Two-time ARIA Award-winning Naarm / Melbourne-based psychedelic jazz outfit Mildlife present their much-anticipated third studio album, Chorus. Following 2020’s Automatic and 2017’s Phase, Chorus arrives as Mildlife’s most optimistic record, serving as a sonic testament to the band’s unwavering adoration for the beguiling realms of 70s psychedelic and cosmic sounds. “Chorus is about a coming together of disparate elements. Not in some sort of utopian aesthetic where everything works perfectly, but in the natural flow and state of things,” shares the band’s Jim Rindfleish. “It’s about cosmic compatibility and chemistry: what makes things work? Not just what makes the band work, but what makes good music, art or love? It’s the rhythm of nature”.

The mystical figure On Ka'a Davis returns for his second CD on Tzadik, and his first in twenty-five years - Blending the psychedelia of Sun Ra with Miles Davis and Jimi Hendrix, this is an epic, direct from the ever-growing counterculture of Downtown New York - Performing on guitar, synth keyboard, programmed sounds, and percussion On is joined here by Don McKenzie on drums and Ali Ali on trumpet. Years in the making the music is wild, varied, and intensely felt. A New York Underground classic!

With his new album Y’Y (pronounced “eey-eh, eey-eh”), Amaro Freitas steps into a new realm of musical creation. A realm rooted in magic and possibility, and tempered by a sense of stewardship for the earth’s bounties.

Composer, clarinetist, singer and educator Angel Bat Dawid announces the release of a new work, Requiem For Jazz. A 12-movement suite composed, arranged, and inspired in part by dialogue from Edward O. Bland’s 1959 film The Cry of Jazz, the album is a wide-ranging treatise on the African American story from one of its most astute narrators.

New Future City Radio is the first duo collaboration of longtime creative partners Damon Locks & Rob Mazurek. In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people.

2022 release from Nashville-based ambient composer Rich Ruth. Mixed by renowned Chicago producer/engineer John McEntire (Tortoise, The Sea and Cake, Stereolab), I Survived, It's Over features "Taken Back," in which sitar, shells, and bass are slowly joined by piercing lead guitar, synth blasts and drums as the track bursts open into psychedelic orbit. "I Survived, It's Over is a meditation on healing, confronting trauma, surrendering, and finding peace," Rich Ruth frontman Michael Ruth says. "I constantly experiment with sound until it reflects the way I am feeling and attempt to sculpt something meaningful from it."

A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film.

In the tradition of toddler crayon scribbles on perfectly painted bedroom walls, multi-freshness composer Ben LaMar Gay expands on the teachings of Alabama star spirits and presents a collection of work involving sound, fabric, movement, rivers, shadows, Lagosian memories, light and listening.

Composer, clarinetist, singer & spiritual jazz soothsayer Angel Bat Dawid descended on Chicago's jazz & improvised music scene just a few years ago. In very short time, the potency, prowess, spirit & charisma of her cosmic musical proselytizing has taken her from relatively unknown improviser to borderline ubiquitous performer in Chicago's avant-garde. On any given night you can find Angel adding aura to ensembles led by Ben LaMar Gay, or Damon Locks, or Jaimie Branch, or Matthew Lux, or even, on a Summer night in 2018, onstage doing a woodwind duo with Roscoe Mitchell. For her recorded debut on International Anthem, The Oracle, we've chosen to release a batch of tracks that Angel created entirely alone – performing, overdubbing & mixing all instruments & voices by her self – recorded using only her cell phone in various locations, from London UK to Cape Town RSA, but primarily from her residency in the attic of the historic Radcliffe Hunter mansion in Bronzeville, Southside, Chicago.

Sometimes a work of art comes unintentionally from a place from deep within the soul. It meanders and flops onto a table and sits and waits for its birth. The album begins with "Wait Till The Stars Burn", a planetary ode to the Sun. The second track "Tribute to the Pharoahs Den", is a requiem for Danny Ray Thompson (R.I.P.) of the Sun Ra Arkestra, his music and legacy now floating above us in the infinity of space. Both tracks and featuring Marshall Allen and Knoel Scott (of the Sun Ra Arkestra).

Acting, Thinking, Feeling marks the first time that psychedelic jazz ensemble The Stark Reality's Discovers Hoagy Carmichael's Music Shop album has been reissued in full (the 2003 Stones Throw Records anthology Now only contained half of the original album's music). The anthology also contains the band's out-of-print Roller Coaster Ride (first issued as 1969 on Now-Again in 2003), and a series of recently discovered, previously-unreleased tracks in a 3 CD "complete works" box set. Besides the missing Hoagy Carmichael's Music Shop songs, the most exciting additions to the Stark Reality's oeuvre are the three songs recorded between the earliest incarnation of the band the big band that recorded "Theme To Say Brother" and "Acting, Thinking, Feeling" in 1968 - and the slimmed down combo that recorded the Roller Coaster Ride and The Stark Reality Discovers Hoagy Carmichael's Music Shop. These recordings display a band in flux, and color the development of Stark's genius. We hear the signature sound of his "plugged in" vibes for the first time; we hear an early stab at the psychedelic "Red Yellow Moonbeams" (and realize why the addition of John Abercrombie's fuzz guitar was crucial to his vision); we hear a subtle change towards a more funk and rock based sound.