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Strut present a new single vinyl reissue of Vambe"s sought-after privately pressed album from 1982, Drumland Dreamland. A self-taught drummer, inventor, and sonic experimentalist, Vambe holds a unique place in British music. The creator of his own instrument, the drumgita (pronounced "drumguitar") or string-drum, he aimed to create music that had never been previously made to pursue access to the fourth dimension and forge a radical new musical language - intuitive, polyrhythmic and metaphysical. Drumland Dreamland is deep and haunting; a dense tapestry of layered percussion, time-warped tape loops, and spiralling drumgita figures, all underpinned by hypnotic improvisations from Brazilian pianist Rafael Dos Santos. It is both ecstatic and unsettling, a landmark recording in black British experimental music.

Strut now present a new single vinyl reissue of Vambe"s privately pressed original album from 1982, Drumgita Solo. A self-taught drummer, inventor, and sonic experimentalist, Vambe is a unique figure in British music. The creator of his own instrument, the drumgita (pronounced "drum-guitar") or string-drum, Vambe intended to create a kind of music that had never been made in order to pursue access to the fourth dimension. The album plays with time, mixing hypnotic, trance-like drumgita pieces with the same segments played backwards. You can hear echoes of African drumming traditions, minimalist repetition, and tape-manipulated musique concrète - but ultimately, the album defies genre. It is a solitary voyage, spiritual and futuristic.

"Platinum Rare 2" enthält extrem seltene Aufnahmen, eingespielt von den vier SWEET Originalmitgliedern. Der legendären Glam/ Hard Rock Band gelingt es bis heute ihre Fans überall auf der Welt immer wieder aufs Neue zu begeistern. Im Laufe der Zeit verkauften SWEET mehr als 55 Millionen Tonträger und erreichten dabei 34 Nummer 1 Chartpositionen. Die Songs auf "Platinum Rare 2" stammen aus dem Privatarchiv von SWEET Gitarrist Andy Scott und wurden von ihm persönlich ausgewählt.

Award-winning producer and composer Giorgi Koberidze offers up a head-spinning debut of Georgian modern classical music shot through with 360° electroacoustic textures.

Giorgi Koberidze is an electronic and classical music composer from Georgia. He currently serves as a professor of music at Tbilisi State Conservatoire, as well as at Ilia State University, and the private music school "303 Herz". Giorgi's work is rooted in the Georgian musical tradition, cross-pollinating indigenous instrumentation with electronic and western classical timbres. He recently won first prize in the Tbilisi Conservatoire Composers Awards, and received Georgia's most prestigious cultural gong, the Tsinandali Award.
The Album was premiered in Georgia at the Kutaisi Film Festival, and later showcased at the Tbilisi Film Festival. Working from graphic scores, Giorgi's ensemble includes strings, woodwind and traditional instruments from the Caucasus (doli, chuniri). Fleeting voices, field recordings and skittering percussion converge to paint a storied map of Tbilisi, and its surrounding terrain of forested polyphony and microtonal peaks and crags.

Each listen of the album is projectively rich, like a dizzying series of sonic inkblot images. The piece is designed to be absorbed in the surround sound of darkened movie theatres, conjuring a multiverse of narratives in the half-light of sensory acuity. At home, Giorgi invites listeners to set aside time to experience the record in a dark, comfortable space absent of external stimuli.

This album was made with the support of the Tbilisi State Conservatoire. The recordings were funded by Nicolas Jaar. Thank you. We are beyond proud to present this incredible project.

Recommended for fans of Pierre Bastien, Roméo Poirier, Jan Jelinek.

A long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.

Although he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.
A coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.
Intoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.
Niningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.

Melancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.
While Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.
Self-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.

Featured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.

Itchy-O is an experiential performance ensemble that has mesmerized audiences across the U.S. and beyond since 2009. The beating heart of this fifty-plus-strong performance troupe is a batterie of percussionists accompanied by an orchestral arsenal of avant-instrumentation. Weaving a synergistic spell, the ensemble dismantles assumptions of traditional performance models to break down the barriers between audience and performer, administering a bombast of ceremonial chaos; baptizing the audience—body, mind, and collective spirit—in an elaborate, pan-sensorial ocean of music, mystery, and transcendental spectacle.
Itchy-O has shared the stage with legends such as David Byrne & St. Vincent, while luminaries like JG Thirwell and Dan Deacon have opened for the humbled brigade. Over the years, they have energized crowds as the opening act for a slew of iconic artists including DEVO, Beats Antique, and Wooden Wisdom (Elijah Wood). Their unforgettable private engagements include a legendary performance at Maynard Keenan’s Merkin Vineyards while delighting festival audiences at Riot Fest, Biennial of the Americas, the Underground Music Showcase, and Tasmania’s world-renowned Dark MOFO with enveloping processionals, pop-up performances, and staged spectacles.
In 2024, itchy-O debuted Söm Sâptâlahn, a sold-out collaboration with the Fiske Planetarium. Named for an epic set of custom-crafted gongs cast from six hundred pounds of reclaimed brass at the School of Mines and tuned to a bespoke seven-tone scale, this project birthed this latest double album. Accessible, mysterious, and meditative, it is a bold addition to the itchy-O catalogue, sure to appeal to connoisseurs of the experimental, the contemplative, and the avant-garde.

Debut 12" from the new label RE-DISCO-VER. A new series from SOULSIMMER & ALVARO who have been delivering sundry melodies at their intimate and private gatherings for some time. Check out these 4 simmered and extended adaptations aimed to peak your interest. Limited color vinyl. Paper sleeves.

Sublime private-press piano improvisations channeled from another world by Willem Nyland. Remastered from the original tapes and reissued for the first time, with in-depth liner notes by Matt Marble of the American Museum of Paramusicology. A Columbia-educated chemist by profession and a self-taught pianist by affinity, Willem Nyland (1890-1975) is known as a spiritual teacher in the tradition of Greek-Armenian mystic George Gurdjieff. In the mid/late 1960s, a split with Gurdjieff led Nyland to start his own group in upstate New York. There, after a Friday night lecture on 'The Work' and a shot of brandy, Nyland would launch into remarkable piano improvisations on a specially tuned baby grand, sometimes playing for over an hour. Each improvisation was meticulously recorded and cataloged, a major part of Nyland's teachings. 16 of these recordings were released as standalone LPs on Nyland's own Gauge Hill Press, with artwork by Hungarian American decorative artist Ilonka Karasz, Nyland's wife of over 50 years. These records, with their cascading, deeply emotional playing and beautiful cover art, have become highly coveted by collectors and "paramusicologists." Each contains depths of spiritual information and lyrical, almost visual instrumental storytelling. Nyland deftly and subtly shifts moods and tones throughout these truly inspired extended improvisations.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more!Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Die Ballade von Wallis Island erzählt die Geschichte von Charles (Tim Key), einem exzentrischen Lottogewinner, der allein auf einer abgelegenen Insel lebt und davon träumt, seine Lieblingsband McGwyer
Mortimer (Tom Basden und Carey Mulligan) wieder zusammenzubringen. Sein Traum wird überraschend
Wirklichkeit, als die ehemaligen Bandkollegen und einstigen Liebenden seiner Einladung folgen und ein
privates Konzert in seinem Haus auf Wallis Island geben. Doch alte Spannungen kommen wieder an die
Oberfläche, während Charles verzweifelt versucht, seinen Traumauftritt zu retten.

"Platinum Rare 1" enthält extrem seltene Aufnahmen aus dem Privatarchiv von Andy Scott, eingespielt von den vier SWEET Originalmitgliedern. Fans der Band werden von dieser Sammlung von seltenen und alternativen Takes und Mixen begeistert sein.

‘Mormaço Queima’ is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. ‘Mormaço Queima’ has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, ‘Mormaço Queima’ is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben. Die Vinylausgaben kommen im Oldschool Tip-On-Jacket mit metallischer Silberfolienprägung und einem 12-seitigen Booklet mit ausführlichen Linernotes des Gelehrten und Pianisten Thomas Feng.

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

New R&B discoveries continue to emerge and entertain the many followers of the New Breed musical cult; nobody finds more than the Kent connoisseurs.
Berna Dean’s two previously unheard recordings are by far her best. They were laid down at Cosimo Matassa’s New Orleans’ studios by GNP Crescendo but eschewed in favour of two relatively average sides. The great 50s R&B songwriter Jesse Stone provides a rocker for the much-admired Jimmy Breedlove and a super-catchy ‘This Morning’ for an unknown mixed vocal group that has a joyous gospel feel. Jesse also penned ‘Private Eye’, a classic early 60s story-song, for Buddy Wilkins which was issued on Al Sears’ Tri-Ess imprint.
The title track is used twice, on two very different Fraternity recordings. Kenny Smith’s version was issued in 1964 and has many followers, but the equally meritorious Coasters-inspired composition by the Citations is newly discovered. Win Menifee’s ‘I’m Runnin’ Around’ from the same Cincinnati label comes complete with a fascinating back-story.
There are three cover versions. Vermettya Royster’s ‘All Around The World’ is backed by James Brown’s 1961 band, while Roosevelt Lee's 1970 update of the 1947-originated ‘Hey Little Girl’ funks the tune up a la Godfather of Soul. The cover that will make the biggest noise is undoubtedly west coast band the Afterglows’ version of Barbara Lynn’s evergreen dancer ‘I’m A Good Woman’ – this is a future monster.
Golden Crest provides two fabulous male vocal group sides – the swinging ‘What’s On Your Mind’ by Eddie Daye’s Four Bars and the delightful harmonies of the appropriately-named, but unknown Delights ‘Mary Don’t You Weep’.
Blues still thrived into the 70s as Albert Washington’s mean and moody ‘Case Of The Blues’ proves. Smokey Wilson took the music into the late 70s with the storming ‘Goin’ Away Baby (Round Like An Apple)’, which benefits here from a 45-style edit. His Pioneer Club on 88th Street in South Central L A provides the atmospheric photo for this collection.
More early 60s movers come from Wilbur “Hi-Fi” White with ‘Don’t Look Now’, future hit songwriter Johnny Madara’s raucous ‘You Make Me Mad’ and Big Boy Groves ‘Bucket O’ Blood’ which brilliantly describes the kind of club these tracks would fit right into.
The LP version loses a few tracks, but so many collectors have strong preferences we’ve thrown the vinyl junkies a lifeline.

This is an album made during a crucial period in South Africa’s history during which there was a palpable feeling of a slow turning towards the collapse of the apartheid state side by side with an increasingly well-organised culture of resistance through the formation of the United Democratic Front (UDF) and various affiliated bodies. However, as a result, there was increased pushback from the state security establishment, a turning to dirty tricks and the formation of hit squads whose members murdered and tortured many of our friends and created chaos throughout South Africa as well as neighbouring countries.

This album is situated in this political environment however it took advantage of the new do-it-yourself music technologies available at that time. Technologies that made it possible to make and release records without interference from traditional record company executives. Two musician friends of mine pooled their resources after their respective bands had broken up. Ivan Kadey (National Wake) and Lloyd Ross (Radio Rats) built an 8-track recording studio control room and fitted it out in a second hand caravan and called it Shifty. They parked it in a garage attached to the only house left in a demolished and derelict mining village near Soweto on the outskirts of Johannesburg.
All the work on this album was completed there, mainly after hours and mostly alone where I enjoyed an exhilarating freedom to develop a whole new set of musical skills and ideas, incorporating my love of a wide range of music I’d grown up with. Influences of 1970s progressive/kraut/and psychedelic rock combined with mbaqanga bass styles, early reggae/dub and Indian tabla rhythms. Stockhausen, early Zappa and Holgar Czukay were radio text and shredding influences, and Chris Cutler’s band Henry Cow & Art Bears helped me see a way to political expression. Mostly though was the exciting post-punk and no-wave music coming through to us from Europe and America: bands like This Heat, the Mekons, Raincoats, Sonic Youth and Pere Ubu were immensely important to me as was my reading from the period: J.M.Coetzee’s first 3 novels are strong influences on Free State Fence; the stark landscape, superstition, ritual, and sexual repression are in many of his settings. JG Ballard was a constant presence throughout that period, especially whilst living in such a surreal environment, surrounded by mine dumps, but mostly I think the whole French post-modern philosophical movement—Derrida, Foucault and of course, Baudrillard’s Simulacra and Simulation—set out a new sense of possibilities, possible ways to express oneself, ways to think, and ways to try and analyse the political intersection of public and private life. Most important at that time was the influence of sound recordings I had made and experiences garnered from working as a sound recordist on documentary films. These financed my work and later the studio and were consistent employment throughout the 1980s. Film work also enabled me to experience much of South Africa that was hidden from most. The track Independence Day is a good example; drawn from some time spent in the rural homeland of Venda. This then was the first full length Kalahari Surfers album, completed in summer of 1984 it was taken to EMI pressing plant but rejected by the cutting engineer as being ""political, pornographic and anti religious"". Chris Cutler at Recommended Records took up the challenge and released the album through his label. He wrote the original liner note

Limited reprint of the sold-out Volume 3 from the Underground Wave series, featuring Belgian and Dutch wave, synth, and minimal artists. Most tracks were previously only on cassette. Walhalla Records is dedicated to reviving the 80s/90s cassette scene by releasing rare material, often for the first time

Real special folky 7"...

An official collection of otherworldly and beautiful folk songs performed in 1980 in Canada by pupils (singers) and their teachers (instruments). Three songs are taken from a scarce privately pressed 'mysterious' Lp released under a different moniker. Two songs are unreleased songs from that session in 1980.

Das dreifach Grammy-nominierte Duo ODESZA hat sich für eine neue 7-Track-EP mit der Apple TV+ Hit-Show, „Severance“, zusammengetan und den unverwechselbaren Klängen von Theodore Shapiros Emmy-Award-gekrönten Kompositionen ihre einzigartige Handschrift verliehen.

?Die Musik, die zum ersten Mal auf dem 8-stündigen Visual-/ Audio-Erlebnis, „Music To Refine To“, zu hören war, ist eine Anspielung auf die Idee eines Soundtracks für deinen „Innie“ bei der Arbeit. Der nahtlose 23-Minuten-Mix läuft in einer Endlosschleife und lässt die Hörer:innen in die verschiedenen Motive, Klänge und Atmosphären der Show eintauchen. Seit seiner Veröffentlichung vor zwei Wochen wurde das Video mehr als zwei Millionen Mal angeschaut, während ODESZAs soziale Posts über die Zusammenarbeit im gleichen Zeitraum mehr als 3,5 Millionen Aufrufe erreichten.

?In der mehrfach preisgekrönten Serie, deren zweite Staffel am 21. März 2025, zu Ende ging, leitet Mark Scout (Adam Scott) ein Team bei Lumon Industries, dessen Mitarbeiter:innen sich einer Trennungsprozedur unterzogen haben, die ihre Erinnerungen zwischen Arbeit und Privatleben chirurgisch trennt. Mit einer renommierten Besetzung, zu der auch Zach Cherry, Britt Lower, Christopher Walken, Patricia Arquette, Tramell Tillman, Michael Chernus und John Turturro gehören, wurde die Serie von der New York Times als „ein fesselnder Thriller“ bezeichnet.

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975 the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend has already been practiced by a small group of Romanian composers lead by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bared the shade of authenticity.

[b] A2 Rich Girl, Arranged By – Christopher Bond, Daryl Hall, John Oates, Arranged By [Strings] – Christopher Bond, Written-By – Daryl Hall

Michael Nau's solo career began with songs crafted and composed in private moments, later to be shared with musical compatriots and reimagined with auxiliary input on records like Michael Nau & The Mighty Thread, Mowing, The Load EP, and Some Twist. These early drafts were stashed away in the vault as Nau strode forward, but after a taxing spring of touring in support of his latest album Less Ready to Go, and recording and self-releasing the stripped-down informal release So On So On, Nau found himself hunkering down at home and rediscovering old gems in his archives. The search yielded a new digital collection of Nau's initial forays into solo work, bundled together as Demo Versions, 2014 to 2017. In their initial incarnations, these songs were less about the end result and more about the discovery. "They're the seed," Nau says of the material. "These recordings are essentially the writing of the songs_ written and recorded at the same time. There's something exciting about them for that reason. It feels magical any time the start of a song arrives, let alone gets `finished.'" These early drafts don't just serve to shed light on the creative process or expose the malleability of Nau's songwriting approach; they often frame the material in an entirely new context. Demo Versions' opening track "The Glass" is a bare-bones affair of acoustic guitar, bass, and vocals_a breezy Sunday morning song that sounds markedly different than the layered lounge-rock approach that later appeared on Mowing. "Light That Ever," with its wall-of-sound production, serves as a climax to Some Twist, but in its infant stage on this collection, it's a beautiful, intimate folk song. Ultimately, all ten songs off Demo Versions, 2014 to 2017 reveal a new side to these fan favorites, with Nau's lush arrangements and unorthodox accompaniments largely absent, and the simple beauty and grace at the heart of the material at front and center.

Brand new studio album from BBC Radio 2 Folk Award winning singer, songwriter, producer and multi-instrumentalist, Sam Kelly - His second album for Navigator, the first, the hugely acclaimed 'Pretty Peggy' (with The Lost Boys) in 2017 - available on CD & Ltd Edition Vinyl.

'Dreamers Dawn' features Sam's signature eclectic arrangements of traditional folk songs, seamlessly interspersed with stunning original music from the pen of Sam and his Lost Boys band collaborator and banjo virtuoso, Jamie Francis. The album takes the listener on an eclectic journey, all the way from fantastical moonlit adventures of privateering and poaching, to introspective reflection & solemnity, as centuries old folk songs sit alongside modern themes of mental health and exploration of the inner self.

Sam and Jamie have gained a reputation as one of the most innovative and important partnerships to come out of the UK folk scene in recent years, and 'Dreamers Dawn' is a suitably groundbreaking addition to their impressive portfolio.

Explosive UK producer Bullet Tooth — one of the most talked-about names in bass music for 2025 — crashes onto Time Is Now, the cutting-edge sister label of Shall Not Fade, with a thunderous three-track EP that delivers nothing short of pure, sub-heavy chaos. Known for his genre-warping blend of UKG, breaks, jungle, and grime-inflected basslines, Bullet Tooth has been making serious waves in the underground with his uncompromising sound and high-octane DJ sets.

Drawing influence from the raw energy of early dubstep and the precision of modern UK club sounds, Bullet Tooth’s productions are built to devastate dancefloors — and this latest release is no exception. Packed with seismic low-end pressure, razor-sharp percussion, and twisted vocal chops, each track is a statement of intent from a producer firmly in his stride.

This marks Bullet Tooth’s debut on Time Is Now, a label that has rapidly become a cornerstone of the UK’s contemporary bass scene. Since its launch, Time Is Now has earned a reputation for championing the next generation of bass-heavy innovators — from UKG and breaks to jungle and speed garage — offering a platform for artists who push the boundaries of sound system culture with forward-thinking flair.

With this release, Bullet Tooth not only cements his place among the UK’s most exciting producers but also adds another essential entry to Time Is Now’s ever-growing catalogue of future classics.

35. Jubiläumsfeier von MÖTLEY CRÜEs Nr. 1 in den Billboard Top 200 und 6-fach Platin-Album. Enthält die Hit-Singles „Kickstart My Heart“, „Dr. Feelgood“, „Don’t Go Away Mad (Just Go Away)“, „Without You“ und „Same Ol’ Situation (S.O.S.).

Mit fünf riesigen Hit-Singles, die die Wunsch-Hotlines von Radio und MTV überlasteten, war MÖTLEY CRÜE auf der Dr. Feelgood World Tour über 2 Jahre lang mit ihrem eigenen Privatjet unterwegs und in der Luft. Die erste Single „Dr. Feelgood“ mit ihrem sofort einprägsamen Anfang, dem eingängigen Refrain und dem düsteren Musikvideo gab den Ton an und erreichte die Top 10 der US Hot 100 Single-Charts. „Kickstart My Heart“ war bei seiner Veröffentlichung ursprünglich ein Top-30-Hit und entwickelte sich zu MÖTLEY CRÜEs beliebtestem Meilenstein. Von der Kreissägen-Einleitung über den Cheating-Death-Text bis hin zum Musikvideo, das bei einer seltenen Rückkehr zu einer Clubshow im weltberühmten Whisky-ago-go in Hollywood gedreht wurde, hat es mittlerweile weit über 1,5 Milliarden Streams verzeichnet und ist fast täglich in Filmen, Werbespots, Videospielen und Sportveranstaltungen auf der ganzen Welt zu hören!

"As one of the biggest albums of the ‘80s, Foreign Affair showcased Tina Turner at her very best, further cementing her position as The Queen of Rock ‘n Roll. Celebrated in this 2LP white vinyl edition (33rpm), it includes the original album fully remastered for the first time.

Foreign Affair was Tina’s third studio album since her dramatic global resurgence, following the monumental success of Private Dancer (1984) and Break Every Rule (1986), as well as her lead role in Mad Max Beyond Thunderdome in 1985. It went on to be a multi-platinum record across the world, including UK, Germany, Switzerland, Canada, Australia and many more. The biggest track to come from the album was the 80s anthem, “The Best.” The track continues to transcend generations, with one of the most recognisable choruses in music history. On top of The Best, the album is complimented by several Tina favourites, such as Steamy Windows, I Don’t Wanna Lose You and the title track Foreign Affair."

Wewantsounds is delighted to continue its Algerian music reissue program with the release of Les Abranis' coveted 1983 LP, Album No. 1. Originally recorded in Paris and privately pressed by the group, the album is now being reissued for the first time. Curated by Cheb Gero, who recently compiled the Sweet Rebels Rai set for Wewantsounds, Album No. 1 is a masterful blend of Kabyle grooves, funk, and hints of reggae. Also known as Id Ed Was, the album is reissued with its original artwork, remastered audio by Colorsound Studio in Paris, and a two-page insert with new liner notes (in French and English) by journalist Rabah Mezouane.

Fit for Consequences: Original Recordings, 1984–1987 is the first ever archival release from Repetition Repetition, the “two-man electric minimalist band” consisting of Ruben Garcia and Steve Caton hailing from Los Angeles in the mid 1980’s. Repetition Repetition’s unique blend of cosmic art-rock minimalism / maximalism was self-released across a series of cassettes produced in micro editions, and while garnering the attention and participation of luminaries such as Harold Budd, remained under the radar during the band’s existence. Fit for Consequences: Original Recordings, 1984–1987 collects select material from across the duo’s catalog.

It was over a plate of Mexican breakfast food when Ruben Garcia and Steve Caton first told Harold Budd of Repetition Repetition and the worlds they intended to explore by respective way of synthesizers and guitars --- a rendezvous instigated by the former’s fan mail to the legendary composer. If the upstarts entered this restaurant from a one-way street of admiration, they would leave with not only Budd’s interest but, sometime later, a blessing in the wake of many hours shared by the three in Garcia’s Los Angeles home recording studio: “This is going to be difficult, but God help them, I think they’re great,” noted Budd in a USC lecture in 1985. Now several degrees removed from prior rock music aspirations, the real game was afoot.

Between 1984 and 1988, Repetition Repetition operated within something akin to the underground of the experimental underground, although even that designation perhaps overstates the case. The duo’s sparse output consisted of three cassettes self-released on Garcia’s Third Stone Music label: Repetition Repetition (1985), Lakeland (1987), and The Machinist (1987). Their songs would also be included during this period on Trance Port Tapes’ vital scene-scanning compilations assembled by A Produce. Live performances occurred with similar infrequency, but Garcia and Caton counted converts in quality over quantity, numbering among them the aforementioned Budd, a Chambers Brother, and, judging by a memorably drop-jawed reaction following a rare Repetition Repetition gig, Jackson Browne.

Likewise, critical support materialized in the form of KCRW deejays Brent Wilcox and Dean Suzuki, whose steady airplay positioned Repetition Repetition’s music amidst fearless company like Jon Hassell, Hiroshi Yoshimura, and Richard Horowitz. Yet, to hear fellow Trance Port featured players like Tom Recchion and Bruce Licher of Savage Republic tell it, Garcia and Caton moved as ghosts --- a notion more vexingly endorsed by the silence of record companies that failed to come knocking --- and therein lies an overarching truth to the work itself.

Journey to the heart of Repetition Repetition and one discovers a collective ear impossibly attuned to the hypnotic possibilities of stylistic convergence, the resulting music possessed of seamless multimodalities which beckon to a glimmering plane of the disembodied. Where Caton sought his artistic fixes at an intersection of popular genres, Garcia zoned in on the sonically spare, drawing from the same wellspring as the Enos and Rileys of his personal avant-garde pantheon, and in their coming together the two tapped into a deeper cosmic source. Synthetic walls of keyboard sound in forever states of reprise met waves of shimmering --- and at times even punishing --- guitar in reply, their soundscapes hovering convincingly between, as suggested in fittingly dualistic fashion in a press kit assembled by Garcia, such disparate sensations as bird flight in one song and oil drilling in the next.

But don’t call it a push-pull dynamic, as this was a creative partnership founded upon fluidity and organicism by way of, naturally, repetition. In contrast to, say, the Bressonian ideal of repetitive motion as a great stripping away, the concept in the hands of Garcia and Caton equated to ascendancy via continuous unfolding, a maximal route to minimalism. To be sure, their recording philosophy morphed over the course of the act’s short history, and what started as a process defined by consistent in-person interplay developed into a more isolated method formulated by Garcia, who eventually took to his own one-man bedroom-studio sessions in order to fully chart any and all potential ostinato-loaded paths which he could travel down, the Tascam-captured resonances subsequently provided to Caton as blueprints from which to take flight himself, adding layer upon layer of steel to the proceedings.

If the practice and execution changed, however, the evidence certainly didn’t rest in the results: The seamlessness remained, and, despite the brevity of their time together, so has Repetition Repetition. With this finely calibrated collection of songs in Fit for Consequences: Original Recordings, 1984–1987, Freedom To Spend sees to it that the private worlds of Garcia and Caton can now be visited by all rather than just the count-‘em-on-both-hands lucky few whose musical endeavors or collector vocations carried them into this once-distant dimension.

Repetition Repetition’s Fit for Consequences: Original Recordings, 1984–1987 will be released on Freedom To Spend in vinyl and digital editions on May 30, 2025. The collection includes extensive liner notes from Bill Perrine, and wil be offered alongside Over & Over, a supplemental collection of music available exclusively as a mail order cassette from Freedom To Spend and RVNG Intl.

"Platinum Rare 1" enthält extrem seltene Aufnahmen aus dem Privatarchiv von Andy Scott, eingespielt von den vier SWEET Originalmitgliedern. Fans der Band werden von dieser Sammlung von seltenen und alternativen Takes und Mixen begeistert sein.

Ecstatic’s dreamiest cadets bliss out on a new album of acoustic and electric guitar, harmonium and synth tapestries, notably nestling a Romance cameo within a genteel toggle of atmospheric pressure.

Back on (side) road after releasing quietly acclaimed kosmische gem ‘I Had too Much to Dream Last Night’ back in 2021 and the lysergic lushness of ‘Listen to the Sky’ a couple of years later, Celestial suggest a more sublime return to earth with the shine-eyed wonders of ‘I Can Hear the Grass Grow’, an album that soothes to the supine in eight shimmering parts of pearlescent melodic motifs marbling harmonious backdrops intended to tenderly comb nerves straight.

The duo take their role as seductive sandmen with a curious melodic wit that leaves something to the imagination whilst nudging it along the album’s narrative thread. A courtly flamenco lick flickers in opener ‘The Endless Stair’, one of the most restrained recordings we've heard from the childhood friends; blessed with just a little reverb and echo, as if a mic's been lowered into some dimly lit basement while Celestial puzzle out mystifying, interlocking harmonies. It hits a mid-point between John Fahey's raga-inspired Americana and Vini Reilly's rain-soaked Northern blues - the emotion throbs from every note.

Celestial's music is never too polished, giving it the fuzzy, uninhibited flair of a long-lost mail order private press and instilling it with a level of humanity that's rare to discover in the new-new age. Even when mysterious labelmate Romance turns up to ornament 'Mermaid Boulevard' with backmasked electronics, it's their low-slung Ry Cooder-esque guitar/bass that provides the narrative anchor, while the title track and spongiform analog textures of ‘Song For The rainy Season’ dial it right down to a Harmonia-via-BoC pastoral sublime. Vini Reilly and Eno’s influence is most surely felt on the swaying elegance of ‘Sweet Sleep, Angel Mild’, with a central motif that lingers on the mind long after it’s stopped playing, whilst their closing couplet perfectly resolves the cycle with a melancholic kiss-off for the ages.

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

Tàrrega 91’s straightforward take on Discharge-inspired hardcore punk is a glass of fresh water in a polluted sea of bands trying to break through the algorithm and grab a few seconds of our ever-decreasing supply of attention. There are no gimmicks on Ckaos Total, just simple three and four-chord riffs, a driving drumbeat (you can guess which one), and thoughtful lyrics delivered with power and passion. Tempos vary from fast, to really fast, to ultra fast, with most songs in the latter category. Without studio effects, silly costumes, or metal chops to distract, the focus falls on the songs themselves, which distill a profound sense of hopelessness and frustration into a few defiant words to yell into the void. In their lyrics and artwork, Tàrrega 91' continues to draw inspiration from the 1991 uprising in their town that ended with the arrest of 86 young people, a history that makes them keenly aware of exactly what they’re pushing against. While so many contemporary bands emulate the aesthetics of punk’s classic era, on Ckaos Total Tàrrega 91 taps into the power of bands like Discharge, Wretched, and MG-15 by creating simple, sincere—and sincerely pissed—protest music.