released for the first time on vinyl and CD in September 2025. Thank you for keeping us on our toes: you helped make this real. A rare cassette that should have become a classic: Originally released only as a self-distributed cassette, Chance never got the attention it deserved but over the decades, it became a cult favorite among collectors and lo-fi folk devotees. Recorded in the early ’90s, the album feels like a quiet diary stitched together from fragments of late evenings, memory, hope, and doubt. A home recording - just the way we love it: “I recorded the songs on the same cassette recorder as my first album… I mistakenly put it out on cassette only. It wasn’t more than 1,000 copies. I only have one left.” - Scott Seskind (Psychedelic Baby!, 2023) Chance was recorded on the same 4-track Portastudio cassette machine Scott used for his debut. These are songs born between duties and silence, family life. There are no frills here: just voice, guitar, subtle strokes of cello, female backing vocals, mandolin, and percussion. Total intimacy. Total warmth. Songs of hope, grief, and memory: The lyrics explore friendship, loss, longing, and love with no pretension and no mask. Chance feels like a personal conversation, not a performance. And among its tracklist is perhaps Scott’s most widely known song: “I Remember”, which in recent years has reached a new generation of listeners after being featured on the acclaimed compilation "Skygirl"(Efficient Space) a release that introduced countless people to its fragile beauty. Bonus track and closing chapter: This edition also includes, for the first time, the bonus track “Last Song” a home recording made “many years ago” in the Colorado foothills. A bright and serene farewell, it brings the album to a gentle, natural close like the final page of an abandoned diary.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head. She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within. "Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?” "Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws.” "It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?” "Calib," she answers. "That is not much of a name," says Conaire. "Lo, many are my names besides.” "Which be they?" asks Conaire. "Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, B[l]oár, Huae, óe Aife la Sruth, Mache, Médé, Mod.” On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Sans Merit arrives on Knekelhuis with his second album Trolley Polly. A radiant album from currently LA-based Australian musician Griffin James, one that leans into unguarded joy with a playful, disarming sincerity. The album rocks right away into our world. Lifting off where the guitar pedals mash the gas and go. While at other moments the acoustic guitar passages carry a neofolk intimacy, like the low-voiced choir singer cast out of a pastoral world, left to wander in his own solitude. These moments are swept up by surging shoegaze episodes, slipping into hazy hypnagogic pop interludes and wiry post-punk turns, giving the record a restless, shifting pulse. Beneath it all lies a lyrical sensitivity that grounds the album’s movement. Sans Merit reflects on the big questions in a world that feels increasingly fragile, balancing vulnerability with a self-aware, gently naïve humor, while staying attuned to the emotional undercurrents of everyday life. It’s this perspective that makes Trolley Polly feel so human, alive in its contradictions, and quietly comforting.