‘New and archival recordings all orbiting around the intergalactic soundscape introduced by Sun Ra. Ra’s own a capella I Don’t Believe in Love, recorded by Ra at home in Chicago during the 1950s, kicks the program off. This intimate private recording is followed by two intense new solo improvisations by French guitarist Raymond Boni, one acoustic and one electric, inspired by seeing the Arkestra preparing for a gig in Arles in 1976. The first side wraps up with Jason Adasiewicz’s riveting unaccompanied vibraphone workout on Ra’s Lanquidity and Where Pathways Meet. With a completely different take on Lanquidity, Side Two begins with four wild remixes by legendary Cologne techno pioneer Wolfgang Voigt, using layered samples from the LP. Hailing from the intersection of free jazz and out rock, Ken Vandermark’s band Spaceways Inc., with bassist Nate McBride and drummer Hamid Drake, continue with a Ra medley, in collaboration with the Italian band Zu. And where the program started in disbelief, love-skepticism, it concludes with Joe McPhee’s emphatic loving embrace on Cosmic Love, a classic tenor/synth sound-on-sound recording from 1970.’
With cover art by Emil Schult, who designed classic 1970s LPs for Kraftwerk. Very limited.

Luminously upful mid-seventies roots.
Scunna’s bro King Tubby dishes up a heavy dub.
Lovely record.

Superb, previously unreleased ska group-vocal, with Baba Brooks and co in fine form.

Terrific new folk music from Dublin. Try the opener, the travellers’ song What Will We Do When We Have No Money? And the centre-piece, the furiously inward-turned immigrant song, Déanta in Éireann. The Granite Gaze… killer.
Hotly recommended.

Taut horror soundtrack from 1963: dramatically orchestral, with jazzy intervals.

His second EP for this excellent Finnish label.
‘Four tracks of arctic tropicalia constructed during last summer’s heatwave. Badly behaving analogue synths and echos were layered with noisy field recordings and improvised percussion instruments. Some dub was also thrown in. When temperatures finally started dropping, files were sent to Scape Mastering.’

Previously a super-scarce JA blank. Hail the almighty Don D’s scorching solo — flashing a split-second premonition of Rico on Message To You, Rudy.

Two terrific, previously unreleased excursions on the Amos Milburn.
The trombone holds it down like Giant Haystacks, but that’s a tenor saxophone solo.
Lovely stuff.

Outstanding, laid-back gospel from 1979 — possessed by the sublimity of Bobby Womack — originally issued on its own S&K label by the Sanders family, from the Witness Of Jesus Christ church in Fresno, California.
The opener is the killer shit; knockout soul music about dying. We could listen to it for days on end.

Taking a break from cabbing duties back home in Washington DC, for his first LP in fifteen years. Ethiopian standards and originals; his unmistakable melodica, accordion and keys, in the same double-bass-and-drums setting as recent live shows.

The GRM don letting his hair down, in this 1982 soundtrack to the film Rock, performed on a TR-808 drum-machine, Synthi AKS, and Farfisa organ and clavinet. Nineteen shots mixing together electro, Radiophonics and John Carpenter. Bracing, brilliant, highly accessible; warmly recommended.

New minings of his mountains of work for the screen — dozens of documentaries, shorts, features, animations — and for dance, stage and television.