▲ Tara Clerkin Trio

SUNS OF ARQA Revelation XV11

OUT ON APRIL 15TH

A collection of tracks in love and memory of WADADA.

Return of the Mozabites
from the album Revenge of the Mozabites 

Acid Tabla
mixed by Adrian Sherwood from Revenge of the Mozabites

Pablo's Lament
mixed by Youth from " Hindu Pict"

Ark of the Arqans 
mixed by Wadada from "Seven"

Sanskit Hymn
mixed by Wadada from "India"

El Horto 
mixed by Laszlo Hortobagyi from"Un1verse City"

Brujo Magic 
mixed by Wadada from "Arqaology"

Sostenuto
featuring Professor Stanley Unwin  from"Tributey"

Paradisum in dub 
mixed by Wadada from "Seven"

Hear the Call
mixed by Wadada from"Shabda"

Mastered by EROC


"And although the Great Spiritual being Michael Wadada has returned to source and his body to earth at our time, his music is alive and will continue to be a great force for higher spiritual realms and raising vibration through occult frequencies...Suns of Arqa will continue to raise the vibration of the hearts and minds of humanity" 
– Angela aka Angel-Eye -

released on license from ARKA SOUND UK
all tracks published by Rocksteady(ego)Music, England

https://www.sleepersrecords.com/

Suns Of Arqa Revelation XV11

"Dying for love
And this kind of fire inside
My blood is blind
I'm dining on a silent mind
And several other friends of mine"

A slice of history. A slice of life. 40 years of history and almost from a forgotten dream this is a collection from ATTRITION's prolific heyday....
releasing albums, almost all on CD... as we thought we had seen the death of vinyl.... on labels in the USA (Projekt and Invisible) and Europe (Contempo and Hyperium).... Here is a selection of music from those times....many for the first time on vinyl...
Enjoy.

Martin Bowes. Coventry. England. March 2021--


OUT ON FEBRUARY 18TH

ATTRITION - A Great Desire

OFFICIALLY OUT ON JULY 21ST


 Artefacts from the fuzz mines - Scattered Order - Sleepers Records 

"   In the dimly lit corners of Australia's underground music scene, there exists a name that has been haunting the eardrums of the brave and unsettlingly curious for decades. Scattered Order, a noise band formed by three enigmatic figures - Mitchell Jones, Michael Tee and Shane Fahey stands as an embodiment of auditory torment. With their latest compilation album, Scattered Order, weathered by time and soaked in a sea of dissonance, look back on a dark and noisy musical journey that has been nothing short of disturbing. 
Scattered Order's origins trace back to a time when post punk noise was still in its laborious infancy. The trio emerged from the shadows, wielding their arsenal of unconventional instruments and a twisted vision of sonic exploration. Their dissonant symphony was constructed from the shattered remnants of sanity, with every note plunging the listener deeper into a void of despair. A cacophony of industrial clanks, distorted wails, and pulsating rhythms created a soundscape that mirrored the fractured psyche of its creators. 
As the band delved further into the uncharted depths of their musical abyss, the dark spectre of death and obscurity loomed overhead. Scattered Order's compositions seemed to devour the light, leaving only an unsettling void in their wake. Their performances became ritualistic ceremonies of chaos and catharsis, drawing in the deranged and the daring, eager to be consumed by the unsettling atmosphere they conjured. 
With each passing year, Scattered Order's name faded into the depths of collective memory, sinking into the annals of a forgotten era. The band's uncompromising pursuit of disquietude isolated them from the mainstream, relegating them to the fringes of the avant- garde. Yet, their influence lingered in the cracks and crevices of experimental music, inspiring a generation of sonic miscreants to push the boundaries of audial torment. 
Now, in the twilight of their musical pilgrimage, Jones, Tee and Fahey reflect on a lifetime dedicated to disturbing the auditory senses. Their new compilation album stands as a testament to their unwavering commitment to discordance and their refusal to conform to societal norms. It is a mosaic of disfigured sounds, a symphony of terror and unease that beckons the brave to embark on a sonic odyssey into the depths of their own subconscious fears. 
Scattered Order's legacy is not one of commercial success or mainstream recognition, but rather an unsettling imprint on the souls of those who dare to explore the darker corners of music. Their journey has been a descent into madness, a descent that has left them weathered and worn, yet forever haunted by the symphony of chaos they created. As the world continues to spin, unaware of the disquietude that lingers in their wake, Scattered Order stands as a reminder that there are sonic realms that can disturb even the bravest of hearts."



Arranged, performed and recorded by Scattered Order (Mitchell Jones, Michael Tee, Shane Fahey)
except Heat (Mitchell Jones, Michael Tee, Patrick Gibson)

Mastered by Sakis Anastopoulos at Digisound Mastering

Artwork by Gildo Atzori


Layout by Alexandria Cianciulli

Scattered Order - Artefacts from the fuzz mines

„There are imaginary signs or signals that make your arm twitch mutely. 
In such cases, you may have to interpret the meaning of such a "message". If you ignore it, it's almost certain that nothing will happen, but you may also miss the chance to change your life because you passed a potential turning point and didn't notice.”

There were once many worlds on this Earth. Each had its own land, language, population, borders and history. There were people and societies.
They already looked alike, but they didn't realise it.
When the borders disappeared, the looked at each other, but by this time suddenly, the languages and the histories also disappeared.
The present worlds do not have any Earthly home, they have moved to the kingdom come of the collective subliminal sociostasis.
There they are still living for a while, exactly so long as humans have human form and the time for transhuman cultures arrives.
To fumble about in this gap of time bubble, that has been opened for a short time between the collapse and the vanishing of the borders of cultures: this is the science of Ishin-denshin burdened with Heisenberg’s paradox.
Don’t forget: never before and never after.
(eL-Hortobāgyi-Hortator)


OUT ON APRIL 14TH

László Hortobágyi - Ishin Denshin

“Urð hétu eina, aðra Verðandi, skáru á skíði, Skuld ina þriðju; 
þær lög lögðu, þær líf kuru
alda börnum, örlög seggja.”


Happy Equinox!

▲ Lord Pusswhip - Icelandic Pagan Musik

Ghost Highway is a compilation album featuring some of the greatest recordings made by Bobby Beausoleil dating back from the mid 70s to his most recent works.

Happy Samhain !

Bobby Beausoleil - Ghost Highway

▲ Mayss - Winter Solstice

Mix and artwork by Junk DNA (Ellie Thatcher), multimedia performance artist from Chicago.

“Junk Dna’s compilation presents a blend of illbient, left field and new age, interweaving their distinct elements into a harmonious fusion.”

Blessed Beltane!

▲ Junk DNA

SUMMER SOLSTICE

Farmacia is an Argentine pop rock and experimental electronic music group founded in 2000 by brothers Ariel Sima and Diego Sima. They have released numerous albums, in addition to national and international presentations. The members of Farmacia also founded the Discos Sordos label where they released part of their first albums.

The song "Nada de Nada" from the album of the same name was the theme of the film Los paranoicos directed by Gabriel Medina. In addition to being part of the soundtrack, the Sima brothers have participated in the filming of the film. 
The Some Bizzare Double Album compilation from the Some Bizzare Records label contains the song "Estas Técnicas" from Farmacia (2008).

Together with Val Denham, FARMACIA recorded the album The Devil Knows your Name Now in 2019 , released in Germany by Psychofon Records.

Farmacia along with different international bands have contributed to the compilation "MITRA Music for Nepal" to benefit the Mitrataa foundation in Nepal

▲ Farmacia

The record comes with a 14 page booklet - Available in black and transparent limited edition
Orders on our Bandcamp
https://sleepers23.bandcamp.com/album/archaeoacoustics

"The MATAR project was founded by Adi Newton TAG /SOON/ Spectral Unit / ClockDVA in 2016  in collaboration with Michael Esposito, an American pioneering EVP researcher & Sarah Rosalena Brady, an American Violinist and Assistant Professor of Art at UC Santa Barbara with a number of special performances in the US and Europe. the Album Archaeoacoustics has been developed over 5 years using live binaural beat frequency recordings at Stone Henge and field recordings from the Hurlers site in Minions / Bodmin Moor .

the Album explores concepts from Archaeoacoustic theories and the spiritual Mythological beliefs of Ancient cultures such as the Phrygian and Magnesian. the Name MATAR is derived from the Phrygian name meaning ('Mother’). At Pessinos in Phrygia, the mother goddess identified by the Greeks as Cybele took the form of an unshaped stone of black meteoric iron, and may have been associated with or identical to Agdistis, Pessinos' mountain deity.

No contemporary text or myth survives to attest the original character and nature of Cybele's Phrygian cult. Images and iconography in funerary contexts, and the ubiquity of her Phrygian name Matar ("Mother"), suggest that she was a mediator between the "boundaries of the known and unknown: the civilised and the wild, the worlds of the living and the dead. Her association with hawks, lions, and the stone of the mountainous landscape of the Anatolian wilderness."

Dedicated to Z'EV (RIP 16/11/2017)

​-Adi Newton Era Vulgaris / A D VI ID NOV MMXXIV

MATAR - Archaeoacoustics

Zen Flutist teams with FAUST, TROUM, and Limpe Fuchs for "Ambient Koan". Viz Michael Kremietz's 16th Album Blends Ancient Buddhist Practice with German Experimental Legends


ABOUT THE ALBUM

Ambient Koan represents a profound synthesis of three decades of experimental music exploration and 25 years of Zen practice. This 16th studio album by Viz Michael Kremietz emerges from the liminal spaces between breath, sound, and meditation, anchored by the ancient voice of the Shakuhachi flute.
The album weaves together solo compositions originally created for theater and performance with collaborative pieces featuring some of Europe's most innovative experimental musicians. Each track serves as a sonic meditation, inviting listeners into "unknown dimensions with pre-verbal and pre-symbolic origins."


ARTIST BIOGRAPHY

Viz Michael Kremietz is a German experimental musician, composer, and Zen practitioner whose work spans over 30 years in the fields of experimental music, ambient soundscapes, theater, and performance. For 25 years, he has practiced Zen Buddhism and mastered the Shakuhachi (Zen flute), studying the traditional Hongyoku music of Zen Buddhism for eight years.

Kremietz's artistic practice centers on the Shakuhachi's uniqueability to make breath audible, combining breathing, music, and meditation into a singular transcendent experience. His performances have taken him to sacred spaces worldwide, including the burial chamber of the Great Pyramid of Cheops and Aleister Crowley's former abbey in Cefalù, Sicily.

Based in Wangen, Allgäu, Germany, Kremietz continues to explore the intersections of Eastern philosophy, experimental sound, and consciousness through his prolific recording and performance career.

FEATURED COLLABORATORS

-TROUM - The renowned drone duo from Northern Germany, known for creating "atmospheric transcension sounds for the deeper mind and the Unconscious." TROUM, meaning "Dream" in old German, contributes to thetracks "Zodiak" and "Kagami."

-Limpe Fuchs - Munich-born experimental musician (b. 1941), best known as half of the fusion duo Anima. She contributes voice, violin, and installations to "Weg in Haus" and "Farbige Luft," drawn from their live album Kugelhausmusik.

-Hans Joachim Irmler (Jochen) - Co-founder of the legendary German Krautrock band FAUST features on "Fuck Wellness" and "Yamagoe". The traditional Zen piece "Yamagoe" unites ancient Buddhist melodies Irmler's experimental sounds.

-Lucia Dinand - Provides haunting vocals on "Broken Gods"

-Reiko Ozaki - Performs a traditional Japanese lullaby on "Sleep"

-"Fire of the Mind", recorded at Aleister Crowley's former abbey in Sicily—serves as a Shakuhachi homage to COIL's Jhonn Balance and Peter Christopherson.

Viz Michael Kremietz -Ambient Koan  featuring Limpe Fuchs, Troum and Jochen Irmler (Faust)

First-ever CD release of Matar's debut album, featuring additional bonus tracks.

CD in 4-panel digipak manufactured in Tokyo.

Digital booklet: 14 pages (QR code access)

Preview with bonus tracks.

Full tracklist:

1 Homme Verde
2 The Hurlers
3 Quintessence
4 Lyrae Shadow Constellation (The Pipers)
5 The Hendge Resonator
6 110 Hz State The Maze
7 Trilothon
8 Spiral Artifact
9 The Cersus
10 Silbury Hill
11 Sculptures of Daedalus


Officially Out on the Autumn Equinox

Matar - Archaeoacoustics (CD Version / Additional Tracks)

The mantra for Nubian Mindz has always been to ‘Keep your eyes on the future, know your past and embrace the present’ Nubian Mindz is an artist who flagrantly ignores the rule book and follows his own agenda of futurepast funk.

Nubian Mindz  Kontrol Teknologies

62nd Cell Bluestuff

Osamu Sato (佐藤 理 Satō Osamu, born April 14, 1960 in Kyoto, Japan) is a Japanese digital artist, photographer, and composer.

His first work was the ambient music album "Objectless", which released in 1983.[1] His first work in the video game industry was Eastern Mind: The Lost Souls of Tong Nou, which first released in Japan for Classic Mac OS in 1994, and in North America for Microsoft Windows the following year. In 1998, he produced and composed the music for the video game LSD: Dream Emulator on the PlayStation, which later became his most recognizable work outside of Japan.

Osamu Sato - All Things Must Be Equal

https://lagowski.com/category/clans-of-the-alphane-moon/

An electronic beat-driven side project created by Android Lagowski to release tracks on Sleepers Records.

Andrew Lagowski (a.k.a. Clans of the Alphane Moon) has been making and recording electronic music since 1982 and before that was a drummer in a new wave band called 'Silent Command'. Since 1987 he has released over 30 albums and ten 12” singles and continues to release on various labels Worldwide.
Projects include Nagamatzu (co-founder, guitarist, programmer, engineer), Lustmord as engineer/programmer (e/p), Terror Against Terror (e/p), Isolrubin B.K. (e/p), Legion, S.E.T.I. (the one with the d.o.t.s. and not the one on Instinct Ambient), Clans of the Alphane Moon, Project Ghost, Dio<X>ide (with Andrea Bellucci) and Lagowski. 
He has played live on various occasions and at many festivals alongside artists such as Fennesz, Autechre, Richard H. Kirk (Cabaret Voltaire), NWW, cEvin Key, Zbigniew Karkowski, Dive and Clock DVA.

Clans of the Alphane Moon ‎– Mission Alpha III

Born in Sheffield UK, Stephen Mallinder is a founder-member of pioneering electronic act Cabaret Voltaire; regarded as one of the key influences on contemporary electronic and popular music culture.

▲ Stephen Mallinder

Eric Random started in the band The Tiller Boys, which included Buzzcocks's Pete Shelley, who played at some of those legendary Factory showcases at the end of the 1970s. Their last date was sharing the bill with Cabaret Voltaire on that night captured as Live at the YMCA on October 27th (yeah, you missed my birthday again this year) in 1979. Following the split, Random (who was only 18 in 1979) began working closer with the Cabs, recording at their Western Works studio in Sheffield with Stephen Mallinder at the desk, joining the Cabs following the departure of Chris Watson in 1981 and appearing on 2x45 and The Pressure Company, and even playing a one-off show billed as A Certain Random Cabaret which included members of A Certain Ratio.
Random's music fits in appropriately between contemporary music of 23 Skidoo and Cabaret Voltaire. Structured rhythms provide the backbone for songs which often push the ten-minute mark, never straying from the established tempo, while a bass line frequently remains fairly constant throughout each piece. On top are layers featuring tape manipulations, faint guitar, horns, melodica, and muted vocals, soaked in primitive echoes and delays found primarily on early recordings from the mightiest dubmasters.

Once again LTM's presentation is classy and respectful, including an informative booklet to accompany the music. Disc one captures singles and compilation tracks from 1980-1982 while disc two features the 1982 album Earthbound Ghost Need (a Burroughs reference from Naked Lunch) in its entirety.

Random's inclusion of a cover of "Bolero" by Ravel at the end of the Earthbound Ghost Need album is hardly a surprise, as the structure of that song is almost a blueprint to the main ideas of most of Eric Random's music: songs are very long and simply do not stray from their main theme. (It's a formula that shouldn't be unfamiliar to Cabaret Voltaire and Richard H. Kirk fans.) Songs like this work well in clubs and in other social settings but two discs of long cuts is a lot more to ask of a listener as opposed to an extended 12" single here and there. The four songs from the That's What I Like About Me EP open the first disc and the muddy footprints left by Stephen Mallinder and Western Works are all over it. (It's not a bad thing, honest.) The length of these four songs is an album in nearly anybody's book, which makes it somewhat unbalanced when compared to the following six tracks, which average around 4 minutes each.

There is plenty more Eric Random yet to compile and reissue, as following these recordings Random traveled to India to study non-western musics, continued his friendship and alliance with Cabaret Voltaire, playing various concerts with them (including a show with Richard H. Kirk as recently as 2000), releasing music on their Doublevision imprint, and performing in other projects like The Free Agents, and The Faction (Nico's backing band in the 1980s). CV fans should especially be anxious to see the Mad As Mankind single released again but as this stuff was out around 1984, it simply wouldn't have quite fit in to the material collected on Subliminal 1980-1982. I'll wait patiently myself and take the time this material needs to settle in completely.

PRE ORDER HERE

https://www.shinybeast.nl/item/478757/random_eric_wire_me_up_2x12.html

https://www.deep.hu/catalog/SLPR009

https://www.decks.de/track/eric_random-wire_me_up/cet-73

https://www.juno.co.uk/products/the-rolling-stones-on-air/732231-01/

https://www.redeyerecords.co.uk/vinyl/110201-slpr009-eric-random-wire-me-up-[printed-sleeve]

https://www.deejay.de/Eric_Random_Wire_Me_Up_2x12_SLPR009_Vinyl__932107

https://www.triplevision.nl/release/SLPR009/

Eric Random – Wire Me Up 2xLP

A Clip From 'Wire Me Up' Release Party at Ohm Club, March 9th 2019, Berlin.

Photo credit:  Eric Random

Eric Random Live At Sleepers Berlin

Live recording from Recovered Artefacts '93 - '97 launch party, Ohm Club Berlin.

In 1988 Steve Angstrom founded TimeShard, noted as innovators in the UK electronic dance underground during the 'second summer of love' in 1989. 
Steve's band became known as one of the UK's first live 'acid house' acts, and during this time they developed a sound which became known as Psychedelic trance although at the time they described it as "Shamanic Trance" . A name derived from their interest in using the music, and the trance in a more directed and "magical" way than their peers.

Timeshard's music found success UK's free-festival circuit, which was in a period of transition and fusion as acid house fans found a place to dance without restriction, outside mainstream club culture. Steve and TimeShard built a devoted following among the mixture of punks and Acid House followers which flocked to Britain's free festivals fields during this period.

Gradually, their live show expanded outwards and across Europe, while their sound gained elements of ethno-techno, trance and dub. Timeshard also gained attention for their self-released, cassette-only albums, Who Pilots the Flying Saucers in 1991 and Hyperborean Dome Temples of Apollo the following year. In 1994, Planet Dog signed the group and released Crystal Oscillations and the trio's second full album, Hunab Ku, appeared in 1996. 

Touring and performing constantly from 1989 to 2001 Steve moved away from live performance, but now is back after digging through his vaults and discovering hidden treasures, his unreleased works which were recorded in snatched moments but never released. 
Recovered Artefacts '93 – 97, soon on Sleepers Records.

QUOTES
“Absolutely gear if you ask me! I’ve got their cassettes in my car which I listen to an awful lot”
John Peel – April 1994 

"Steve's music is put together with wit and skill, it betrays Liverpool's long obsession with psychedelic music uprooted and planted in Techno's fertile soil" 
Ben Willmott NME 1994

"There is awe inspiring work here. It oscillates quickly, oscillates languorously, it hums thumps and purrs." 
David Bennun – Melody Maker.1994

"Steve Angstrom (sitar and Ripping Noises) is happy to act up in his on-stage habitat which resembles a science lab lifted wholesale from Doctor Who circa 1975" 
Ben Willmott NME 1996

Steve Angstrom Live at Sleepers Berlin

3 hours mix from Brasi at the "Wire Me Up" release party, Ohm Club Berlin.

▲ Brasi

In 1988 Steve Angstrom founded TimeShard, noted as innovators in the UK electronic dance underground during the 'second summer of love' in 1989.
Steve's band became known as one of the UK's first live 'acid house' acts, and during this time they developed a sound which became known as Psychedelic trance although at the time they described it as "Shamanic Trance" . A name derived from their interest in using the music, and the trance in a more directed and "magical" way than their peers.

Timeshard's music found success UK's free-festival circuit, which was in a period of transition and fusion as acid house fans found a place to dance without restriction, outside mainstream club culture. Steve and TimeShard built a devoted following among the mixture of punks and Acid House followers which flocked to Britain's free festivals fields during this period.

Gradually, their live show expanded outwards and across Europe, while their sound gained elements of ethno-techno, trance and dub. Timeshard also gained attention for their self-released, cassette-only albums, Who Pilots the Flying Saucers in 1991 and Hyperborean Dome Temples of Apollo the following year. In 1994, Planet Dog signed the group and released Crystal Oscillations and the trio's second full album, Hunab Ku, appeared in 1996.

Touring and performing constantly from 1989 to 2001 Steve moved away from live performance, but now is back after digging through his vaults and discovering hidden treasures, his unreleased works which were recorded in snatched moments but never released.
Recovered Artifacts 93 – 97, soon on Sleepers Records.

QUOTES
“Absolutely gear if you ask me! I’ve got their cassettes in my car which I listen to an awful lot”
John Peel – April 1994

"Steve's music is put together with wit and skill, it betrays Liverpool's long obsession with psychedelic music uprooted and planted in Techno's fertile soil"
Ben Willmott NME 1994

"There is awe inspiring work here. It oscillates quickly, oscillates languorously, it hums thumps and purrs."
David Bennun – Melody Maker.1994

"Steve Angstrom (sitar and Ripping Noises) is happy to act up in his on-stage habitat which resembles a science lab lifted wholesale from Doctor Who circa 1975"
Ben Willmott NME 1996

Steve Angstrom – Recovered Artifacts 93' – 97'

A special mix from Andrew Lagowski featuring some of his musical influences.

▲ Lagowski

PRE-ORDER STARTS ON JANUARY 25TH.

Some old gems of Bens have resurfaced from the archives thanks to Danny digging through his crates..
Ben grew out of the 1989 UK rave scene to dj, remix, produce and write for all sorts of artists from Prince to U2, djing around the world from Berlin to Buenos Aires.
These are his own tunes made in the Matrix studio in London in 1990, a hive of activity and talent, Massive Attack in the next room making Blue Lines, Mark E Smith in another with The Fall, and Adrian Sherwood dubbing Tackhead in another!

All tracks produced by Ben Chapman.
Engineered and mixed by Danny Hyde.

Vocals Lee Bennett
Backing Vocals Francesca Longrigg
Bass Nick Beggs
Percussion Ned Morant
Sax Dick Morrissey

Ben Chapman There’s Always One

OUT ON JANUARY 13TH

Bernard Szajner is a French composer, musical theorist, visual artist. He is credited with the invention of the laser harp, which he patented.

Between 1979 and 1983, Szajner released five albums of innovative and Avant-garde electronic music. He became renowned as a light and visual effects technician with artists such as Magma, Gong, Stomu Yamashta and The Who.

During the 1970s, he became a pioneer in the field of using laser technology as an artistic tool. As a measure of his success, he became renowned by his work with companies such as Cartier and Renault. In 1980, inspired by the novel, Nova, by Samuel R. Delany, he first created the laser harp. The laser harp became so successful that Jean-Michel Jarre ordered a version from Bernard Szajner for his tour of China. Despite all this, Szajner would only occasionally use this instrument in his own performances. He has stated that he would rather the public not know him solely for his work on the laser harp, and that it not be allowed to take precedence over his work in musical composition that it enables. This is also why he continues to develop other instruments which use other innovative methods of interaction, such as tactile or holographic.

Towards the end of the 1980s and disgusted with the music industry, he chose to abandon music entirely, and shifted his focus towards digital and visual arts, and theatre.

Bernard Szajner- Szajner's Bits and Pieces

James Asher is known for his individual and and distinctive approach to creating tribal drum music.

He combines a confident grasp of fusion and worldbeat with a crystal clear audio production style. For the first time since Asher`s bestselling releases Feet in the Soil and Shaman Drums, Sleepers Records are delighted to be the first purveyors of his work in vinyl form, with six dazzling tracks which are earthy, grounded and compelling.

Send in the Drums has enjoyed 996,000 views on Youtube. A listener wrote as comment about it::" I let my cat listen to it yesterday,

now he`s a leopard!"

Asher has been sampled by the Chemical Brothers in the song The Sunshine Underground where they use his song Asian Workshop, and also by Unkle in their track Eye for an Eye. This year saw a release by Tyler the Creator with his new album Call me if you get lost.

Its second track is Corso based on Asher`s track Oriental Workload. This track has now enjoyed over 27 million streams on Spotify and the video for it 7 million views. Tyler won grammy for best rap album in 2020.

These 3 sampled tracks all came from Asher`s album Abstracts issued in 1979 originally by the UK music library Studio G and subsequently published by Eagle Rock , Downtown and finally Concord from January 2022.

Asher also has released many albums in his own right as the label Starfield.

His first commercial single was Peppermint Lump on Stiff Records, produced by Pete Townshend who also played guitar on it.

Asher played drums on Townshend`s Empty Glass album.

He has had multiple library album releases for Bruton Music, Dewolfe, Abaco, Southern, Girasound and this year KPM/EMI with the album Global Village Percussion.


Mastered by Gwyn Mathias @ GBdb

James Asher - Shaman's Almanac

OUT ON SEPTEMBER 18TH

Recorded using the built-in mic on a cassette recorder, between 1981-1983.
“Dedicated to the memory of my dear friend, Genesis P-Orridge” - Kevin Thorne

we be echo – Beat Of The Drum

New release by Boston-based songwriter and instrumentalist Judd Stone and vocalist Jayde Lee.

Æ AURA EXPANSION 04 JUDD STONE and JAYDE LEE_Magic Spells

Music compiled by Zoya Zerkalski is a sonic mystification allowing for the transformative possibilities of collective subconscious to unravel. Music being our vehicle facilitating the metamorphosis humanity is experiencing in the moment.

Woodcut from II METAMORMOSI METALLICO ET HUMANO, NAZARI GIOVANNI BATTISTA 1564
An extremely scarce work on alchemical transformation and allegorical alchemy. This work mostly speaks of the alchemical transformation of metals but also discusses humans. It is an extended allegory in the form of several dreams. The title loosely translates into English as 'Metallic and Human Metamorphosis: Which Contains four Dreams, The first of them and the sophisticated metal mutation, the second of the real transformation or the alchemy of metals; the third of physical transformation of human bodies and the fourth of the spiritual transformation in Christ: new in light to useful, and commodious of every curious ingenuity. 'Through the dreams the author meets several symbolic figures who lead him to realize the errors, deceptions and falsehoods of alchemy.

KNOW THYSELF.

Solstice Greetings from Sleepers Records, Los Angeles 2020.

Sleepers Records

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