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Following the massive success of their sophomore album Fading Forward, Les Imprimés, by popular demand, press two standout tracks from the album on the coveted 7” format. The A side, “You & I,” is a feel-good, upbeat homage to the kind of love that endures “through the chaos and the blunders.” Punchy drums and keys create an undeniable two-stepper for frontman Morten Martens’ vocals to float above. Dreamers dream and dancers dance as Martens paints a picture of a devoted, understanding love that few are lucky enough to find. On the B side, Les Imprimés offer their take on the classic slow jam. “Miss The Days” unfolds gradually, with slow pulsing drums and building instrumentation that evoke longing and nostalgia. Martens sings of simpler times impossible to forget—moments free of adult responsibilities, when “it was you and me, hand in hand, sometimes wasted…” Ama Li joins him on vocals, transforming the track into a killer modern take on the classic soul duet, a tune sure to resonate far and wide.
Simeon ten Holt's landmark minimalist opus Canto Ostinato has a known magnetism. The piece's captivating harmony and winding structure prove an adventurous enterprise for any like-minded players embarking down its path, and it was at this very threshold that Metropolis Ensemble's Andrew Cyr, musician/composer Erik Hall, and the members of Sandbox Percussion all found each other. Their ensuing undertaking marks a world-class collaboration that yields an expansive and beautifully detailed new presentation of ten Holt's iconic work. In 2023 the New York Times shined a light on Simeon ten Holt, the late Dutch composer mostly unknown to the American contemporary classical audience. Featured in the story was Erik Hall in his Michigan studio, whose enthrallment with Canto Ostinato had resulted in his acclaimed solo recording on the label Western Vinyl. Taking notice was Metropolis Ensemble artistic director/conductor Andrew Cyr. He promptly relayed the album to Sandbox Percussion—each of them GRAMMY-nominated ensembles sharing over a decade of work together—and invited Hall to join them in re-orchestrating the piece for an outdoor summer solstice performance at the Brooklyn Botanic Garden. Now jointly feeling the piece's pull, the team crafted a sweeping new large-ensemble arrangement over six months, bringing into its orbit The New School's Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. The result was a luminous adaptation of the score, complete with mallet percussion, woodwinds, strings, and piano, garnering a recommendation from NPR's Morning Edition and culminating in sunrise and sunset performances for an enchanted audience. The project's momentum carried straight into the studio, as a new recording became imperative—a permanent document of the team's collective ardor for the composition. Spearheaded by Metropolis Ensemble, produced by Cyr and Hall, and arranged by Hall, Leon, Wallace, and Sandbox Percussion’s Jonny Allen, the interpretation extracts and reframes every line, motif, and arpeggio from the original score, expanding ten Holt’s piano manuscript into a prismatic chamber array. Recorded by GRAMMY-winning audio engineer Mike Tierney, the performance was captured in New York, 2025. Sandbox Percussion's array of mallet instruments maintains a unified and gracefully athletic expression of the piece's duration, while David Leon's octet of woodwinds overlay a kaleidoscopic tapestry. Eighteen strings—led by award-winning violinist Kristin Lee—provide cinematic, otherworldly depth. And Erik Hall's concert grand piano threads through it all, a passionately reverent preservation of the piece's keyboard origins. Altogether, a breathtaking new form for Simeon ten Holt's already-monumental opus, each element serving the whole while driving towards a rapturous resolution. Canto Ostinato, long beloved in its native Netherlands, is still a flame just beginning to burn in the US; a world just beginning to be discovered. But its gravity is certain. And the cohort of Metropolis Ensemble, Erik Hall, and Sandbox Percussion is honored to bear the torch and help continue to draw listeners everywhere to Simeon ten Holt's masterpiece of minimalism.
Virga III is the third installment in Eluvium’s inspired experimental series – and the first in nearly five years. In unmistakable contrast to the dense, ominous sprawl of Virga II, the works that make up Virga III offer an almost divine reprieve. The nervous tension, loss of control, and patient recontextualization that inspires each volume of the Virga series manifests in unique ways. As composer and Eluvium architect, Matthew Robert Cooper describes, “While Virga I was brought to me by a temporarily evacuation from my house to my garage during a winter snowstorm – and Virga II by a phantasmal dream sequence during the height of a global pandemic – Virga III takes its inspiration from the worlds found in minor green spaces, culverts, and other miniature biological ecosystems operating within our daily deluge of cruel rhetoric, unspeakable violence, unending disruption and devastating disparity. A reflection on the micro and macro universes that surround us.” The songs on Virga III are composed and performed by Cooper, as always, but in the Virga universe, he essentially feels a unique collaboration within himself. As Cooper explains, “The Virga series affords me an opportunity to return to an older version of myself, but with a new level of understanding. Practicing more patience interacting with these built musical systems and recordings, I hesitantly duet with my past self in a new performance or manipulative layer, only after digesting the first for as long as possible, to a point of it conjuring new and uncharted feelings, in hopes of curating a sense of therapeutic self-awareness and discovery. A mixture of the exploratory mindset against a painterly emotional resonance, gradually unfurling itself unto itself.” The Virga III vinyl format is pressed onto crystal clear colored vinyl and housed in a full-color heavyweight old-style tip-on jacket. It is limited to a one-time pressing of 1,000 copies worldwide.
William Basinski's epochal four-album box of slowly decomposing memories gets its long-overdue deluxe reissue, with liner notes from Laurie Anderson and a fresh mastering job from Josh Bonati.
Undoubtedly one of the greatest "ambient" albums of our era, 'The Disintegration Loops' is an enduring aesthetic touchstone. It didn't exist in a vacuum when it appeared in the early '00s, as the dust settled after 9/11, but Basinski's prescient meditation on decay in the wake of tragedy felt like a musical mark in the sand - a body of work that changed the way we think about repetition and tape saturation. The story goes that the composer, who'd been recording loop-based, minimalist experiments since the '70s, inspired by Brian Eno's 'Discreet Music' and Steve Reich's 'It's Gonna Rain', was going through his archive of reel-to-reel tapes when he realized the ferrite was flaking away from the plastic. Not willing to give up on the material, he recorded the output, letting the tape head destroy his pieces irreparably and adding reverb to the output.
Now, this would have been good enough without the additional context, but Basinski finished 'Disintegration Loops' on the morning of September 11, 2001, and played the first piece to his friends as they sat on the roof of his apartment block, watching agape as events unfolded. He used the footage he shot at the time for the covers of each disc, and the suite's solemn, thoughtful decline served as the unofficial soundtrack of our collective grief, an unfussy reminder of tragedy that plays out its haunted remnants of the past until they die, quite literally. There's been plenty of music that's aped Basinski's method since, and we don't doubt there'll be plenty more, but there's nothing quite like the original, and this latest remaster is the definitive version.
Ted Lucas’ Images of Life is a retrospective tracing the full scope of the Detroit songwriter’s work, drawing on hundreds of hours of tapes preserved by Lucas himself. Spanning early band recordings through to previously unheard later material, it captures an artist constantly reshaping his sound. Disc one, Strange Mysterious Sounds (1965–1970), documents his time with The Spike Drivers, The Misty Wizards and The Horny Toads, moving from garage rock into psychedelia. Rainy Days (1970–1974) shifts to intimate, acoustic solo recordings in the vein of his OM album. The final disc, Impossible Love (1979), presents a long-lost second album, revealing a more polished, hook-driven approach without losing his distinctive voice. A deep and revealing archive of a singular talent.
On the third day at Betty’s, Chris Rosenau woke up with a hangover. The night before, Nick Sanborn had played an all-electronics duo set with GRRL in the basement of a Durham club called The Fruit, so Rosenau—his friend for two decades, occasional collaborator for half that span—had tagged along. They were, they half-joke, the two oldest people in the club, so they went at least a little bit hard. Flip this record over, and there’s Rosenau that night, vodka and soda (with limes, please) in hand and looking delightfully impish. The next morning, in the middle of making their second record together, they were a little slow to wake, even slower to fully rise. In October 2017, Rosenau had flown from Wisconsin to North Carolina to spend a weekend recording with Sanborn in his little home studio. After years of knowing one another, their collaboration seemed inevitable but also accidental, a music-festival lark that had immediate chemistry. As they were rehearsing with the windows and doors open in those first perfect days of Southern autumn, they realized they were actually already making a record. They kept the working mixes and titles from that weekend, as well as the bird songs and traffic sounds that drifted into the microphones. The result was 2019’s Bluebird, a little five-track wonder that made you feel like you were sitting in the living room between the two, smiling as they found their wordless rapport. Two years later, as soon as Sanborn had set up the basics at Betty’s, his residential studio in the woods near Durham, Rosenau returned. They had fun during round two, but the sessions were neither as carefree as that first attempt nor more focused in a way that felt compelling and new. The pair decided to shelve those pieces for then and try again when the time seemed right. (They have, by the way, returned to those tracks fondly; expect to hear them in the future.) Then there was a pandemic. There were tours. There were other records. There was life at large. By the time Rosenau ventured back to Betty’s to try again, in February 2023, four years had flashed past. Both Sanborn and Rosenau came prepared this time by, well, un-preparing. Rosenau borrowed an unconventional guitar tuning he’d never tried (DAEAC#D) from a friend. And Sanborn dismantled his live Sylvan Esso rig, rearranged it, and added new bits, hoping to eschew any muscle memory for a real-time exchange with Rosenau. They instantly knew it was working, with none of the past’s second-guessing in tow. On that first day, a Thursday, they made “Ghost Sub” and “Harm.” On that second day, they had a false start with a piece called “Kay,” Sanborn’s synths not quite fitting beneath Rosenau’s riff, before moving on to make “Deltas.” (Once again to the cover: That’s the chord structure alongside Sanborn’s setup, superimposed on Rosenau’s face.) Back to that third day. When the pair finally got back to bleary-eyed work, they decided to give “Kay” one more go. Sanborn set the electronics aside and sat down at the piano. There was a false start, preserved here, but what followed was a sublime aubade, like waking up tired only to be stunned and stirred by the light suddenly outside. It is the sound of stirring to life and loving it there, and it is the little jewel at the center of the six songs they recorded that weekend, the six songs presented here in the exact order they made them. They finished “Two” just before Rosenau split for the airport on Sunday afternoon; it is a long goodbye, sweet and sentimental and sad, a last talk from two friends who have enjoyed their time together. At the end of “Gentleguy,” the first track on Bluebird, Rosenau, after a long pause, says, “I think that’s pretty good.” His voice is pitched up by a trace of uncertainty, as if “think” and “pretty” are the most important bits of that sentence. When “Deltas” wobbles to its beautiful end toward the middle of Two, Rosenau comes in again, his voice almost boisterous: “That was…” The tape cuts, but you don’t need to hear what he says to know what he says. That was good, perfect, the thing we were looking for, just right, pal. This is the way Two feels start to finish—two friends, firm on their footing with one another, digging into their beautiful exchange. Grayson Haver Currin Bar-K Ranch, Colorado October 2025
Karate’s defiant and final studio album punctuates a 12-year discography that spanned harDCore-style catharsis to feedback-saturated improv. This ’04 classic skipped the Friendster migration for back-to-basics songwriting suffused with jazz phrasings and beat-inspired lyricism. Featuring Codeine/Come guitarist Chris Brokaw, Pockets is remastered from the original analog tapes and housed in a deluxe tip on sleeve with reproduction lyric sheet.
Fire of God’s Love is the legendary 1973 album by Australian nun Sister Irene O’Connor—a sincere, soulful, and unconsciously psychedelic song sequence devoted to self-reflection and awakening the spirit within. A collection of original folk spirituals written by and channelled through O’Connor with guitar, electric organ, drum machine and her angelic voice, the album was recorded and mixed in an astonishingly futuristic fashion by fellow nun and recording engineer Sister Marimil Lobregat. This edition from Freedom To Spend is the first authorized reissue of this holy grail since 1976; the album restored and remastered with love from the best available sources by Jessica Thompson.
Connecters Vol. 1: Original Recordings, 1992–1999 marks the first public release by Larrison, the recording alias of Midwestern visual artist and musician Larrison Seidle. Composing, programming, and recording entirely on a Casio CZ-5000 during the halcyon days of early '90s homespun exploration and experimentation, Larrison inhabited a dreamworld of his invention, soundtracked by space age pop vignettes speckling with hypnotic, ebullient layered synthesizer melodies. Unfolding across 26 tracks, all newly restored and mastered from the original sources, Connecters Vol. 1 reinvents itself, song by song, transcending time and defying the fated obscurity of this brilliant, discreet music made three decades ago.
Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.
French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.
All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.
Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.
French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.
All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.
Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. On Parlor Greens’ debut LP In Green We Dream, they announced their existence boldly to the welcoming arms of funky instrumental fans around the world. Now, two years later, they’re back to up the ante. Three true masters of their respective crafts: Tim Carman (Canyon Lights, formerly of GA-20) on drums, Jimmy James (True Loves) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams.
Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going. The album’s opener, “Eat Your Greens,” kicks the doors off with a Charles Earland-inspired four on the floor beat, with Jimmy and Scone driving the tune down the tracks like an overloaded freight train, it simply cannot be stopped. On “Red Dog,” the group channels the absolute heaviest shade of early R&B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.
And while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away.
So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…Emer
“The Ruins of Things Unfinished” is the new album by Slow Leaves, the project of Canadian singer‑songwriter Grant Davidson. Featuring contributions from respected Canadian musicians such as Kris Ulrich and Roman Clarke, the record blends warm acoustic guitar textures with Davidson’s gentle vocals and carefully layered arrangements.
Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.
This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.
DUB FOREVER blends Reggae, electronic texture, his own vocals and references to classics — Bach's Air on the G String, Gossec's Gavotte, the traditional Japanese song January 1st, and more.Limited to 500 copies.
The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released their first album『Ninh Binh Brother's Homestay』in 2020. It contains ten tracks of primitive, beautiful acoustic sound, capturing the breathtaking scenery crafted by nature and the local atmosphere and scents that rise from the time drifting within it.
![Errorsmith - Le Trilliardaire Mix [Oct 2005] (CS)](http://meditations.jp/cdn/shop/files/a3985700673_10_{width}x.jpg?v=1780102963)
Never Sleep charity tape series lands in the Athens on Spree for an era defying multi genre workout from 2005. Prototype Reaktor methodologist Errorsmith blows the dub techno expectations away with a mix released on his website and limited CDR that aligns itself as much with early Jackmaster or Diplo sensibilities as much as it does "Ron Hardy - Live at the AKA" purist panache. Recorded rapid fire Errorsmith sets the trends with liquid gold Dancehall, Jitterbug club, Grime and acidic Ragga. Challenging any Traxsource ambassadorship, complex concordance for the Soulseek pundit. Covalent bonding tones with granular paced blends, mystical loop rearrangements, combilising genre metamorphosis and "DANCE ON THE KITCHEN TABLE" NRG. Errorsmith switches gears, sets the expectations high and flows like the river Fuldas on a summer's evening A beautiful nano moment that allowed Berlin to breathe from a different musical atmosphere and dance to a less fixated rhythm. Errorsmith is known for his solo material, collaborative works as MMM / Smith & Hack, creator of the software RAZOR and is well known for MMM anthem Donna. A highly regarded futurist in the Germanic music industry and a beloved producer in Dance music's hierarchical pantheon. All proceeds go to Médecins Sans Frontières (MSF) who provide humanitarian care in crisis situations across the globe.
![SOFT feat. ALCI - Akebono [Dub] (12")](http://meditations.jp/cdn/shop/files/a0448646595_10_{width}x.jpg?v=1778591433)
TRACKLIST
A1. SOFT feat. ALCI Akebono - DUB 06:32
A2. SOFT Floating Life - KND DUB 05:58
B1. SOFT feat. ALCI Akebono - J.A.K.A.M. RMX 04:00
B2. SOFT feat. ALCI Akebono - DAICHI RMX 08:29
Recorded at Nippon-Columbia Daiichi Studio, on Oct 8-10, 1975.
Trombone: Hiroshi Suzuki.
Keyboards: Hiromasa Suzuki.
Bass: Kunimitsu Inaba.
Drums: Akira Ishikawa.
Saxophone: Takeru Muraoka.
The ambient lofigaze soundtrack for interdimensional travel. Compiled from hissy cassettes 4-tracked between 1991-'95, lovesliescrushing's sophomore album xuvetyn originally released in 1996, now achieving the patina of legend some 30 years later. This double LP edition is housed in a tip-on jacket illustrated with Melissa Arpin Duimstra and Scott Cortez's abstract photography, plus a lyric sheet translating the expressive glossolalia. "A disorientingly beautiful cloud of neon drones and voices from the other side. Music that will envelop you, that you can disappear inside of." -Jefre Cantu-Ledesma
Geogaddi is the second studio album by Scottish electronic music duo Boards of Canada, released on 18 February 2002 by Warp Records.
The Campfire Headphase is the third studio album by Scottish electronic music duo Boards of Canada. It was released on 17 October 2005 by Warp Records.