What would prove to be a celebratory occasion for the B-side alone brings reverent and contagious fervor with the label’s revelation on the flip: Dennis Ferrer’s Grammy-nominated ‘Objektivity’ remix of Dido’s ‘Don’t Believe in Love’, along with an ‘Edit & Overdub’ interpretation from Joaquin Joe Claussell. Whereas Ferrer’s deservedly celebrated mix has never been properly pressed on wax until now, The A-side's take on the ‘Objektivity’ mix was only previously available on the tragically now financially-unavailable Unofficial Edits & Overdubs promo 12” from 2011. Heightening the drama through sheer synth weight, plurality, and effortless pacing, Claussell's ever-shifting keyboard interaction and signature percussion missives contort the track into new forms and extensions, paying respect to both predecessors and ensuring such a pairing more than lives up to expectation. 

The string of relentless Joe Claussell remix combustion continues, this month with the metal-fastening Swiss duo’s distinct brand of sleek, 1980’s synth-pop as the muse. Having appeared on past releases in various forms and mixes, here we’re bestowed with 12 minutes of non-attenuated rhythmic tautness, heat-treated lead lines and that unambiguous vocal refrain squeezed for all its worth, Boris Blank & Dieter Meier’s original electro pressure-cooking classic is rendered ionized and somehow even more awe/anxiety inducing than the original 1981 dance floor cut. Pure madness pressed on yellow wax, single sided.

Fresh from the critically embraced full-length LP/CD, Downward Staircase now arrives in a special remix release - answering the persistent calls from supporters of Joaquin “Joe” Claussell who have been demanding a 12” single. The wait is over.

Downward Staircase is an Afro-Jazz House composition crafted in a way only Joaquin himself can manifest. Layered with masterful percussion from a host of renowned players, the groove is both infectious and deeply rooted. The rhythm section drives with purpose, creating the perfect foundation for the stunning piano work of Joaquin’s longtime production partner and favored pianist. The result is a powerful Afro-dance journey - spiritual, percussive, and built to ignite dance floors wherever it’s played.

Also featured on this EP is another Joaquin Joe Claussell remix titled Kwelo, featuring Afro-dance originator Mr. Jephte Guillaume. A collaboration rich in heritage and forward motion, it further expands the sonic landscape of this release.

This project has been over a year in the making - a true labor of dedication and persistence. We’re incredibly excited for its release, and we know our loyal following shares that excitement. In many ways, it was your continued support that helped bring this record into existence.

White vinyl, white jacket.

7” pressing of a surefooted classic with Todd Terje’s compounded edit on the flip. Why not?

New 7” supplement to the 12” from last year, featuring 2 formally truncated mixes of this gospel dance floor wonder, including an a cappella on the B-side.

Connoisseur taste. Leadoff from King’s 1975 LP of the same name, mirrored on the flip-side with two versions of another eponymous leadoff from 1980.

Electrifying heavy sessions recorded in 1997 featuring the classic Mainliner + Musica Transonic lineup of Nanjo Asahito (High Rise), Kawabata Makoto (Acid Mother) and Yoshida Tatsuya (Ruins) driving into new divergently fried terrain(s). Here, Nanjo and co. are on a quest to find new directions, and while the sessions were for an abandoned Mainliner album, a good portion of Solid Static hews more closely to the moment-to-moment deconstructions of Musica Transonic. The propulsive ten-minute opening title track is a lost gem in the canon of Japanese psychedelia and rock and roll -- beginning with one of Mainliner's bludgeoning motor-psycho riffs, it veers off into auratic space, Kawabata's snake-charming guitar weaving around Nanjo's buzz-fire bass and Yoshida's multi-limbed drumming. Musica Transonic's improvised and jazz-informed take on psychedelic rock is writ across the distended rhythms and arcing bass and guitar lines that scrawl across "Prosecutor" and "Topsy Turvy," or the slurry of distorted tone that rolls through "Rot Way." Available for the first time on LP or any physical form aside from a clutch of CDR's sold at a few live dates in the late '90s. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve.

The official Konrad Schnitzler discography lists Eruption, released in 1971, under the title Schwarz, as the first Schnitzler album. In actual fact, Eruption is the third and final LP by the group Kluster, following Klopfzeichen (BB 110CD/LP) and Zwei Osterei(BB 111CD/LP). The line-up printed on the labels leaves no room for doubt. Unlike the two previous albums, Eruption was not issued by the Schwann Verlag, but by the band on its own, hence the task of financing the record fell to the participants. Roedelius and Moebius, however, were either unable or unwilling to get involved in this risky business. Without further ado, Schnitzler decided to cover the cost of pressing up 200 LPs which he would bring out under his own name. This historical "error" has now been corrected: Eruption is a Kluster album. Seen alongside Klopfzeichen and Zwei Osterei, Eruptionis a different beast altogether. The total absence of lyrics, to begin with; the music is music, nothing more. The listener revels in a pure symphony of sound, its dramatic artistry holding his attention until the very end. And that is the second major difference to the first two LPs. Whereas their furious intensity sounded almost brutally improvised, Eruption appears clearly structured throughout, musical freedoms notwithstanding. Kluster take their time in developing spontaneous ideas here, they get loud and then, for lengthier periods, go quiet, suggesting at times a sense of absolute emptiness, followed by outbreaks of dark anger. The possibilities opened up by live electronics were thrillingly exploited to the limit. And yet there is undeniably a method in the music. In the course of their many live concerts, Kluster had learned to use instruments and electronics constructively, reaching the zenith of their musical powers of expression on Eruption. Kluster disbanded after Eruption. The album is a revealing document of a band striving to stretch the musical spectrum during the early 1970s, and indeed, how capable they were of doing so. Moebius and Roedelius went on working together as Cluster, and Conrad Schnitzler (now with a C) began developing his own vision of electronic music, a project he continued assiduously until his death (2011). Still, all three had their roots in Kluster -- incredibly powerful roots. And Kluster have never ceased to be hugely fertile ground. May their creative inspiration never run dry.

Compilation, previously unreleased work from Finis Africae together with the reissue of their first album "Prima Travesía". A deep trip of the roots of organic ambient with the seminal Spanish band.

"Pulso de la Madera" comes as the definitive official reissue of the first album by the legendary band, along with previously unreleased remastered material, on a double LP with extensive liner notes and previously unseen pictures of the band. Essential to revisit the work of a band that inspired fourth world and organic ambient as we know it today; these tunes sound immersive and still contemporary.

On their short but influential career, Finis Africae proposed an informal and decentralized model of creativity that was decades ahead of current practices linked to technological advances; they explored unknown worlds and imagined landscapes of the “fourth world” apart from their present; they neither affirmed nor denied any of the labels they were to assign to them (“New Age”, “ethnic music”, “world music”, etc.); they recreated, used, and nourished foreign cultures without fear.

This collection features standout soul tracks that have resonated through generations on the underground soul scene. Highlights include 'Theme from the Godfather' by The Professionals and the magical 'Bound' by Ponderosa Twins Plus One. Dyson's Faces deliver a heartfelt 'Cry Sugar,' while Syl Johnson's 'Different Strokes' and Greenflow's 'I Got'Cha' are timeless gems, with 'God's Love' by The Spiritual Harmonizers and 'Mariya' by Family Circle adding rich harmonies. Many of these songs have been sampled by artists like J Cole, Kanye, and Meek Mill and more.

The final album in Pastor T.L. Barrett’s 1970s four-part suite of gospel funk LPs, Do Not Pass Me By finds the fiery preacher getting spaced out on God’s love. Accompanied by his Youth For Christ Choir, the eight-song record is buoyed by the seven-minute opus “Father Stretch My Hands,” later sampled by Kanye West on 2016’s The Life of Pablo. Red vinyl edition.

"'The Other Maria' represents the character trait each of us has inside within ourselves. The silent part of us that we try to regulate, keep restrained from others and managed just beyond reach from the rest of the World. It represents the compartmentalized potential to do, say and respond with great chaotic harm, despite all unfortunate consequences. It is a full release feeling that we sometimes quietly envy as we witness with disgust and disapproval. Widely considered a character flaw to many, yet, some would relish in the opportunity that could summon such an unpredictable internal animal. Every life has two parallel parts. The one for 'them', the version of yourself that abides by all the acceptable and expected rules of engagement -- often a side that is given credit on face value. The side that achieves progress through peaceful and less confrontational means. The one you use to survive. And the other side, the one for you. An uncompromising, unthinkably ruthless version that knows no limit. That knows no fear. The side of yourself that tells you yes, when you know that 'no' is the better answer. 'The Other Maria' isn't about comfort. It is about hard truth, but also recognizing raw emotions that stem from feeling undeniably free. And what could one do with such a dark, yet wonderworking ability -- when the absence of fear and consequence presides over the judicious process leading to an enviable fate -- convinced that all actions are pure, justified, direct, but conniving. The feeling of relieved of all guilt and accountability? But as diabolical as it can be and appear. Along with the negative static, there can be progress. As true imposes are exposed, so does the transparency of reality. A precious truth that's needed to fully understand the severity of the situation. And with this, comes a valuable knowledge from a low level in which one once descended. Dreadfulness is softened to predictability."

- Jeff Mills, April 2023