NEW ARRIVALS

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz. Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.” Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection. On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.” Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Dance The Ska is an essential collection of early Jamaican ska music. It includes iconic tracks from Prince Buster, Jimmy Cliff and other key artists from the 1963–1966 period, celebrating the energetic and upbeat sound of Jamaican independence. The album also features artists like Prince Buster (King of Ska), Derrick Morgan, Roy Panton, Stranger Cole, Millie and other leading figures from the Kingston scene. The real ska sound of '64!

A wonderful collection of early seventies recordings produced by Alton Ellis himself. High-impact reggae tunes with a great horn section. Alton Nehemiah Ellis OD (1 September 1938 – 10 October 2008) was a Jamaican singer-songwriter. One of the innovators of rocksteady, he was given the informal title "Godfather of Rocksteady". In 2006, he was inducted into the International Reggae And World Music Awards Hall Of Fame.

Rare and obscure live material taken from the same late 60’s sessions that spawned ‘Psychedelic Underground’. AMON DÜÜL spontaneous jam sessions are essentially instrumental and dominated by repetitive, tribal, savage acoustic percussive pulses, fuzzy psych guitar rythms & leads. A musical trip set to freak you out.

The Glitch hype was a rather short one. But it brought together different scenes; minimal techno, sound art and electronic minimalism. Then it hit a dead end and dissolved. In the centre of Glitch we found labels like Mille Plateaux (who released the formative ”Clicks + Cuts”) and raster-noton who especially with their static series formed a sound. The first release (2000) was by a young Andreas Tilliander who under his new moniker MOKIRA released the ”CLIPHOP” album. He had done synth and techno for years and then got his hands on an early COH CD on raster-noton in some Stockholm record shop and decided to send a demo to Carsten Nicolai and crew. They luckily decided to release it. I got my copy in the Wave record shop in Paris, as I knew Tilliander’s earlier techno and synth stuff. But this blew my mind. Sharp, funky (yes), static and it sounded like pure electricity. It still sounds great, and rather alien to me. I am proud to reissue this on iDEAL, and to dive even deeper into "CLIPHOP" - check out Johan Jacobsson Franzén's book on the album.

Joachim Nordwall, Gothenburg 29.10.2025.

Flung is proud to present a major new work by cellist and composer Okkyung Lee with London’s Explore Ensemble: Signals dissolves boundaries between live performance, studio construction, and electroacoustic illusion. Following her 2025 minimalist/ambient album ‘just like any other day (어느날): background music for your mundane activities’ on Shelter Press, Okkyung Lee moves in another direction with London’s Explore Ensemble. Flung is proud to present Signals, a release that eludes categorisation while shifting between electronics, acoustic composition, and improvisation. It places Lee’s improvisational language in dialogue with the instrumentalists of Explore Ensemble’s sextet, whom together become enveloped by kaleidoscopic electronic sound, at times fiercely intense, at others weightless yet immense. As a meta-document of the ensemble’s commission for Lee, Signals takes recordings from live performances in Leuven, Huddersfield, and Luxembourg, restructuring them with additional layers created and edited in the studio. Lee’s hybrid approach blurs the line between real and imagined acoustics, where the listener’s sense of small and huge, near and far, dark and bright, all combine in seemingly impossible ways, restlessly morphing between materialisation and dissolution. The album unfolds in seven sections, one for each of Explore Ensemble’s musicians plus Lee’s own section ‘Wings / First Love’, which ends both sides of the LP (the second instance also called ‘Farewell’). Every section creates a distinct environment that tests the boundaries between instrument and performer — including Lee herself on cello sitting among the ensemble — from ultra close-mic string crackles, to woodwind multiphonic canyonscapes, melodies heard both near and far, and the piano turned inside out. Where Lee renews Signals for every performance by altering the sequence of these sections, on record she commits to a fixed constellation that reinforces both the particularities of the individual musicians and the work itself in a striking of live and studio composite version. A release that feels both self-interrogating and outward- looking, Signals folds Lee’s personal language together with collective form. Each performer’s presence — their sound and intuition — emerges clearly, while Lee’s voice remains central. As she writes: The main focus of making music has been to understand myself through the music. For me the audience is there to immerse themselves in that journey, and maybe discover something on their own. For the last seven years, the world seems to have split into two extreme ends, with no possibility of bridging the gap. Once I felt this sense of hopelessness, I also started to ponder upon the reason for this music's existence when it didn't seem to have any actual relevance to what was happening in the world. Not that the music should have "meaningful reasons for its existence" but how can I express my political stances and beliefs without lyrics or long explanatory texts? With this aspiration, I wanted to create a piece with signals that can generate multiple facets for the performers and the audience. — Okkyung Lee Signals is released by Flung as its first vinyl released in an edition of 300, with accompanying digital version.

The Caretaker returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. 'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. The source material for 'Patience' was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.

A sunrise is a return, yet each day dawns but once. Emergent sounds are born from nothingness and everythingness; the hand touches the drum, breath vibrates the reed, fingers caress the ivory. Echoes of Paleolithic music vibrate into each moment, each musical gesture. Each a return, each a new dawn. — AR

Atlantis (1969) is a bold and highly atmospheric jazz album by Sun Ra and His Astro Infinity Arkestra that moves away from traditional swing into a more experimental sound. The centerpiece is the 20-minute title track contained in side B, built around Sun Ra’s heavily amplified Hohner Clavinet. Around this, the Arkestra layers percussion, horns, and collective improvisation to create a dense, hypnotic texture. The music is intense but not chaotic; it unfolds gradually, focusing on mood, repetition, and sonic colours. The shorter pieces on the album are slightly more rooted in free jazz traditions, but still maintain the spacious, exploratory feel. Atlantis stands as a key example of Sun Ra’s Afrofuturist vision, presenting jazz as cosmic storytelling and pushing the genre toward electronic experimentation and abstract sound design long before these approaches became common. This vinyl reissue is the first since 1973 and it features the track “Yucatan II” as bonus track on side A.

Terrific session just released in 1974 on influential independent Muse. A modal masterpiece verging on spiritual jazz with a series of excellent players: from Richard Davis and Cecil McBee on bass to Ray Mantilla on congas and percussion, through Harold Vick distinctive flute and tenor sax. The major voice on this record belongs to the traps of Joe Chambers. The enormous potency combined with complete authority and tonal clarity that Chambers brings to the drums has made him one of the more distinctive percussive voices in jazz.

Soft Machine performing two continuous sets of compositions, improvisations and dynamisms. All instruments, except saxes, variously processed with electronic effect devices Henie Onstad Art Centre, Høvikodden, Norway, 28th of February, 1971. Stereophonic ambient recording technique to Studer A62 Reel-to-Reel.

Cut it up. Stick it back together wrong. This is Magazzini Criminali at their most deliriously inventive - a Florence-based theater collective that understood William Burroughs's cut-up method as an operational principle for sound itself. Released in 1983, Notti Senza Fine is their second LP, a document where theater becomes indistinguishable from electronic collage, where the stage disappears into tape loops and reassembled vocal fragments. Federico Tiezzi (director, electronics), Sandro Lombardi (text, voice), and Marion d'Amburgo (voice) weren't making songs. They were assembling something else entirely. Unlike Crollo Nervoso three years earlier, Notti Senza Fine cuts loose from theater - the cut-up accelerates into something almost vertiginous, fragments layering so densely you can barely trace their origins. The screams of Antonin Artaud collide with voices and instrumental shards from everywhere - tribal percussion that sounds like field recordings, sax, synthesizers - meshing and fading into each other without resolution. What the jazz critic and cultural theorist Franco Bolelli called "planetary music" emerges: no stage, no narrative, just Lombardi, Tiezzi, d'Amburgo, and Julia Anzilotti moving through a constantly shifting sonic terrain. Like Henri Chopin's sound poetry pushed through the entire world's radio frequencies at once, voices become texture rather than meaning. The track titles - Tangeri 400 Km. Nord, Honolulu Vento Solare, Kabul-Febbre, Al Hoceima 1943 - map locations that barely hold shape in the sound. The album itself becomes an "object-significant" - distinguished not just as a vehicle for music but as a physical thing. Jon Hassell's processed Fourth World trumpet runs through the mix like a ghost signal you're always about to recognize - his voice sampled and appropriated, transformed beyond recognition into the general chaos. Three years later, fresh from winning an Ubu Award for scoring Magazzini Criminali's Sulla Strada at the Venice Biennale, Hassell would become a direct compositional collaborator - commissioned to write the music, not sampled from. But here in 1983, on Notti Senza Fine, his presence is something more spectral: stolen, recombined, cut into material that refuses to cohere. There's an ironic swagger to it, a specifically Italian 80s irreverence toward the very idea of "proper" experimental music. The samples don't announce themselves solemnly. They arrive like overheard conversations in a crowded room, fragments refusing to cohere into meaning. Sudden jolts. Radio noise. Voice becoming pure texture. What results isn't theater music or electronic composition - it's something closer to sonic gossip, art half-amused by its own pretensions. The original Riviera Records pressing (RVR-4) has been nearly impossible to find for decades. Originally destined for the Cramps label, the album eventually emerged on this small Roman independent - Riviera Records, founded just the year before by Amedeo Sorrentino, Federica Roà, and jazz musician Maurizio Giammarco. Mario Schifano handled the cover design, his graphic work bringing visual weight to what might otherwise remain theater ephemera. This is collage as genuine refusal. Not quotation, not homage - transformation. The practice that would eventually feed into everything from industrial noise to contemporary sample culture, but arriving here as something stranger: theater that understood cutting and pasting weren't metaphors but literal sonic tactics.

Built on Bunny Lee’s classic riddims and topped with Carl Harvey’s free‑flowing, expressive guitar leads, Ecstasy Of Mankind

Fully licensed, all tracks restored & remastered for the 1st time! “Lots of Loving” was the third album, originally released in 1980 by Freedom Sound Record, by legendary and controversial Jamaican deejay and singer Ranking Dread. Recorded at Channel One studio, with Barnabas as engineer and produced by Sugar Minott the album featured musicians from the Black Roots Players, Sly & Robbie, Steeely (Steely & Clevie) and many others… Voiced and mixed at King Tubby’s Studio! One of the most dangerous rub-a-dub deejay lp’s !

Tangerine Dream’s 1970 debut, Electronic Meditation. Standing in stark contrast to their later synth-driven ambient works, this is the chaotic ground zero of Krautrock and experimental rock. A primal, avant-garde departure that captures the raw energy of the Berlin underground.

Tame Impala’s second album, crafted entirely by Kevin Parker—who wrote, performed, and produced every track. A work that finds a universal brilliance only by diving fearlessly into the deepest corners of one’s inner world.

Joe Quarterman & Free Soul emerged from the local scene in Washington, D.C., releasing their only full‑length album on GSF Records in 1973.

The mere mention of jazz played on bagpipes is guaranteed to get a look of disbelief from most people, but not from listeners who have heard Rufus Harley, especially Re-Creation of the Gods, a 1972 disc that many consider his best. The Transparency label has reissued this record on CD with four extra tracks and pristine digital remastering of the sound. Rufus Harley, one of the only bagpipe-playing jazz musicians in the history of jazz, is a virtuoso on the instrument, coaxing improvised riff after riff from it. In his hands it sounds like two reed instruments played at once. This very enjoyable and often surprising music is in the soul-jazz vein, with a touch of Eastern sounds, and the combination of organ, bagpipe, percussion and sometimes electric bass works very well. The playing can easily be termed spiritual. Re-Creation of the Gods is reminiscent of Rahsaan Roland Kirk's later work—eg. Blacknuss, with its mixture of spirituality and soul—and Rufus Harley's bagpipe sounds somewhat similar to the manzella and stritch played by Kirk. Bill Mason's organ is an excellent complement to Rufus Harley's bagpipe and sax. The combination hints at the organ/tenor combos of the late '60s and early '70s. Although the leader and Bill Mason stand out with their solos, the tight drumming and solid electric bass anchor the music within the soul-jazz tradition and add an earthy quality to the recording. The only track which seems out of place is the 23-second intro (one of the extra tracks), which seems to be from a live show by Rufus Harley's quintet. The rest of tracks do not appear to have been recorded live, nor are they made by a quintet (rather a trio or a quartet). The liner notes provide short essays on spirituality and quotes from a variety of Eastern religious texts, which fit well with the mood of the music but do not give any further details about the recording. The remainder of the bonus tracks, however, have the same lineup of musicians and are in the same musical vein as the original tracks, so they are likely taken from the same recording session. The similarity in the musical quality and style does not mean that these tracks are repetitive or indistiguinshable from each other—or formulaic in any way. On the contrary, each one is unique and full of surprises. They are like poems in a poetry jam session; each is unique on its own, but also an inalienable part of the whole. The few other Rufus Harley tracks that I have heard (from his Atlantic years) seem like prototypes for this record. The ideas are there, but they are not as accomplished or fully realized as the ones on this recording—thus, while they're interesting, they're not as rewarding to listen to as this disc. Bagpipes and jazz make an unusual combination, but this is a very creative, enjoyable and refreshing soul-jazz record that, while not necessarily groundbreaking, is very rewarding to listen to many times over.

Released in 1961, Ornette Coleman’s Free Jazz is both a controversial milestone and a landmark recording. Featuring a double‑quartet setup with separate groups placed in the left and right channels, the album captures an unprecedented form of collective improvisation that redefined the boundaries of jazz.

Nick Drake’s final masterpiece, Pink Moon, released in 1972. It is an album of eternal resonance—a solitary soul’s delicate balance between a quiet prayer and a silent resignation.

Released in 1969, Five Leaves Left is Nick Drake’s debut album. Produced by Joe Boyd and recorded at Sound Techniques in London, the record features leading figures of the British folk scene, including Richard Thompson and Danny Thompson. Widely regarded as a landmark of British folk, the album showcases Drake’s delicate vocals, intricate guitar work, and beautifully arranged strings.

Released in 1969, In a Silent Way marks the beginning of Miles Davis’s electric period and stands as one of his most groundbreaking works. Featuring John McLaughlin, Herbie Hancock, Chick Corea, Joe Zawinul, and Wayne Shorter—musicians who would later shape the future of jazz‑rock and fusion—the album was recorded at New York’s legendary 30th Street Studio.

Originally released in 1994, Protection is Massive Attack’s second album, refining the Bristol sound they introduced on Blue Lines and helping to define the contours of what would become known as trip‑hop.

Recorded in 1962 when a 22‑year‑old Herbie Hancock entered the Blue Note roster, Takin’ Off stands as his remarkable debut album. Featuring an all‑star horn lineup with Freddie Hubbard on trumpet and Dexter Gordon on tenor sax, and captured at Rudy Van Gelder’s legendary studio, the record embodies the essence of the hard‑bop golden era.