“Amazing unissued recordings by cult psych/prog band T2, featuring their later line-up, still with the great Peter Dunton on drums/vocals but now with Andrew Bown replacing Keith Cross on guitar and bass player John Weir on most of the tracks. There's also guest appearances by Dunton's friend Andrew Keeling on flute and slide guitar player Will Killeen. Similar to their classic It'll All Work Out In Boomland and 1970 albums, this is highly recommended to any fan of underground hard-rock and proto-metal...

Legitimate vinyl reissue of this rare and legendary album. TMT was led by Fluxus member Takehisa Kosugi (electric violin, harmonica, voice, etc.) with Kyo Koike (electric double bass), suntool, voice, etc.), Yukio Tsuchiya (bass-tuba, percussion), Beiji Nagai (trumpet, synthesizer Mini-Korg, timpani), Tokio Hasegaw (voice, percussion), Kinji Hayashi (electronic technique), Hirokeszu Sato (percussion, voice). Recorded live at Nippon Columbia Studio #1, Tokyo, August 19, 1974. Four side-long improvisations...

Comes in a Stoughton "Tip-On" jacket with printed inner sleeves.

"The highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring...

“Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross-generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox. As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype. Above all else, the fox is famous for its cunning nature. Renard Bleu marks the first new music released by Takada in nearly twenty years...

“Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. The performance by Takayanagi Masayuki New Direction for the Art at the Gen'yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians'...

“In August 1969, Masayuki Takayanagi formed his first New Direction group and embarked on an unparalleled musical journey that over the final 22 years of his life would define him as an uncompromising artist who would forge a visionary new musical language. Comprised of himself on acoustic and electric guitar and joined by Motoharu Yoshizawa on bass and Yoshisaburo "Sabu" Toyozumi on drums, Takayanagi's group created a new unconstrained form of music; It expanded on the most radical, fiery elements of...

“A real neo-krautrock album with all the typical ingredients, such as long tracks, guitar freakouts, totally kosmik effect orgies, double drumming and out of this world atmospheres. Both bands met for a concert together as one band at 20th of September 2019 in the cult club Sabotage in Portugal's capitol city Lisbon. Sadly the Sabotage has not survived the corona lockdown. Electric Moon is Germany's beloved psychedelic rockband, who played all over Europe and released so many albums. Talea Jacta is one...

"Talibam! delights in creating music that cannot be pinned down within the safe-spaces of existing genres. With each new album, Talibam! reinvent their methodological palette in order to bolster a fresh clarity of joyous auditory surprise, something their fans have come to depend on. Talibam! focus on compositional clarity, with reverence for their diverse interest in genre. On Hard Vibe, they push the pulse of motorik rhythm through a psychedelic jazz filter. This time out, they have created a sonic...

"Acclaimed British progressive rock band The Tangent has announced the release of “Auto Reconnaissance,” the group’s eleventh studio album. “Auto Reconnaissance” includes the same line-up that made the preceding album, “Proxy”.
“Auto Reconnaissance” is stylistically highly varied with three songs described as being very pop-centric, dotted around an album which has a 28-minute long Progressive Epic titled “Lie Back & Think Of England,” filled with abundant twists and turns, and a 16-minute fusion...

“After an eventful year of touring throughout their native Australia - including runs with labelmates MONO and likeminded pioneers Tortoise - and featuring alongside the work of artist David Hockney at the National Gallery of Victoria, post-everything quintet Tangents return with another album, and another stylistic detour. New Bodies continues Tangents' rummage through countless varieties of electronics, rock, dub, noise, and free improv jazz that defines the group's acclaimed aesthetic. The spacious...

Beautifully packaged edition on bright orange vinyl of the classic third release by Tangerine Dream, recorded and released in 1972 on OHR.
After Alpha Centuri, Froese added Peter Baumann to replace Steve Schroder and now, with Chris Franke still in the band, this was the first release by the classic trio version of the band.
While T.D. have a nice handful of superb albums and an very large number of very good albums, for me Zeit is their pinnacle achievement. Four pieces spread over 4 sides...

"Previously unreleased homemade recordings from 1971 by Barcelona’s hairiest power trio. Raw, in-your-face hard-rock and proto-metal plus some surprising psychedelic, Canterbury styled moves. Featuring the very first line-up of the band comprised of killer guitar player Miguel Ángel Núñez, the legendary Tapi (ex-Máquina!) on drums and Pepe Fernández on bass. Includes a cover of Black Sabbath's "Planet Caravan", a killer first version of "No Control" featuring Núñez on guitar (later recorded again for...

“A cornerstone document from the Los Angeles jazz underground, Flight 17 -- the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott.
The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people. Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz...

“One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Tapscott was the undisputed keystone of the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association) and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicenter of music, culture, and politics in the Los Angeles area. Hundreds of musicians passed through these groups and...

"Tasavallan Presidentti is the most famous and successful Finnish progressive rock band together with Wigwam. Their guitarist was Jukka Tolonen who is widely considered as one of the greatest Finnish guitar players ever. In the early 1970's this group was known for their artistic jazz influenced progressive rock music.

Milky Way Moses was their fourth studio album and also their last album before (their reunion album) Six Complete which was released in 2006. The sound of this album could be....

“Tasavallan Presidentti's 1st incarnation with vocalist Frank Robson performed their last studio session at YLE Broadcasting Company in Helsinki, 1971. This session was, however, completely buried by time and forgotten, until Svart Records accidentally stumbled upon an archival copy.
This studio session recording from the autumn of 1971, found from the archives of the Finnish Broadcasting Company, is a sensational discovery in many ways. It is a studio live session which the band recorded just before..

“Released in 1983 on a miniscule run of 300-self- financed LP’s, Dennis Taylor’s ‘Dayspring’ remains a lost masterwork of transcendental instrumental guitar.
An important missing link between the 60’s folk- loric experimentalism of John Fahey and Robbie Basho, and the new age atmospherics mined by William Ackerman and Michael Hedges in the early 80’s.
Though Taylor’s guitar playing remains crisply unadorned on these 10 tracks, his technique and his compositions stretch beyond the folk roots.”

This is an album of Mike Taylor's music, but Mike Taylor doesn't appear on it because he had been dead for 5 years by the time of this previously unreleased Lansdowne recording by his friends who are paying tribute to him and his work here. This includes many of his unreleased compositions and in most cases it also includes his original arrangements of those scores. Musicians here include Henry Lowther, Ian Carr (trumpets), Barbara Thompson, Ray Warleigh, Stan Sulzman, Dave Gelly (reeds) Peter Lemer...

"An expanded reissue of Telaio Magnetico's Live 75, including unreleased tracks from the super group's only tour in 1975. Telaio Magnetico was composed of Franco Battiato, Lino Capra Vaccina, Juri Camisasca, Mino Di Martino, Roberto Mazza, and Terra Di Benedetto. In the mid '70s, the Italian underground scene seemed to mature an existential priority of yearning toward a new psychological universe, with a firm idea to colonize an uncharted space of a necessary and infinite path of spiritual redemption...

This is the third studio release from one of the best Rock Progressivo Italiano bands currently out there at this time and the band is made even better by having on board ace-drummer Mattias Olsson behind the kit!

"As the preceding album, also in this case the title is a word game. The union of latin verb "ludere", that means 'the act of playing', with the italian article "il" generates a dualism between "il giocare" (the act of playing) and the verb "illudere", that means 'to deceive' or...

This excellent Brazilian release was described to me as "the Brazilian Gentle Giant", which led me a little bit astray the first time I popped it in, as I was expecting 4 part vocals. They don't do that, but there is a lot of musical busy-ness and activity, counterpoint and interlocking parts, which are reminscent of Giant a little bit.
But, I think what my friend was trying to convey to me was the high level of musicianship and intricacy, which is something that they DO share with GG. And sometimes..

"Tetragon, successor of Trikolon, were founded in Osnabrück (Lower Saxony) in the spring of 1971. They released their first and only LP, “Nature”, in that very year. It came out as CD on Musea in 1995. At the end of 1971, Tetragon recorded in a Hamburg studio five long tracks in their well-proven style for their second LP, the release of which, however, failed. Fortunately, the master tape has survived until the present day, so that now, 38 years past schedule, the work is released on CD. Three of the

"The meeting of three expatriate Hungarian musicians who had been touring with the Hungarian Philharmonic when they jumped ship and stayed in Germany, with three German musicians. An appealing 1973-styled blend of progressive rock with classical, jazzy and folky influences. Lots of classical pretensions and influences, with lots of flute. Vocals, flute, guitars, violin/viola/piano/organ, bass and drums. They shortly afterwards went on to work with Louis Hardin aka Moondog (!), but there doesn't seem to...

Glen Sweeney – hand drums
Paul Minns – oboe
Richard Coff – violin
Ursula Smith – cello

T he Third Ear Band were a late 60's/mid 70's quartet who were fixtures at ALL the festivals & who used hand drums, oboe, violin/viola & cello to make a mostly improvised, dark, pagan & medieval-influenced, acoustic music that sounded like no one but themselves. The only thing that comes close to their sound is some small bits of the early Univers Zero records.
They called themselves "electri

“In many ways, the nuanced sound worlds created in the studio by This Heat are tailor made for sedentary headphone listening. But pulling off such complicated, genre defying compositions live was surely something to witness. Until now, there was no real official document of the group’s live performances. Compiled by Charles Hayward and Charles Bullen from rough cassette tape recordings of European gigs in Tilburg, Nijmegen, Ärhus, Apeldoorn, Vienna and Rheims between April 1980 and June 1981, Live 80-81...