A suitably outrageous picture disc.

Sixteen albums, 1958-1987; singles; duets; radio and soundtrack recordings.
271 tracks; 48-page booklet, with numerous photos.

‘Gainsbourg’s most elusive, coveted soundtrack studio recording — co-written, arranged and orchestrated by Jean-Claude Vannier (the genius behind Histoire De Melody Nelson), at the creative apex of their partnership — this LP crystallises the inimitable psychedelic, funky pop brilliance of collaborations like La Horse, Cannabis and Sex Shop. Thick, plucked bass-lines, close-miked drums, biting clavinet, subtle Gallicisms, eastern strings and percussion…’

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton’s soundboy, club roots.
The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options); ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence); radiophonia and zoned-out guitar improv (Seven Virgins); even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown).
Over the five years since Music For The Quiet Hour, Vengeance’s vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he’s hoarse preacher, sage scholar and ravaged bluesman; blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe.
Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo’s early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier.
“We almost didn’t hear it when the foundations went.”

Shackleton’s most expansive, ecstatic and hallucinatory music to date. Four extended excursions channeling Congotronics way to the east, with an aura of restrained mania reminiscent of the feral pomp and gallows humour of Coil’s moon-musick phase.
The pairing with Tomasini is a match made in heaven. Swooping from deep growl to piercing falsetto, his four-octave voice both heightens the taste for the theatrical that’s always been integral to Shackleton’s music, and makes explicit the latter’s kinship to the occult energies of the UK’s post-industrial underground.
As the title suggests, these are shadowy songs rich with allusions to bodily ritual and psychic exploration, with Tomasini’s lyrics framed by luminous whirls of hand-struck drums and synthetic gamelan, bells and tumbling organ melodies, all earthed by dubwise bass. You Are The One escalates from delicate choral chant to full-bore psychedelic organ freakout; Rinse Out All Contaminants is a slow incantation, to purge all negative thoughts; the melodies of Father You Have Left Me are smudged like early Steve Reich, then burned out by snarling subs; and the magnificent Twelve Shared Addictions balances elliptical melodies like spinning plates, gradually unfurling into a breakneck storm of voice and hammered keys.

The magic moments of Sharam Shabpareh, front-man of Iranian garage legends The Rebels. ‘Blurting horns, evil bass grooves, cheesy organs, a thick strata of percussion going off like microwave popcorn.’

Effectively their third album, with seven songs from 1969, and seven instrumentals from the same vintage, completed in 1998, plus an outtake and a soundtrack piece. A fine addition to their two essential albums.

The first album-length collection of the recordings of this collaborator of La Monte Young, who contributes here: a diverse, diaristic compilation by Forti herself (with Yoshi Wada’s son Tashi) of never-before-released work from the early 60s to mid-80s, showcasing her use of voice and handmade instruments, folk songs and physical space; together with a 28-page colour booklet of her writings, drawings, and photos.

Compositions from 1969/70, when Forti was based in Woodstock, New York — ‘stoned in the woods,’ she recalls — around the time of the Festival, just before moving to California, and working and performing with Charlemagne Palestine.
The seven songs here were recorded in 2012 during her exhibition Sounding, at The Box gallery in Los Angeles. The blue vinyl carries an etching of Forti’s Illuminations Drawing on the flip; accompanied by a sixteen-page colour book with images of the original sheet music scored by Charlemagne Palestine.

Four members of Sonny Okosun’s band, edging things on in 1974: deep, spacey afro-funk.

Demdike Stare and Andy Votel.

Zany, Alaskan, harmonica-led electro-pop, with a case of Krautrock-and-the-Moroders, originally released in 1980.