On No Material, the legendary British drum icon, rock pioneer, and polyrhythmic visionary Ginger Baker joins forces with a towering, historically volcanic, and masterfully panoramic international avant-garde mega-ensemble to deliver an absolute firestorm of a live document. Released in 1989 by the specialized German vanguard imprint ITM Records, this monumental milestone captures a rare, legendary live concert performance from March 1987. Spanning over 54 minutes of historic spatial design, the 4-part massive landscape operates with an intense, beautifully volatile, and heavily syncopated kinetic energy. The collective shatters traditional stylistic boundaries with absolute uninhibited improvisational velocity—firing off massive landmarks like the crashing, deep-grooving opener Dishi Billy and the epic, 16-minute continuous eruption One In The Bush Is Worth Two In The Hand. Driven by Baker’s thunderous, African-influenced rhythmic propulsion, Sonny Sharrock’s blistering, shards-of-noise electric guitar fire, Peter Brötzmann’s fiercely expressive, screaming saxophone assault, Nicky Scopelitis’s anchoring rhythmic textures, and Jan Kazda’s driving bass foundations, this pristine independent archive remains an indispensable masterpiece for serious free jazz purists and avant-prog collectors worldwide.

On Retrospektiw III, the legendary American composer, multi-instrumentalist, and brutal avant-prog icon Weasel Walter uncovers a towering, historically volcanic, and masterfully panoramic archival studio and live document. Released in 1998 via Chicago's independent vanguard outpost Quinnah Records, this explosive milestone acts as a definitive historical compilation, gathering legendary unreleased materials, intense raw alternate takes, and crucial outprints from the group's highly volatile early-90s era. Spanning nearly 52 minutes of immaculate high-fidelity spatial design, the 16-track landscape operates with an intense, heavily syncopated, and beautifully chaotic kinetic energy. The music shatters traditional performance boundaries with absolute uninhibited velocity—firing off massive landmarks like a blistering rendition of Hal Russell's opener Sram, the hyper-complex jazz-punk architecture of J.S.T.T.T. (co-penned with Ken Vandermark), and the furious, noise-rock precision of Throwing Bricks. Driven by Walter's dizzying, polyrhythmic drum warfare, screeching free-jazz reed explosions, and thunderous bass distortions, this pristine historical archive remains an indispensable masterpiece for serious avant-garde purists and punk-jazz collectors worldwide.

Tokyo Flashback 3 is a landmark compilation released by the influential Japanese underground label P.S.F. Records in 1993, documenting the raw creativity and experimental spirit of Japan’s psychedelic and avant-garde rock scene. As part of the celebrated Tokyo Flashback series, the album gathers performances from some of the most important underground artists of the era, including Fushitsusha, Ghost, White Heaven, and Shizuka. The compilation explores a fascinating mixture of garage rock intensity, free-form psychedelic improvisation, noise experimentation, acid folk influences, and deeply atmospheric soundscapes. Throughout the record, distorted guitars, hypnotic rhythms, chaotic improvisations, and dreamlike passages create an immersive and unpredictable listening experience that reflects the uncompromising artistic vision of the Japanese underground music movement. Each track offers a distinct sonic identity while contributing to the compilation’s overall sense of dark beauty and experimental freedom. Tokyo Flashback 3 remains an essential release for collectors and fans of psychedelic rock, noise music, and avant-garde experimentation, serving as both a historical document and a powerful introduction to one of the most innovative underground scenes of the 1990s.

After releasing their 2010 album Treats on Mom+Pop–which became an indie classic, deemed 'Best New Music' by Pitchfork, 'phenomenal' by Paste Magazine, 'pop smarts' by Rolling Stone, and a 'game-changer' by Stereogum–Sleigh Bells have returned to the label for their fifth studio album, Texis, out on CD on September 10, 2021, the day after their sold-out Treats 10-Year Anniversary show at Webster Hall and ahead of a headline US tour throughout October and February.

Only a handful of rock albums have been as influential and groundbreaking as The Velvet Underground & Nico. Glam, punk, new wave, goth, noise, and nearly every left-of-center rock movement that followed this album's 1967 release owes an audible debt to this music, and though Lou Reed's lyrical exploration of drugs and kinky sex always received the most attention, the music Reed, John Cale, Sterling Morrison, and Maureen Tucker played was as radical as the words they accompanied. The bracing discord of "European Son," the troubling beauty of "All Tomorrow's Parties," and the expressive dynamics of "Heroin" all remain as compelling as the day they were recorded, and The Velvet Underground & Nico has lost little of its power to surprise and intrigue 45 years after first hitting the racks, which is confirmed by Universal's limited "Super Deluxe Edition" of the album…

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The world of pop music was hardly ready for the Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety. Recorded without the input of either Nico or Andy Warhol, White Light/White Heat was the purest and rawest document of the key Velvets lineup of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker, capturing the group at their toughest and most abrasive. The album opens with an open and enthusiastic endorsement of amphetamines (startling even from this group of noted drug enthusiasts), and side one continues with an amusing shaggy-dog story set to a slab of lurching, mutant R&B ("The Gift")…

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.