From the one-sheet (leave it to Lax):
“Siltbreeze is proud to once again release a critical, unearthed treasure pertaining to the legendary Christchurch, NZ scene, pre-Flying Nun. Much like the The Spies The Battle Of Bosworth Terrace LP (2013), this archival collection of tracks titled An Afternoon With Victor Dimisich has never before been released and its historical significance cannot be overestimated.
These songs were captured in demo form primarily to flesh out the threadbare Pin Group repertoire in early 1981. These songs were captured in pared back form because certain people felt that some very tender Cogle/Stapleton works were being lost in VDB steamroller mode. These songs were captured in rough form because four men in their twenties had a spare afternoon, a crate of beer that needed drinking, and a soft spot for dark ballads. All of the above. One time pressing, amazing timestamp insert [with Bruce Russell’s notes!!} included."
From the one-sheet:
“This is not a Ben Vida, Booker Stardrum, and Will Epstein [or a Bird Show Band] record; it's a Play Time record. That's a subtle but important distinction, for a couple reasons.
One, the sound of Magic Object -- a polymetric blend of improv and pulse minimalism for saxophone, drums, and Moog -- doesn't really sound anything like any of their many other ensembles or respective solo projects.
And two, it was only while making Magic Object, their debut album, that Play Time realized they were a band at all.
The roots of the trio date to 2020-21, when Will and then Booker moved to the Hudson Valley, where Ben was already living. The three got into the habit of playing together at Ben's house, and they soon realized that their hang sessions felt fundamentally different from making music in some falling-down studio in Bushwick. Where those experiences were rushed and cramped, a new sense of time and space now suggested itself […] Gradually, they discovered a newfound ‘elasticity’ that reshaped the music from inside. They were jamming, but it wasn't just a free-for-all; they found themselves listening to each other in new ways.
Play Time is all about being in the moment. That spontaneity was key to the process of recording the album. They booked two days in their friend Joey's studio, a converted wooden barn […] they just jammed, for seven or eight hours each day. When it was over, they went through, edited down the portions they liked, and added very judicious overdubs designed to enhance the original recordings without fundamentally altering them, staying true to the spirit of the sessions. The result is something like a snapshot and a mission statement all rolled into one.”
![Goat (JP) and Ricardo Villalobos: Without References/Cindy Van Acker [Ricardo Villalobos Variations] (Latency, 2026)](https://images.squarespace-cdn.com/content/v1/5ec02095f018741058737d91/e0b8e0fa-eed4-46fd-8345-fd32b48cb2ee/LTNC038LP_CU.jpg)
From the one-sheet:
“For this project, Ricardo Villalobos reinterprets two tracks -- 'Orin' and 'Factory' -- originally composed by Goat (JP) for choreographer and performance artist Cindy van Acker's dance piece Without References.
Goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In Without References/Cindy Van Acker, Goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group's simultaneously tribal and futuristic sound is reshaped by Villalobos' distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions.
Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet's regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture.
Cindy van Acker's dance piece Without References features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker's precise yet fluid movements, interacting with Goat (JP)'s percussive, stripped-down compositions to create a visceral and immersive performance.”
Eternal Rhythm: Conversations & Travelations with Don Cherry and Graeme Ewens, published by Philadelphia’s Ars Nova Workshop, expands on an earlier edition, offering an intimate, free-flowing portrait of a legendary improviser and musical visionary.
Drawn from cassette-taped interviews gathered since 1979, the book is woven together by writer Graeme Ewens —a close friend of Don Cherry. Through Ewens’ retelling and Cherry’s own reflections, among other interesting ephemera and primary sources, Eternal Rhythm traces a life lived in constant motion — artistically, spiritually, and geographically. The result is an unfiltered insight into the evolution and working life of a musician globally recognized as one of the most unique, innovative voices of our times.
So excited for this book and the show up at Moma here in 2026. The one-sheet reads:
“Over six sessions between September 1951 and November 1952, Marcel Duchamp sat down with collectors and gallerists Harriet and Sidney Janis for a wide-ranging conversation about his inspirations and working processes, and his many opinions on the workings of the modern art world and its histories.
The Janises, owners of the influential Sidney Janis Gallery, were ardent supporters of modern art and close friends with Duchamp. Harriet, an accomplished author, led the interviews with an eye toward writing a monograph on Duchamp, though this was never realized. Now, this previously unknown chronicle is available for the first time through the efforts of Carroll Janis, Sidney and Harriet's son.
Under Harriet's expert guidance, Duchamp holds forth on his artistic philosophies, his career, his friends, his rivals and his lifelong obsession with chess. He provides an inside look at some of his most famous works, from his controversial 'Readymades' to 'The Large Glass.' Contextualized with illustrations, annotations and an introduction by Carroll Janis, this publication is a rich treasure trove of information on one of the 20th century's most controversial, groundbreaking and larger-than-life artists.”
BA pandemic project that didn’t involve a job change (so many record stores and online retailers popped up, demon-style, since 2020 [sigh]). The labor for this one was spread across states (New York, Maine, Copeland pod-style!). Like his musical output over the last 30 years (see Black Dice, under his own name, collaborations with others) Eric Copeland totally committed to this project.
And as his method spells out, there are links to be made between his musical approach and this new arm of his visual art. Demon Portraits takes its form from four copies of Aldous Huxley’s Brave New World. Using these four copies, Copeland cut out individual letters and groups of letters and pasted them over the existing narrative, incorporating select letters into every word and using #whiteout to obscure others — a Moby Dick-like pursuit that took more than 11,000 hours of labor well over three years of work. Everyone’s sense of time and place changed during the pandemic, but nothing on this scale.
Copeland describes his process, this way: “Every word required many minutes (at least) of work: to analyze what letters Huxley had provided, decide the word(s) that worked within my confines, find each letter, then cut and paste it into form.” Tom Phillips’s A Humument: A Treated Victorian Novel (1970-2016) involved a similar method, but to very different ends. Copeland describes how Huxley’s writing informed, guided, and also restricted his word choices, forcing an improvised (free?) and hyper-restricted relation between his “demon” text and Huxley’s OG: “I feel this textual tension and its resolution is the vague ‘narrative’ of Demon Portraits. I could never rely on being able to write what I wanted. I had to go with it. And it got weird. But it all went somewhere.”
Delight your friends and neighbors by playing this 2021 reissue of the 1995 cassette originally issued by Perverse Series. This edition was issued in a whopping 100 copy run this time which is already OOP (compared to 60 copies originally).
From the Adavita Records repress one-sheet: “Using only a 1VCO as material, AUBE's meticulous mixing and effects have created a noise sound of the highest caliber that will make listeners discover new sensations even after 26 years have passed since its release.
Digitized from the master tape and every one of the tapes was dubbed by legendary Nakamichi cassette deck with the recording head azimuth adjustment.
Based on the original artwork and photos, the double-layered jacket (color photo and transparent sheet) has been reproduced and is housed in sandpaper and wire. “
So pleased to stock the last Sightings show ever, Stavanger 30.4.2013, issued on tape by the Norwegian Drid Machine imprint back in 2015!
We’ve said it before, Sightings remain the greatest band of the era that brought about the Brooklyn brand, though Msgrs Hoffman, Lockie and Morgan had no part in the beards, the button-downs or Vice magazine. That said, they did circle with Andrew W.K.
Here is the setlist, total heat, drawing heavily from Terribly Well (Dais, 2013) and Amusers and Puzzlers (Dais, 2015):
CC
Take It In Trade
Mute's Retreat
Rivers Of Blood
13
Bucket Brigades
Bundled
The Loafer
Highest recommendation (and we don’t even like the tape format that much)!!
From the “Blue” Gene Tryanny Collection
Amazing 1968 periodical with contributions from “Blue”s primary collaborators Robert Ashley, Dick Higgins, Alan Kaprow, Ann Halprin and many more.
“Blue” had broken the spine and kept this propped open on an article about the ONCE group. Ashley and Tyranny’s starting off point.
November 17, 2023: After more than a decade, our Dystopian t-shirt has been put to rest. The cheeky irony sits less well when living through our own spotty patch of history. Yesterday we spotted two burned out cars on the street in just one commute home. The spirit of Rollerball lives on even if the t-shirt design is no more.
To right/re-write the tone of our last t-shirt a bit, we borrow from an iconic avant-garde luminary who is experiencing a renaissance of sorts. Everyone is crazy for Robert Ashley these days, so many voices doing the voices.
We’ve decided to appropriate what’s appropriate too, so here’s our Automatic Ashley design!
Acquired these direct from Bill Orcutt during his March 20, 21 and 22nd residency at Roulette. The Four Louies night on 3.21.26 was extraordinary, especially the performance of that Fake Estates Lp. And the other nights featured an amazing cast of fellow artists, some on PALILALIA, and among others:
Wendy Eisenberg
Chris Corsano
Shane Parish
Cyrus Pireh
Ava Mendoza
Kris Gruda
…. and even an appearance from shop favorite William Winant!
We only have a few of each size, so please act fast.
Selling it a smidge cheaper than the Orcutt’s merch table, as not appear like we are in on the grift.
Grateful to have these in the shop.
Cover boy HARRY SMITH shines thanks to a cheeky, never-before published photo by Allen Ginsberg. We celebrate the life and work of the self-described “ethnopharmacologist” just in time for the release of John Szwed’s illuminating biography and Smith’s first one-person art exhibition, at the Whitney, with three killer, well-illustrated features (on his Anthology of American Folk Music, an interview by Marc Masters with Szwed, and a terrific dive into Smith’s relationship with fellow visual artist and filmmaker Jordan Belson by Raymond Foye).
Also in this issue: Andy Beta on the reissue of a forgotten LOU REED record. Excerpts from two revelatory works—ANDY ZAX’s Extinctophonics, and CHRISTINA WARD’s Holy Food. Kathy Lindenmayer witnesses a show by BOYGENIUS. An archival interview with fabric arts pioneer and Bauhaus OG, ANNI ALBERS. An illustrated ADVANCE BASE tour diary by Owen Ashworth. Tamara Palmer considers the oddball career arc of ORBITAL. v Andy Beta goes deep on TETSU INOUE. Nate Lippens goes off on RENE RICARD and other obsessions. And Michelle Dove on CAT POWER’s sense of humor!
Plus illustrations throughout by MARLY BEYER; and columns by LUCY SANTE, MIMI LIPSON, DWIGHT PAVLOVIC, and editor MIKE McGONIGAL; tributes to SIXTO RODRIGUEZ, ESP SUMMER, and PEE-WEE HERMAN; and the triumphant return of the UNSTAPLED column, with reproductions of a contemporary basketball fanzine.
Features:
A MULTI-PART PRINCE FEATURE with reprints of rare writings by the great writers Ann Powers, Michael A. Gonzales, and Greil Marcus.
- Mary Lattimore – the great LA-based harpist interviewed by RJ Smith.
- Audrey Golden’s Thought I Heard You Speak book on the role of women in Factory Records is celebrated with an interview by Jessica Beard.
- Negativland – amazing huge very very in-depth feature on the whole ‘Helter Stupid’ debacle – strap on in for this one, by Cory Frye.
- Roussel + Duchamp, illustrated – Philippe Lapierre delivers dozens of real and super-real vignettes of a posthumous relationship, with beautiful pointillistic drawings.
- Stewart Lee by Richard Gehr – an awesome and dare-we-say-deep chat with the world’s greatest living standup comedian.
- Katharina Kuhlenkampf drew this terrific comic strip about the delightful Go-Betweens song “Lee Remick.”
- Emeralds – Fred Thomas on the much-missed Ann Arbor-based drone explorers.
- High Risk Group by Tim Alborn – the full, fascinating story of the excellent, obscure Boston based 1980s alt-rock group.
- Joshua Gamma – Murat Cem Mengüç on the big show the artist curated which explores the relationship between Christian psychedelic aesthetics and American subcultures.
Long out of print inaugural issue of Maggot Brain with Alice Coltrane on cover and inside alongside features on Dilla, The KLF, Daniel Johnston, Swell Maps and more…
Condition is “like new”