Astounding 50th anniversary restoration / vinyl remaster of Pearls Before Swine's brilliant debut LP, originally issued by ESP in 1967 50 years later — still One Nation Underground — in the original mono mix that hasn't been heard since the days of the original vinyl pressing! All the better to cut through the sustained smell of BS, idiocy and outright apocalypse in the wind.

Astounding 50th anniversary restoration / vinyl remaster of Pearls Before Swine's brilliant second LP, originally issued by ESP in 1968 From 1968: the second album - and second masterpiece from Tom Rapp's merry band. A host of NYC session players augments the old Floridian Pearls gang, progressing the sound into greater depth, with Rapp's gimlet eye cocked at the world of contradictions that allows so much love and beauty, and so much to destroy it. Newly restored to highlight the gorgeous design of the album, inside and out. Make war no more.

a sky cold as clay is a record of traces, where sounds exist as palimpsests rather than clearly delineated entities. The album’s root is a collage of recordings Rory Salter collected over the last few years. Piano captured on an iPhone, friends throwing sticks at trees in Finland, a hurdy-gurdy laying around a studio – threaded together with tender melodiousness from trickling acoustic guitar, wobbly drones and electrical tones. Each track sounds like a superimposition, as though traces from their original contexts and the processes of their creation and documentation are leaking through.Salter’s day job is as a sound engineer. And across a sky cold as clay we’re offered a glimpse into that work. The way sound acts before it’s captured in a perfect recording or performance, and the possibilities it has before being varnished to a pristine external standard.Opener “during a slack half hour” arrives with the noise floor of a mic-preamp cranked high, dousing us in a blanket of static through which chirring electricity, struck metal and languid acoustic guitar emerge. “In corners, after clocks, on tiled floors” sees unsettling thuds, coughs and voices creep through hissy ether, as though the mic is turned so high it’s picking up the neighbours. On “Where the gains are set” Salter reads a poem which teeters back and forth between the sense of gain as both an audio term and one imbricated in the fabric of a zero-sum, competitive way of seeing the world. Infant Tree - 2025

Now we have The Red Krayola's state-of-the-states address 1999, presented to one and all in grand Red Krayola style, going all the way back to the days when they spelled it with a C instead of a K (c. 1967). Back then, the world was hearing it's first of this now legendary outfit. Having never tried to do anything the same twice, The Red Krayola, manage in a way not to again on Fingerpainting, although this time, in a way, they tried. Fingerpainting features unreleased songs from the distant days of 1966. The 90s Red Krayola shuffles these ancient pre-Arable Red Crayola songs with the sounds of neo-freakouts, live on the world's stage -- free, familiar, ugly, for a whole bunch of new generations. Fingerpainting features both the latter day Krayola and the original Red Crayola, from thirty years back, bringing it all full circle. And thus allowing another circle to be formed as soon as possible." All-star line-up of Albert Oehlen, Bobby Henschen, Christopher Williams, David Grubbs, Elisa Randazzo, Frederick Barthelme, George Hurley, Mayo Thompson, Sandy Yang, Stephen Prina, Steve Cunningham, Tom Watson

another killer drop from the enduring collaborative ferment of The Red Krayola and Art & Language, recorded in 1983

Drawing on the collective mind that have participated in the 90s Krayola Hazel realizes the musical socialism that Mayo Thompson and his various Red Krayoli have historically hunted for since the mid-1960s. Amazing line-up of Albert Oehlen, Christopher Williams, David Grubbs, Elisa Randazzo, George Hurley, Hei Han Khiang, Jim O'Rourke, John McEntire, Lynn Johnston, Mary Lass Stewart, Mayo Thompson, Michael Baldwin, Stephen Prina, Tom Watson, Werner Büttner

Legendary collab from 1976, encontering Red Crayola locked in a brillaint sonic conversation with the art collective Art & Language, recorded in London and New York.

Total burner of a self-titled debut from the all-star quartet, Bitterviper, an all-new configuration of individuals and intent, made up of Nikos Veliotis (cello), Taku Unami (synthesizer), Sarah Hennies (percussion) and David Grubbs (piano, guitars) have all participated – solo and as collaborators – in some of the most striking avant music-making of the past couple of decades. Their quartet’s collective minimalist interplay passes through dense harmonic fields, transcendentally ionized ambient moods and soundtracks.

Minimalist avant-rock from experimentalist Dreyblatt: ultra-rhythmic overtones created from striking piano strings strung to a bass. LP originally released in 1982 by India Navigation Records

The invisible force meets the ancient object — two ensembles for the price of one and a half! Synths, sintir, and much more. Sky music by deep earth people...

An utterly unique guitar/bass/drums triad: the guitar sounds like anything but a guitar; bass and drums simultaneously insistent and relaxed. Telephathic group-think opens a window to fresh fields of fusion: funk-jazz heads, polyrhythmic skeletons, ambient pastorals, post-kraut drones and shimmering soundtrack reveries. A music of sustained tension and deep atmosphere, marked by subtle, shifting dynamics playing out in an open sound field.

Ambarchi, Berthling and Werliin share a fascination with rhythm and the myriad of ways it can subdivide within the beat. Using aspects of jazz, world and experimental musics, each tune settles into a deep groove, digging itself via continuous minimal adjustments into an ever-deeper, eternal groove.

A musing on popular standards and an all-instrumental down mainstreet, USA. Come for the history lesson, stay for the coming of age statement! Jim's pop epic is a personal message, personally from Jim to you.

There ARE no simple songs — only simple people. And since guns don't kill people, "Simple Songs" will have to do. Super-sweet terrorism from our very own latter-day Spector!

Mirror Repair is a 1994 EP by Gastr del Sol released on Drag City. The album was written and performed by David Grubbs and Jim O'Rourke.

Individually and collectively, Gastr have broken down the fourth wall in music that was invisible and we previously didn't know was there.

MICHAEL GREGORY JACKSON‘FREQUENCY EQUILIBRIUM KOAN’ EXPANDED!DOUBLE VINYL LP & CD + 2 UNRELEASED TRACKS FROM NEW SUPERIOR SOURCE Michael Gregory Jackson released "FREQUENCY EQUILIBRIUM KOAN" as a 4 track digital release in 2021. We got in contact with him to make an LP copy, as historic loft jazz recordings like this don't crop up every day, and this recording with Julius Hemphill, Abdul Wadud and Pheeroan aKLaff deserves physical form.To make it even more irresistable a project, Michael said he had 2 more tracks from the same session that we could add to the collection, making this our first Moved-by-Sound double vinyl release, and our first record that's not a reissue. The LP is limited to just 500 copies. Michael has signed the photo print insert of the first 100 orders. "These guys are all heroes of mine. I’ve learned so much (still learning) from all of them. To hear them all together like this is a real gift. What a combo! I can’t believe this happened more than 40 years ago. It sounds like the future. I’m so thankful the tape was running to document this extraordinary moment.” - Bill Frisell "FREQUENCY EQUILIBRIUM KOAN"Frequency • the rate at which a vibration occurs that constitutes a wave, either in a material (as in sound waves), or in an electromagnetic field (as in radio waves and light).Equilibrium • a state in which opposing forces or influences are balanced: a calm state of mind.Koan • a paradoxical anecdote or riddle, used in Zen Buddhism to demonstrate the inadequacy of logical reasoning and to provoke enlightenment.Many, many, years ago in a once enchanted place they called The Big Apple, New York City, on the Lower East Side, a scene congealed, a significant cultural revolution/renaissance was happening…it was later to be labeled “The Loft Jazz Scene”.This period was a magical time in my young impressionable life, I was 23 years old, I dove straight into the deepness. This scene was vibrant, encompassing, ebullient, original and incendiary. We all did our own thing, separately and together, contained and motivated, fully immersed in the richly encompassing comfort of our ancestral connections.Musicians, artists, poets, playwrights, actors, investors, galleries, clubs, museums and institutions of higher learning were mostly in cooperation…to showcase and revel at the torrents of music created and played on the Lower East Side, and beyond…reaching out to impact a vast world, to appreciative audiences of adventurous listeners.I was playing and collaborating with musicians that could only be described as autonomous islands of individuality, with whom l connected on potent, spiritual frequencies, and deep aura communing. We shared our ideas, experimentations, and voyages in the most personal of ways.I don’t recall the exact moment that I met Julius, but I do remember being immediately struck by his keenly intelligent, deliberate manner, by the low warm leisurely cadence of his voice, and by his wide, knowing, infectious and mischievous smile. Julius was one my favorite people, a master musician, a pioneer of sound, an innovator and magisterial composer. I was honored to have him play my music…to share ethereal air with him. His contributions were always blazing, heartfelt and breath taking. Rest In Peace Sir Julius.I met Cellist Abdul Wadud around the same period, I didn’t get to know him very well personally, but our connection in the music was strong. Simply put, Abdul is a genius, a man and musician of deep intensity, integrity, fire, knowledge, experience and wisdom. His incredible playing knocked me out, it brought me great joy every time we played together.I met drummer Pheeroan aKLaff at the La Mama Theatre in Alphabet City, not sure what year. Pheeroan was always there, a constant presence at our shows. I was playing a lot with the great master, saxophonist and composer Oliver Lake. Once we heard Pheeroan play it was clear, we knew, aKLaff would be the perfect drummer for our music.“Frequency Equilibrium Koan” is one of my personal documentations of that scene. These pieces were some of the many long form compositions that I was writing and performing at that time. F.E.K. was recorded live at the late great singer Joe Lee Wilson’s venue The Ladies Fort in 1977 on my trusty Sony field recording cassette machine. a stamp of time passed, in music that is wholly present.- Michael Gregory Jackson (2021 ) Michael Gregory Jackson- Electric guitar, acoustic guitar body percussion, chimes, bamboo flutes, recording, post production, digital editing & compostion.Julius Hemphill - Alto SaxophoneAbdul Wadud - Cello Pheeroan aKLaff - Drums