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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 11/25/2024

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PRICE: $19.00

CAT #: 181 001EP

FILE UNDER: ELECTRONIC

Adam F drew inspiration from legendary artists like Lalo Shiffrin, Stevie Wonder, and Quincy Jones, as well as the vibrant funk era for his monumental track. "With these influences I set out to create something truly unique." Looking back on the now towering legacy of the track Adam states: "It's incredibly humbling to think that my work on 'Brand New Funk' sparked a fusion movement within the jungle/drum and bass scene. Over the years numerous bootlegs of my tracks emerged, showcasing the impact it's had. However, I'm thrilled to announce that the two new releases we're unveiling are official collaborations -- a joint effort between myself and Bladerunner, accompanied by the exceptional skills of another talented mixer who prefers to remain anonymous. For these tracks, I had the pleasure of incorporating live funk bass and horns, which further elevated the energy and groove. It has been an incredible path with many a twist and turn, with club performances that have captivated audiences for over a year now. I am truly grateful for the support and the opportunity to share my passion with all of you."

 

PRICE: $20.00

CAT #: 181 001P-EP

FILE UNDER: ELECTRONIC

Pink color vinyl version. Adam F drew inspiration from legendary artists like Lalo Shiffrin, Stevie Wonder, and Quincy Jones, as well as the vibrant funk era for his monumental track. "With these influences I set out to create something truly unique." Looking back on the now towering legacy of the track Adam states: "It's incredibly humbling to think that my work on 'Brand New Funk' sparked a fusion movement within the jungle/drum and bass scene. Over the years numerous bootlegs of my tracks emerged, showcasing the impact it's had. However, I'm thrilled to announce that the two new releases we're unveiling are official collaborations -- a joint effort between myself and Bladerunner, accompanied by the exceptional skills of another talented mixer who prefers to remain anonymous. For these tracks, I had the pleasure of incorporating live funk bass and horns, which further elevated the energy and groove. It has been an incredible path with many a twist and turn, with club performances that have captivated audiences for over a year now. I am truly grateful for the support and the opportunity to share my passion with all of you."

 

PRICE: $20.00

CAT #: 181 002EP

FILE UNDER: ELECTRONIC

Over the summer of 2024, Adam F released a series of reboots on 181 Recordings -- the label founded with vocalist and partner Kirsty Hawkshaw. He now presents painstakingly re-recorded and rebooted versions of his seminal track "Circles," with a reboot by Adam F, as well as the first official release of the Pola & Bryson & Adam F reboot -- which has been causing a storm on DnB dancefloors worldwide. "'Circles' is one of the first tracks where I could express my influences with no boundaries. The music became known as Drum n' Bass but started off as hardcore Rave and Jungle. One of the greatest things about it for me was that I could express myself through that medium using all my influences; funk, soul, reggae and jazz -- freely and unrestricted." says Adam F on the release. "'Circles' has evolved over time with very solid and rich roots. Behind the hooks, basslines and such there are great textures. Saxophone, trumpet, Keyboards and synthesizers contributing to a free flowing arrangement drawing on my love of jazz musicians indulging my own personal imaginative dreamscape of sound. Ultimately I want it to be crafted into something of a listener's story and journey that people can hang their hats on as well as their hearts."

 

PRICE: $20.00

CAT #: 181 003EP

FILE UNDER: ELECTRONIC

Transparent blue vinyl. "Fine Day XXIV" is a reinvention of the seminal rave track recently brought back to mainstream popularity via the Skrillex and Boys Noize "Fine Day Anthem." Originally released during the heyday of rave culture in 1992, Kirsty Hawshaw's ethereal vocals remain the main focal point of this reimagination of the track, keeping all optimistic, hypnotic elements intact while generating a multi-layered anthemic sense of euphoria. The production by Adam F and Shadow Child maintain the elation of Edward Barton's lyrics, while Hawkshaw's newly recorded vocals are as crisp, clear, innocent and all-knowing as ever. "We are delighted to share that 'Fine Day' continues to be a cherished anthem of positivity," say Hawkshaw and co-producer Adam F. "It is a humble reminder of the power of spreading good vibes into the world. As we celebrate the milestones achieved and our journey in the world of music, we are thrilled to present a reimagined rendition of this timeless song."

 

PRICE: $20.00

CAT #: 181 004EP

FILE UNDER: ELECTRONIC

Translucent yellow vinyl. DJ Marky, Makoto, and Nookie reboot Adam F's revisited rework of 1997 hit, "Music In My Mind." Adam F enlists jungle royalty to modernize his 1997 track. Further launching this underground dance classic into new dimensions is Brazil's DJ Marky and expertly selected Japanese producer Makoto. Together, they effortlessly bring the jazz-infused track to the attention of today's ravers with re-jigged, amplified drums. Certified '90s jungle veteran Nookie goes more liquid with his version, heightening the vibes and setting the scene with immense violin strings. "Music In My Mind" was originally featured on Adam F's 1997 album, Colours. Now, as part of the Liverpool-born producer's Colours Revisited album (181 001CD, 2025), the jazzy, vocoder-loaded track inspired by Bob James, Lalo Schifrin, and Chick Corea, has been given a modern reshape. "'Music In My Mind' speaks to the power of music to transport, heal, and uplift our spirits," says Adam F. "This song resonates with those who find solace and freedom in the melodies and rhythms that exist in their own minds and bring back memories of a time when I felt an overwhelming connection to music. This song holds a special place in my heart, and I believe it carries a deeper meaning that resonates with anyone who can relate to finding consolation and liberation in the power of music." There's no better time to keep an eye on Adam F, as he uncovers yet more gold from his elegant and timeless back catalogue. Adam F is as fertile and contemporary as ever with more new production ready to launch unto the legions of listeners hungry for great music as his creativity flows brighter than ever.

 

PRICE: $20.00

CAT #: AUK 138EP

FILE UNDER: ROCK

Anton Newcombe and Dot Allison present an album together under the moniker All Seeing Dolls. Anton Newcombe is the founder, the sole constant and the creative mastermind at the center of one of music's most fascinating bands; Brian Jonestown Massacre. He's a frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father and force of nature. There have been 21 BJM albums over the last 30 years, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock'n'roll, blissed-out noise-pop and more. Newcombe has established himself as a once-in-a-lifetime talent, a revolutionary force in modern music and an underground hero. Dot Allison released her debut solo album Afterglow in 1999. Over the years she has strived to keep the listener on a journey -- and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. That journey has taken her from Afterglow's broad church to the sultry synth-pop of We Are Science (2002), the lush, baroque Exaltation Of Larks (2007) and the eclectic, rootsy drama of Room 7? (2009). After a hiatus to raise her family she returned with the graceful acoustic folk record Heart-Shaped Scars (2021) and the haunting, barely there beauty of Consciousology (2023). The range of guest stars on Allison's records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty, and Darren Emerson.

 

PRICE: $28.00

CAT #: WHYT 079LP

FILE UNDER: ROCK

Formed in Bristol, four-piece Lice have become one of UK experimental rock's most inventive and ambitious outliers. Their second album Third Time At The Beach is a three-part epic exploring the struggle to better understand the world. Darting between minimalism, rock, techno and more, it sends listeners hurtling through time and space: featuring a cast of astronauts, cavemen and dinosaurs. This follows Lice's internationally acclaimed debut album WASTELAND: What Ails Our People Is Clear (2021). Third Time At The Beach's concept is expressed through three movements. The first ("Unscrewed," "White Tubes," "Red Fibres") presents the child being introduced to the world, hammered into shape through prevailing culture, and realizing they have reached adulthood with a blinkered understanding of the world. The second ("To The Basket," "Wrapped In A Sheet," "Scenes From The Desert," "Mown In Circles") is a disorientating, alien sequence: reevaluating fundamental concepts including money, time, nationhood and language. In the third ("Fatigued, Confused," "Third Time At The Beach," "The Dance"), the individual embraces these new ideas -- granting them a changed understanding of the world, and more agency in the path they take through it. Everything is always changing in Third Time At The Beach. The album shifts from lush piano balladry to crushing industrial, and from swampy avant-garde compositions to triumphant rock freakouts. Employing vocal manipulation and field recordings, as well as cutting together studio recordings and home demos, the band produces a spatially elastic, collage-like effect. The album, like the ideas being reached within it, presents a work-in-progress. Lyrically, the record employs a scattershot style to present the experience of learning (or "unlearning"). The listener visits ancient civilizations, the Industrial Revolution, outer space and the land of the dinosaurs: encountering mediaeval farmers, silver miners, cavemen, Napoleon and Satan. Speaking on the record, the band say: "This album's about trying to understand the world and everything in it: history, science and the way we explain it all to each other. It's a celebration of feeling confused or intimidated by the processes that shape our lives."

 

PRICE: $29.50

CAT #: WHYT 081LP

FILE UNDER: ELECTRONIC

Jump Ship, Sit Lean, Be Still, Stand Tall is a collaborative LP from BZDB, comprised of Duncan Bellamy and Belinda Zhawi (MA.MOYO). The record is a collection of sonic-poetry setting Zhawi's illuminating, elliptical words in dialogue with diffuse, explorative music and sound by Bellamy. Together they render these disparate forms into something distinct, melancholic and luminous, fluctuating between expansive contemporary classical arrangements and intimate layered vocal experiments. Belinda Zhawi (b. Zimbabwe) is a literary and sound artist based in London and Marseille, author of Small Inheritances, and experiments with sound/text performance as MA.MOYO. Her work explores African diaspora research and narratives, and how art and education can be used as intersectional tools. Her literary and sound works have been featured on various platforms including The White Review, Vogue, NTS, Boiler Room and BBC Radio. She's held residencies with TriangleAsterides, France; Cove Park, Scotland; Serpentine Galleries; ICA London and was a Brixton House Associate Artist 2022-24. Belinda is the co-founder of literary arts platform, BORN::FREE. Zhawi is working on her first full poetry collection. Duncan Bellamy (b. Cambridge, UK) lives and works in London. Encompassing painting, photography, sound and music, his diverse practice explores the correlation and discrepancy of our present with the distant past. He is a founding member of Mercury Prize nominated Portico Quartet and has contributed sound work to the artist Hannah Collins audio-visual installation I Will Make Up A Song as well as to Hania Rani's latest album Ghosts. Bellamy is working towards a solo exhibition and an album of new music.

 

PRICE: $21.50

CAT #: ZORN 093CD

FILE UNDER: JAZZ

2024 repress. "Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet, is at last here. Recorded live at ETA (referencing David Foster Wallace), a bar in LA's Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depthful & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing s?ance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan's Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle. While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group -- just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It's tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras -- dub & Dilla, primary source psychedelia, ambient & drone -- suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, 'we sound like the Byrds' (to certain ears, the Clarence White-era Byrds, who really stretched it). A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they've established in Parker's -- The New Breed -- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker's beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers -- as distinctive a sonic signature as we have in contemporary acoustic drumming -- bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom. For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker's unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker's music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power. On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together." --Michael Ehlers & Zac Brenner

 

PRICE: $28.00

CAT #: N 096LP

FILE UNDER: ELECTRONIC

Kobe's own O'Summer Vacation are unique (and volatile), and they're back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan. Breakneck concision and collective combustion meet freeform noise punk hazards on O'Summer Vacation's second (not quite) full-length, Electronic Eye. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it's the perfect launch pad for their latest set of guitarless pyrotechnics. Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (DMBQ, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless and inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana). Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of "?? (Shuku - A)." A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows, 30-sec mini noise punk anthems, and continues to surf at breakneck pace up and down scales, which often feels like catharsis served with a hammer. Quite hotheaded and terminating things on a high note, O'Summer Vacation point out that the quick-fire lyrics of their songs have no meaning. "It's called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music." Although she considers her contribution "a part of the instrumentation," they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): "That doesn't mean we don't have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands." It's only three ingredients, just like sonic gunpowder: bass, drums, voice -- but they tend to explode a few bars into each new track. In a perfect world, there'd be giant colorful clouds of dust gracing the sky over each venue they descend upon.

 

PRICE: $26.00

CAT #: VIRUS 078LP

FILE UNDER: ROCK

LP version. "The album-length result of Jello Biafra's collaboration with long-time associates D.O.A. for the super soundtrack of Terminal City Ricochet! Both DKs and D.O.A. began playing music in the same week of 1978, so perhaps this project was bound to happen."

 

PRICE: $35.50

CAT #: ARA 027LP

FILE UNDER: ELECTRONIC

Two years after his critically acclaimed Ultrachroma album, Kangding Ray returns to ARA with a decisively dance- floor LP named Zero. As the artwork suggests, his different explorations and influences converge into one point on this record, where sound becomes a raw vibration, precisely engineered to bring bodies into movement. This record marks both a return to the source of his sound in its purest shape, with hints of his debuts on the experimental label raster-noton, as well as the hypnotic journeys he is now for with his DJ sets. As an artist who is constantly reshaping his own sound in search of new forms, Kangding Ray offers here a singular take on modern dance music, driven by a visceral and futuristic approach. "When an audio signal crosses the X-axis, there is an infinitesimal moment of silence. Zero is inspired by this quiet instant, a point of inversion where vibrations die and are reborn at the same time."

 

PRICE: $29.50

CAT #: VISTA 015LP

FILE UNDER: ELECTRONIC

LP version. Clear color vinyl Mirror Phase concludes a trilogy of minimal ambient albums in Jonas Munk's own name. These eight compositions, based on guitar and synthesizer loops, marks a return to the warmer sounds Munk is often associated with. Sonic structures that slowly and gradually evolves and changes, like cloud formations in the sky. The title track "Mirror Phase" is Munk's most expansive drone opus so far. It's a carefully arranged piece where sounds that oscillates with the same interval, but at different phases, are continuously added, hence creating shifting patterns throughout the track's nearly 18-minute duration. Elsewhere, in "Transition," multi-layered guitars create the sonic equivalent of waves gently splashing on the shore. "At a Distance" creates a haunting, and hypnotic, soundscape by using slightly out-of-tune analog synthesizers, summoning the transcendent krautrock of Popol Vuh. "Rise," as well as the closing track "Return to Nowhere," recall the glistening sounds of his Manual releases. Mirror Phase might just be Munk's ambient oeuvre reaching its zenith. RIYL: Fripp & Eno, William Basinski, Christopher Willits, Stars of the Lid.

 

PRICE: $30.50

CAT #: BAADM 017LP

FILE UNDER: ELECTRONIC

Re-release of Blue Chemise's debut LP Influence On Dusk, which originally appeared in 2017 as a limited private release of 105 copies. BAADM make this much sought-after record available again on both physical and digital format, with remastered sound by Christophe Albertijn and updated artwork, all true to the original intentions of, and in close collaboration with, the artist. Influence On Dusk forms an idiosyncratic cycle of fourteen mysterious, sometimes uncanny electroacoustic compositions, a personal and subdued eruption of "melancholy of the healthy kind," suddenly here and suddenly gone. This is the second release on B.A.A.D.M. by the Australian artist Mark Gomes, following his equally atmospheric but more romantic Flower Studies from 2021.

 

PRICE: $28.00

CAT #: BTR 098PNK-LP

FILE UNDER: WORLD

Pink color vinyl version. Middle Eastern psych, funk, disco, and Japanese folk and pop, converge to create a mesmerizing new sound on Kokoro, Sababa 5 and Yurika's collaborative debut album for Batov Records, collecting four acclaimed singles and four brand new songs. Renowned for their innovative approach to merging Middle Eastern psych, funk and disco grooves, Sababa 5 found their perfect partner in Japanese singer and belly dancer Yurika Hanashima, who having graced stages dancing with Boom Pam and Ouzo Bazooka, found her own voice alongside the group, and together yielded hits "Tokyo Midnight," "Nasnusa," and "Crossroad of Love," earning accolades from tastemakers such as Gilles Peterson, Cerys Mathews, and Jeremy Sole. In Kokoro, Sababa 5 and Yurika present a collection of tracks that transcend cultural boundaries and delve into the depths of human emotion. From the nostalgic romance of "Nasnusa" to the carefree "Halilim Halilim," each song on the album tells a story of love, sisterhood, and the journey of the soul. The title track, "Kokoro", which embodies the essence of the album's musical exploration, refers to the sky, the performers' journey together, and the moment. Psychedelic soul, with touches of the Mediterranean coast and desert. Opener "Empty Hands" explores Yurika's theory that "when you have empty hands you get everything", countered by the hypnotizing keys of Eitan Drabkin over an Afrobeat inspired groove, and bittersweet bassline from Amir Sadot. The playful and summery "Halilim Halilim" was inadvertently named by Dani Ever Hadani of Middle Eastern psych and surf rockers, Ouzo Bazouka, and alludes to how love enters and leaves our lives like the air blown through a flute. Ilam Smilan's exceptional guitar playing stands out, as does the unwavering groove and rhythm of drummer Raz Man. The second half of the record collects Sababa 5 and Yurika's earlier and incredibly popular singles. The attraction of Yurika's mesmerizing vocals over Sababa 5's infectious grooves is irresistible across Kokoro, and the album marks a significant milestone in both their musical journeys. As Sababa 5 continue to redefine their sound, and Yurika establishes herself as a vocalist of note, Kokoro stands as a testament to the power of collaboration and the timeless bonds of music, love and romance.

 

PRICE: $24.00

CAT #: BTR 100LP

FILE UNDER: WORLD

Limited repress. Batov Records presents Nijerusalem, a groundbreaking collaboration between Nigerien synth pioneer Mamman Sani and Berlin-based electronic artist Tropikal Camel. Mamman Sani's electronic organ music, first recorded in 1978, made him a national hero in Niger, led to him writing the Niger's new national anthem, and has long been cherished by aficionados for its unique blend of traditional Nigerien melodies and synth experimentation. Mamman's music embodies a sense of intimacy, echoing the presence of a solo artist in the room with the listener. This album is the result of a serendipitous meeting at the Nyege Nyege Festival in Uganda. Both artists shared a residency and studio space, which led to long recording sessions together over the course of two weeks, capturing the organic fusion of Mamman's synth melodies and Tropikal Camel's percussive electronic beats. Despite their divergent backgrounds and ages, Mamman at 73 and Tropikal Camel at 44, they found equilibrium in their collaborative process. Nijerusalem pays homage to the warm synth sounds of the '80s while infusing them with an African electronic aesthetic. Mamman's music, rooted in Nigerien folk traditions, finds new life in this sonic exploration, resonating with authenticity and innovation. Both Mamman Sani and Tropikal Camel draw from rich and diverse cultural backgrounds, creating a dialogue of cultural exchange and mutual respect. Mamman's heritage, with roots in the Hausa and Tuareg tribes, intersects with Tropikal Camel's own North African and Middle Eastern roots and musical interests. In "Fulani UFO", Mamman Sani explores the rich cultural heritage of the Fulani, a prominent tribe in Niger. Here, Assayag infuses a North African rhythm, incorporating the gimbri instrument commonly found in Moroccan Gnawa and Tunisian Stambeli music. These ritualistic musical traditions, brought to North Africa by West African slaves, serve as ecstatic medicine, enriching the sonic landscape of the song. A tribute to the Songhai people, "Sonray Wedding Song" is inspired by a typical song sung at a river bank wedding. Which leads listeners neatly to "Venusian Lady", a universal ode to love, bridging cultures and origins, with Mamman's heartfelt composition, originally recorded as instrumental 50 years ago, marking its debut in a vocal rendition, sung in both English and Hausa. On Nijerusalem, Mamman Sani and Tropikal Camel's collaboration invite us into their timeless and intimate, minimalist sound world.

 

PRICE: $28.00

CAT #: BTR 103LP

FILE UNDER: WORLD

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv's number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting. Mulatu Astatke requires little introduction at this point. Born in Jimma, Ethiopia, Mulatu went on to live and study in London, Boston and New York. Initially drawn to and trained in jazz and Latin music, he developed the sound he called "Ethio-jazz" over a series of seminal albums combining jazz, Latin, funk and soul, with traditional Ethiopian scales and rhythms. Formed in 2012 on the south side of Tel Aviv, the 12 member Hoodna Orchestra is a collective of musicians and composers who initially bonded over a shared love of Afrobeat. They have gone on to incorporate psychedelic rock, hard funk and soul, jazz, and East African music into their sought-after releases, winning praise and airplay from the likes of Iggy Pop and Huey Morgan on BBC Radio 6 Music. The collective draws together a huge array of musical talents such as guitarist Ilan Smilan and organist Eitan Drabkin of Sababa 5 fame, Shalosh trio drummer Matan Assayag, and percussionist Rani Birenbaum of The Faithful Brothers, many of whom also contribute compositions to the orchestra, ensuring its collaborative environment. Since releasing a recording with Ethiopian singer Tesfaye Negatu, Hoodna Orchestra had been looking to find ways to collaborate with Astatke himself and in early 2023 the opportunity arose to invite Astatke to Tel Aviv, record an album and perform it live for their home audience. Stars aligned as Neal Sugarman, multi-instrumentalist member of the Dap-Kings and co-founder of Daptone Records, joined and produced the session with Smilan. On one hand, Tension is clearly a deeply personal tribute by the Hoodna Orchestra to iconic Mulatu Astatke, but at the same time the recordings emit a remarkable amount of chemistry, and together they have created an essential addition to Mulatu's rich discography that charts new directions in his Ethio-jazz trajectory and provides the Hoodna Orchestra with their strongest album to date.

 

PRICE: $31.50

CAT #: BTR 103RED-LP

FILE UNDER: WORLD

Red color vinyl version. Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv's number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting. Mulatu Astatke requires little introduction at this point. Born in Jimma, Ethiopia, Mulatu went on to live and study in London, Boston and New York. Initially drawn to and trained in jazz and Latin music, he developed the sound he called "Ethio-jazz" over a series of seminal albums combining jazz, Latin, funk and soul, with traditional Ethiopian scales and rhythms. Formed in 2012 on the south side of Tel Aviv, the 12 member Hoodna Orchestra is a collective of musicians and composers who initially bonded over a shared love of Afrobeat. They have gone on to incorporate psychedelic rock, hard funk and soul, jazz, and East African music into their sought-after releases, winning praise and airplay from the likes of Iggy Pop and Huey Morgan on BBC Radio 6 Music. The collective draws together a huge array of musical talents such as guitarist Ilan Smilan and organist Eitan Drabkin of Sababa 5 fame, Shalosh trio drummer Matan Assayag, and percussionist Rani Birenbaum of The Faithful Brothers, many of whom also contribute compositions to the orchestra, ensuring its collaborative environment. Since releasing a recording with Ethiopian singer Tesfaye Negatu, Hoodna Orchestra had been looking to find ways to collaborate with Astatke himself and in early 2023 the opportunity arose to invite Astatke to Tel Aviv, record an album and perform it live for their home audience. Stars aligned as Neal Sugarman, multi-instrumentalist member of the Dap-Kings and co-founder of Daptone Records, joined and produced the session with Smilan. On one hand, Tension is clearly a deeply personal tribute by the Hoodna Orchestra to iconic Mulatu Astatke, but at the same time the recordings emit a remarkable amount of chemistry, and together they have created an essential addition to Mulatu's rich discography that charts new directions in his Ethio-jazz trajectory and provides the Hoodna Orchestra with their strongest album to date.

 

PRICE: $20.00

CAT #: BCD 17764CD

FILE UNDER: ROCK

"With Johnny 'Guitar' Watson, Bear Family presents an exceptionally inventive and style-defining musician in the Rocks series. As 'Young' John Watson, he enjoyed his first triumphs as a teenager and pianist, before coaxing never-before-heard sounds from his Fender guitar and amplifier with Space Guitar in 1954 and henceforth being celebrated as Johnny 'Guitar' Watson! This release follows his career from 1953 to '64 with a focus on the up-tempo numbers driven by his razor-sharp guitar tone. Including 'Hot Little Mamma,' 'Too Tired,' the great 'Gangster Of Love,' 'Johnny Guitar,' 'Untouchable,' and 'Cuttin' In,' his biggest hit to date (1961). Extensive liner notes by Chicago music historian Bill Dahl, plus discographical details and illustrations in the comprehensive booklet. To earn the right to nickname yourself after your chosen instrument, you certainly have to be exceptional on it -- and Johnny 'Guitar' Watson most definitely was. The Houston native could have just as accurately been called Johnny 'Piano' Watson, since he was every bit as talented on the ivories. Bear Family's Watson entry in its Rocks CD-series showcases Johnny working out on both of his main instruments, gathering his early blazing triumphs on the Combo, Federal and RPM labels as well as lesser known but equally sizzling follow-ups for a variety of Los Angeles concerns. Johnny took blues guitar into aggressive new directions on his jumping 'Half Pint-A-Whiskey,' 'Hot Little Mamma,' and 'Too Tired,' and his eye-popping 1954 instrumental 'Space Guitar' was so far ahead of its time that listeners still haven't fully caught up with it. What's more, his hip, super-cool vocal delivery was highly influential to Etta James. All of those aforementioned classics are here, along with 'Looking Back,' the introductory 'Johnny Guitar,' and his first swaggering released version of 'Gangster Of Love.' Find out for yourself why Johnny earned the right to refer to himself as 'Guitar!'"

 

PRICE: $40.00

CAT #: LPF 096LP

FILE UNDER: SOUNDTRACK

Walter Rizzati's soundtrack to Italo Zingarelli's Io sto con gli ippopotami ("I'm for the Hippopotamus"). This album, dedicated to the memory of Italo Zingarelli, is presented on 180-gram colored vinyl. Mastering by Enrico De Gemini, graphic layout by Daniele De Gemini."Shot in Africa in the late '70s, Io sto con gli ippopotami (aka "I'm for the Hippopotamus"), is a movie that in my imagination is just like Italo: humorously menacing and bulky, protective, awesome and sweet, a description that also fits the mascot of this delicious film, the hippopotamus. In this movie we feel the presence of its producer/director's poetry, often handed down with great passion and cheerfulness through his cinema. It's a simple message of love for nature, respect for the weaker and the duty to intervene when they are subjected to abuse. Everything is presented with disarming simplicity, as powerful as it is beautiful. You must confess that you were moved when Terence Hill, toward the end of the movie, delights himself with his friend-of-a-thousand- adventures Bud Spencer by watching the flight of the animals from Mr. Ormond's boat to the wonderful notes of 'Freedom,' where [the] harmonica together with the melody infuses the scene with an almost maternal sweetness. Well, we are all in debt to this big guy for his kind message and the clean, sparkling, soft and amusing sincerity that dwells there, among the lines of his cinema, apparently devoted to simple entertainment but so wonderfully deep and full of feeling." -Beat Records

 

PRICE: $33.00

CAT #: BKE 019BL-LP

FILE UNDER: ELECTRONIC

Blue color vinyl version. The seeds of composer Rafael Anton Irisarri's latest LP were first planted during his 2016 tour in Italy, months before that Autumn's unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named "il Mito Americano" -- meant as "The American Dream" but translated literally to English as "The American Myth" -- sparked a series of ideas, both conceptual and musical. Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: Fa?adisms. Composed over three years, it's a late capitalist lament of simmering electric despondency. Irisarri's obsession with repeating motifs mirrors the cyclical nature of a tumultuous political history. The album's eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory. Fa?adisms moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of "Control Your Soul's Desire for Freedom," featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. Co-written with Kenyan sound artist KMRU, "Red Moon Tide" surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It's the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light. The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea. Has the American myth finally run its course? Also available on black (BKE 019LP) and clear vinyl (BKE 019PE-LP).

 

PRICE: $31.50

CAT #: BKE 019LP

FILE UNDER: ELECTRONIC

The seeds of composer Rafael Anton Irisarri's latest LP were first planted during his 2016 tour in Italy, months before that Autumn's unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named "il Mito Americano" -- meant as "The American Dream" but translated literally to English as "The American Myth" -- sparked a series of ideas, both conceptual and musical. Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: Fa?adisms. Composed over three years, it's a late capitalist lament of simmering electric despondency. Irisarri's obsession with repeating motifs mirrors the cyclical nature of a tumultuous political history. The album's eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory. Fa?adisms moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of "Control Your Soul's Desire for Freedom," featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. Co-written with Kenyan sound artist KMRU, "Red Moon Tide" surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It's the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light. The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea. Has the American myth finally run its course? Also available on blue (BKE 019BL-LP) and clear vinyl (BKE 019PE-LP).

 

PRICE: $33.00

CAT #: BKE 019PE-LP

FILE UNDER: ELECTRONIC

Clear petrol color vinyl version. The seeds of composer Rafael Anton Irisarri's latest LP were first planted during his 2016 tour in Italy, months before that Autumn's unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named "il Mito Americano" -- meant as "The American Dream" but translated literally to English as "The American Myth" -- sparked a series of ideas, both conceptual and musical. Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: Fa?adisms. Composed over three years, it's a late capitalist lament of simmering electric despondency. Irisarri's obsession with repeating motifs mirrors the cyclical nature of a tumultuous political history. The album's eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory. Fa?adisms moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of "Control Your Soul's Desire for Freedom," featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. Co-written with Kenyan sound artist KMRU, "Red Moon Tide" surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It's the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light. The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea. Has the American myth finally run its course? Also available on black (BKE 019LP) and blue vinyl (BKE 019BL-LP).

 

PRICE: $56.00

CAT #: BT 125LP

FILE UNDER: ELECTRONIC

The 2015 edition of Winnipeg's send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle now presents the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters. For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch's phrase, "establish silence." Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don't often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

 

PRICE: $45.50

CAT #: BOND 12077LP

FILE UNDER: ELECTRONIC

Mihai Popoviciu, one of the most esteemed names in the deep house and minimal scene, releases Puzzle Box on Bondage Music. As one of the label's core artists, Popoviciu returns for his second full-length album release on the imprint following his successful 2016 album, Home (BOND 12038LP, 2022). With a career spanning over a decade and with releases on numerous influential labels such as 8Bit to Berg Audio, Popoviciu has firmly established himself as a go-to within the minimal-leaning realms of house music. Known for intricate soundscapes and deep, hypnotic grooves, his work continues to captivate audiences globally. On Puzzle Box, he delves deeper into his signature stripped-back yet soulful aesthetic, offering a diverse collection of tracks that traverse through various sonic textures. Mihai Popoviciu: "With Puzzle Box, each track unlocks something deeper with every listen". Consisting of thirteen tracks in total, Puzzle Box showcases the Romanian's sound to its fullest. On the vinyl edition, fans are treated to standout tracks like "Batiscaf", "Storm Rider", and "Far Gone" -- vinyl-only gems that capture Popoviciu's talent for layering subtle, dubby tones with groovy rhythms. The opening track, "They All Say", sets the mood with smooth, atmospheric beats with a skippy groove, followed by the dynamic "Video" and the driving, pulsating energy of "Frankfurt." Popoviciu's skill in crafting versatile productions is showcased throughout the album, with each track offering something unique. From the sleek, melodic strains of "Puzzle Box" to the hypnotic, rolling basslines of "Kinetic", this triple-LP is a journey into his meticulously constructed sound. The digital version also features the bonus track "Body Count 2", offering a final, rhythmic flourish to round off the release. Puzzle Box further cements Mihai Popoviciu's role as a mainstay on Bondage Music, a label which continues to champion forward-thinking, minimal-leaning house music. With this latest LP, Popoviciu once again proves why he remains a favorite, building on his storied career with another masterclass in refined, deep electronic music.

 

PRICE: $15.50

CAT #: BJR 45033EP

FILE UNDER: ROCK

In between two European concerts and some recording session, Cyril and Cyril took a break and used a tiny gap in their hectic schedule (both member of Yalla Miku, co-managing Bongo Joe Records for C. Yeterian and touring with La Tune and other projects for C. Bondi) to go the studio to record two atomic tracks with their children. They played a myriad of instruments, including typewriters and ping pong balls. Jeannot, Zo?, Marilou, Marlowe, and L?na?s sang sharp and joyful manifesto-like texts to express how absurd and boring the adult world seems to them. The result is a brilliant 7'' released on Les Disques Bongo Joe (obviously).

 

PRICE: $26.00

CAT #: BB 055LP

FILE UNDER: ELECTRONIC

2024 restock; 180 gram LP version. The third studio album by Hans-Joachim Roedelius, originally released by Sky Records in 1981, fulfilled a dream he had long cherished. A series of chamber music pieces, with grand piano solos taking center stage in some places, archaised percussion patterns in others. Lustwandel represents a logical progression, following on from Jardin Au Fou (re-released on Bureau B in 2009). Both albums were recorded at Paragon Studios in 1979 and produced by Peter Baumann (Tangerine Dream). Electronica in the sense of synthetic sound sources or rhythm are absent from Lustwandel, in keeping with so many Roedelius solo works. This led to lively action amongst Cluster fans 30 years ago, as they divided into different camps. Roedelius' unique musical style and irrepressible enthusiasm take his listeners down more of a sidetrack to the aural landscape of European harmonic and rhythmic tradition. There are obvious parallels to so-called serious chamber music, if not all the way along the route. His music has never been bound by contemporary aesthetic debate nor susceptible to emerging theory. As an autodidact, his techniques of composition and piano-playing are so well developed, that Roedelius has never wanted, nor needed to bother himself with any of that. It is a carefree Roedelius who saunters through both the 19th and late-20th centuries. Boundaries dissolve in his music. Here the glow of a magic lantern, there the glare of a neon light. Herein lay the originality of Lustwandel: he availed himself of traditional forms yet expressed them in contemporaneous fashion. Roedelius and Lustwandel could easily have been assimilated into the postmodern era which arrived in the 1970s. But, as usual, he was many miles away from the hub of cultural activity, without the slightest inclination to pay any attention to new phenomena. This child of the sun walks some very different paths indeed. Printed inner sleeve with photos and an essay by Asmus Tietchens.

 

PRICE: $24.00

CAT #: BSR 943R-LP

FILE UNDER: WORLD

"1979 reggae album reissued on red vinyl. Amongst devotees' of 1970s conscious music the name of Linval Thompson is revered as a singer of several classics of the genre including 'Cool Down Your Temper' and 'Don't Cut Off Your Dread Locks.' From the 1980s onwards, while never forgetting his roots, Linval established a second career as one of the first, and most important, record producers of the brave new dance hall style. Although his reputation as a record producer has, on occasion, eclipsed Linval's many achievements as a singer, his superb self-produced albums for Burning Sounds are not only a timely reminder of the cultural roots and vocal talent of Linval Thompson but also serve as an indication of the direction that Jamaican music would eventually take during the following decade. This re-issue of I Love Jah is released on 180-gram limited edition red vinyl. Includes comprehensive sleeve notes."

 

PRICE: $99.00

CAT #: CHK 7083-89BOX

FILE UNDER: ROCK

"Chunklet Industries is proud to announce a breakthrough in broadcasting technology. For the first time, the BBC working hand-in-hand with intergalactic audio pioneers Man or Astroman present to you seven volumes of their famed U.K. radio sessions recorded between 1994 and 1997.""Even at the time, it felt implausible that Man or Astroman would do over a dozen sessions at the mighty British Broadcasting Company. Initially it was the legendary John Peel who had the band on his Radio 1 show -- six times between 1993 and 2000 -- after Birdstuff sent him a postcard ordering him never to play the band. Peel allegedly had a shrine to our Auburn heroes at his country estate, and while we believe that to be true, we've yet to see photographic evidence. The list of bands that recorded a session for Peel (ne? Ravenscroft) is mind boggling and estimable. Most American bands would be lucky to record a single Peel session. For Astroman to have played as much as they did at his request is an indisputable testament to the band's fevered devotion to performing. But also, let's be honest: John Peel had pretty great taste. As reference, The Fall performed on Peel's show more than 25 times between 1977, a year after the band was formed, and the death of leader Mark E. Smith in 2018. The fact that a decidedly obtuse and dorky band from Auburn, Alabama, would perform on Peel's show more times than The Jesus Lizard, Fugazi, and Nirvana combined is proof positive that Astroman truly put in the work, especially on the British airwaves. What the BBC documented in its studios peppered across the country was a band that evolved in plain view from a spazzy surf band into a shit-hot post-punk powerhouse." --Henry H. Owings (aka The Boo Yaa Boy)

 

PRICE: $23.50

CAT #: DBQP 060LP

FILE UNDER: ROCK

April 30, 1967 recording of a Velvet Underground performance at The Gymnasium (424 E. 71st St) in New York City. It's Velvet's White Light/White Heat period in full gloom. In fact, it contains the first public performance of "Sister Ray" and the previously unreleased songs "I'm Not a Young Man Anymore," as well as the R&B number "Booker T." Mastered form recently sourced tapes not comparable with any previous versions.

 

PRICE: $27.00

CAT #: DIAL 048LP

FILE UNDER: ELECTRONIC

Ben Kaczor and Niculin Barandun reveal their debut album Pointed Frequencies on Dial Records, dedicated to the healing properties of sound. Pointed Frequencies contains six mesmerizing compositions and comes along with two video shorts by the artist Marie Sutter. The collaboration between Niculin Barandun and Ben Kaczor started in 2022 with a carte blanche for an audiovisual show at Digital Art Festival Zurich. While working on the performance, a common understanding of sound aesthetics emerged and the foundation for the duo's project was laid. At that time Ben Kaczor studied sound therapy. Niculin Barandun was intrigued by the concept, and it became subject of the album's creation. The intention behind Pointed Frequencies is to explore the therapeutic potential of binaural beats and solfeggio frequencies, providing listeners with a healing experience. These elements are subtly integrated into the recordings, becoming a freeform blend of experimental and ambient music. A contemporary approach suspends the esoteric background common in this field. Instead, the focus is on crafting a unique sound that is appealing to those seeking a more accessible form of musical recreation. With the dynamics of free improvisation, Ben Kaczor and Niculin Barandun create virtuously interwoven sound structures. Ambient timbres evoke the presence of the room and create an experience of wordless thinking. An immersive journey invites the listener to sense of intimacy and movement. Calmness and contemplation, beauty and melancholy meet unconventional and stochastic scenes of dramatic character. The exquisite visualizations for the live performance as well as two experimental short-films are supplied by artist and director Marie Sutter. Fluid abstractions of light move inside her structural compositions. Sutter's videos reflect the brooding energy and nascent forms of Pointed Frequencies perfectly. A poem by writer Carla Patricia Kojich is embedded in the titles of the tracks. Artist Inga Danysz created the cover artwork and the graphic design comes by Sandro Weber (Atelier Maeve). Pointed Frequencies marks the 25th anniversary of Dial Records, founded in the winter of 1999/2000. While the label is best known for its club-oriented music, Dial has a long tradition in releasing experimental music and ambient.

 

PRICE: $24.00

CAT #: DOC 145LP

FILE UNDER: SOUNDTRACK

2024 repress. Akira Ifukube's score to the legendary 1962 monster movie King Kong vs. Godzilla. Ifukube's visionary music is tense and violent, a perfect complement to Ishir? Honda's film. This incredible score alternates between brass and strings as you witness the death and destruction that comes in the wake of these two classic film monsters' battles.

 

PRICE: $24.00

CAT #: DC 710LP

FILE UNDER: ROCK

Last copies of this soon-deleted LP reissue. "Released in late 1968, the second Pearls Before Swine record continued to deliver music with a preternatural sense of what the youth of America wanted to hear. One Nation Underground had been a surprise hit when released in 1967 by the hipster free-jazz indie label ESP, receiving an incredible organic response, with continuous underground radio play and sales. Coming from obscurity in Florida into a position of speaking to people everywhere, Tom Rapp and his bandmates felt emboldened to embark upon an evolved piece of record making. The music of Balaklava strips away the manic, post-garage band diversity of the first album, instead grounding the production around Tom Rapp's guitar and singing, with the touches of instrumental color all the more dramatic and striking. Producer Richard Alderson utilized breathy sweeps of reverb, sound effects, tape manipulation and spoken word recordings along with an array of instrumental overdubs including banjo, marimba, organ, clavinet, flute, English horn and strings (played by the band along with New York jazz session players Bill Salter and Al Schackman, plus The Fugs' Lee Crabree and legendary saxophonist Joe Farrell, with Selwart Clarke and Warren Smith contributing string arrangements) to reach for the universal space sought in Tom Rapp's meditative, existential songs. The message writ between the leaves of Balaklava -- WAR NO MORE -- is elegantly written . . . Musically, the message is conveyed with one or two passing lyrical references, letting Tom Rapp's use of literary reference and allegory dwell on the transcendence of love and pastoral beauty in life, achieving a stinging impact, as much by what isn't said as what is. This sets Balaklava apart from much of other protest music from the Vietnam era -- and it has allowed it to age gracefully into the 21st century. Like One Nation Underground before it, Balaklava celebrates 50 years of life in stunning fashion. Original producer Richard Alderson has remastered the album, restoring the precision of the original mix -- and in the process, revealing fantastically dynamic performances and dispersing the haze of the years that had gathered over latter-day editions of Balaklava. The music and message it intended to deliver to the world are still needed, the peace still sought. The fight to understand and to change is still ongoing. And so, Balaklava has fresh purpose, after all this time..."

 

PRICE: $15.50

CAT #: DUST 126CD

FILE UNDER: ELECTRONIC

"Sleep Deprivation began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take center stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you're pushed to your limits, both physically and creatively." -The Black Dog

 

PRICE: $41.00

CAT #: DUST 126LP

FILE UNDER: ELECTRONIC

Double LP version. "Sleep Deprivation began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take center stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you're pushed to your limits, both physically and creatively." -The Black Dog

 

PRICE: $28.50

CAT #: EXRECLP 004LP

FILE UNDER: ELECTRONIC

After a string of ambient and experimental releases across labels such as Bedroom Suck, Best Effort, Ken Oath and Analogue Attic, Matthew Hayes -- veteran bassist of Z*F*E*X, welcomes his latest project Xpress Point, designed to keep your hips moving rather than kicked back on your couch. Born out of jam sessions and collaborations with artists such as Dreamcastmoe, Jitwam, Ziggy Zeitgeist, Finn Rees, and Allysha Joy and an obsession with reclaiming the nostalgic sound sounds of the Korg M1 and Yamaha DX7, Xpress Point, which takes Its name from a local surf break off the coast of Phillip Island, draws heavily from the boogie tradition with a nod to vaporware, downtempo, Balearic and funk breaks. Assembled in 2023 across Melbourne/Naarm, London and Berlin, from surf breaks to crusty drum breaks, Xpress Point is a vehicle for Hayes to search for the perfect bass line, explore funk minimalism, continue nurturing longtime musical relationships with close friends and offer his own take on music to make you move.

 

PRICE: $28.50

CAT #: FEINES 064EP

FILE UNDER: ELECTRONIC

Feines Tier presents Regression Session, hosted by eternal Philadelphia scene flag bearers Zillas On Acid. Just listen to the opener and title track and you won't exactly have a strong case for the Zillas selling out, but rough as it is, this thing is capable of destroying any dancefloor it touches. Looking at their recent releases it's fair to say the Z's are on quite a run, putting out music on labels like Permanent Vacation, Throne Of Blood, Multi Culti or Ivan Smagghe's Disques de la Mort. Tunes like the sneaky rough slow burners "Underling" or "Start Digging" sound like they could be lifted from the latter's infamous DJ sets, while the deceptively titled "Cha Cha Cha" or closer "Casual Observer" justify the "Acid" in the artists' name. "Shining Snakes Across The Lake" is what some years might have been called a mid-tempo house roller and probably counts as downtempo these days. Speaking of tempos, the penultimate "Sweet Days Of Discipline" starts of masquerading as really downtempo, but ends up throwing 155bpm kick drums at you, so better watch out, all you k-hole ravers! Then comes "bquiet," which is what you'd call mid-tempo house these days (125bpm) and uses the eternally banging combination of a jacking beat, a polyrhythmic bass line, some lead-synth stabs and talking vocal slices. What you see is what you get: They are Zillas, and they are on Acid. And they provide a collection of eight tunes that probably each don't necessarily have a double-digit amount of tracks in their DAW projects, and that's exactly what makes them so forceful. Join the regression session!

 

PRICE: $13.50

CAT #: FD 153CD

FILE UNDER: ELECTRONIC

Composed from 2023 to 2024, these three pieces present a deep dive into the murky and turbulent world where analogue electronic sound sources are driven hard and without mercy into an entirely contemporary setting that's at once commanding and convoluted. Vast torrents of apparently untamed noise are reshaped alongside iridescent whirrs, metallic scrapes, shimmering tones, space flotsam, deep well chimes, front line pulses and heaving hums over the course of three magnificent pieces that pull confrontational music inside-out to expose a kind of ravaged beauty. Tokokawa is the result of two very unique artists pulling together to share a vision mercilessly singular yet possessed of an ability to communicate far beyond as it stakes its claim to its own place on the map of sonic abstraction. Malaysia's Reverse Image also released the excellent debut The Silence That Does Not Exist CD in mid-2023, plus founder Siew Y'ng-Yin used to operate the renowned Mirror Tapes imprint. Early 2024 also saw the release of the debut Beyond the Flat Earth CD by her fiery and intense electronics project Fallen Sun. Thomas Bey William Bailey, meanwhile, has released numerous cassettes and CDs since his debut Strangelet album in 2009 and has collaborated with many artists since, including Susana Lopez, Rick Reed, Leif Elggren, and others. His most recent album, Metaphysics of Autonomous Shadows, appeared in 2023. He is also known for having had books published, including the recent Sonic Phantoms co-authored with Barbara Ellison on Bloomsbury. Tokokawa is limited to 300.

 

PRICE: $33.00

CAT #: FREQ 002LP

FILE UNDER: ELECTRONIC

FREQ002 introduces a vinyl repress of the Future in Light album by Ken Ishii, a legendary producer from Japan known for his releases on labels like R&S Records. Ishii, a techno pioneer, has an inherent connection to anime, with iconic video clips directed by Koji Morimoto, famous for his work on Akira and Memories. The FREQ team has reinterpreted the original cover and remastered those tracks while staying true to its original aesthetics. This album showcases Ishii's blend of techno and house, and even as a repress, it continues to point to the future with the intriguing sound designs featured on this LP. FREQ Records is the record label accompanying the manga FREQ, created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others. The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes.

 

PRICE: $36.00

CAT #: FAR 138LP

FILE UNDER: ELECTRONIC

"Pressed on translucent pink with blue splatter colored vinyl and housed in a deluxe gatefold jacket. Limited to 250 copies. NYC producer Blockhead returns to the newly revived Future Archive Recordings with a fantastic new album, Mortality Is Lit!. For some it would be easy to laugh off at first glance, but it's more than just a humorous title -- it's a calling card for a record that frequently meditates on death, afterlife, endings and cycles. While some tracks are overtly pointed remarks on popular theories about human expiration ('All Dorks Go To Heaven,' 'Hard Pass On The Afterlife'), this is not just a shallow and simplistic take as the theme is expanded throughout the record into a more overarching concept of things coming to natural endings, cyclic patterns continuing past the individual experience of them, and most importantly of all being at peace with these occurrences as an accepted or even celebrated part of life ('They Got Therapy For That,' 'Earth's Farewell Tour'). As anyone who is familiar with Blockhead knows, even the most serious of messages always come with healthy servings of humor, irony, sarcasm, and a knowing wink. The title itself further reinforces this by using 'Lit' as a fad synonym for excitement which is itself at the end of its own life cycle in popular culture. The lowkey hero of the indie hip-hop and instrumental beats scenes, Blockhead first made his name on Def Jux as the go-to beats man for Aesop Rock before joining legendary UK label Ninja Tune as a solo producer and purveyor of the most exciting sample-based instrumental music this side of The Avalanches and DJ Shadow. Now Blockhead is rightly considered a bona fide master in his craft after an enviable career in underground hip-hop with his signature all-you-can-eat buffet of musical samples spanning every kind of audio you can imagine, always catering to both the audience who want to dig deeper and those who just like to dance. As he creates expansive narratives mostly without words, opting for a few choice vocal samples to provide some core guidance and themes. Contrasting between downtempo and upbeat often in the same track, he traverses eras and styles spanning jazz, funk, blues, easy listening, disco, exotica, cinematic, and tv show snaps, all crafted together with a hip-hop sampling sensibility that is truly inimitable."

 

PRICE: $18.00

CAT #: HEARTCHOR 001EP

FILE UNDER: ELECTRONIC

DJ Heartchore presents In Love. A record planned for almost 30 years is finally happening!

 

PRICE: $37.50

CAT #: HPS 317ULTRA-LP

FILE UNDER: ROCK

LP version. Orange/pink/purple color vinyl. Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet, Renewed By Death. A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. Renewed By Death was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann. Also available on CD (HPS 317CD), black vinyl (HPS 317LP), and yellow color vinyl (HPS 317LTD-LP).

 

PRICE: $37.50

CAT #: HPS 319ULTRA-LP

FILE UNDER: ROCK

LP version. Red/white/blue color vinyl. Reissue of the Sun and Sail Club debut album with brand-new artwork by Mirkow Gastow. Sun and Sail Club's debut album Mannequin embarks on territory that is both new and exciting. Not surprisingly, Mannequin spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss, and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by Devo, Voivod, Kraftwerk, Torche, Slayer as much as it's inspired by Aswad, Joe Pass, and Wes Montgomery. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." --Bob Balch. Also available on CD (HPS 319CD), black vinyl (HPS 319LP), and blue color vinyl (HPS 319LTD-LP).

 

PRICE: $37.50

CAT #: HPS 320ULTRA-LP

FILE UNDER: ROCK

LP version. Black/white/orange color vinyl. Reissue of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, there is Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. The Great White Dope is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing ten riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on The Great White Dope steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. Also available on CD (HPS 320CD), black vinyl (HPS 320LP), and violet color vinyl (HPS 320LTD-LP).

 

PRICE: $28.50

CAT #: HANLP 077LP

FILE UNDER: JAZZ

Presenting the genre defining and much hip hop sampled Ambient Jazz Ensemble. AJE's Colin Baldry has a highly accomplished career in music writing and producing for iconic labels Motown, RCA, Geffen, Virgin and Capitol Records. London Fields describes London energy, vibe, anticipation; "fields" of electricity: "The phrase conjures something of my own relationship with London. Having moved away after living and working there for 20 years I've recently fallen in love with the city again. I've been walking the streets, rediscovering its parks, canals, the architecture, the river; experiencing new music in London is always a joy. The London Fields have re-captured my imagination." "Ensoul" delivers sparse felt piano before Lynsey Ward releases her inner Kate Bush. "Locked" inspired initially by Tony Robert-Fleury's 1891 painting Alix Appearing in Mask.

 

PRICE: $27.00

CAT #: HOL 136CD

FILE UNDER: JAZZ

Limited restock. Born Herman Poole Blount in Alabama during 1914, Sun Ra first emerged on the Chicago jazz scene during the late 1940s. One of the great avant-garde composers of his generation -- leading the way on piano, organ, and (eventually) synthesizer -- beginning in the mid-1950s and lasting until his death in 1993, led the Arkestra, a band through which a near countless number of important artists passed and collaborated with, and many remained for the duration of their careers, notably Marshall Allen, John Gilmore, and June Tyson. Known for their wild costumes and theatrics, Ra's eccentric image and claims that he was from Saturn was deeply political, imagining an alternate social order, history, and future for African Americans that rests as a pioneering force in the Afro-Futurist movement. Recorded live at Teatro Giulio Cesare on March 28, 1980, comprising an astounding 27 compositions, including the highly celebrated "Astro Black," "Mr. Mystery," "Romance of Two Planets," "Space Is the Place," "We Travel the Spaceways," and "Calling Planet Earth." High among the greatest live gigs by the Arkestra captured on tape, carefully mastered by Matt Bordin at Outside Inside Studio, Live in Rome 1980 is a near perfect snapshot of the band's versatility and range, including many of their most notably and famous songs, as well as striking renditions of the Horace Henderson penned Benny Goodman number "Big John's Special," Fletcher Henderson's "Yeah Man!," and "Limehouse Blues," displaying Ra's willingness to address and rework the entire, diverse history of jazz in a single go. Heard in its totality, perhaps what makes Live in Rome 1980 most striking is the way in which the concert plays out. Roughly the first half encounters the band locked in some of the most out-there, free jazz fire that can be imagined, weaving a startling sense of interplay and furious energy into a brilliant tapestry of writhing sonority, the likes of which were only really achieved by this band. The second half, with only moments of exception that return to the furious energy of the first, is a very different affair, easy toward the vocal standards, led by June Tyson's vocals and the joyous collective chanting of the band, for which they have become so widely celebrated, threading the sounds of off-kilter big band swing with heavy grooves and imagines of outer space.

 

PRICE: $24.00

CAT #: HONEY 101LP

FILE UNDER: JAZZ

One more step into the eclectic world of Krzystof Komeda. An outstanding compilation based on Komeda's early production featuring a variety of live and radio recordings between 1957 and 1962. Four different line ups including the Komeda Trio, quartet and sextet, plus another quartet shared with tenor sax player Bernt Rosengren. A bunch of true pioneers for Jazz in Eastern Europe searching for the perfect synthesis between the American stylistic influence and a distinctive Slavic lyricism.

 

PRICE: $24.00

CAT #: HONEY 102LP

FILE UNDER: JAZZ

Featuring Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), Jymie Merrit (bass), and Art Blakey (drums). Needless to remind that this was one of Blakey's strongest line ups ever. A powerful and highly dynamic combo featuring young and yet very distinctive personalities driven by Blakey's unprecedented force of nature. Hard Bop fans will be delighted by the re-release of this famous concert held in Lausanne (Switzerland) in 1960, where the second set featured, among others, an intense rendition of Monk's classic "Round About Midnight" and the famous inflamed take on "A Night in Tunisia."

 

PRICE: $43.00

CAT #: IOR 771581LP

FILE UNDER: JAZZ

"As if from the farthest reaches of space, a tremendous positive energy has come via Light on a Satellite: It is Sun Ra's music, played by his Arkestra, more than 30 years after the legendary band founder's earthly demise -- or, in other words, after his reported ascent to Saturn. Under the direction of Marshall Allen, the NEA Jazz Master (2025) and multi-instrumentalist, who celebrated his 100th birthday on May 25, 2024, Sun Ra's big band has arrived safely in the 21st century, after traveling Sun Ra's space ways for almost 70 years. This album pays tribute to the lifetime achievement of Marshall Allen, who has led the Sun Ra Arkestra since 1993. Recorded in Studio A at New York's Power Station on June 16, 2024, the album celebrates the mastery of the exceptional musician Marshall Allen as a multi-instrumentalist, arranger, bandleader, teacher, and guardian of Sun Ra's unique legacy. Perhaps this day will one day become part of the collective jazz memory, for here is a simultaneity of the non-simultaneous, projected into the future, a time machine traveling through 100 years of jazz, out of the free approach of the Sun Ra Arkestra and in its signature groove right into the heart of swing -- with a century-old jazz master as captain. That in itself is a superlative. As a tribute to the life's work of Marshall Allen, Frank Kleinschmidt of IN+OUT Records invited the Sun Ra Arkestra into the studio with 24 musicians in the largest possible line-up, with the goal of documenting the music in its polyphony and expansion in space and time in the best possible way. It is not only the variety of instruments used, but also the fact that musicians from four generations come together with a repertoire that spans 100 years of jazz history."

 

PRICE: $30.50

CAT #: INCIENSO 027LP

FILE UNDER: ELECTRONIC

Six years after the release of the A Parade, In The Place I Sit, The Floating World (& All Its Pleasures) EP on anno Records, Brian Leeds, aka Huerco S., returns to the Loidis project with his debut album One Day on Incienso.

 

PRICE: $35.50

CAT #: IF 1093LP

FILE UNDER: WORLD

LP version. Hiroshi Watanabe, a musician, photographer, and DJ from the Japanese electronic scene, based in Saitama near Tokyo, has been a prolific figure for twenty-five years. He has explored most major genres of electronic music through more than twenty albums. He proudly becomes the very first Japanese artist of InFin?. After Ryuichi Sakamoto, he is one of the very few Japanese artists who have gained the favor of Western audiences, alongside notable names such as Cornelius, Towa Tei, DJ Krush, Ken Ishii, Susumu Yokota, and more recently Hiroshi Yoshimura. In Europe, he is best known for his project Kaito, which began in 2001 under the prestigious Kompakt label. The name Kaito, in addition to being the name of his son born the same year, carries a double meaning in Japanese, signifying both "universe" and "secret." These references hint at a spirituality visible in his photographic work and contribute to the elements that make Japanese artists masters of the ambient genre. The collaboration between Kaito and the InFin? label began with his participation in the compilation Music Activists 2020 (From Home), which supported artists affected by the Covid crisis, followed by a remix for the single "Motion" by Rone and Vanessa Wagner in 2023. These initial contributions led to a new album featuring nine tracks of ambient music. Kaito's new album Collection comprises nine ambient and melodic tracks composed during the Covid-19 pandemic. These compositions present a majestic minimal and harmonious therapy in response to the world's adversities, showcasing the producer's return to the peak of his art. Collection was remastered by another genre legend, the German Rashad Becker.

 

PRICE: $13.50

CAT #: JRCD 006CD

FILE UNDER: WORLD

2024 repress. "Jamaican Recordings kick the new year off in fine style by unleashing their sixth album, Sly & Robbie Meet Bunny Lee At Dub Station. Contains unreleased dubs dating from the mid to late 70's from the vaults of Sir Bunny Lee. Contains 'lost' dubs of Dennis Brown's 'Tribulation', Slim Smith's 'Everybody Needs Love' Johnny Clarke's 'Roots Natty'. 'African Roots', 'None Shall Escape The Judgement', 'Move Out Of Babylon' and a dub of Clarke's version of the Abyssinians 'Satta Massa Gana'. 12 track LP (limited 180 gram vinyl) and 14 track CD."

 

PRICE: $19.50

CAT #: JRLP 005LP

FILE UNDER: WORLD

2024 repress. The Aggrovators were one of Jamaica's finest session bands, many of the tracks you know and love from the '70s reggae scene probably featured this group of musicians in some shape or form. The band was put together by Bunny "Striker" Lee, one of Jamaica's formidable producers, who, with no studio of his own, had to rely on buying studio time from the existing establishments, such as Randy's Studio or Channel 1. The updating of Studio 1 classics, which in some cases were reworkings of American R&B tunes, was common practice. The rhythms were much loved favorites and there was the added incentive that the musicians knew the tracks inside and out. This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better -- you can't keep a good tune down never mind a great one...

 

PRICE: $27.00

CAT #: FREUD 071Y-LP

FILE UNDER: ROCK

"The legendary Detroit band. Their first single (included here as extra tracks) was released in 1967, they went on to be the 'Official White Panther Party Band' preaching revolutionary ideology alongside dope, sex and r'n'r. They played the infamous 1968 Democratic Convention that turned into a police riot. Their manager, John Sinclair became a hippie martyr after being jailed for ten years for two joints, inspiring John Lennon's '10 For 2' song. They were thrown off their first label, Electra, and signed to Atlantic for two more albums. Now greatly revered as one of the seminal rock'n'roll bands and a huge inspiration for punk. Thunder Express documents their first and last studio work -- six tracks recorded in France in '72 at Studio Castle Herouville for a TV show; plus four tracks from their first two singles from '66 and '68. The title track is a previously unreleased song unavailable elsewhere. Two extra tracks from the rare earliest single 'Borderline,' are added. Includes inner bag with notes and interview from 1970, and the White Panther Party '10-Point Program.'"

 

PRICE: $24.00

CAT #: KK 134LP

FILE UNDER: ELECTRONIC

Senking and DYL team up again after first collaborating for a track on 2020's Uniformity Of Nature EP that also featured different solo productions by the two producers. Diving Saucer Attack is the first full-length record by the German artist and his Romanian collaborator, released through the Berlin-based Karaoke Kalk label, home to the former's work for more than a quarter of a century. The six pieces, two of which were produced individually, both showcase the duo's shared interests for dub-heavy, adventurous electronic music while also emphasizing the productive friction generated by the subtle differences between their respective approaches. Cluj-Napoca-based DYL, real name Eduard Costea, cites his colleague Jens Massel's work and especially his Ping EP as a crucial point of reference for his own development. Massel was already familiar with his partner's eclectic productions when he was approached by him with the idea of collaborating for a piece in 2020. They didn't stop there, as Massel explains: "It went very well and ever since we've been sending each sounds and tracks." As their first joint album, Diving Saucer Attack documents the multi-faceted results of this on-going process. Throbbing bass frequencies, haunting synth melodies and carefully placed rhythmic elements form a slow, but driving groove. Before DYL's "a7r380R" introduces the listener to his anthemic take on IDM, the collaborative second track "2024" showcases how well their respective philosophies complement one another: the two create a detailed soundscape in which an intricate interplay of percussive elements and melodies can unfold. The title track transforms rattling drums and growling bass sounds into a laid-back, spooky trip-hop tune with a live-jazz feel, while "Astral Project" sees the duo venture into the uncanny regions of dub techno. "Not Just Numbers" closes on an even more sombre note -- a fitting closing statement to an album full of twists and turns. Diving Saucer Attack is a special album on more than the musical level.

 

PRICE: $24.00

CAT #: GG 490CD

FILE UNDER: ROCK

"The Residents are an American art collective best known for their over 60 studio albums that were recorded over a period of over forty years. They also created some outstanding multimedia works, mainly three CD ROM projects and ten DVDs. Working as an anonymous collective, their identities were kept secret until in 2017 Hardy Fox revealed himself as their primary composer. Hardy died in October 2018, but the group continue to record and perform. In 2021, the band wanted to depart on a European tour called Dog Stab! but the Covid pandemic put a halt to it. 2022 wasn't any luckier, but early in 2023, The Residents finally made it to Europe stopping in Amsterdam, Brussels, London, Dublin, Oslo, Berlin, Vienna and many others. The concert presented here is the show at Kampnagel, Hamburg. The tour now offered a wider retrospective of The Residents' work, with less emphasis on Metal, Meat & Bone and Duck Stab! than had been seen in the earlier Dog Stab! shows. Instead the concerts focused on the Duck Stab material, with an additional greatest hits part thrown in for good measure. After the tour, The Residents parted ways with their long-time collaborator, guitarist Nolan Cook. Although Cook was planned to join the group on a UK/Europe mini-tour of their theatrical show God In 3 Persons: Live! in April 2024, those shows were ultimately cancelled, leaving the last date of the Faceless Forever tour as Cook's final performance with The Residents."

 

PRICE: $29.50

CAT #: KOM 496LP

FILE UNDER: ELECTRONIC

LP version. "In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence 'Every year again.' 'Every year again,' a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year. 25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven't realized how -- in pop-ambient contexts -- time does not pass (or passes differently) in the best sense. When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece 'Circles' by Max W?rden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything -- and I said: 'that's the reason why I'm still doing this.' Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again." --Wolfgang Voigt, October 2024As always, the indispensable final mastering by J?rg Burger ensures that everything is brought together and the sound is fine-tuned. And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis. Featuring Leandro Fresco/Thore Pfeiffer, Pass Into Silence, Tamarma & Sebastian Mullaert, Sono Kollektiv, Nathalie Brum, Andrew Thomas, Julia Parr, Segensklang, ?mit Han, Max W?rden, Blank Gloss, Hendrik Meyer, and Triola Zum.

 

PRICE: $17.50

CAT #: KOM EX133EP

FILE UNDER: ELECTRONIC

Patrice B?umel makes his most welcome return to Kompakt's Speicher series and it's exactly as compelling as you expect it to be. "Luce" is a slenderly pumping piece of minimal soul featuring the otherworldly voice of Chiara Gamo. Once more, Patrice masterfully demonstrates how little elements he needs to create suspense, density and warmth on the floor. "The Cave" follows the same mantra, sucking us into a mystique stalactite cave full of echoing droplets and enchanting whispers.

 

PRICE: $16.00

CAT #: KOMP 185CD

FILE UNDER: ELECTRONIC

"In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence 'Every year again.' 'Every year again,' a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year. 25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven't realized how -- in pop-ambient contexts -- time does not pass (or passes differently) in the best sense. When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece 'Circles' by Max W?rden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything -- and I said: 'that's the reason why I'm still doing this.' Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again." --Wolfgang Voigt, October 2024As always, the indispensable final mastering by J?rg Burger ensures that everything is brought together and the sound is fine-tuned. And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis. Featuring Leandro Fresco/Thore Pfeiffer, Pass Into Silence, Tamarma & Sebastian Mullaert, Sono Kollektiv, Nathalie Brum, Andrew Thomas, Julia Parr, Segensklang, ?mit Han, Max W?rden, Blank Gloss, Hendrik Meyer, and Triola Zum.

 

PRICE: $15.00

CAT #: LIB 5041CD

FILE UNDER: ROCK

"This lineup includes the classic Groovies core of Cyril Jordan, George Alexander, and Chris Wilson, and was recorded in October 1980 just as the band's contract with Sire Records expired, introducing an element of uncertainty into the band's future. This 12-track live set list from San Francisco, with three bonus tracks, features their classic takes on the Beatles, Stones, Byrds, and some classic Flamin' Groovies rock numbers. This show has never been available in any format."

 

PRICE: $29.50

CAT #: LAD 075LP

FILE UNDER: ELECTRONIC

In a world of division, B??TF??T's second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political Too Cute has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined. While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year -- explicitly against the current government in Israel -- such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form Too Cute. Too Cute is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between. Things blast off at breakneck speed with the chaotic title track's hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang's "The Magic Touch." While their first record's experimental explosion captured the pure carnage and energy of the B??TF??T universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting. B??TF??T -- who have found a home among the LGBTQIA+ community -- are fighting back against oppression. "We want everybody to come to the party and celebrate life together," says Naor, setting out his and Bronicki's mission -- "and our goal is to widen that party as wide as it can go." Featuring Princess Rani and Bugle Boy.

 

PRICE: $26.00

CAT #: LION 065LP

FILE UNDER: ROCK

2024 restock. "Pussy were a hard rocking band with no pretensions of being super musicians or technical geniuses. If it seemed like fun, it was worth a try, which explains a lot about their sound and direction. Managed and produced by Ian Gillan (Deep Purple), Pussy was formed from the ashes of Jerusalem, well known among 1970s hard rock enthusiasts thanks to their stone-cold classic 1972 Deram label debut album, and our recent vinyl reissues of that record. These 1973 Pussy recordings, with Paul Dean and Ray Sparrow of Jerusalem along with Brian Goff on guitar, were long-rumored to be an unreleased second Jerusalem album. It is not that: this is a different hard-edged guitar beast. Although Pussy kept the raw, no rules attitude from Jerusalem, which sets both bands apart from many others of the era, there seems to be a touch of Ziggy Stardust crunchy space glam in the mix for the Pussy recordings. Ian Gillan was far more proactive this time around, too -- he played piano and percussion, and was responsible for many backing vocals on the songs. On stage anything could happen -- no rules of course! Pussy gigged all over the UK and Germany, very much in the same way as Jerusalem had done. They recorded and released one single on Deram and then went on to record tracks between 1972 and 1973 with Brian Goff taking over for Bob Cooke on guitar. The recordings on this very album were meant to be for their debut album -- which was never released at the time. Lion Productions and Rockadrome are proud to present here what was to have been the Pussy debut album, plus bonus tracks from the original Pussy single and a studio track recorded in 1972 with Jerusalem guitarist Bob Cooke. Features more than 40 minutes of material taken from the original master reels. Includes insert with photos, lyrics and liner notes by Pussy/Jerusalem bassist and primary songwriter, Paul Dean."

 

PRICE: $16.00

CAT #: LITR 001EP

FILE UNDER: WORLD

First release from the Levites, on the Lion Triumphant label, in the shape of "Lion," which is a tribute the late Jah Shaka. The inspiration for the track becomes quickly self-evident with a sample from a popular early '80s reggae-themed movie which starred Shaka himself, and "Lion" is itself a recut of a rhythm that was a dubplate highlight on Jah Shaka sound system throughout the late '70s and early '80s.

 

PRICE: $19.00

CAT #: LMS 1725110

FILE UNDER: ROCK

What Are You Going to Do with Your Life? is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999. The album saw the band continue a trajectory set with 1997's Evergreen, embracing more introspective themes and melodic approach to its arrangements. Featuring an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, What Are You Going to Do with Your Life? featured two singles, the title track, and the atmospheric fan favorite "Rust," which would mark the band's final Top 40 UK single. Celebrating 25 years of What Are You Going to Do with Your Life?, the album is issued on vinyl for the very first time, alongside expansive 34-track 2CD which feature B-sides, alternative versions and previously unreleased live versions of both tracks from the album and classic Bunnymen tracks.

 

PRICE: $29.50

CAT #: LMS 1725111

FILE UNDER: ROCK

LP version. Clear vinyl. What Are You Going to Do with Your Life? is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999. The album saw the band continue a trajectory set with 1997's Evergreen, embracing more introspective themes and melodic approach to its arrangements. Featuring an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, What Are You Going to Do with Your Life? featured two singles, the title track, and the atmospheric fan favorite "Rust," which would mark the band's final Top 40 UK single. Celebrating 25 years of What Are You Going to Do with Your Life?, the album is issued on vinyl for the very first time, alongside expansive 34-track 2CD which feature B-sides, alternative versions and previously unreleased live versions of both tracks from the album and classic Bunnymen tracks.

 

PRICE: $11.50

CAT #: LCD 1041CD

FILE UNDER: ELECTRONIC

2024 restock of the original CD version; recently awarded: 9.0 Best New Reissue on Pitchfork, Originally released on Lovely Music in 1978. David Behrman's On The Other Ocean is an improvisation by Maggi Payne and Arthur Stidfole centered around six pitches which, when they are played, activate electronic pitch-sensing circuits connected to the "interrupt" line and input ports of a microcomputer, Kim-1. The microcomputer can sense the order and timing in which the six pitches are played and can react by sending harmony-changing messages to two handmade music synthesizers. The relationship between the two musicians and the computer is an interactive one, with the computer changing the electronically-produced harmonies in response to what the musicians play, and the musicians influenced in their improvising by what the computer does. Figure In A Clearing, made a few months before On The Other Ocean, was the first piece of Behrman's to use a computer for music. For Figure, the Kim-1 ran a program which varied the time intervals between chord changes. The time intervals were modelled on the motion of a satellite in falling elliptical orbit about a planet. David Gibson's only "score" was a list of six pitches to be used in performance, and a request that he not speed up when the computer-controlled rhythm did. The timbral richness and concentrated eloquence of his playing sprang from his own sources. Personnel: David Behrman - electronics, Kim-1 microcomputer; Maggi Payne - flute; Arthur Stidfole - bassoon; David Gibson - cello. Recording engineers: "Blue" Gene Tyranny and Richard Lainhart. Charming booklet notes by David Behrman.

 

PRICE: $30.00

CAT #: MIG 3241LP

FILE UNDER: ROCK

"Logically, Omega did not plan to divide their career into genre phases at the time. Music journalists and fans -- and especially statisticians -- did that later. According to their interpretation, the second half of the seventies was the Space Rock era of the Hungarian band. It is represented by the trilogy Time Robber (1976), Skyrover (1978) and finally Gammapolis (1979). Although spherical sounds could already be heard in the work of the Budapest quintet before and after this, Omega only really showed themselves to be so conceptually focused on this triple. If you take the successful LP Time Robber as a measure of quality, Gammapolis could easily keep up. The compositions of the group around singer J?nos K?bor had become more melancholic, the bittersweet melodies more flattering. This was especially true of the seven-minute opener 'Dawn In The City' ('Hajnal a v?ros felett'), the title track 'Gammapolis' and 'Silver Rain' ('Ez?st es?'). Apart from the vocals and the language, there are some minor differences between the Western European, English-language version and the Hungarian 'original' in the order of the tracks and the length of the songs. Minimally, Omega let the instrumental passages of some songs flow longer on the native language version. For the Western European Omega record buyers, however, these subtle differences were irrelevant, as most of them were not even familiar with the Hungarian songs. Nor would they have noticed that Gammapolis was the best-selling LP of the band's career in Omega's home country, selling almost three quarters of a million copies. However, the German cover artwork differed considerably from the Hungarian version: while the Bacillus/Bellaphon version showed the silhouettes of the musicians against a night sky cut by anti-aircraft searchlights, the Pepita album apparently depicted a futuristic but barren world on an alien planet."

 

PRICE: $22.00

CAT #: MIG 3252CD

FILE UNDER: ROCK

DVD is NTSC format, region 0. "Ginger Baker was a member of Hawkwind for a short time in 1980, but left the band already after the album Levitation. However, Ginger Baker's manager Roy Ward had already planned a tour of Italy for March 1981, albeit for Hawkwind. But that didn't stop Ginger from putting together a band to play the concerts himself. He wanted to present a fait accompli to the promoters. The new band was called Ginger Baker's Nutters and included Keith Hale (keyboards, vocals) from Hawkwind, his old friend Riki Legair (bass), as well as Ian Trimmer (sax/vocals) and Billy Jenkins (guitar/vocals), who had previously recorded two great albums with Burlesque on Arista and were touring as an idiosyncratic comedy jazz fusion duo. The band immediately began working on new songs that were difficult to categorize, a mixture of jazz, blues and rock with lyrics that were typically British humor ? la Monty Python. Baker decided to continue working with the band. He liked the young musicians. They were fresh, full of ideas and enjoyed jamming. He believed in the success of his new band, especially since the audience was totally enthusiastic at every performance. After a successful tour of Italy, the Nutters worked on new songs and played two shows at the legendary Marquee Club in London on May 18 and 19, 1981, which were recorded by Ian Trimmer's friend Andy Shuttleworth and his camera crew. The original U-Matic tapes, long lost, resurfaced in the fall of 2023 and have since undergone extensive restoration. Now, for the first time, this concert by this great band, which Ginger described in an interview as his most innovative band since "Airforce," is available."

 

PRICE: $25.00

CAT #: MGART 901LP

FILE UNDER: ROCK

2024 repress; 180-gram LP version. Originally released in 1975. Remastered by Manuel G?ttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel G?ttsching's first solo album. Written and performed entirely by G?ttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.

 

PRICE: $24.00

CAT #: BT 5050LP

FILE UNDER: ROCK

"Morgan Blue Town are present this reissue of Good Morning Mr. Blues from the Dave Peace Quartet. Originally released in 1969 and long out of print. A blend of up-tempo and slow blues with quite a lot of flowing organ, some good guitars, and hard-working drums. Nothing here for the faint-hearted who crave smooth and well-produced Blues. Featuring Dave Pegg (Jethro Tull & Fairport Convention)."

 

PRICE: $29.00

CAT #: MBTBX 051CD

FILE UNDER: ROCK

"The Morgan Blue Town Story is a mixture of psych, pop, and rock tunes presented in a 3CD boxset, including a 24-page booklet with rare photos and sleeve notes. This 74-track showcases the very best artists from the Morgan Blue Town label, with many of the tracks previously unissued. A must CD boxset to have for anyone who appreciated Swinging London in the mid-Sixties, and its boom-time in Britpopland. Includes tracks from Pussy, The Smoke, Fickle Pickle, and more."

 

PRICE: $17.50

CAT #: MORR 204CD

FILE UNDER: ELECTRONIC

Nuts of Ay, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014's Adrift. Beautifully poised and smartly dressed, it's an album that draws Tarwater's various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travelers. Tarwater's music has always been marked by a hypnotic pop-ness, but that's particularly evident on Nuts of Ay, where a song like "Hideous Kiss" weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of "Hideous Kiss" are written by the duo, Nuts of Ay also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman ("All Nuns") and Millner Place ("Trapdoor Spider"); lyrics from Jean Kenbrovin ("I'm Forever Blowing Bubbles"), the late Shane MacGowan ("USA") and, again, John Lennon ("Everybody Had a Hard Year"). This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout Nuts of Ay. Schneider TM turns up on the lovely, Felt-like "Spirit of Flux", where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling "On Waves and Years" with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on "Down Comes the Goose," and actor Lars Rudolph pitches in for "USA." Both voracious and committed in their creative energies, Jestram and Lippok say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it "grew together like a coral reef in the studio over a period of several years." This music shares a strong sense of place -- whether in the world, or the mind -- and the twelve songs on Nuts of Ay have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

 

PRICE: $35.50

CAT #: MORR 204LP

FILE UNDER: ELECTRONIC

LP version. Nuts of Ay, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014's Adrift. Beautifully poised and smartly dressed, it's an album that draws Tarwater's various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travelers. Tarwater's music has always been marked by a hypnotic pop-ness, but that's particularly evident on Nuts of Ay, where a song like "Hideous Kiss" weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of "Hideous Kiss" are written by the duo, Nuts of Ay also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman ("All Nuns") and Millner Place ("Trapdoor Spider"); lyrics from Jean Kenbrovin ("I'm Forever Blowing Bubbles"), the late Shane MacGowan ("USA") and, again, John Lennon ("Everybody Had a Hard Year"). This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout Nuts of Ay. Schneider TM turns up on the lovely, Felt-like "Spirit of Flux", where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling "On Waves and Years" with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on "Down Comes the Goose," and actor Lars Rudolph pitches in for "USA." Both voracious and committed in their creative energies, Jestram and Lippok say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it "grew together like a coral reef in the studio over a period of several years." This music shares a strong sense of place -- whether in the world, or the mind -- and the twelve songs on Nuts of Ay have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

 

PRICE: $20.50

CAT #: MUSIQ 296EP

FILE UNDER: ELECTRONIC

The debut release of Malmo-in-Sweden based producer Martinou on Mule Musiq. There are four first-class atmospheric psychedelic deep house tracks.

 

PRICE: $167.00

CAT #: MUNAMUSIK 003LP

FILE UNDER: ELECTRONIC

5LP Klapp-Box set on colored vinyl. Includes download code, 30 Jahre Muna poster, "10 Jahre Muna Musik" poster, and stickers. Presented on blue vinyl (LP1), green vinyl (LP2), yellow vinyl (LP3), pink vinyl (LP4), and gold vinyl (LP5). Limited to 300 copies, hand numbered. Featuring Super Flu, Marco Resmann, Sarah Wild, Sierra, Mathias Kaden, Douglas Greed, Kristin Velvet, Norman Weber, JuKa, Robag Wruhme, Thomas Stieler, Daniel Stefanik, TKR, Matthias Tanzmann, youANDme, Leeni & Danilo Kupfernagel, 2HundredEight, Matti, Luna City Express, Kenneth Avera, Click Click & Defex, Leah Raider, Langstrumpf, TimBrix, and Politone.

 

PRICE: $35.00

CAT #: MOV 3755COL-LP

FILE UNDER: WORLD

"Black, Gold & Green was the first of three albums Ken Boothe would record together with producer Lloyd Charmers and takes his Memphis-via-Kingston aesthetic to the next level. Some of the best soul singing of his career can be heard here on numbers such as 'Out of Love,' 'Missing You,' and the gritty ballad 'Second Chance.' His singing as being in the same kind of soul groove as the late and great Otis Redding. Ken's tradition, though, is based in the powerful religious messages reflected in the native Jamaican religion. Black, Gold & Green includes some serious social-political material, and these heavy tones permeate every note of this album. It also includes his great cover version of Bill Withers' 'Ain't No Sunshine.' Black, Gold & Green is available as a limited edition of 500 individually numbered copies on orange colored vinyl."

 

PRICE: $15.50

CAT #: NAP 004EP

FILE UNDER: ELECTRONIC

Versatile, floor-focused house bangers. Fourth release of low-profile NAP series.

 

PRICE: $32.00

CAT #: NIGHT 020LP

FILE UNDER: JAZZ

Restocked, last copies of this version with deluxe booklet. Multi-instrumentalist and composer Isaiah Collier connects with the divine ancestors on a transcendent Direct-To-Disc session, Parallel Universe. A saxophonist by trade whose multi-instrumental talents and compositional prowess have stretched the limits of the form, Parallel Universe represents a new chapter in Collier's musical journey. Having already performed with a diverse range of musicians such as Chance The Rapper, Waddada Leo Smith, Chicago jazz royalty Angel Bat Dawid, and his own band The Chosen Few, Collier's latest work as a bandleader explores the shared musical heritage of the African diaspora with a sense of grace and assurance that belies his years. Embracing the risk and vulnerability that comes with the live process, Collier and his band tapped into the frequencies of improvisation that fired up so many of the most timeless jazz recordings. Name-checking Sun Ra, Ras G, J Dilla, Fela Kuti, Miles Davis, Gil ScottHeron, Whitney Huston, Aaliyah, and Frankie Knuckles, the opening track of Parallel Universe imagines a genreless musical lineage that resonates with the polyphony of stories his band bring to the table, from Chicago and beyond. Featuring gospel soul singer Jimetta Rose, AACM, and former Art Ensemble of Chicago trumpet player Corey Wilkes, blues-rooted guitarist Michael Damani, regular collaborators Julian Davis Reid, James Russell Sims and Micah Collier, the eight-track album bristles with a sense of love and understanding between players at the top of their game. With vocals sung in Yoruba -- inspired by a gift from legendary saxophonist Kenny Garrett -- "Village Song" soars between rhythms and references, from Afro-Cuban syncopation to the deep triplet swing of mid-'60s Coltrane. Laying the foundations for the album as a whole, the result is truly exhilarating.

 

PRICE: $19.00

CAT #: NOIRE 017EP

FILE UNDER: ELECTRONIC

Introducing Songs About The Sun by ELWD. The London-based producer, commonly known for his signature sample style blended with live instrumentation, presents six new beats. Inspired by how the sun has always been a constant throughout his life and the nostalgia of a time when life seemed carefree, he unveils a new powerful and vitamin D-infused sound. "Cosmic Chameleon" is a house gem that blends Balearic vibes with jazzy instrumentation, making it the perfect song to accompany a sunny, carefree day.

 

PRICE: $18.00

CAT #: NOTON 062CD

FILE UNDER: ELECTRONIC

NOTON presents the release of Xerrox Vol. 5, the final installment of Alva Noto's Xerrox series. For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images -- both visual and acoustic -- that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach. Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo. The conclusion of this album holds a sense of finality for the artist. In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. "I wasn't initially interested in strong, emotional melodic aspects," Nicolai shares, "but I realized that the fragment plays a central role." This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album's emotional resonance. "Xerrox Vol. 5 has a lot to do with farewell," the artist explains. "Not only the farewell to the series itself, which I've nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It's a very emotional, personal album." Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. The result is a layered listening experience that invites tenderness and introspection. Album art designed by Carsten Nicolai & Nibo. Mastering by Bo at Calyx.

 

PRICE: $36.50

CAT #: NOTON 062LP

FILE UNDER: ELECTRONIC

Double LP version. NOTON presents the release of Xerrox Vol. 5, the final installment of Alva Noto's Xerrox series. For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images -- both visual and acoustic -- that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach. Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo. The conclusion of this album holds a sense of finality for the artist. In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. "I wasn't initially interested in strong, emotional melodic aspects," Nicolai shares, "but I realized that the fragment plays a central role." This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album's emotional resonance. "Xerrox Vol. 5 has a lot to do with farewell," the artist explains. "Not only the farewell to the series itself, which I've nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It's a very emotional, personal album." Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. The result is a layered listening experience that invites tenderness and introspection. Album art designed by Carsten Nicolai & Nibo. Mastering by Bo at Calyx.

 

PRICE: $28.00

CAT #: NA 5250LP

FILE UNDER: HIPHOP

"Available in a galaxy ruby colored vinyl pressing with a 12-page booklet. The next release in Now Again's Memphis Rap series is Da Hard Ov Frayser, the only album by MC Money & Gangsta Gold produced by the legendary DJ Sound and presented on vinyl for the first time ever. This is part of Now Again Records multiple LP series on the history of Memphis Rap, which attempts to capture Memphis and its underground rap scene as it began to produce some of the most distinctive music of the '90s. This was a unique hip-hop strain -- visceral and often vicious. It was a local, low-fi, cassette-tape based movement - yet it went on to change the course of rap music. These albums have never been pressed on vinyl -- until now. From Skinny Pimp and Carmike to Gangsta Blac and Shawty Pimp, these albums have been relegated to the proverbial bins of history and bootlegged, with unofficial copies still fetching top dollar on the secondary market. These albums were all licensed directly from their original creators, and come on limited edition colored vinyl with artist-approved imagery for their first LP iterations. You can read the story of the Memphis Rap scene in a 12-page, oversized booklet with notes by Torii MacAdams. It captures the story of Memphis rap starting with the city's founding and ending with an auto supply shop that sold these albums over the counter, with all points in between."

 

PRICE: $28.00

CAT #: NA 5277LP

FILE UNDER: JAZZ

"For over three decades, the Stone Alliance's debut album on Gene Perla's PM Records has been a record collector's commodity. An LP that evolved from the Rare Groove 1990s into a hallowed place in America's deep jazz canon. This definitive reissue of the 1976 release was lacquered in an all-analog transfer by Bernie Grundman, who removed the Dolby noise reduction and freed the space in the record's grooves. Grundman himself said that this is the best that this record has ever sounded. Contains an oversized eight-page booklet that details bass player and PM Records founder Gene Perla's arc in music, the creation and lineage of his PM Records imprint and the story of the Stone Alliance band."

 

PRICE: $27.00

CAT #: ODA 004LP

FILE UNDER: ROCK

Fohn brings connection, displacement and new identities into the moment, on pastoral debut album Seanteach -- informed by island life, marine folklore and musical tradition. Connection to the land, the severing of earthly ties, explorations of environment, mythos and generational memory: under the moniker of Fohn, English violinist and producer Tom Connolly takes to the fiddle on which he learned his craft as a child. Forging new bonds with his family's island home off the coastal west of Ireland, their story is retold in Seanteach (Irish for 'old house'), released on Odda Recordings. Each track on the album is a reflection of aspects of that relationship to island life -- where physical features intersect with mythology. Such as, "Boreen," named after a colloquial term for rural byroads sometimes shared with otherworldly neighbors. "Aisling at Sea" draws on the primal, unstoppable momentum of the water, while the folklore of "Immram" reflects on generationally-kept tales of marine bravery and supernatural accomplishment. "The compositions often sit at the fraying edges of memories I've inherited from my own experiences," says Connolly, "that of family lore, or from stories that I have come across. I wanted the compositions to tread the space between documentation and fantasy that feels so reflective of my relationship with this place." Tying these worlds together is the presence and memory of Connolly's "Mam?" (Irish for 'grandmother'), Br?d. Despite passing during Connolly's childhood, this "larger-than-life character" shaped his imagination with anecdotes and stories, representing both a familiar figure, and the poignancies of potential and regret. "Between the Shoreline and the Gorse" channels her early childhood, born to a large Catholic family in the island's "Seanteach," and cast adrift from her old life -- a severance of ties that Connolly attempts to make ethereal amends for, with the album named for her family home. "It's something that feels so visibly prominent in Connemara with its landscapes charcoaled with deserted ruins. It's a feeling I also experience, despite never having lived in Ireland, which prompted me to want to explore the idea of longing for something/somewhere 'un-experienced', and to a certain extent, fictionalized."

 

PRICE: $29.50

CAT #: OF 002LP

FILE UNDER: ROCK

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in 2001: A Space Odyssey, is Blake's far-reaching canvas on No Sound In Space, a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life. Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed Ultraviolence full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. His collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically. Blake was moved to reach out to KMRU when he caught a performance of Natur at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. This is the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own Dissolution Grip, and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

 

PRICE: $31.50

CAT #: OF 002X-LP

FILE UNDER: ROCK

Red color vinyl version. Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in 2001: A Space Odyssey, is Blake's far-reaching canvas on No Sound In Space, a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life. Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed Ultraviolence full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. His collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically. Blake was moved to reach out to KMRU when he caught a performance of Natur at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. This is the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own Dissolution Grip, and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

 

PRICE: $38.50

CAT #: OF 003LP

FILE UNDER: ELECTRONIC

"When KMRU accessed the sound archive of the Royal Museum of Central Africa in Tervuren, Belgium, it catalyzed an auditory response in the form of the album Temporary Stored. The album listened back to listen forward -- to reckon with the collective inheritance of colonial (sound) archives. Temporary Stored II serves as an artistic and curatorial extension of the original album, inviting other artists to lend their critical ear to museum archives holding recordings of African songs, traditions and practices. With KMRU, Aho Ssan, Lamin Fofana, Nyokabi Kariuki, and Jessica Ekomane draw upon their listening experiences as global contemporaries navigating a world in flux -- ecologically, economically, and politically. Each artist brings a selection of sonic fragments out of dormancy, channeling (in)audible traces into a contemporary cultural and political paradigm. Temporary Stored II sensitively responds to historical archives whose sounds have been restored and made more accessible through digitalization, despite still being the copyrighted property of European institutions. It develops an emergent language to engage with the vocal, rhythmic and syllabic intelligence rooted in these sonic repertoires, grounded in reimagination of sonic records as seeds for a sounding future. Listening back to these recordings is one way to recover the loss of listening traditions, orality and modes of transmission. In these sonic mediations, Lamin Fofana, KMRU, Jessica Ekomane, Nyokabi Kariuki, and Aho Ssan account for the archives with care and criticality. Inscribed in this album are 'black waveforms as rebellious enthusiasms,' which in the words of Katherine McKittrick 'affirm, through cognitive schemas, modes of being human that refuse antiblackness while restructuring our existing system of knowledge.' The album asks us to listen to colonial pasts and imagine the sound of our epistemological futures. It is a sonic retort; a playback to history and its colonial processes of extraction and accumulation. Temporary Stored II is a reminder that the labor of listening back is a continuous process of reassessing what has been lost, captured and refused." --Bhavisha Panchia

 

PRICE: $31.50

CAT #: OP 080LP

FILE UNDER: ELECTRONIC

Okokon returns to Other People with his sophomore album, Offering, delving deeper into the lush and cinematic soundscapes he first explored on his debut album, Turkson Side. While primarily working in visual arts, Africanus Okokon, who records under his surname, bridges his artistic practices in Offering, using his masterful collage techniques to create his most personal work yet. Defying easy categorization, the album melds influences from dream pop, avant-garde folk, psychedelia, trip hop, and dub, with traces of field recordings seamlessly blended throughout to form a cohesive whole. Offering sees Okokon confronting and negotiating a sudden and unexplained death that occurred in his childhood and the complex emotions left in its aftermath, acting as his main inspiration when making the album. This ambiguity is something that permeates throughout, with Okokon wanting to explore the ambivalence and sometimes uneasiness of contradicting emotions appearing simultaneously, alluded to in the album title. This is also reflected in how the album tracks each inhabit different narrators with varying perspectives on the same events. The result being a hauntingly beautiful album, with recurring themes of death, growth, sacrifice and spirituality ever present. Featuring Okwui Okpokwasili.

 

PRICE: $27.00

CAT #: PCD 011LP

FILE UNDER: ELECTRONIC

Exquisitely compiled by Discrepant head honcho Gon?alo F. Cardoso from three tapes by the tireless mind-body of Spencer Clark through his own Pacific City Sound Visions, This Year In Coconuts Vol. 2 is another revelation into the deeply personal soundworld of this true voyager of both ancient, present and forthcoming times. Coming from a truly singular artist, capable of conveying multiple visions into a labyrinthine-esque mythology all of his own, these seven tracks feel as much part of their original setting as connected pieces from this never ending and puzzling netherworld. Dedicated to the Temple of Isis in Pompei and opening sides A and B, the two tracks from Tempio d'Iside set up a scenario not far from a dream version of the Temple itself, made from crystal clear synth-lines and levitating ambiences, like drifting into ancient memories from days to come. Making up about half of the compilation, the four tracks from Kowloon Spider Temple drip into a feverish mosaic of Clark's by now trademarked cascading rhythms, un-hinged alien-vocal samples, phantasmic textures and sparkling synth harmonies projecting a catchy hypnotic oblivion filled with intrigue. The sole title track from From the Caves and Jungles of Apulia tangentially reports back to some lower-fi recordings of the past, with its murkier sound inducing the feeling of willing confinement within such caves and jungles.

 

PRICE: $15.50

CAT #: PRTL 7089EP

FILE UNDER: WORLD

First time on 7" for this horns-led instrumental gem from the Love Grocer crew aka Chris Petter and Dave Fullwood (Ital Horns and Zion Train). Originally appearing on 10" with a Cheshire Cat vocal in 2000 and on the Rocking with the Love Grocer album, both on Dubhead in 2000 and 2001 respectively. Backed with a dub cut.

 

PRICE: $15.50

CAT #: PRTL 7090EP

FILE UNDER: WORLD

Brand new recording from the legendary Vivian Jones whose recording career stretches back to the mid-'70s before relocating to the UK. Vivian Jones has worked with labels such as Freedom Sounds, Jah Shaka, Fashion and Black Solidarity, to name a few. Produced by Vinney Ellis, "Return Ticket" is a one drop roots reggae rhythm backed with fine-tuned dub excursion.

 

PRICE: $28.00

CAT #: PP 107LP

FILE UNDER: ELECTRONIC

What does it mean to be perfectly blue? Perhaps it means swimming contently in the waters of deep, complex emotions, or simply learning to spin low moments into casual days. For Luka Seifert, who makes music as RIP Swirl, the idea of being fine with not being happy all the time was the catalyst for his second album, Perfectly Blue. The two words captured something: learning to embrace being blue, while using music as a way of processing emotions. Featuring Winter, Maria Somerville, Alias Error, Tanukichan, and untitled (halo).

 

PRICE: $12.50

CAT #: MALONE 012-7

FILE UNDER: ROCK

As the opening line states in Mal-One's latest single release, "Mr Rotten lead the charge and in many respects took most of the impact." Whether that be from the media, the government, the people or in fact from his own management, his stance and attitude made it all the easier for listeners all to follow through the many doors he pushed open. Although Neil Young mentioned his name in song many years ago, Mal-One felt that his deserved the full nine yards, or three minutes. So here is his heartfelt sonnet to the man. They took his name away and forced him out of the country. The leader of the pack and come judgement day he will be the one who cannot be forgotten.

 

PRICE: $20.50

CAT #: MALONE 12002XEP

FILE UNDER: ROCK

Featuring new cover artwork with additional 12"x12" print. Mal-One's new five track 12'' offering has broached the tender subject of the bedroom wall and what as a teenager listeners would cover it with. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t-shirts -- anything they could find to extend their allegiance to the Punk Rock cause.

 

PRICE: $20.00

CAT #: R-M 215CD

FILE UNDER: ELECTRONIC

Reflex is G?bor L?z?r's debut album on raster. His new record is a collection of seven tracks, featuring an extended sound palette of percussions and synthesizers drawing listeners attention towards the essential soundscapes of techno while maintaining his distinct, uncompromising and meticulously detailed style. While the tracks do not follow traditional narratives, the album has an evolution: it gently builds up from challenging, unpredictable, and organically composed structures to linear yet playful forms of techno-infused tracks, taking listeners on a journey from home listening environments to club contexts. The senses are stimulated by micro-variations of textures and patterns, leading to the feeling of here and now. G?bor's consistent production techniques and intuitive compositional approach work together coherently, addressing the listener's cognition from different angles simultaneously, offering a variety of ways for the listener to get immersed.

 

PRICE: $34.00

CAT #: R-M 215LP

FILE UNDER: ELECTRONIC

LP version. Reflex is G?bor L?z?r's debut album on raster. His new record is a collection of seven tracks, featuring an extended sound palette of percussions and synthesizers drawing listeners attention towards the essential soundscapes of techno while maintaining his distinct, uncompromising and meticulously detailed style. While the tracks do not follow traditional narratives, the album has an evolution: it gently builds up from challenging, unpredictable, and organically composed structures to linear yet playful forms of techno-infused tracks, taking listeners on a journey from home listening environments to club contexts. The senses are stimulated by micro-variations of textures and patterns, leading to the feeling of here and now. G?bor's consistent production techniques and intuitive compositional approach work together coherently, addressing the listener's cognition from different angles simultaneously, offering a variety of ways for the listener to get immersed.

 

PRICE: $16.50

CAT #: R 111CD

FILE UNDER: EXPERIMENTAL

Zachary Paul is a violinist and composer currently living in New York. Having played in orchestras for most of his life, his beautiful violin work has recently emerged in the new music scene on the East and West coasts. Recently collaborating with musicians like Simon Scott and Patrick Shiroishi, Zachary has long been a "session violinist" for many Recital releases. It's with great pleasure to finally release a full-length solo album of his work on Recital. Calendar is a collection of unfinished demos, compositional experiments, and edited re-released tracks which span the past eight years. Recital operator and composer Sean McCann took seven hours of Paul's music and edited it down to these eight tracks over 50 minutes, folding them into themselves and into one another. The editing is also sometimes crude and immediate, with creases and torn edges. This album reflects trying to break one's perception of time into its smallest parts, watching the seconds pass, and freezing these snapshots into saturated memories and moods. "Wind of midnight" is a pastoral quartet piece (two horns, cello, and violin) that breathes slowly, not unlike an Ingram Marshall work. While "Fear" conjures up memories of Los Angeles at night, an imagined soundtrack for a hazy Michael Mann-ish cobalt landscape. A gust of smog on "Possessor" interrupts this vaporous scene, getting swallowed up in tape destruction, then settling back into the underlying pastel dusk of Calendar's unhurried chamber ambience. Glass-mastered CD edition, limited to 200 copies. Includes a 12-page booklet.

 

PRICE: $30.50

CAT #: REPOSE 138LP

FILE UNDER: ROCK

Limited edition pressing of 500 copies worldwide. All pressed on cream colored vinyl, housed in a full color sleeve with leather effect laminate, with hype sticker and black polylined inner bag. Continuing Riot Season's quest to get all of the classic early AMT albums released on vinyl, the label now turns to 2004's Mantra Of Love with the help of Makoto Kawabata's studio wizardry. This latest instalment in the Acid Mothers Temple Vinyl Archives - First Time On Vinyl series has been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin. Here's what Pitchfork had to say upon its original CD only release back in 2004: "Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clich?s, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos -- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration." Originally released on CD by Alien8 Recordings in 2004.

 

PRICE: $30.00

CAT #: RIP 243LP

FILE UNDER: ROCK

"Greek masterminds 1000mods are back and they are not holding back, nor cutting corners. Instead, they unleash their magic at full force and consequently make the world a better place."

 

PRICE: $17.00

CAT #: ROG 139CD

FILE UNDER: JAZZ

"In the quartet on this album with Liam Noble on piano, John Edwards on double bass and Mark Sanders on drums, Paul has returned to his first love: free improvisation based on interaction between the four players. The quartet is a worthy successor to the Mujician quartet, and must be one of the finest working free improvising groups in the world. His approach is to listen very carefully to what is happening around him and to react to it. In general terms, there are two broad approaches to soloing in free music; one is where musicians develop their own lines in a method that can be defined as independent simultaneous action, and which John Corbett (2016) has described as 'skiing down the slopes separately', the other is interactive where the musicians listen carefully and react to the other players in a kind of musical conversation. Of course, there is a grey area between these two approaches. Paul Dunmall's playing falls very definitely into the interactive category. If you see him play live, you will see how he concentrates on the flow of the music, often stepping back and allowing the music to develop before choosing the right moment to enter or re-enter. At times his playing is foregrounded, while at others it is an equal partner in the mix of sound. His solos always develop original melodic lines, free of the clich?s of both straight-ahead and free jazz. The other three musicians make equally important contributions to the music. Liam Noble plays in many different contexts from solo piano to more mainstream quartets; he has a highly original approach to free improvisation based on short melodic ideas and clusters of notes that weave in and out of Dunmall's lines. John Edwards and Mark Sanders are longstanding partners in free music and they create intense swirling rhythms that react with and set off the improvisations of Dunmall and Noble. They are, in fact, equal partners in the quartet, free to influence the development and flow of the music."

 

PRICE: $17.50

CAT #: RM 4186CD

FILE UNDER: EXPERIMENTAL

From Lawrence English: "There's two things I can tell you about Ueno Takashi, without reservation. The first is he knows the best coffee spots in Tokyo. I am the happy recipient of this knowledge. The second thing I can tell you is that he is someone for whom the guitar is a platform of exquisite promise. Ueno Takashi, who many of you would recognize as one half of the legendary unit Tenniscoats, is also responsible for an impressive series of solo guitar recordings which stake out a claim that tests the fringes of extended technique, harmonic relation and post-blues modes. His approach is simple; the guitar must lead and through allowing this he has unlocked a potential in the instrument that is entirely personal and profound. Arms, which collects together a series of recordings made during the past few years, is by far one of his most melodic and structured recordings. Here, using only the simplest of tools and techniques he crafts a suite of pieces that orbit one another with a gentle gravity. His playing is, at times, intensely delicate and at other moments more free and playful, but never careless. Ueno's way with the guitar is one attuned to 'what is needed,' and he seemingly shuns excess. While some might call this approach minimalist, his unique sense of time opens another reading which extends beyond those traditions. Arms is a complete universe within which we are invited to be. Ueno is your host, and guide here. Enjoy."

 

PRICE: $31.50

CAT #: RUMI 014LP

FILE UNDER: ELECTRONIC

Schnieke is rich and fruitful, yet carries a sadness within. A five-string violin charts its melodious journey from Istanbul to Belin, accompanied by electronics, breakbeats, live drums and percussions. This is Schnieke, a.k.a. ?zg?r Akg?l, with his first studio album Hediye, or "Gift." The album is intended as a gift to ?zg?r's grandmother, Hadiye, who was very important to him and to whom he dedicates a song. But his debut album will also come as a gift to anyone interested in how a sophisticated musical sensibility brings together electronic elements with stringed instruments of all kinds. ?zg?r plays the violins himself, as well as the analogue synths and drum machines. Guest musicians include Hasan G?zetlik (trumpet and trombone), G?ksun ?avdar (saxophone), Korhan Erol (electric guitar and bass), Burhan Hasdemir and Bar?? G?ney (live percussion), Zafer Tun? Resulo?lu (live drums), John G?rtler (church organ), and the Istanbul Strings, Turkey's most vibrant string ensemble. Their diverse influences create a wide emotional range on Hediye -- sometimes dark and melancholic, some-times wild, groovy and danceable, somewhere between jazz, dub and electro, each song surprising in its own way. Despite the variety of the individual songs, a captivating pulse runs like a thread through Schnieke's first album. Incidentally, ?zg?r came up with the band name during a night out in a bar, when a friend explained to him what Berlin slang he absolutely had to know. He liked the sound of the word 'schnieke' -- it means something approximating "snazzy" -- and perhaps he secretly also wanted to flatter himself a little! Hediye consists of eight tracks, three of which are traditional: "Aman Doktor" comes from Istanbul, ?zg?r's birth-place, and is a homage to his own origins. "Kad?o?lu" comes from the Aegean region and features the zeybek dance form which, despite its "standardization" in recent times, still summons up the ecstasy, inspired improvisation and musical finesse of its historical roots. The other five tracks are ?zg?r's own compositions, with "Pa?al?" providing the soundtrack for the 2010 Turkish feature film Memleket Meselesi.

 

PRICE: $32.00

CAT #: SAT 070LP

FILE UNDER: ELECTRONIC

DaRand Land, who hails from the post-industrial confines of Buffalo, NY was one of the leading figures of Deep4Life, a cult label known for submersible oriented, yet dancefloor-friendly productions. With ambient synth-driven tones and heavy funk basslines being at the center of his sound, DaRand Land's music often evokes an introspective quality, without losing its groove fundamental. DaRand's works, which span decades on deep house labels such as Downbeat, Confluence and Pulp have been described as "uncompromising" and has afforded him a passionate following of listeners who seek a more emotive, thought-provoking brand of underground music. Teaming up once again with Scissors and Thread -- the perfect fit for his sound -- DaRand Land drops an album full of crafty, trippy house for the heads. Wander Being contains ten tracks on the double vinyl release with a pair of additional tracks for the digital release. The vibe is deep and sleek, with a rough, bumping edge. The title track sets the tone, a smattering of percussion accompanying a thick, round kick drum and Rhodes chords, giving off a classic Detroit feel. Tracks like "Turn to The Music" ramp up the energy somewhat, but overall the tracks sit in the sweet spot between dancefloor burners and soulful, jazzy, deep cuts. Noticeable is the space given to each element across the tracks -- the hi-hats sparkle, the snare snaps, and the basslines roll and rumble. Add to this the magic melodic flourishes provided by the pads and synths, reminiscent of the late Mike Huckaby in places, made this whole album a thoughtful, joyful experience. "The genesis for the Wander Being LP," says DaRand "was a desire to return to the essence of some of my original Deep4Life productions. How was this accomplished? Principally, through the exclusive use of hardware components, minimalist arrangement, and a minds-eye approach to source the musical elements. In particular, the single, 'The Nature of Reality' was written to convey a sense of what it feels like to be in a state of suspended animation. There is a natural tension introduced via the organic, swirling pad progression juxtaposed against endless vocal echoes and the low-end groove of the bassline. Thematically, I wanted to carry this forward through the entirety of the album. balancing subdued keys and strings with ethereal tones and atmospheres."

 

PRICE: $25.00

CAT #: SCTR 068LP

FILE UNDER: ROCK

"For the first time this century, two missed masterpieces are coming available on vinyl. The band Souled American formed in Chicago in 1986 and recorded a total of sixty-six songs between 1988 and 1996. Though not ever popular themselves, their evolving hybrid of roots/rock music heavily influenced many more popular bands to come, among them Wilco, The Jayhawks, The Feelies, Califone, Counting Crows, The Mountain Goats, and Cracker. Their records became legendary, unavailable for decades. Some got to the Internet in 2023. Their last two albums Frozen and Notes Campfire are now re-issued in limited, hand-crafted, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of 'ambient Americana.' These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks."

 

PRICE: $19.00

CAT #: SMALL 066EP

FILE UNDER: ELECTRONIC

Smallville Records welcomes Barcelona's Lis Sarocca onto the imprint with her four-track Untitled Thoughts EP. Since 2018, Barcelona, Spain's Lis Sarocca has been steadily unveiling her take on house, techno, disco, and electro via the likes of "Shall Not Fade," "Hot Haus," and "Chiwax" among others as well maintain a steady presence across the globe as a heavily in demand DJ. Here, Sarocca makes her debut on Smallville with her latest collection of works, again showcasing her widespread influences and mesmerizing sonic aesthetic across four cuts. Up first is "Atacote," a hypnotic house cut with a Balearic feel courtesy of breathy vocals, cinematic strings, piano lines and hazy atmospherics, intertwined with organic percussion and bouncy sub bass tones. "Breaks Reminder" follows and shifts gear into a broken rhythm section, squelchy acid lines and textural synths throughout. Opening the flip-side is "Early Years," diving back into deeper realms with a multitude of ethereal pads, dubby synth flutters, plucked bass hits and crisp drums. "Might Be" then concludes the EP on a more chuggy Nu-Disco tip, employing gritty bass stabs, bubbling arpeggios, airy flute melodies and a saturated off-kilter drum groove. Comes with a full cover artwork by Stefan Marx.

 

PRICE: $28.00

CAT #: SODA 016LP

FILE UNDER: ELECTRONIC

Following releases on S?hk? Recordings and The Trilogy Tapes, Fever of the World is the Soda Gong debut by Memotone, the nom de plume of UK-based multi-instrumentalist Will Yates. As a collection, it is both intimate and expansive, like the feeling of gathering one's thoughts before setting off on a long journey or committing to an irrevocable course of action. Throughout, Yates' talents as both player and sound designer are on full display, as are the sonic signatures that have come to characterize the Memotone catalog: low-lit, ECM-inflected noir; evasive and evolving loop-based accretions; and mellifluous mosaics of keys, guitar, reeds, and percussion. It is patient and focused music, built around production techniques and compositional ideas that have been perfected both in studio and in live performance over a period of several years. "Catherine, On Fire" sets the scene, one of two languid, longform selections, and develops slowly from a spare, harmonic-laden guitar loop into a bed of rippling textural ambience and woozy clarinet filigree. Later, "The Bus" and "When the Bakery Has What You Want and It's Cheap" conjure images of rain-streaked windows, fanciful baked confections, and grey skies broken finally by sunlight. Warm, generous, and comfortable in its own skin, this is music that reminds listeners that when it feels easy to resign themselves to world weariness, they should pause for a moment and listen to the rustle of the leaves. The wind knows not to linger.

 

PRICE: $28.50

CAT #: SONIG 094LP

FILE UNDER: SOUNDTRACK

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog's fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band's favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to D?sseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London's Southbank Center knowing that Herzog would have never approved a new score. Filmed in 1971, Fata Morgana is perhaps not one of Herzog's best-known works, but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile. The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place -- in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle. The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player for the final section of the film. Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot -- causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed.

 

PRICE: $23.50

CAT #: SOW 011LP

FILE UNDER: JAZZ

Limited restock. Sowing Records present a reissue of Joao Gilberto's self-titled third album, originally released in 1961. The fruit of the collaboration between Gilberto and the great composer and arranger Antonio Carlos Jobim and Walter Wanderley and his ensemble. This is one of the greatest pieces of work in the field of Brazilian music. Gilberto's delicate singing moves on top of extremely subtle, elegant orchestral arrangements of various songs from a classic repertoire, "Samba da Minha Terra" and "Saudade da Bahia" (Dorival Caymmi), "O Barquinho" (Roberto Menescal/Ronaldo B?scoli) without forgetting essential numbers by Carlos Lyra, Vinicius de Moraes, and Tom Jobim. A timeless masterpiece. Clear vinyl.

 

PRICE: $22.50

CAT #: SPITTLEDD 010LP

FILE UNDER: ROCK

After the surprising debut with Monochromatic, Milano 84 -- the musical project of Fabio Di Ranno and Fabio Fraschini -- returns with a new album that brings the formula into even sharper focus. Synth pop, new wave, Italo disco acquire a contemporary dimension and an international flavor. Ultradisco brings together eleven tracks, some in English, others in Italian. They are velvet dancefloor songs, emotional and romantic, elegantly distant from the obvious. Milan 84's fellow travelers include, among others: Johnson Righeira, here in the futurist reinterpretation of a Franco Battiato classic ("Summer on a solitary beach"); Anita Dad? -- a well-known avant-garde artist -- is with Fabrizio Massara (Baustelle) in the languid and intense "Darling"; Andy (Bluvertigo) and Alice Silvestrini (Laison) illuminate the prismatic "Crystal"; Anna Soares -- a revolutionary performer -- and Eugene -- electro songwriter -- color "Italopop," a manifesto made up of d?collage quotations; Fred Ventura ignites the engines of the new wave to come with "The right words." And he is also artistic supervisor of this unmissable album for all lovers of the '80s, the decade that never ended.

 

PRICE: $13.50

CAT #: ASCD 020-21CD

FILE UNDER: WORLD

This essential album is a standout in the world of dub, reggae, and sound system culture. Featuring a remarkable collection of ten powerful vocal tracks and ten profound dub mixes that highlight Alpha Steppa's unique and innovative production style. Bringing together a global lineup of some of the most exciting voices in contemporary reggae, from Jamaica, the UK, Zimbabwe, the Seychelles, Brazil, the USA, Senegal, Italy, and Spain. Collision of an Ancient Mind and a Modern World intertwines the rich heritage of dub reggae with a vibrant, futuristic musical landscape. Featuring Joe Yorke, Tanganyika, Kevin Gad, Leno Banton, Sheila Langa, Lasai, Pasnbesa, Fikir Amlak, I-Sarana, and Awa Fall.

 

PRICE: $12.50

CAT #: SOD 136CS

FILE UNDER: ELECTRONIC

Operating since the late 2010s, Vienna-based sound artist the concept horse has quietly amassed a distinctive and diverse discography, drawing inspiration from the rich traditions of musique concr?te, noise, plunderphonics, microsound, and free improvisation. Public Detail follows releases on labels such as FALT and czaszka [rec.], as well as the artist's own e? editions, and neatly encapsulates the polyglottic breadth of the project. Patinaed piano loops and wistful ambience give way to chance percussion environments, beat research, and treated location recordings, resulting in a suite of evasive and diffuse music informed by dialectics such as repetition/unrepeatability and formal rigor/chaos. "A door space to further diagrams, white on blue, a window." Recorded and arranged in Vienna, Austria between 2021-2023. 35mm photograph taken by the concept horse. Risograph print and cover design by Marie Vermont. Mastered by Angelo Harmsworth.

 

PRICE: $20.50

CAT #: BARN 105EP

FILE UNDER: ELECTRONIC

Two of the most sensitive and sweet big room bangers to ever fill a floor, here's "Stay Here" and "Writer," the results of a recent machine jam between heavyweights of emotional dance music, Fort Romeau and Gold Panda. "Stay Here" strikes first with slowly simmering synthesizers intertwining with slinky guitars and delicate vocal samples, while B-side "Writer" shows up to the party loaded with restrained euphoria, steady beats paving the path for the fragile acoustic elements of its glorious, beatless ending. All of this spiked with just the right amount of acid to keep things constantly entrancing! The record comes wrapped up in designer Eliot Axelsson's blurry shapes and vivid colors, arriving on vinyl and in digital form through Studio Barnhus.

 

PRICE: $29.50

CAT #: STUDIOMUL 049LP

FILE UNDER: ELECTRONIC

Kaoru Inoue is a Japanese veteran producer and DJ, active since late '90s. He has been releasing music from his own label Seeds and Ground and other labels like Mule Musiq and Groovement. This album was originally released in 2013 Japan. It's a style mix of world music, field recording, ambient and electronic music. The album starts with the minimal gamelan ambient "Malam," followed by "Selva," a minimal Afro-Brazilian house which reminds listeners of early Luciano or Villalobos. The third track "Kamui Fuchi" is an electric jazz fusion house, while the fourth track, "Sphere," is like Joan Bibiloni in the late '80s. The B-side track "Etenraku" is avant-garde tribal break beats, and the album closes with the beautiful melancholic new age music "Healing Force."

 

PRICE: $57.00

CAT #: SV 200LP

FILE UNDER: ROCK

"cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3LP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release. Only the three members of cLOUDDEAD can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots -- in ramshackle basements of off-campus hovels, as the 'cerberus of Southern Ohio' -- would remain the atomic heart of their early recordings. As Chris Martins writes in the liner notes, 'The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves.' Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo 'Apt. A' and 'And All You Can Do Is Laugh' are perhaps most emblematic of the cLOUDDEAD experience. 'Why?' and 'Dose' create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while 'Nosdam''s dexterous production shifts from crackling ambience of 'Flying Saucer Attack' to tight 'Ohio Players' drum breaks and oblique film samples. Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow -- a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it. This edition has been faithfully restored by Nosdam. Comes with poster."

 

PRICE: $12.50

CAT #: TWCD 1071CD

FILE UNDER: WORLD

Rhythms recorded in Jamaican. Overdubs recorded at Glass Studios, Wirral, England. Featuring Sprangy Rankin, Prince Hammer, Angie B, Junior English, Captain Duce, Pablo G, Singing Blossom, Winston Francis, Faithful, and AJ Franklin.

 

PRICE: $13.50

CAT #: RELTIME 009-9CD

FILE UNDER: ELECTRONIC

Grief, sadness, goodbye. With Shook, Rico Friebe returns to the purest form of acoustic intimacy -- just his voice and the guitar after the "Requiem" introduction. Being in daily grief and torment for almost 500 days, he melodized a funeral procession, burying an agony, being the sole attendant, shining a light in darkest night.

 

PRICE: $35.00

CAT #: TRESOR 057X-LP

FILE UNDER: ELECTRONIC

Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavor than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-'90s with a series of jacking machine funk 12"s that showcased their savvy for self-control -- a faculty they have demonstrated in releases year-on-year since. Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7's debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing "Unusual Channel" (mixed by the master Blake Baxter), and the harder-edged "VII" resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released. Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7's leader, Trackmaster Lou, clearly had when writing "I hope you enjoy my records in the phuture to come" in the sleeve notes nearly 30 years ago.

 

PRICE: $17.50

CAT #: TRESOR 372EP

FILE UNDER: ELECTRONIC

With Multiply Your Absurdities, Helena Hauff delivers her long-awaited 12-inch debut on Tresor: a multi-colored inauguration, masterfully crafted by the inimitable Hamburg producer and DJ. The title track "Multiplying My Absurdities" opens the record, with a slow burn of magnetic synths and numbing acid drops. Through its simple yet thrilling dynamics, it occasionally falls into playful skepticism, creating something truly unique, uncompromised, and beautiful. "Punks in the Gym" is named after an infamous climbing route in Australia. As its namesake, the track mercilessly rises to a techno summit. It gets steeper and steeper with every bar, resembling a volcanic dance where 303 earthquakes shake the ground before eruptions. Once you're halfway in, there's no turning back; all you can do is keep moving forward. The closing track, "Humanoid Fruit," transports to an even darker prehistoric landscape. Synths bursts remind of fossilized Pterodactyls revived -- a challenging but rewarding trip through acidic rain and the alleys of your mind. Originally released as the soundtrack for Teslaism by artist and filmmaker Bahar Noorizadeh, a third person musical racing game featuring Elon Musk and his self-driving car/lover and life coach, as they drive towards a shareholder meeting in a post-gamified Berlin landscape. It premiered at the Tresor 31: Techno, Berlin und die gro?e Freiheit exhibition in 2022 and deals with stimulating skepticism about the emergence of a new era after Post-fordism that she calls Teslaism: "an upgrade to the system of production and consumption predicated on advanced storytelling, financial worldbuilding, and imagineering 'the look of the future.'" What has been once inspired by Helena Hauff's dystopian sound has now been made into an official music video for the track. Much like the video, Multiply Your Absurdities represents a journey into futuristic uncertainty.

 

PRICE: $27.00

CAT #: UNVERNUN 001EP

FILE UNDER: ELECTRONIC

"Schlammpeiziger, who had previously only been known to us for his top hits and T-shirts, burst upon Unvernunft like a wild boar in search of affection in the middle of the coronavirus lockdown. Childish faecal humor, far-fetched obs(t)enities, juicing, a desire to dissolve, composting of thoughts. In excesses of lack of concentration, the chains of associations curled and meandered like Jo's famous curlicue drawings. In the blissful brainfog of those days, for example, 'Handicapfalter' was created. Among other quirks of the little gut-breather, we were fascinated to observe his phobia of literature and books. Just hold a printed page in front of his face for a few seconds and he writhes on the floor crying. A certain affinity cannot be denied. We are much, much more pleased by snatched-up, misunderstood or misheard snippets, hollow but unforgettable phrases, the diamond stoner humor of our ancestors. The shy goby is under threat from climate change, so perhaps this vinyl is the last expression of life of the specimen that we have been allowed to look after sporadically since the lockdown phase of the corona epidemic. And it's turned out pretty. 'Schamlose Dubt?se': Do you have words. Do you have sounds. Impertinently harmless piano tinkling turns into tugging zounds of increasing severity. It is not dubbed (would be unethical) but dubbed. Sounds dubby, as you can imagine. 'Loch ohne Licht': Possibly vaguely misogynistic. Could also be that there was simply no light in the hole. 'Selten Gesehenes': Casual. Confident. Soft. Fragrant. Thoughtful but lively. The 'Arabian Vietmanese' (instrumental) is probably the food we trust in the case of the munchies we get when we watch other people smoking weed. Transcendental and psychedelic states casually permeate the humdrum of everyday life. 'Klar Knuspermarsch': Marches and floats at the same time. 'Klebt Runner': Soundtrack to the cult film of the same name. Tyrrell Corporation loosens up. 'Ungenutzte S?tze': Stinks somehow, because there is dangerous proximity to comprehensible and then also critical statements here. Instead, the sinister electronic cheapness of Carpenter soundtracks can be heard. 'Parzipan': Actually, the time of origin was not so roaringly funny and simple, but for Jo it was also a gruelling, slow letting go of his brother. Here he sends him off with a gentle nudge into the vastness of a hopefully happy beyond." --Clara Drechsler

 

PRICE: $28.50

CAT #: VAK 079LP

FILE UNDER: ELECTRONIC

In an age where the unyielding flow of time often overshadows the deeper resonances of existence, Daniel Majer's latest album, Time for No Memory, serves as an evocative meditation on the ephemeral nature of experience. Produced throughout 2023, this collection of tracks swerve through what seems like a cacophony of FM radio frequencies while oscillating between the familiar and the uncanny, leaving listeners with a sonic landscape that feels both timeless and retroactive yet palpably present. In 2019, Daniel Majer released a collaborative album with Jonathan Scherk on Jan Jelinek's Faitiche label.

 

PRICE: $25.00

CAT #: VB 011LP

FILE UNDER: ROCK

"Lou Barlow personified home recording's rise in the late '80s and was arguably one of the few key players that changed the trajectory of songwriting as the '90s charted its cultural course. For the 30th anniversary of his Really Insane 7-inch and Winning Losers EP, Emil Amos and Steve Shelley have compiled an overview of Barlow's best solo work under the name Sentridoh. Based around an even mix of legendary tracks and extra deep cuts, this compilation focuses on Barlow's arrangement innovations, signature textural explorations, and radical ability to turn psychological upheaval into classic songs."

 

PRICE: $28.50

CAT #: VAMPI 268LP

FILE UNDER: WORLD

2024 repress. First time reissue, originally released in 1968. The musician Roberto Enrique "Tito" Chicoma forged one of the most solid and constant career paths in Peruvian music. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the Koki Palacios and Armando Boza orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by Am?rica Televisi?n, starring on programs such as El Show de Juan Silva, where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group Los Teen Agers. The praise the single received led to the recording of his first LP, El Ritmo de Moda, where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: Cumbias y Boogaloos. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of Andr?s de Colbert, Mario Cavagnaro, Eulogio Molina, and Lucho Macedo recorded cumbia hits, then the genre soared when groups like Los Pacharacos and Los Demonios del Mantaro mixed it with Andean music. Boogaloo in Peru was popularized chiefly by the record label MAG, which kept its listeners up to date with developments in tropical music in New York, releasing and distributing records by Alegre Records and recording versions of hit songs such as "El Pito" and "Mamblues" with local musicians. The recording sessions for Cumbias y Boogaloos began in December 1967, when Tito released one of his first compositions: "Dale U". He also recorded the instrumental track "La Cig?e?a" and "Plaza de Toros", two compositions by the Venezuelan artist Hugo Blanco. After a trip to Buenos Aires in 1968, he recorded two more songs, both from the Alegre Records single: "Mr. Trumpet Man" and "El Diri-Bop" by Puerto Rican musicians Richie Ray and Bobby Cruz. Then, during May, Tito recorded a couple of songs by the Venezuelan guitarist Orlando Pe?aranda Moros and his group Orlando y su Combo: "Pata Pata Pelada" and "A Que T? No Sabes". The former was inspired by Miriam Makeba's 1967 global hit "Pata Pata". The sessions were complemented by recording "La Cebolla", a composition by the Colombian songwriter Graciela Arango de Tob?n, and the Amazonian waltz "La Contamanina" recorded with a cumbia beat. By September 1968, the LP was released and received extensive airplay on the radio, especially the cumbias. An obscure tropical gem loaded with dancefloor tunes.

 

PRICE: $15.50

CAT #: VAMPI 45107EP

FILE UNDER: WORLD

Jonathan Richman's classic "Egyptian Reggae" has been responsible for setting thousands of discerning dance floors on fire. After getting the obvious Jah twist on a few occasions, so Vampisoul thought it was about time for the Richman's song to receive a fun yet respectful cumbia treatment! This cumbia candy has been recorded in Lima by no other than Pancho Acosta, founder and guitarist of Compay Quinto, and one of the greatest cumbia guitar players in Peru. On the flip side is one of Acosta?s own original songs, "Carnaval de Jujuy," recorded by Austin-based future-cumbia group Money Chicha. The band presents a fascinating exploration of the nexus of Peru's legendary fuzzed out early chicha sound and the band's unique application of chicha-influenced sounds to this terrific cumbia.

 

PRICE: $34.00

CAT #: VEYL 036X-LP

FILE UNDER: ELECTRONIC

2024 repress. Years Of Denial is back on Veyl with their second LP Suicide Disco Vol. 2. The follow up to 2019's Suicide Disco, the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing. From the start, "Art Break" provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina's lustful vocals with a slow-burning pace that only marks the beginning. "Wrong" picks things up, injecting a dose of body music for an infectious piece that bleeds into "La Pendue" which keeps the energy rising. Next up, "Mr. Guillotine" delivers a razor-sharp edge, carving out a fresh post-punk feel which then brings listeners to the brooding "Never Satisfied." "Lover's Crime" marks the halfway point of the record and one of the album's standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with "City Lights" and then smash things open with "Dancing With Demons." After the devious message sent with "The Letter," listeners are submerged in the romantic melancholia of "Death Of A Lover" and "Regarding the Pain of Others" before closing things out with "Social Anxiety" which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair's self-described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

 

PRICE: $28.50

CAT #: VL 999051P-LP

FILE UNDER: ROCK

2024 repress. 180 gram picture disc in clear plastic sleeve. The Velvets legendary debut album with the Warhol's Banana cover art printed on vinyl. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land.

 

PRICE: $30.50

CAT #: WE 015EP

FILE UNDER: ELECTRONIC

Arthur Russell first visited The Gallery in 1976 with his then boyfriend Louis, who introduced him to Nicky Siano. Arthur became a regular at the space and one night as Siano was playing "Turn the Beat Around," which had just been released, Arthur waved at him from outside the booth and asked to come in. Nicky opened the door and Arthur suggested they make a record like this together. This ended up being a huge step for Siano as it marked the first ever production by a DJ making a record from scratch. Arthur had written a song and had an arrangement for it so they assembled a band featuring Wilbur Bascomb who was one of Nicky's favorite bassists, as well as, Allan Schwartzberg, David Byrne, Miriam Valle, Peter Gordon, and Peter Zummo, who were all friends of Arthur's. Russell played the cello and piano -- and that was the band. They recorded throughout 1977 and the Kiss Me Again 12" was finally released in 1978 on Sire Records selling more than 300,000 copies. Week-End Records presents the first ever reissue by this outstanding disco production. Remastered from the original tapes. With liner notes by David Byrne, Nicky Siano, Peter Gordon and Peter Zummo.

 

PRICE: $26.00

CAT #: WHP 1480LP

FILE UNDER: JAZZ

Back in 1980, Weather Report consisted of Wayne Shorter (tenor and soprano sax), Joe Zawinul (keyboards), Jaco Pastorius (bass), Peter Erskine (drums), and Bobby Thomas Jr. (percussion). Often considered as one of the best line ups in the band's history, this was a super tight combo playing with the same energy and power of a big band. The 1980 tour, also known as the "Night Passage" tour, is also remembered for the great visual impact, a large-scale staging including laser and film projections. The Atlanra Fox Theater show sees the band at its peak, performing great renditions of classic tunes such as Zawinul's "Madagascar" and "Fast City," Pastorius' "Three Views of a Secret," and Shorter's "Port of Entry." This is an important live document from the greatest electric jazz band of all times, period!

 

PRICE: $15.00

CAT #: WH 379CD

FILE UNDER: JAZZ

"Roscoe Mitchell (Art Ensemble Of Chicago) was 2023's recipient of an American Society of Arts and Letters award which led to the creation of this work. Mainly a trio and quartet work Roscoe plays bass saxophone as well as his percussion array."

 

PRICE: $34.00

CAT #: WRWTFWW 089LP

FILE UNDER: ELECTRONIC

WRWTFWW Records presents a new collaborative album between Polish producer, multi-instrumentalist and sound engineer Albert Karch (notably known for his superb 2019 album Celestially Light featuring Ichiko Aoba) and Irish ambient master and label's favorite Gareth Quinn Redmond. The six-track LP comes as a limited edition of 300 copies worldwide with an artwork by Dublin artist Barry Gibbons and liner notes. It is available in digital format as well. Recorded in at Albert Karch's studio in Warsaw in January 2023, Warszawa is conceptually rooted in the reason the two artists met in the first place: the work of Japanese composer Satoshi Ashikawa, who sought to compose a time that was stationary. Sparse in approach but sharp with intention, the six pieces of the collaborative album were sculpted with precise and floating use of piano, drums, synthesizers, and strings. The result is gentle but emotionally deep minimalistic ambient, reassuring environmental music with an indescribable Mark Hollis touch, also an artist whose worked influenced the recording sessions. Gareth Quinn Redmond's previous albums, Laistigh Den Ghleo, another ode to the work of Satoshi Ashikawa, Umcheol, mixing ambient with traditional Irish music instruments. Warszawa by Albert Karch and Gareth Quinn Redmond is dedicated to the memory of Satoshi Ashikawa. For fans of ambient, minimalism, environmental, Satoshi Ashikawa, Mark Hollis, Erik Satie, Midori Takada, piano, synth, quiet Winter nights in a warm place, with a friend, or two. Limited edition of 300.

 

PRICE: $16.50

CAT #: YAZ 1005HLP

FILE UNDER: ROCK

2024 restock. 180 gram exact repro reissue of Yazoo's 1968 compilation of rare 78 rpm recordings from Blind Willie McTell. A record that put Yazoo on the map as an essential archival label of roots music. The very best of the magnificent Willie Samuel McTell -- aka Blind Willie aka Hot Shot Willie aka Georgia Bill -- exploring spiritual, ragtime, hillbilly, and above all, the blues.

 

PRICE: $35.50

CAT #: YNFND 033LP

FILE UNDER: ELECTRONIC

Swiss intergalactic three-piece experimentalists lean on a Dadaist theme for their late-night, jam-inspired, and smokey beat laden trip to the cosmos. Distilling surf rock, jazz and ambience, energized and patched together with spoken word samples, wind instruments and, blunted hip hop beats, Ali Dada's album SUM is their invitation to "dadaversum" -- their eccentric universe of sound and emotion. Featuring Orlando Ludens (guitar and ambient soundscapes), Rulla (beats and field recordings), and Max Licht (brass and trombone), experimentation is the trio's constant and SUM is the result of jams and associative distillation, always with a fluid sense of genre. Whilst SUM clearly takes new and furtive steps, Ali Dada's sound is wholly their own. Nothing feels rigid here and rules don't apply. Improvisation lingers in the air, even after the last note fades. A series of sound sketches, dense in detail, stylistically rich, SUM gives license to couch-melt, sungaze, or for those used to wintry climes, add another log on the fire. Who belongs to the band and who doesn't is open to interpretation. Though a core group exists, the spotlight remains on experimentation through jam sessions. Ali Dada is a construct, a dadaverse. Highlights include the album's opener "abolish the police," a mix of guitars, weirded-out wind instruments and H?userfrau's ever chilled vocal presence. "tone print" is the band's first single from the album, which combines sliding guitar, the infamous psychedelic Tim as a narrator, some early CPU game sound-splats and a meteoric dope beat, providing the head nodding groove. "ohnedi"'s ambient charm features some gorgeous manipulated choir moments and some fidgety electronic synths.