Bawdy, vaudevillian malarkey, both country and urban, with no messing musically. Stuff like Banana Man, You Put It In I’ll Take It Out, I Had To Give Up Gym, Elevator Papa Switchboard Mama. Crumb cover.

Right on for the darkness. Twelve minutes of shifting, sunken drones, massive kicks, shimmering veils of free-jazz drums, bells, synths. Warehouse runnings scared witless by Unit Moebius and Shitcluster on the flip.

‘The definitive collection of Laraaji’s earliest works, Segue To Infinity compiles his 1978 debut Celestial Vibration and six additional side-long studio sessions from previously unknown acetates from the same period. A lengthy essay by Living Colour’s Vernon Reid chronicles the origins of Edward ‘Flash’ Gordon, illustrated with dozens of previously unpublished photographs that capture this beautiful and elusive young artist. Full of discovery and wonderment, Segue To Infinity is a miraculous chronicle of new age’s most fabled artist.’

‘An overview of his earliest works, gathering selections from his 1978 debut Celestial Vibration and six additional studio sessions from the era. Full of discovery and wonderment, Glimpses of Infinity is a miraculous chronicle of new age’s most fabled artist.’

The greatest British writer of literary fiction during the last couple of decades, by miles. So bound up with issues of voice, being and truth, it’s thrilling to hear the stuff read in person. Listen to Acid.

Treasurable 78s about sex, booze, marriage — the original Yidl Mit Seine Fidl, a wild Simchas Torah — from the first Yiddish theatre in Europe. Patrons like Kafka, Joseph Roth and Chagall were knocked sideways.

No-shame housey Tsonga-disco and hands-in-the-air rave banged out on Korgs and Ataris in 1994 South Africa. It sold tons, rocking stadiums from Liberia and Sierra Leone to Namibia and Mozambique.

For a moment the room appeared to darken, as it used to do when he was about to perform some singular experiment, and in the darkness the peacocks upon the doors seemed to glow with a more intense colour…

The title track is monster jugga jugga rare groove, proper rudeboy two-step. A 1976 special outing for the Hodges Bros and co, house band at Hi, where they backed Al Green, Ann Peebles and everyone.

A new suite, freshly introspective and personal. CC’s cosmic beeps and boops are home to roost, a kind of pointillism come mesmerically alive, studding surreal juxtapositions and industrial miasma across nine tracks.

Four unhinged, starkers dashes through the outernational dancehall by Saam Schlamminger (aka Chronomad) and Burnt Friedman. Ace.

Anthony Maher’s 1988 dub album, an Australian commingling of JA science and UK post-punk and Industrial.