NEW ARRIVALS

Appearing for the first time on vinyl is the complete performance of "THE NILE" from the Saturn LP "When Sun Comes Out", recorded at The Choreographers Workshop in New York in November 1962. THE NILE parts 1 and 2 creates a dense atmosphere of rolling percussion, lugubrious bass and clinking piano ostinatos beneath the evocative flute of Marshall Allen. This recording, especially when heard in its full form, invokes a deep sense of an unknown but familiar place and time, merging past-present-future through the spacious over/lapping drummings of Clifford Jarvis, John Gilmore, Marshall Allen, Tommy Hunter and RA. Both sides of the single sound particularly good when layered on top of each other, a confluence of Afro-Futurist myth science and primordial waters. Beautifully mastered for 7" by Adam Gonsalves and Telegraph Audio, and expertly pressed by Smashed Plastic in Chicago. Packed in hand-assembled silk-screened metallic gold and black ink jackets printed by Seizure Palace, with 4 different cover variations. Includes picture sleeve and ephemera.

SPACE KEY presents two previously unreleased versions of the classic RA composition "Lights On A Satellite" : the echo-drenched "single version" from the Fate In A Pleasant Mood sessions, paired with a sprawling celestial performance for WUHY radio in 1978. The A side is glued by a heavy tape echo, giving the familiar tune a different rhythmic framework and pacing, and adding beautiful new layers of chordal harmony and sparkling decay. It was recorded June 1960 at RCA Studios, Chicago and was apparently slated for release as a single on Saturn, never yet materializing until today. The B side is an excerpt from a very special WUHY radio broadcast in Philadelphia, performed by the 22-piece Spirit Of Jazz Cosmos Arkestra (its only known iteration). Here the percussion is up-front, the horn lines take a more fluid and free rhythm, and layers of flutes swell and hocket around the orbit of Sun Ra's twinkling piaon. A crucial rendition of a forever enduring song in an especially pleasant mood. Beautifully mastered for 7" by Adam Gonsalves and Telegraph Audio, and expertly pressed by Smashed Plastic in Chicago. Packed in hand-assembled silk-screened metallic silver and midnight blue ink jackets printed by Seizure Palace, with 4 different cover variations. Includes picture sleeve and ephemera.

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.

Saphileaum has spent the past decade in passage between notable houses of atmospheric sorcery - Mule Musiq, Not Not Fun, Slow Life, Constellation Tatsu - and of course Good Morning Tapes, who now host their 3rd meeting, ‘Heavenly Hills’. A definitive chapter in his ten year saga, it is flush with symphonic strings and sky born keys, breezily urged by percussion that straddles chill out and folk zones. That said there’s also a Balearic - or should that be Black Sea? - appeal to its title tune, that lingers in the glistening wake of ‘Your Grace’, to the shimmering breaks of a parting piece ‘Alarko (Cosmic Eagle)’, falling into the space between Boards of Canada's cult-inspired hauntological nostalgia and Shackleton's hallowed ethno-dub. “The tracks in the album were written with the inspiration of the kingdom of Shambhala in the Himalayas. I'm deeply fascinated and touched by it. Even the album title, holds the idea of its Heavenly nature and the tracks are like individual, elemental parts of it. The album is not a journey into Shambhala, but rather a play and a dance with its energy, image and presence in my world. Alarko (Cosmic Eagle) is dedicated to my grandfather, Temur Tsiklauri, and I dedicate the whole album to my country Georgia, which I deeply love.”

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

Happy Today, the third album from guitarist/bandleader Jeff Parker’s long-running ETA IVtet, was recorded live at Lodge Room in Los Angeles on August 20, 2025. This fresh entry into the IVtet’s catalog captures Parker and the band – including drummer Jay Bellerose, bassist Anna Butterss, and saxophonist Josh Johnson – on record outside of the now-shuttered Highland Park micro-club ETA for the first time.

The performance also captures a distinctly joyful night of togetherness set against the backdrop of dark times. “2025 was a very difficult year for me and my family,” Parker says. “Dealing with being displaced from the Eaton fires for eight months, and the kind of toll that that instability took on my family’s mental health and general outlook, coupled with Donald Trump being back in office and basically making life miserable for everyone… There was a lot of sadness and despair. But feeling the sense of community that we created with our concert, and later hearing the recording, seeing the beautiful footage that had been shot and the photographs of such joy to be back in that space and to be making music again: It was a very happy moment. So I called the record Happy Today. It’s meant to be a statement of joy.”

That joy and camaraderie found in communal space seems to be a major catalyst for the ETA IVtet’s music. The band’s audience is, somehow, an essential part of the formula. Case in point: the show at Lodge Room was actually meant to be the cherry on top of a weekend of studio sessions by the band. Those sessions were intended to be the next album released by the group, its first ever studio record. Upon listening back, though, it was clear to Parker that the Lodge Room performance was the recording that shined brightest and felt most true to the band’s spirit, harkening back to the weekly session the four musicians held at ETA for so many years.

ETA was undoubtedly more than just the namesake of the band. Part laboratory, part low-stakes proving ground, it’s where the language of the IVtet’s sound percolated and coalesced over the course of an almost mythical seven-year-long Monday night residency that yielded two critically-acclaimed records—2022’s Mondays at The Enfield Tennis Academy and 2024’s The Way Out of Easy—and an instantly recognizable group sound.

Happy Today is that sound—the IVtet's signature syntax built around long-form, minimalist improvisation—expanding confidently into a larger space while creating the same hypnotizing, deeply-tuned listening effect on visibly enraptured audiences. The album contains two sidelong pieces recorded as the band performed in the round at Lodge Room, surrounded by an audience of 400 or so deep listeners. (The venue, appropriately enough, sits on the same street and just a few hundred feet away from the storefront that used to be ETA.)

The drastic change in venue size, and this document in general, is representative of an expanding demand to experience this band live that has been surging for years, starting with the release of their debut album Mondays. For the subsequent, final year that ETA was open, there would typically be a line down the block on Monday evenings, with far more people trying to catch the show than the club could hold. Even if you could get inside the building, given the limited capacity, the IVtet was a difficult band to actually see play. Couple that with the fact that before the closure of the club in December 2023, the IVtet had never played outside of Los Angeles. Access to the live experience had been extremely limited, and that has seemed to feed a sense of mystery and allure around the band’s music for the many fans of Mondays and The Way Out of Easy.

On paper, the IVtet’s growing audience is something of a conundrum. After all, minimal longform improvisation is likely the precise antithesis of streaming-centered content culture. Despite that, at the show that produced Happy Today, as with any IVtet show, the audience willingly settles into and accepts the band’s pace as they iron out a story which digs deeply into every facet of an idea before investigating a new one. Here the attention economy feels lightyears away, the crowd instead surrendering to that old and very human penchant for listening. With open ears, the crowd stands ready for a big yarn, a long tale, and from the jump there seems to be a trust between performer and audience that mimics the trust between the musicians as they move from detail to detail.

“The band isn't afraid to explore static spaces,” says Parker. “It seems like the thing is to stay on one idea for a while. Really, for a long time. To kind of exhaust it. And then one person shifts and then the thing moves together.”

“Everybody is constantly dropping crumbs and you can take them or you can leave them,” agrees Bellerose. “There are these little hints, these little moments, and everybody's aware of them.”

“When it is time to change, it can change very quickly,” says Butterss. “If someone suggests a new idea, it can flip in an instant. Everyone's constantly ready to go with it if the moment calls for it.”

“Like Swimwear,” the side-length opener of Happy Today, contains a quintessential example of this distinct IVtet move. The track gets off the ground slowly but deliberately, ramping up tension over the course of its first ten minutes without a moment of harmonic dissonance. The band, rather, steadily pulls at the corners of the rhythm. Here each member steps forward and backward in the sonic space to build a gleefully disorienting group cadence, where the repetitions of the individual overlap in such a trancelike way that even soloistic breaks from Parker’s electric guitar or Johnson’s effected alto sax never manage to snap the tension wire. Bellerose works deep into the rhythmic fascia, employing all manner of auxiliary percussion—strewn across his kit, tucked into his shoe, or wrapped around his legs—all without a hint of novelty. Every micro-choice comes from a place of both curiosity and confidence.

And then the shift: just as the thing is about to come unglued Bellerose opts into a smooth, low-register downbeat groove that Butterss has been auditioning for the previous minute or so. Parker swiftly kicks into an organ-like drone while Johnson and Butterss stay the course. It’s a series of decisions that could go any number of ways depending on the night, like running water pushing into fresh geography, moving from tributary to mainstream, past the levee and into the floodplain. There is no set path; if it went a different direction it would still be the cumulative result of the same water flowing.

That is to say that there are no hard and fast rules to what the IVtet does. Defining the music, in fact, is something that the band takes special care not to do. Living in that mystery, it seems, helps to keep the path open, cleared to push into new and satisfying territory.

“For me, the thing to protect is just where it started from, which was freedom and openness,” says Bellerose. “In the early days of the band Jeff was recognizing how we were all communicating within the structure of playing standards. He's one of the greatest producers I've ever worked with because he has this vision. And a big part of producing is casting—putting the right people in the room. So these shifts, they're completely natural within these improvised pieces that we do because the foundation was there and Jeff knew it. He had already noticed the communication within the band, but wanted to really push it further.”

The key to Parker’s push lies in the generosity to step back, to allow each member an equal voice, and to de-center himself. What we hear on Happy Today is an egalitarian group sound by design, curious and intuitive.

“Everybody's listening in a way where it's not always like ‘I'm going to go with you’,” says Johnson. “But it's always ‘I hear you’. And sometimes it's ‘I hear you and I'm going to stay here and allow the tension of these two things to exist for a while before maybe joining you.’ But the thing that's cool is that everybody’s hearing it. Because of the time that we've spent together there’s a maturity to the listening—a very special version of deep listening.”

“The number of times that we've talked about the music is so few compared to the years and years of playing,” Johnson continues. “I think that's one of the really beautiful things about the band—how organically the way that we play together has come about and evolved over time. Definitely on brand for the music that the band makes too. Slowly evolving, long form development.”

“I learned how to improvise in this band,” reveals Butterss, astonishingly. “I didn't really play improvised music before. So my whole approach to improvisation has been shaped by playing with Jeff, Jay, and Josh. It is a band and it has its own language. I think you could drop the needle on any of the recordings and people would be able to say ‘that's the quartet.’ It's very distinctive and it's developed very organically. We have never talked about it, I don't think.”

“That's our band,” says Parker of “Like Swimwear,” almost with an outsider’s sense of fascination at the recording. He seems to feel the same enchantment and surprise that the audience does while listening, despite being a primary part of the process. “That's it. I mean, that's what the ETA Quartet does.”

It’s a blessing for this band to be so expertly documented in its naturally public, live context. The two sidelong improvisations from Lodge Room that make up Happy Today, as with the recordings that made up the IVtet’s first two albums, are beautifully rendered by engineer Bryce Gonzales—recorded and mixed live, direct to a Nagra tape machine utilizing a compact outboard rig that he built himself, specifically to record this band. Much like the thumbprint originality coming from the players themselves, Gonzales’ capture of the music is its own signature, his mixes a form of sound improvisation themselves.

A major addition to this particular presentation is the full album length film by Charlie Weinmann, documenting the band's performance of Happy Today at Lodge Room, which will be released in tandem with the album. A shadow-laden, almost noirlike capture of the band in its full sprawling glory, Weinmann’s camera makes the joyful reality of seeing the IVtet at work widely accessible for the first time.

With Happy Today the reach of Parker’s IVtet extends further than ever before, but the essential formula, if there is one, remains the same. The anchor seems to be in variations on an almost alchemical communication—a feeling of connection between band members, sure, but also between the band and the audience. It’s an ongoing trust exercise, born organically in the corner of a small room in Los Angeles and flowing outward at exactly its own natural pace. It’s social music with a clear ability to move those willing to listen. Happy Today is an invitation to become part of the exchange and experience the joy of deep listening.

"Tranquilizer" by Oneohtrix Point Never is a limited-edition clear vinyl compilation exploring his early experimental and ambient works. The album showcases Daniel Lopatin’s signature blend of dreamy textures, fractured melodies, and sonic abstraction. A must-have for fans of avant-garde electronic music and OPN’s formative soundscapes.

A unique and brilliant collaboration between the legendary dub/reggae pioneer and German electronic production duo Mouse on Mars (aka Jan St. Werner and Andi Toma). Lee "Scratch" Perry's last ever official album project before his passing in 2019. Recorded in 3 days at Mouse on Mars' Paraverse Studio in Berlin in 2019. Lee, Jan and Andi conducted a revolving cast of musicians and collaborators throughout the complex's different rooms and spaces. Spatial, No Problem. finds the artists breaking new ground - the one thing Lee was sure of was that this shouldn't be just another reggae album. It covers everything from krautrock, ambient, dub, jazz, New Orleans brass and much more.

Infamously the first artist signed to Warp that used guitars, Seefeel return with their first full-length album in fifteen years – Sol.Hz - a beautiful, hazy and blissed out collection of fractured melodies and vaporous textures.

In some ways, this can be regarded as Seefeel’s ‘dub’ album – the deceptively cloud-like arrangements of Mark Clifford are somewhat ambient adjacent at low volume, but blasting out of a proper sound system, the cavernous bass undertow and skilful employment of effects are more apparent, messing with the listener’s perception of time and audio placement. As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay.

Stylistically, it builds on their 2024 mini-album Squared Roots, in the way that the material has been microscopically dissected and reversioned until it reaches the perfect iteration, shape perhaps being the wrong word for a group who blur the lines between solidity and space to such a radical degree. The much-reappropriated line from The Communist Manifesto, “all that is solid melts into air”, could be used as shorthand to describe the experience of listening to a Seefeel record. The album title Sol.Hz can be translated literally as sun plus electricity, although the exact interpretation is ambiguous and left open to debate, just like Marx’s oft-quoted line.

Comprising more than 5,000 works of contemporary art dating from the 1960s to the present, the collection of the MUSEUMMMK für Moderne Kunst is one of the most important of its kind in the world. With canonical works by Carl Andre, Siah Armajani, Lothar Baumgarten, Thomas Bayrle, Bernd and Hilla Becher, Joseph Beuys, Alighiero Boetti, Miriam Cahn, Hanne Darboven, Walter De Maria, Marlene Dumas, Dan Flavin, Katharina Fritsch, Robert Gober, Donald Judd, Ilya Kabakov, On Kawara, Roy Lichtenstein, Mario Merz, Bruce Nauman, Claes Oldenburg, Nam June Paik, Blinky Palermo, Gerhard Richter, Reiner Ruthenbeck, Rosemarie Trockel, James Turrell, Bill Viola, Jeff Wall, Franz Erhard Walther and Andy Warhol, the holdings constitute an important source for art-historical research.

Reprinted on the occasion of an exhibition at the Whitechapel Gallery in London, this book presents the international Fluxus legacy through sound. With works by John Cage, Philip Corner, Dick Higgins, Alison Knowles, George Maciunas, Claes Oldenburg, Yoko Ono, and others, it explores the interest of Fluxus artists in music and sound through performance, scores, records, and objects from the Luigi Bonotto Collection. Their public events challenged conventional form and content in music, and the approach to music scores was equally radical. Instead of traditional sheet music, they devised notational systems based on graphics, poetry, and the visual arts.

I first heard about this incredible record from my friend and renowned collector Ian Wright back in the mid-2000s. Ian may well have been the first to feature it on a mixtape around that time. He originally found his copy on eBay without a sound clip calling the seller to listen over the phone before taking a chance on it. A true San Diego masterpiece, now highly sought after within the Modern Soul scene. Beyond that dedicated circle, it has remained largely unknown, due to its insane rarity. Although Glen is sadly no longer with us, his legacy lives on through this stunning piece of music, which will finally get the attention it deserves on dancefloors all over the world. Special thanks to the ever-dapper James Pogson for his invaluable help with securing the licence x

Once in a while Athens of the North drops something for the heads, and this is most definitely one of those. An insane deep soul rarity — and I mean so rare most people don’t even know it exists, I certainly didn’t till labelmate Brian Sears played it to me. Sugar Bear and the Sensations came out of Houston, Texas, masterminded by Clyde Gambrel (who was kind enough to clear this for re-release). They only ever released this one 45 as Sugar Bear & The Sensations, though Clyde also put out another killer 45 under just Sugar Bear.

Blood Blood Song continues East of the Valley Blues’ streak of sublime, future-forward acoustic fantasias. For years, the Toronto-based duo, comprised of brothers Kevin and Patrick Cahill, has excelled at an earthy and pensive brand of instrumental music inspired by notions of folk music as a global, rather than regional, idiom. While the duo’s elegant and unassuming virtuosity easily distinguishes East of the Valley Blues from its contemporaries of would-be Bashos and fledgling Faheys, it is the group’s telepathic improv that provides the certain x-factor that ultimately sets it apart from its peers. Throughout Blood Blood Song, Kevin Cahill’s percussive, prepared nylon string guitar---occasionally evoking the sound of a begena—remains in constant conversation with his brother Patrick’s nimble steel string abstractions. Though the stereo separation places the brothers on opposite corners of the stereo field—Kevin mostly on the right and Patrick mostly on the left—the two guitars often create the illusion of appearing to meet in the middle, where they blend into a single, dynamic sound. Blood Blood Song is an album of uncommon intimacy and grace. Of music that doesn’t so much develop as unspool. Music that blooms. - James Toth / Wooden Wand

Blood Blood Song continues East of the Valley Blues’ streak of sublime, future-forward acoustic fantasias. For years, the Toronto-based duo, comprised of brothers Kevin and Patrick Cahill, has excelled at an earthy and pensive brand of instrumental music inspired by notions of folk music as a global, rather than regional, idiom. While the duo’s elegant and unassuming virtuosity easily distinguishes East of the Valley Blues from its contemporaries of would-be Bashos and fledgling Faheys, it is the group’s telepathic improv that provides the certain x-factor that ultimately sets it apart from its peers. Throughout Blood Blood Song, Kevin Cahill’s percussive, prepared nylon string guitar---occasionally evoking the sound of a begena—remains in constant conversation with his brother Patrick’s nimble steel string abstractions. Though the stereo separation places the brothers on opposite corners of the stereo field—Kevin mostly on the right and Patrick mostly on the left—the two guitars often create the illusion of appearing to meet in the middle, where they blend into a single, dynamic sound. Blood Blood Song is an album of uncommon intimacy and grace. Of music that doesn’t so much develop as unspool. Music that blooms. - James Toth / Wooden Wand

DINTE sub-label 333 returns with this double A-sided 45, lifting two of the choicest cuts from Devon Russell's LP of Curtis Mayfield cover versions - previously reissued for the first release on the imprint back in 2022, and long since sold out. Originally released in the early 80s on the High Music label, produced by Earl "Chinna" Smith with assistance from the great Mutaburaka. "We grew up on the sounds of Curtis Mayfield and The Impressions. Everyone in Jamaica loved them. His death was a terrible thing, but while there is life, there is hope." - Devon Russell, 1994

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed. This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed. This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.

Sacro Bosco (“Sacred Grove”) is the starting point for Anna von Hausswolff’s new album All Thoughts Fly, incoming on Southern Lord on 25th September. Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination. All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music. Sacro Bosco is a garden, based in the centre of Italy, containing grotesque mythological sculptures and buildings overgrown with vegetation, situated in a wooded valley beneath the castle of Orsini. Created during the 16th Century, Sacro Bosco was commissioned by Pier Francesco Orsini, some say to try and cope with his grief following the death of his wife Guilia Farnese, others speculate the purpose was to create art. About the album Anna explains “there’s a sadness and wilderness that inspired me to write this album, also a timelessness. I believe that this park has survived not only due to its beauty but also because of the iconography, it has been liberated from predictable ideas and ideals. The people who built this park truly set their minds and imagination free. All thoughts fly is a homage to this creation, and an effort to articulate the atmosphere and the feelings that this place evokes inside of me. It’s a very personal interpretation of a place that I lack the words to describe. I’d like to believe Orsini built this monumental park out of grief for his dead wife, and in my Sacro Bosco I used this story as a core for my own inspiration: love as a foundation for creation.” The accompanying video for the first single "Sacro Bosco" is, just like the music, an interpretation of the park with an imaginary twist. Directed by Gustaf and Ludvig Holtenäs.

To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith. This album is like no other I know, a new world, finding a perfect balance between multiple genres. Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976. Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.

To mark 50-years since a 22 year old Michael Gregory Jackson recorded his groundbreaking first release, "CLARITY / CIRCLE / TRIANGLE / SQUARE", recorded with the mind blowing group of his contemporaries Oliver Lake, David Murray and Leo Smith. This album is like no other I know, a new world, finding a perfect balance between multiple genres. Moved-By- Sound is very excited and honored to be involved in releasing the first reissue authorized by Michael Gregory Jackson since the original release in 1976. Remastered and restored, it is a perfect album in which to lose and/or find yourself in these complicated times.

Latency presents R&B outsider Zsela who joins forces with Daniel Aged (Frank Ocean, Kelela) and film composer Taul Katz on 4 Dreams, a billowing ambient-neoclassical hallucination originally commissioned for the exhibition Seven Heavenly Senses at Hôtel de la Marine, Paris. 4 Dreams consists of four tracks that each unfold as embracive harmonies of cinematic strings, FM synths, muggy bass drones, and Zsela’s soulful vocals. Even though 4 Dreams moves in a different direction than the debut Big For You (Mexican Summer, 2024), the inspiration of soul, jazz and R&B still shines through on the album, as Zsela’s humming vocals, with its jazz-inspired key changes, keep you intrigued. For this release, alongside critically acclaimed producer Daniel Aged and composer Taul Katz, Zsela steps confidently into the field of instrumental composition. This exploration of instrumental and ambient composition can be seen as a continuation of themes previously explored in her collaborations with UK-based artist Actress on the songs 'Angel’s Pharmacy' and 'Remembrance' from the album Karma & Desire (Ninja Tune, 2020). 4 Dreams bears the same atmospheric neo-classical attributes as recent releases by Nala Sinephro, Malibu, Mary Lattimore, and even draws on the legacy of spiritual jazz legends such as Alice Coltrane and Dorothy Ashby. The cover art is a detail of a painting by American visual artist Naudline Pierre, whose practice revolves around appropriating iconography from art history to create her own mythology and dreamlike narratives.

Shape of the Moon is the California based duo of Benjamin Burke and Bear Glass that explores existential headspaces beyond mundane frames of thought. Following streams of consciousness that contemplate the stardust that forms us to the very first human sound that reverberated through a cave, Shape of the Moon intertwines language and music into ambient dream-weaving narratives. When the land is laid bare forms a collection of recordings composed of Burke reciting his introspective poems and Glass improvising gripping modular synth and string patterns. Burke brings a wealth of experience working between an impressively vast range of written and visual mediums to Glass’s live electronics and acoustic instrumentation mirroring the spoken word. The pieces on the album consist of excerpts from live outdoor performances under the night sky in the Mojave desert as well as sessions in Glass’s off-grid solar powered studio. Burke drapes vivid vocal narration over deeply immersive textures and melodies conjured up by Glass on Buchla, bass and sitar, painting peaks and valleys that live score the storytelling. The duo tread their own path fusing poetry with undulating electroacoustic instrumentals, arriving at meditative and ASMR territories that draw inspiration from ambient and electronica. Often joined on stage by guest musicians playing anything from Rhodes, percussion, jaw harp and saxophone, the recordings edge towards blues and spiritual jazz. Benjamin Burke is a poet, writer, performer, and visual artist who spends his time lending a hand to unusual artistic expeditions around the world. Most recently, he helped to launch Dhun and Dhun School, a humanist eco-township and progressive education center on a 500 acre biopreserve in Rajasthan, India. He has written and performed countless unusual shows, experimenting widely and, through that, witnessing firsthand what makes ideas resonate for his audiences. This work evolved over time into an approach he refers to as Applied Poetics which he employs to help communities set intentions, scientists present their findings, and humanitarian organizations find their footing. Bear Glass is a sound artist, multi-instrumentalist, music teacher, live sound engineer, and founding member of Mobius Acoustics who build innovative sound systems and host events on the West Coast (utilizing a quadraphonic setup for live performances and immersive drone bath sessions). Glass is involved in various collaborative projects with a couple of releases under different pseudonyms as well as a solo tape featuring a track with prolific producer Carlos Niño. For most of the year, Glass lives sustainably off-grid with his family on a plot of land outside Joshua Tree, a mini utopia infamous for his well curated private campouts and artist residencies. Wide skies, magnificent climates, and being surrounded by the love of family and friends inform Bear’s musical output and artistic practice. Shape of the Moon present their debut album for Marionette’s 30th title, channeling an inquisitive yet playful state of mind that marvels at the mysteries of the universe.