Religion, Revolution & Railways is a forthcoming archival 7CD box set featuring ‘The Complete Recordings’ of The Dream Academy.The Dream Academy were a British band that featured singer/guitarist and songwriter Nick Laird-Clowes, multi-instrumentalist Kate St. John, and keyboardist/songwriter Gilbert Gabriel. In I985 the group achieved worldwide success following the release of their first single ‘Life In A Northern Town’ which saw their subsequent debut album going into the American Top 20.

The 1973 album was her fourth solo release – another collaboration with John Cale – and was recorded in 1973 in London. Cale chose Brian Eno and Phil Manzanera of Roxy Music to work on the album with him; between them they provided the entire instrumental framework for Nico and her harmonium.This issue of The End is remastered here for the first time, and comes with a bonus disc of tracks including The End and a previously unreleased version of Das Lied der Deutschen performed live at London’s Rainbow Theatre on June 1, 1974, and some John Peel session tracks which are either unreleased or new to CD.

Desertshore is Nico's third solo album, recorded and released in 1970. It was co-produced by John Cale and Joe Boyd. Like its predecessor The Marble Index (HE 68005LP, 2023), it is an avant-garde album with chamber music elements. The back and front covers feature stills from the film La cicatrice interieure by Philippe Garrel, which starred Nico, Garrel and her son Ari Boulogne. A few of the songs from the album were included on the soundtrack of the film.

Nico's second solo album, 1968's 'The Marble Index', has long been out of print. This reissue includes audio mastered from the original tapes and previously unreleased photos of Nico by Guy Webster. Nico's haunting vocals predicted the Gothic movement and co-producer and Velvet Underground's band mate John Cale's startingly modern classical production ensured 'The Marble Index's timeless appeal. The iconic music journalist Lester Bangs wrote, “The Marble Index is the greatest piece of 'avant-garde classical', 'serious' music of the last half of the 20th century so far,” and the New Yorker recently hailed both records as “austere miracles of will and invention.”

Snakefinger surely needs not much of an introduction. Born Philip Charles Lithman in London, he moved to San Francisco in 1971. His roots lie in the British blues scene, but he soon became friends with The Residents who also gave him the name Snakefinger based on a photograph of Lithman performing, in which his finger looks like a snake about to attack his violin. In 1972 Lithman returned to England and formed the pub rock band Chilli Willi and the Red Hot Peppers. After the lack of success of the second album, he returned to the states and work on his first solo album began. "Chewing Hides The Sound" came out in 1979 on Ralph Records. It includes classics such as his Kraftwerk cover "The Model", "What Wilbur?" and "Picnic In The Jungle". The songs on the album were co-written with The Residents. The music showcased Lithman's distinctive slide guitar playing and often surreal imagery. At the same time, a string of singles was released. All tracks that were exclusive to these releases are added as bonus tracks here. Very recently, a so far unknown remix of the whole album was discovered in the Residents' archive. It was made in 1987 in preparation for the Snakey Wake by The Residents and has never been published in any form. Klanggalerie are now proud to present you this lost gem for the first time ever.

ENDE VOM LIED is a genre-spanning collection of punk, post-punk and avant-garde bands from the former East Germany, chronicling the work of free spirits pitted against government restraints and implied genre limitations. The underground scene in the GDR was a hydra, a noisy mix of musicians, poets, pain¬ters, photographers, filmmakers, punks and freaks. In the immediate aftermath of the primal scream that was punk, music often bred with poetry or painting in short-lived liaisons or enduring collaborations to produce a new generation of genre bastards. With the lines blurring between forms, a search for new shapes began. In the German Democratic Republic, this search constituted a tightrope walk, a dance for expression between subculture and a dictatorship.

Big tip! Lunching into 2024 after after a stellar 2023, Week-End Records delivers one of their most important offerings to date, the first vinyl reissue of Fred Frith’s seminal 1974 solo debut, “Guitar Solos”, in more than 40 years, marking the album’s 50th anniversary. A groundbreaking work in the field of avant-garde recordings that changed everything in its wake, incorporating a startling range of sonorities and approaches within constrained means, to celebrate its half-century mark, Frith has returned to its groundwork and recorded a brand new solo effort, “Fifty”, which now makes up an entire second LP of material for this very special release. Truly incredible and as historically important as records and reissues come.

“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.

Seven songs performed live and naked by these slightly off-kilter Texan envelope pushers. Remember: before Pepper, there was an entire decade that the band probably doesn't even recall, but damn, was it good for the rest of us! Recorded at the Meridean in San Antonio, TX in 1984. Now remastered under supervision from the group.

More than 20 years after Captain Beefheart's last musical outing, the Magic Band (sans the Captain) reconvened for the 2003 All Tomorrow's Parties festival. Actually, it's a Magic Band that never was, consisting of Drumbo (John French) on drums, vocals, and harmonica; Rockette Morton (Mark Boston) on bass; and guitarists Mantis and Feelers Reebo (Gary Lucas and Denny Walley, respectively). (For the live shows, Robert Williams – another Magic Band alumnus – took over the drum chair when Drumbo had to sing and play harp.) Of course, these guys knew the material, but they don't just play the tunes, they attack them, summoning up the controlled chaos that made the original Captain Beefheart recordings such singular achievements.

In the final quarter of 1975 and early 1976, Frank Zappa and his entourage were as busy touring as ever. Playing largely in US locations during 1975’s closing month (but including one strange stop in what was then still Yugoslavia, in November), the final show of ’75 was played on New Year’s Eve in Inglewood, California. By January 20, 1976, the band were in Sydney Australia to begin their Pacific and European tour of the year, playing six dates in the country. From there, they moved to Japan, where they performed four further shows. Playing in Tokyo, Kyoto and Osaka, the Osaka concert remains the very finest of the Japanese shows, recorded as it was for live FM radio broadcast and still a fan favourite to this day. This new 2CD set now features for the first time the entire gig Frank Zappa and his band played at Osaka’s Kosei Nenkin Kaikan on 3rd February, 1976.

Famed for her hard-rocking, dance-inducing new-wave sound, ferocious vocals, cult-film acting and scandalous talk-show appearances, Nina saw her name spread westward from her native East Berlin as the '70s gave way to the '80s. Here's her 1979 debut LP Nina Hagen Band, 1982 English-language debut Nunsexmonkrock and relentlessly grooving 1983 LP Fearless. What it is (unmistakably featuring the Red Hot Chili Peppers) joins New York New York; My Sensation; Superboy; Der Spinner; Antiworld; Smack Jack; UFO; Dr. Art; her German-language version of White Punks on Dope, and more!

Xenakis was one of the major figures of 20th-century music, composing some 150 works for orchestra, instruments, voices, stage, and electronics.

"You Are What You Is" was another of Frank Zappa's periodic post-Over-Nite Sensation efforts that concentrated on tight songwriting supported by satirical lyrics. Originally a two-record set featuring 20 songs, "You Are What You Is" Is skewered a variety of targets, from teenagers, punk rock, disco, and country music to the media, yuppies, the beauty-and-fitness industry, upper-class vice, religious hypocrisy, suicide, and the military draft - all the trappings of Reagan-era America.

An unprecedented collection of recordings charting the earliest years of one of the world's most innovative and exciting renaissance women -composer, singer, performer, film director, visual artist and auteur Meredith Monk. Hand selected by Meredith from her personal archives, this fascinating compilation ranges from her first solo vocal performances in the mid-'60s, to ground-breaking works from the '70s up through 1980. An essential portrait of a vocal pioneer at her virtuosic and exploratory best.