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For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change that would ultimately define one of British experimental music's most singular statements. Now, Antarctica Starts Here presents the first-time vinyl reissue of the group's self-titled 1970 sophomore album - often called Elements due to its elemental track titles - complete with new liner notes by Dave Segal that illuminate this remarkable chapter in acoustic psychedelia's evolution. Leader and percussionist Glen Sweeney viewed the theft as a sign to alter Third Ear Band's approach entirely, switching to exclusively acoustic instruments just as electrified psychedelia reached full bloom. Alongside Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola), Sweeney struck out on an individualistic path that blended Indian raga with chamber music - without plugging in. Following their powerful 1969 debut Alchemy, which established them as a solemn force in the global underground, Third Ear Band's self-titled album represented the full flowering of their alchemical vision. The four tracks - "Air," "Earth," "Fire," and "Water" - correspond to the basic components of medieval European alchemists' doctrines, creating what Dave Segal describes as "epic, trance-inducing jams that suggested secret knowledge of infinity." What distinguished Third Ear Band from their contemporaries was their peculiar estrangement from the counterculture on a sonic level. As Segal notes, "Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB." Having no traditional front person or electric instruments, the group forged a path that flowered most vividly on this album. The methodology was deceptively simple yet profoundly effective: "Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola." This approach created what Segal describes as "a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty." The album's four elemental compositions exist in what Segal calls "an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab." Without electricity, Third Ear Band somehow "burrowed deeper into your consciousness" than their amplified contemporaries. Originally released on Harvest in 1970, this album has remained out of print on vinyl for decades, making ASH Records' reissue a significant event for collectors of British experimental music. The influence of Third Ear Band's acoustic approach can be traced through subsequent generations of artists from Popol Vuh to Trad, Gras Och Stenar and beyond - groups that understood how acoustic instruments could achieve psychedelic transcendence without electronic amplification. This reissue preserves the album's original four-part structure while presenting it with the sonic clarity that reveals the intricate interplay between Sweeney's rhythmic foundation and the melodic explorations of Minns and Coff. The inclusion of Dave Segal's comprehensive liner notes provides crucial context for understanding Third Ear Band's unique position within the experimental music landscape.
Sublime psych drone and gauzy chamber pop by Oakland, CA duo Cuneiform Tabs, unmistakably on a plane shared by everyone from Flaming Tunes to Jane Arden & Jack Bond, Cindy Lee, Animal Collective. “Quickly on the heels of their debut, Cuneiform Tabs return with Age, an LP that takes a massive leap forward in both melodic sensibilities and inventiveness. Bathed in late night psychedelia and the looping repetition of a drone sample, the group's experimental penchants remain, yet this time wrapped around tunes too sweet to be denied. In pulling back a little of the crackle and haze that made their first album so inviting, the Tabs have revealed more of their pop instincts. The overall effect is a perfect set of early Animal Collective demos or Syd Barrett attempting a Television Personalities cover at 3am. The duo of Matt Bleyle and Sterling Mackinnon continue their system of trading 4-track tapes between the Bay Area and London, a furtive correspondence until sonic nuggets are fully formed. While these songs are very much the product of the Tascam and rudimentary software that is integral to the band, this album is truly the embrace of their songwriting talents – not unlike the recent breakthrough of labelmate Cindy Lee. With the dream-like strum of "Ivy," slow shimmer of "Orbital Rings" and enchanting, madcap swirl of "Blended Medal," this is hypnagogic pop at its finest. Age is the record Bob Pollard hears in his head every time he steps down to the basement to pick up a guitar. This is the sound of riding in an elevator hearing McCartney singing "Blackbird" in the distance, only to have it draw closer and closer with each floor as you finally race down the hallway, putting your ear to each door searching for the source. This is Leonard Cohen smoking in the middle of the street outside a Suicide show. If all of this sounds phenomenal, it is.”
A name that breathes, a voice that whispers and howls in soliloquy. Collecting the echoes that follow—field recordings from Colombia, murmured poems, the spectral songs of birds—she stitches together a sonic diary, an audible thread between past and present. Like the shifting landscapes of Colombian magical realism, she bends nature as memory bends truth. From this alchemy arises Un Pensiero Intrusivo: seven folk incantations, captured live in Cagliari, Italy.
A new genre, steeped in something unnameable—a haunted flamenco, spectral invocations, a piano unmoored from time. The air thickens, the horizon tilts. A slow descent into vertical tropics, where distant sensibilities collapse into a single, hypnotic pulse.
1994 second album by the trio of Andrew Weatherall, Jagz Kooner and Gary Burns, unavailable on vinyl and CD since original release. A concept album with accompanying text for each track by James Woodbourne, it also includes additional production by Portishead and Mr Scruff. Remastered from the original tapes by Matt Colton, contains “Theme” for the first time on the 2LP edition.
Flur is the trio of Austrian-Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison. Formed after years of playing in various configurations around London’s Goldsmiths scene and collaborating with artists such as Ganavya, Floating Points, Gal Go, and Shabaka, the group crystallised during sessions at Riverside Recording Studios and a South Bermondsey warehouse.
Plunge captures their debut outing—a fluid, exploratory collection that moves between composed sections and spontaneous improvisation. Drawing on free jazz, ambient, and contemporary classical influences, their sound recalls Alice Coltrane, Ambrose Akinmusire, Kaija Saariaho, Azimuth, and Angel Bat Dawid, balancing intimacy with vastness through a distinctive instrumental palette of harp, sax, and percussion.
Released on Latency, home to records by Nidia & Valentina, Emahoy Tsege-Mariam Gebru, goat (jp), Tarta Relena, and Moritz Von Oswald, Plunge continues the label’s commitment to exploratory and genre-defying music. The album features cover art by New York-based, Ethiopian-American artist Julie Mehretu, whose abstract, multi-layered cartographies echo the trio’s entangled, searching sound.
Sortilège is the new album from esteemed producer and DJ Preservation and ascendant talent Gabe ‘’Nandez. The two artists first linked on Aethiopes, Preservation’s 2022 collaboration with billy woods, where Nandez was featured alongside Boldy James on one of the album’s standout tracks. “Sauvage” became the catalyst for Sortilège, as the New Orleans-based producer and New York-based rapper gradually began exchanging ideas—first long distance, then in February 2024, when Nandez flew to New Orleans for two weeks, ready to work.
“It was smooth, very synergetic,” ‘Nandez explains. “We listened to mad music—Boot Camp Clik, Scaramanga, Cuban Linx—and I was asking questions about all types of shit, trying to soak up game and history, which I did.”
The two also bonded over their shared francophone ancestry: Preservation is half French and ‘Nandez is half Malian. These connections made their way into the music as well, via both aesthetics and sample sources, and that sort of exchange courses through Sortilège, bridging the generational, geographical, and cultural gaps between the two artists with a record that feels a world unto itself. Esoteric, yet blunt and uncomplicated as a fistfight, Sortilège erases the line between urbane and urban. It’s a movie in a lucid dream, A Clockwork Négritude projected against the wall of a construction site. Mixed-use residential.
Tracing this arc, fellow travelers Armand Hammer, Koncept Jack$on, Ze Nkoma Mpaga Ni Ngoko, and billy woods all make appearances. Oh, and there are drums everywhere: drums that will rattle a hooptie and drums that whisper threats. Somehow, over the course of 14 tracks, Preservation seems to find his way to every instrument imaginable—yet each beat has room to breathe. Amidst this breakbeat symphony, ‘Nandez’s unmistakable baritone glides purposefully, ever forward, a bristling warship in troubled waters. Every time the bass thumps, ‘Nandez counterpunches. This is a record for heavyweight speakers and clunky headphones.
Sortilège can be translated as either:
Magical / Supernatural: Act of witchcraft, magical spell, charm, or curse.
Figurative / Literary: Symbolic enchantment, inexplicable fascination, often caused by a person, work of art, or an atmosphere.
We like to think it names the force at work within and between these songs.
Emerging in the aftermath of the Louisville–via–Chicago late-90s post-rock wave, The Mercury Program carved their own path with a vibraphone-led sound that blurred genre lines. Their 2000 album From The Vapors of Gasoline, released on Tiger Style, was no sophomore slump — its ten intricate, atmospheric tracks fused cerebral post-rock with unexpected flashes of dissonance and melodic warmth.
Rather than conform to the era’s prevailing styles, the group explored what might happen if new age shimmer and post-hardcore intensity shared the same space. The result was a record that felt both expansive and intimate, drawing in listeners with its textured arrangements and restless creativity.
This 25th anniversary remaster brings new clarity and depth to an overlooked triumph, illuminating the full scope of its inventive musicianship for a new generation of heads.
“Prudência / Praga”, or “Prudence / Plague”, is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in São Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelão canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it’s a compact 45 of sambas but it’s also very Rock n Roll to me. Raw and coming from hell.
“Prudência” is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn’t believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that “Prudência” was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano’s part.
“Praga” also has to do with MPB heroes of mine that I never imagined I’d see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa’s album! Surreal. Like many people, I got acquainted with Alaíde listening to “Clube da Esquina,” her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings “BIBIDA” in her recording of the song—a total legend. I wanted to produce a kind of horror samba recording, because if it wasn’t rock and roll, it wouldn’t be much fun for me. I went over to Bielzinho’s, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian.
This take of “Prudência” came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s’ program “Ensaio” (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that’s what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom—time travel.
Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. “Prudence? Don’t talk to me about prudence!” 😉
-Tim Bernardes, 2025
Rumah Sakit were a four-piece rock band based in San Francisco, CA. The group began to take shape in 1998 after guitarist John Baez, bassist Kenseth Thibideau and drummer, Jeff Shannon, all moved from Redlands to San Francisco. Fully formed once guitarist Mitch Cheney quickly joined, the band settled on the name Rumah Sakit – a literal Indonesian translation of “sick room” (aka hospital) – and a sound that fused the frenetic energy of Red-era King Crimson with a meditative melodicism that starkly contrasted the vast majority of so-called “math-rock” bands of the era. Soon thereafter, Rumah Sakit entered the studio for the first time to record what would become their eponymous debut album. Rumah Sakit was recorded in 1999 at The Music Annex – a hallowed megaplex that counts diverse icons such as Erik Satie, The Tubes, Michael Hedges, Montrose, and American Music Club amongst its many historical clients – in two somewhat clandestine overnight sessions with good friends and studio interns, Jay & Ian Pellicci. The album was made with a “no tricks” philosophy that would come to define the band’s approach to performing and documenting their music. Recorded entirely live with no overdubs in very few takes, the band embraced the art of using the natural presence of the room and strategic gear placement to capture the purest and most accurate representation of those songs in those moments. In an era that was quickly being transformed by the burgeoning popularity of ProTools and meticulously manicured, maximalist mixes, the world inside of Rumah Sakit was a refreshing respite. A year later, in the fall of 2000, Rumah Sakit flew renowned Chicago recording engineer and Shellac bassist, Bob Weston, out to San Francisco to spend two brief days recording an EP at John Vanderslice’s Tiny Telephone Recording. This EP would be released as part of Temporary Residence’s subscription-based CD series, Travels In Constants (alongside Mogwai, Low, Explosions In The Sky, Eluvium, and MONO). Aside from the original pressing of 1,000 CDs reserved for subscribers, the studio recordings on Travels In Constants were never available again on any format or platform. Reuniting with Bob Weston to meticulously remaster the original master tapes, Rumah Sakit 25 collects the band’s debut album and their long out-of-print Travels In Constants EP into one exceptional package. Featuring new cover art from old friends and collaborators, Jeremiah Maddock and Marty Anderson, the expansive gatefold 2xLP includes full-color printed inner sleeves featuring hundreds of previously unpublished photos documenting this inspired early era in the band’s history, as well as a massive full-size 24-page art book of previously unpublished artwork by Maddock. It’s an exquisite opus that masterfully captures a special band at a special time.
SQUANDERERS return to deliver "Skantagio", the follow up to their debut album, If a Body Meet a Body (Shimmy-Disc, 2024). “We were in the studio for one day, and performed all pieces on that first LP prior to breaking for lunch. Skantiago contains the pieces we performed after lunch,” says bassist and Shimmy-Disc founder, Kramer. “We may be SQUANDERERS, but we don’t dally. And we don’t labour over our spontaneous inventions while we’re in the studio.”
Side A
1. 夢は今日も / Dream Again Today
2. 造花の原野_1976 / Wilderness of False Flowers_1976
3. 白い目覚め / White Awakening
4. Guitar Solo 1（ボーナス・トラック *Vinyl Only）
Side B
1. カーニバル / Carnival
2. 氷の炎 / Flame of Ice
Side C
1. Guitar Solo 2（ボーナス・トラック *Vinyl Only）
2, 夜、暗殺者の夜 / The Night, Assassin’s Night
3. お前の眼に夜を見た / Saw the Night in Your Eyes
Side D
1. イビスキュスの花 或いは満ち足りた死 / Hibiscus Flower otherwise Dying Satisfied
2. Enter the Mirror
Zither Suite is the fifth OPE album. It was recorded in my apartment in Kortedala, just outside of Gothenburg. No neighbours were harmed in the recording process. The title track opens with a bitter sweet bass melody that I first recorded some 10 years ago, but it's been fermenting ever since and finally reached maturity. The zither that gave name to the record (and the first track) was a find from the local charity shop. While it's not featured on every track of the album it's a crucial part of the feel of the album as a whole. It's the rug that ties the room together.
The tracks on this album are all original compositions with the exception of Jämtland which is based on an old Swedish folk melody, reported to have been played by musicians in Jämtland as early as the late 1700s. The county of Jämtland is forever claiming a tounge in cheek sort of independence from the Swedish governing body (in spirit rather than in actual policies) and Jämtlandssången is it's unofficial national anthem.
-Gustav Horneij
"Onkiniemi Ateljee is a cultural space established in a disused knitting factory in 2020, at a time when the Covid pandemic had been raging for roughly half a year. Globally, countermeasures to the disease and the threat it posed were varied, but the effects were universal. Communal rituals, such as live music gatherings, became rarer or changed in nature. The most you could do was put a record on while boiling masks in the evenings. Every now and then I’ve heard people speak of experimental or otherwise exciting music as something one is “exposed to”. By the spring of -22 gathering together in Onkiniemi’s autonomous Habbo Hotel was once again a relaxed affair. The sound lived in the box-shaped confines of the atelier, splashed forth like warm water and upon reaching living ears foamed like hand soap. On that April Fool’s Day Oiro Pena’s playing would’ve moved anyone from Tokyo to Torino to Tohmajärvi alike. That’s how small the world is at best. Let us be exposed!" - Ville Väisänen
Aleksandra Ionowa (1899–1980) was a Finnish-Russian artist, mystic, and largely self-taught pianist whose music feels like a transmission from another realm.
Her artistic life began in 1946, after what she described as a mystical experience of heavenly union—“Heaven was in me, I was in heaven.” In its wake, she began to draw obsessively, eventually creating thousands of visionary works that she considered guided by the Theosophical Masters. The same experience also led her to start improvising on the piano, shaping music that, for its time, was unusually free and abstract.
Recorded on a November day in 1978, when Aleksandra Ionowa was 79 years old, Improvisations on the Grand Piano is a meditative and deeply intuitive album, shaped more by timbre and tone than by melody. Her shimmering playing unfolds like flashes of light through leaves, or sunbeams playing on rippling water: a music of transience and transformation, yet carrying a timeless stillness at its core. To today’s listener, her pentatonic piano stylings might feel kindred to the spiritual intimacy of artists like Laraaji and Emahoy Tsegué-Maryam Guèbrou, while remaining wholly her own.
Originally self-released on vinyl and cassette, the album is reissued for the first time in co-operation with Ultraääni Records and Puro Recordings. This new edition is available on standard black 180g vinyl and a limited splatter-colored 180g version. The release also includes additional artwork and a newly commissioned essay by Samuli Huttunen, offering historical and spiritual context for her work.
Jiyu presents a rich tapestry of phat analog synths, lush brass arrangements, psychedelic vibes, highlights of soloistic instrumental performances and a dense, organic jazz approach with drum grooves and percussion at its core. Once again, guitarist, and producer, Emil Jonathan, collaborates with Thomas Dietl, on drums. Their partnership on this new album, combined with the consistent percussive rhythms from the musical soulmate, Karl Bille, and conguero Rune Harder Olesen, adds an earthy, hand-played contrast to the more electronic rhythm tracks on their dreamy, mellow jazz, ambient, hip-hop, and attention-grabbing debut album, "Caught in the Rain at the Tea Shop," released in 2021. This record seamlessly intertwines with Emil Jonathan's deep roots in jazzy dub’n soul, latin, tango-dub, dancehall and experimental hiphop, influenced by his past projects and collaborations with artists such as von Daler & Low Pressure, EMO, Natasja, Dj Vadim, Boozoo Bajou, and Les Gammas. Ken Linh Doky, plays the wurlitzer piano on three tracks, and the collective-like band structure offers a number of musicians on horns and choir, like the brothers, Bo and Lukas Rande, on flugelhorn and sax (Mames Babegenush), and Gustav Rasmussen, on trombone (Sunbörn/KutiMangos)
Long Gone Are The Old Traditions delivers another sonic message from West-London based producer, singer and songwriter Tutu Ta.
Following on from 2024's "The Shrine" and "Clay Birds Are Grey" from earlier this year - the artist continues to blur the lines between dub, spoken word, beats and post-punk using this to further collect a sound that is unique and powerful. "Violence Or Violets" leans into more personal and haunted sounds with the EP bringing ethereal vocals to the forefront while still maintaining a punchy nod to the soundsystems well recognised in the artist home-town. A driven heart provoking siren that is pushing the artist into new lengths and heart-aching sonics.
'Negrea Love Dub' is a substabtial dub project featuring Linval Thompson produced riddims, which were laid at Channel One studio by The Revolutionaries – at the time a celebrated studio band led by drum and bass partners Sly Dunbar & Robbie Shakespear – and mixed at King Tubby’s renown studio at 18 Dromilly Avenue in Kingston by Prince Jammy. 'Negrea Love Dub', is a bit of a curious affair. The 10-track dub set starts off with riddims long-time reggae fans will instantly associate with tunes from Gregory Isaacs’ self-produced LP “Cool Ruler” that came out on the African Museum imprint in 1978. Especially striking is the fact the these riddims aren’t re-cuts. They are exactly the same as the original versions – assuming that Gregory Isaacs was the one who used them first, although it easily could be the other way around.
MUSIC FROM THE MOUNTAIN PEOPLE OF VIETNAM (SF129)
Other worldly folk music from the Central Highlands of Vietnam performed by some of the most renowned musicians of the region, this exceptional document features small ensembles & solo performers on a variety of unique instruments (many with vocals). This is rare and disappearing music from the Jerai, Banhar, Ede, and Rongao ethnic groups and although the recordings are made during informal settings, they are raw, emotional, dreamy, and transcendent.
From Vincenzo Della Ratta's liner notes: " In recent decades, the traditional cultures of various ethnic groups in Vietnam have undergone dramatic changes, leading to the radical transformation or even loss of some long-standing traditions, all of which has also had a significant impact on the musical traditions of the Central Highlands. The recordings on this album reflect this period, in which the last representatives of the old musical traditions have coexisted with a new wave of musicians and performers. This shift has affected the musical instruments used, the functions or contexts in which they are played, the repertoires, and the playing styles. A further characteristic of musical change in the Central Highlands is the influence of Western or Vietnamese music, evident in the way young musicians perform with a clean and measured style, with the standard Western tuning. This contrasts with the traditional playing style of older generations, and both styles are featured on this album. Rather than just being a “musical postcard”, this album is intended to provide an accurate sonic representation of the musical landscape in the Central Highlands over the past two decades, while still being highly enjoyable. I feel that it is particularly significant, considering the present period of major change, during which the music of the older generations is fading from the villages of the region, making way for new forms of musical expression."
Recorded live on location by Vincenzo Della Ratta between 2003-2023, this extremely limited-edition LP includes a 4-page full-color insert with photos of the musicians and surroundings, a detailed track list and liner notes by Vincenzo Della Ratta.
"As a man who can see far, I know one day Triston Palma style is gonna reach far, so I -- Man Jah Thomas, the music maker from Jamaica, take pleasure in presenting this show case to nice-up the place." Originally released in Jamaica, 1982. Rhythm tracks laid at Channel One Studio. Voiced and mixed at: Channel One and King Tubby's Studio, Kingston Jamaica. W.I. Bass: Errol (Flabba Holt); Drums: Style Scott; Engineer: Barnabas, King Tubby, Professor (10), Scientist; Guitar (Lead): Dwite, Sowell; Guitar (Rhythm): Bingy Bunny; Horns: D. Headly, D. Frazer, Nambo; Organ: Stelle, Winston Wright; Percussion: Sky Juice; Piano: G. Anderson; Producer: Nkrumah Jah Thomas; Toasting (Featuring): Jah Thomas.
The term “private” is used quite liberally in the promotion of rare groove compilations these days. The team at Tramp Records tends to be rather defensive when it comes to such terms. Although, and this should not be misunderstood as arrogance, label boss Tobias Kirmayer & his crew have been doing nothing else for 22 years, strictly speaking. Every compilation series from the Upper Bavarian label, be it the “Movements,” “Feeling Nice,” “Praise Poems,” or “Can You Feel It” series, specializes in independently produced music from the 1960s, 70s, and 80s released on small private labels. This means extremely time-consuming work to track down the musicians, write down their stories, and, last but not least, invest a high four-digit amount to release such compilation projects as deluxe (double) LPs and CDs.
The industrious creators of the label have already released seven volumes in the Peace Chant series. Parts 1 to 6 were single LPs with predominantly American tracks. Part 7 was the first to be dedicated to purely German productions. Furthermore, the decision was made to release a double LP with a gatefold cover, not least to accommodate the extremely comprehensive accompanying text and images.
The 8th edition once again focuses on German productions. It includes rare (Fences), unreleased (Music Community), but also the odd €10 record. The mere fact that a record is rare/expensive doesn't make it interesting for Tobias Kirmayer and his team. They are primarily interested in the music. And if a song convinces them, it makes it onto the shortlist. In fact, many established reissue labels too often ignore records or individual songs and don't re-release them simply because they are not sought after by collectors. Kirmayer and his fellow campaigners have made it their mission to combat this injustice. A good example of this would be Sabanone, a title by Büdi Siebert's formation with the wonderful name HerrGottSax. The original LP costs around €15.
In addition to presenting the music in combination with detailed information about the artists, the label has another concern close to its heart. For the sake of the environment (short delivery routes) and to support the domestic economy, the CDs and vinyl LPs are manufactured in Germany”. And the record was pressed on BIO🌿VINYL in the most environmentally friendly way possible. But enough talking. Have fun exploring!
(Limited quantity / Japanese Obi included / Booklet included) Richard D. James, aka Aphex Twin. At a young age, he earned the title of “Techno Mozart” and is widely recognized as the pinnacle of electronic music and the flagship artist of WARP RECORDS. This legendary album, released under the name Polygon Window and which changed the history of electronic music, is finally being reissued on LP with Obi.