This 18th volume in the award-winning Bootleg Series tells the story of Dylan's emergence and maturation as a songwriter and performer, from Minnesota to the Greenwich Village bohemia in the early 1960s. It includes rare Columbia Records outtakes, recordings made at club dates, in tiny informal gatherings, in friends' apartments, and at jam sessions in long-gone musicians' hangouts.

Here we are again in 2025, Brown Acid The Twenty-First Trip arriving right on time as the world at large degrades further into disorienting self-absorbed isolation and chaos. Ten powerful early hard rock brain benders, primal energy exploding sideways out of the ash heap of ‘60s idealism, rocking the darker side of human nature in style!

Here you are in 2025 about to take the Twentieth Trip! The ten vintage early local hard rock eruptions here will swarm around you like fear and loathing bats, zapping you from unexpected angles, beyond-a-reasonable-doubt proof that the inevitable collapse of the American Psychedelic ‘60s Utopian Dream into hard guitar low ball self absorbed human nature endures. These killer tracks may be a half century in the rear-view mirror now BUT… since We Can’t Work It Out… we gotta mess it up! A vibe that resonates timelessly, real life ripped out of the haze by real people, fresh and unfiltered right out of the gate. Getting it while they can. These are no mere historic sound recordings, they are life itself! If you’re looking for trouble, you just found it!

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, is now made available on vinyl and CD formats.

When I was approached to participate in Monsterland I was immediately attracted to the idea of working on a series where horror, science fiction and gore could converge.

"… the album sounds great. The production by Lennon and Ono is precise and crystalline … they utilize many of the same top-notch session musicians as on Double Fantasy.
- Rolling Stone

The album ContraFolk highlights contemporary Portuguese music, exemplified by the recent composition by the Azorean Sara Ross, a piece commissioned by Casa da Música and premiered worldwide by ClandesTrio.

Andrew (Andy) Findon is an English woodwind player, educated at Harrow County School and The Royal College of Music. Since 1980, he has been a baritone saxophone and flute player in the Michael Nyman Band[1] and is also a member of Home Service and Acoustic Earth.

Diversity is at the heart of pianist, keyboardist, composer, and poet Robert Mitchell’s career. His recent tenure as Artist in Residence at Morley College provided the setting for a new venture that builds on his past legacy while sounding unlike anything he has done before. Drawing inspiration from the heavy fusion of Chick Corea and Allan Holdsworth, the psychedelic swagger of Jimi Hendrix, and the fearless multi-media explorations of Cecil Taylor, Little Black Book brings together three bravura players in an uplifting celebration. Laurie Lowe (drums) and Zayn Mohammed (guitar) bring the perfect mix of power, accuracy, and imagination to make the project come alive.

SPIEGELUNGEN brings together Bach’s Musical Offering, Viktor Kalabis’ Canonic Inventions, and Isang Yun’s Royal Theme in a striking dialogue across time and culture. Three composers and three worlds of thought meet in a conversation that moves between baroque clarity, modernist invention, and the meditative poetics of East Asian sound.

Established in 2002, Montreal deathcore pioneers Despised Icon return with their seventh full-length album, Shadow Work.

Bridging the gap between funk, synth-infused orchestral arrangements and future jazz, Simon Grey’s long-awaited album Pressing Matters hits with an undeniable kick. A thematic exploration of the internal battles we all face against the unseen forces that threaten to derail us — and the ongoing struggle to become the best versions of ourselves — this record is both a reflection and a rallying cry.

George Antheil (1900–1959) was an American avant-garde composer, pianist, and inventor known for his radical musical style and innovative spirit. Often dubbed the Bad Boy of Music, Antheil made his mark in the early 20th century with bold compositions that challenged traditional norms, combining dissonance, mechanical rhythms, and experimental instrumentation. He was particularly fascinated with the intersection of technology and music, a theme that permeated his work—including his infamous Ballet Mécanique (1924), a piece originally scored for synchronized player pianos, airplane propellers, and sirens.

Gratitude is a powerful thing: an acknowledgement of past good and the humility to thank the people who have walked before in order to make a way for each person in the present.

Composed and performed by Makaya McCraven (drums), Junius Paul (bass guitar), Joel Ross (vibraphone), Jeremiah Chiu (modular synthesizer, percussion), and Marquis Hill (trumpet, percussion, electronics) on January 14th, 2025 at Public Records in Brooklyn, NY.