‘Gathers revelatory unheard material from this prolific period including the fabled Electric Nebraska sessions with the E Street Band and solo home and studio recordings, joined by a 2025 remaster of the original album, plus a new performance film of all ten Nebraska songs played in sequence.
‘Springsteen’s 1982 acoustic masterwork is augmented by seventeen contemporary recordings (fifteen previously unreleased) that were part of the groundswell of inspiration that shaped Nebraska and share its haunting themes.’

‘In 1978, SA guitar genius Tabane stood at a crossroads. Fresh from three years’ touring in the United States, where he graced the Newport Jazz Festival alongside Miles, Herbie, Pharoah and co, and with a newly signed international distribution deal, he harnessed this momentum to a new, larger band setting, capturing a rare intensity.
‘Sangoma — ‘spiritual healer — bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks like Sangoma, Hi Congo and Keya Bereka are not simply recordings but living testaments, songs that would remain in Tabane’s repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move — urgent, restless, uncontainable. ‘Maskanta wa tsamaya’, ‘ass-kicking’.
‘More than four decades on, Sangoma is both an historical document and a timeless invocation. A landmark in SA musical history. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures — raw, electric, and unbowed.’

Bringing together two generations of South African guitar mastery: Madala Kunene, ‘King of the Zulu Guitar’, now in his mid-seventies, and his protege Sibusile Xaba, whose playing interweaves multiple South African guitar lineages in an original, spiritualised fusion.
Recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village. “It’s such a broad word, but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It’s a living energy, so kwaNTU is almost the place of this energy.”

‘A beautifully expansive collection of interweaving, finger-picked melody, husky vocalisations from elder Kunene and thrumming hand percussion’ (The Guardian).

‘Based in the south of France, Beduneau builds intricate self-playing installations and DIY electronics. Bringing a fresh and personal perspective to electronic and electroacoustic music, his work is intent on opening up dialogues about the social construction of disability, and other norms and conventions.
‘‘Clairon’ refers both to a medieval trumpet and to the beloved with whom this music was first shared, as a kind of impressionistic, though deeply moving sound-diary, during the stillness of the pandemic. The movement of air, pressure, resonance, and the physical properties of the trumpet are reimagined; organic ASMR tones, synthesized bird calls, and pirouetting melodies of pipes and bells score an imaginary biodome where chaos and harmony coexist.
‘Striking, singular, and boundary-pushing.’

‘Pure machine soul for late-night heads.’

Red felt tip marking on the B-side label. Click through for an image.