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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 03/03/2025

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PRICE: $36.00

CAT #: TSC 022LP

FILE UNDER: SOUNDTRACK

"A Ballet Through The Mud is presented in a pink and purple mixed color pressing housed in a gatefold jacket featuring photos of a ballet performance with the Colorado Symphony and a 12-page graphic insert outlining the narrative of the ballet. A Ballet Through Mud is a poignant coming-of-age story that delves into the complexities of love, the loss of innocence, the bonds of friendship, and personal growth. Drawing inspiration from RZA's own lyrics and the candid memories he penned in his teenage notebooks, the narrative also embodies his profound philosophical journey influenced by Chan Buddhism. As RZA eloquently states, 'out of the mud grows the lotus.'"

 

PRICE: $28.00

CAT #: WHYT 088LP

FILE UNDER: ROCK

Kind Regards is the second duo release from guitarist Oren Ambarchi and drummer Eric Thielemans. The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness. Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music's gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive. Recorded in sparkling fidelity and carefully mixed by Ambarchi's longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. The set begins with Thielemans' hypnotic tom patterns, around which Ambarchi's wavering, shimmering guitar tones? achieved with the help of the rotating speaker of a Leslie cabinet -- flurry and swirl. Thielemans' drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi's guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans' percussion. When Thielemans adopts a more traditional jazz approach to the kit in some of the set's second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart. And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser's classic It's a Wonderful Life, with a more active use of the guitar's fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.

 

PRICE: $16.00

CAT #: BTR 109CD

FILE UNDER: WORLD

?atellites' self-titled debut album received international acclaim. The record earned support from outlets such BBC Radio 6 Music and FIP in France, and they were invited to record live sets for both Gilles Peterson's Worldwide FM, and KEXP in Seattle. Since their debut, ?atellites have evolved from a studio project into a full-fledged touring band. Over time, the lineup has shifted, enabling the group to recreate their studio sound live. Their expanded lineup now includes Tsuf Mishali on keys and synths, known for his work in proggy psych bands, and the animated Tal Eyal on percussion. ?atellites blast back into orbit on Aylar, delivering a bold evolution on the psychedelic folk-meets-groove sound they established on their acclaimed debut album. Rotem Bahar has also stepped up as the band's full-time vocalist and frontwoman, adding a fuller, grittier edge to the group's sound. Behind the drumkit, Lotan Yaish brings dynamic energy to the rhythm section. After two years of touring, this cohesive and reinvigorated lineup entered the studio with renewed purpose and closer musical bonds. Aylar (Turkish for "moons" or "months") showcases more ambitious arrangements, extended compositions, intricate harmonies, and unexpected twists, reflecting the band's commitment to innovation and their passion for the original wave of Turkish psychedelic music. Kluger's saz and Mishali's synths intertwine seamlessly, underpinned by Ariel Harrosh's infectious basslines and Yaish's dramatic drumming, all culminating in Rotem's husky, emotive vocals. The album's most ambitious cover is their cosmic folk-funk rendition of Hakki Bullut's ballad "Ikmiz Bir Fideniz," followed by the original instrumental "Be? Karde?" ("Five Brothers"). If ?atellites' self-titled debut laid the blueprint for their sound, Aylar marks their transformation into a fully realized musical force. With this album, ?atellites step confidently out of the shadows of their Anatolian psych heroes to craft a modern yet timeless record, expanding their influences while deepening their connection to their roots.

 

PRICE: $19.00

CAT #: 9781953691217

FILE UNDER: Misc

"A collection of writings by the mathematician and composer linking notions of continuity and construction across math, minimalist music and contemporary art. Noted mathematician and composer Spencer Gerhardt presents Ticking Stripe, a groundbreaking collection of essays linking notions of continuity and construction across the boundaries of math, art, music and philosophy. Gerhardt offers new, deeply informed analysis of the 1960s New York avant-garde, viewed through the lens of trailblazing artists such as La Monte Young, Marian Zazeela, Catherine Christer Hennix, Henry Flynt, and Tony Conrad. Ticking Stripe pairs the spirit of L.E.J. Brouwer -- a mathematician who sought to reconstruct the continuum in his own philosophical terms called intuitionism -- with the ambitions of pioneering minimalists who combined continued constructions, idealized processes of introspection and conceptual world-building with a host of philosophical, scientific and spiritual concerns. Informed by his own work as a mathematician and composer, Gerhardt explores the depths of these disparate traditions, finding unlikely areas of commonality."

 

PRICE: $13.50

CAT #: BORNBAD 170CD

FILE UNDER: ROCK

Martin Circus was formed in the late '60s by bassist and composer Bob Brault as well as lyricist and multi-brass player G?rard Pisani. Both eclectic and talented personalities, they lived between Paris and various French provinces, constantly moving back and forth. By having their friends Patrick Dietschand and Paul-Jean Borowsky sing in French, Martin Circus invented a whole concept. By summoning figures such as Bluebeard, Asterix, Robert Desnos and Frank Zappa, they infused words with bold, playful references to French po?tes maudits and countercultural material. The people who saw them on stage witnessed a dangerous and violent aspect to them. There was screaming, there were challenging lyrics blurted out, the audience was exhorted to face their own dullness. Sometimes an angry mood would run through the set and everybody seemed on edge, making the atmosphere even more electric. In 1973, the Martins were invited to join the huge cast of a musical called La r?volution fran?aise, alongside young Bashung, Balavoine and Les Charlots. They produced some of the best songs on the record. They were also heard on the credits of the ? vous de jouer Milord series, which they cowrote with Fran?ois de Roubaix. Their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco when starring in a really bad, corny film called Les bidasses en vadrouille, which was first intended for Les Charlots. Vogue label president L?on Cabat and his lieutenant G?rard Hug? harbored dreams of greatness for their band. They commissioned a new disco album sung in English. Only three musicians were left in charge, who heavily resorted to some Bee Gees/Village People-aesthetics. Unfortunately, at the time, the disco wave was coming to an end. As the '80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk, the three of them crafted a highly modern album, in which G?rard Pisani returned as a lyricist and a saxophone player. As inspired as ever, he wrote genuine punchlines for lyrics, managing to encapsulate and reveal, here and there in just a few words, what was the epitome of the early decade. Despite a few revival attempts without him, the band eventually really came to an end. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out.

 

PRICE: $22.50

CAT #: BORNBAD 170LP

FILE UNDER: ROCK

LP version. Martin Circus was formed in the late '60s by bassist and composer Bob Brault as well as lyricist and multi-brass player G?rard Pisani. Both eclectic and talented personalities, they lived between Paris and various French provinces, constantly moving back and forth. By having their friends Patrick Dietschand and Paul-Jean Borowsky sing in French, Martin Circus invented a whole concept. By summoning figures such as Bluebeard, Asterix, Robert Desnos and Frank Zappa, they infused words with bold, playful references to French po?tes maudits and countercultural material. The people who saw them on stage witnessed a dangerous and violent aspect to them. There was screaming, there were challenging lyrics blurted out, the audience was exhorted to face their own dullness. Sometimes an angry mood would run through the set and everybody seemed on edge, making the atmosphere even more electric. In 1973, the Martins were invited to join the huge cast of a musical called La r?volution fran?aise, alongside young Bashung, Balavoine and Les Charlots. They produced some of the best songs on the record. They were also heard on the credits of the ? vous de jouer Milord series, which they cowrote with Fran?ois de Roubaix. Their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco when starring in a really bad, corny film called Les bidasses en vadrouille, which was first intended for Les Charlots. Vogue label president L?on Cabat and his lieutenant G?rard Hug? harbored dreams of greatness for their band. They commissioned a new disco album sung in English. Only three musicians were left in charge, who heavily resorted to some Bee Gees/Village People-aesthetics. Unfortunately, at the time, the disco wave was coming to an end. As the '80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk, the three of them crafted a highly modern album, in which G?rard Pisani returned as a lyricist and a saxophone player. As inspired as ever, he wrote genuine punchlines for lyrics, managing to encapsulate and reveal, here and there in just a few words, what was the epitome of the early decade. Despite a few revival attempts without him, the band eventually really came to an end. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out.

 

PRICE: $12.50

CAT #: BORNBAD 184CD

FILE UNDER: ELECTRONIC

Some record crates deserve a sub-category called "play it again, Sam." Casablanca-level comfort tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental music played live, for synths and drums. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming: forward, straight and fluid, top-notch suspension (Cosmic Neman/Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board: mechanical birds chirp, the odd atonal piano here and there. This was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. The cover, designed by Dddixie, sets the tone with its "Motorik Vibes & Stereo Grooves" sticker. Motorik, absolutely, it's autobahn time for 45mn. With "Densite?," comes a polyphonic milestone: outright chords! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. Zombie Zombie sounds ready to write themes for niche TV series. "Aurillac Accident" documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live, the two drummers face each other, and it's always a treat to witness the very fine intertwining that makes the band's signature sound: rich drums, percussion and West Coast synths stabs. This aspect of their work appears in "Snare Attack" and "Double Z," with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on "Dodorian," perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. "Magnavox Odyssey," a nostalgic but bouncy synth lasagna, brings this album to a majestic close, picking up where the band left off: no more singing in Latin, back to basics, play it again Sam.

 

PRICE: $21.50

CAT #: BORNBAD 184LP

FILE UNDER: ELECTRONIC

LP version. Some record crates deserve a sub-category called "play it again, Sam." Casablanca-level comfort tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental music played live, for synths and drums. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming: forward, straight and fluid, top-notch suspension (Cosmic Neman/Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board: mechanical birds chirp, the odd atonal piano here and there. This was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. The cover, designed by Dddixie, sets the tone with its "Motorik Vibes & Stereo Grooves" sticker. Motorik, absolutely, it's autobahn time for 45mn. With "Densite?," comes a polyphonic milestone: outright chords! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. Zombie Zombie sounds ready to write themes for niche TV series. "Aurillac Accident" documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live, the two drummers face each other, and it's always a treat to witness the very fine intertwining that makes the band's signature sound: rich drums, percussion and West Coast synths stabs. This aspect of their work appears in "Snare Attack" and "Double Z," with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on "Dodorian," perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. "Magnavox Odyssey," a nostalgic but bouncy synth lasagna, brings this album to a majestic close, picking up where the band left off: no more singing in Latin, back to basics, play it again Sam.

 

PRICE: $26.00

CAT #: BB 029LP

FILE UNDER: ELECTRONIC

2025 resotck; Bureau B's 2009 reissue. LP version. Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.

 

PRICE: $22.50

CAT #: JACK 067LP

FILE UNDER: ROCK

The Sisters of Mercy's 1983 gig at Dingwalls in Kingston upon Hull was a primal showcase of gothic rock, with Andrew Eldritch's deep vocals resonating through the smoky venue. Early hits like "Alice" and "Body Electric" set the tone, cementing the band's place in the underground scene.

 

PRICE: $26.00

CAT #: JACK 067R-LP

FILE UNDER: ROCK

Color vinyl version. The Sisters of Mercy's 1983 gig at Dingwalls in Kingston upon Hull was a primal showcase of gothic rock, with Andrew Eldritch's deep vocals resonating through the smoky venue. Early hits like "Alice" and "Body Electric" set the tone, cementing the band's place in the underground scene.

 

PRICE: $20.50

CAT #: DMOO 078LP

FILE UNDER: ROCK

The Tornadoes' Bustin' Surfboards is an iconic piece of surf rock history that first hit the airwaves in 1962. With its signature twangy guitar riffs and reverb-laden sound, it perfectly captures the carefree, sun-drenched spirit of the early 1960s surf scene. The song's infectious beat and laid-back vibe make you feel like you're riding waves on California's coast, even if you're miles away from the beach. Decades after its initial release, "Bustin' Surfboards" gained renewed fame when it featured in Quentin Tarantino's Pulp Fiction, introducing a new generation to its timeless appeal. To this day, the song embodies the raw energy and fun of surf culture, proving why surf rock remains a beloved genre for many.

 

PRICE: $20.50

CAT #: DMOO 082LP

FILE UNDER: ROCK

Before Aretha hit big with her stomping southern soul sound in the late '60s, she'd already had quite a career. Beginning as a gospel singer Franklin spent the early '60s recording in a variety of styles to varying success. While her other releases were overproduced and poppy, these very early recordings with the Ray Bryant group are beautiful jazz vocal stylings in the manner of Sarah Vaughan or Ella Fitzgerald. Beautifully recorded with no overdubs this is fantastic early '60s jazz and her voice is as perfect a fit for this material as it is for the soul she's famous for.

 

PRICE: $20.50

CAT #: DMOO 083LP

FILE UNDER: ROCK

By far one of the most outrageous performers of the early years of rock, prone to emerging from coffins on stage, with a flaming skull named Henry as his constant companion, Screamin' Jay was an insanely theatrical figure long before it was even remotely acceptable. His 1958 debut, At Home, featuring his legendary "I Put A Spell On You," along with surreal hits like "Hong Kong," "Take Me Back To The Boot And Saddle," or his wild-ass reinventions of old standards like "I Love Paris" and "Deep Purple" is a carefully arranged yet gritty, Ray Charles-gone-crazy styled, full band rhythm, and blues masterpiece, filled with enough howls and groans to send chills down your spine.

 

PRICE: $17.00

CAT #: DIS 091LP

FILE UNDER: ROCK

2025 red vinyl repress. "After only a few months of practice and playing shows, Slant 6 recorded a 3-song single, 'What Kind of Monster Are You,' for Dischord Records. All three ended up moving into the Embassy, where they collaborated with the Nation of Ulysses members on a number of recording projects as well as fashion shows and a series of performance house parties called Famous Monsters. In the fall of 1993, Slant 6 went to Inner Ear studios with Don Zeintara and Ian MacKaye to record what would become their debut full-length, Soda Pop Rip Off. The trio toured extensively and would release one more album, Inzombia, before splitting up while on tour in Europe in 1995. Billotte would go on to perform in Quix*o*tic and Casual Dots. Out of print on vinyl for at least two decades, Soda Pop Rip Off has been remastered by TJ Lipple. This pressing of the record has been done on red-colored vinyl and comes with a free digital download coupon for the 13 original album tracks plus the three songs from the 'What Kind of Monster Are You' single."

 

PRICE: $25.00

CAT #: DC 426LP

FILE UNDER: ROCK

2025 repress. "Louisville, Kentucky has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro; these are but some of the exceptional music acts originating in Louisville after 1977. Now it's time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Gold spray paint, duct tape, Ace bandages -- a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ('White Glove Test' and 'Trick or Treat') were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release -- more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot's remote vocalese, set against Alex Durig's guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public's pop tastes in '79-'80. Thirty years of rap and roll later, The Endtables seem inevitable. The cover of The Endtables replicates the original Tuesday records 7" cover, with its early-wave punk glory intact. The vinyl version is a six-song blast, short and sweet, the complete studio recordings. The studio tracks are mastered from the original tapes, recently discovered in a basement in Louisville's South End. The package also includes previously unpublished photos that convey the seedy chaos that was the band's m?tier, along with extensive liner notes and Steve Rigot's lyrics. Sing along!"

 

PRICE: $16.00

CAT #: DRONE 026EP

FILE UNDER: ELECTRONIC

A total sonic violation yet bewitchingly beautiful, "While My Machines Gently Weep" sits on the precipice of overload, with Orwellian echoes of humanity's ugliness. "Acid Rejects Volume 1" is a minimal sonic ritual which transcends into a sublime 303 and 909 duel. Pressed on a limited 12" with the Acid Rejects Vol 1. as a vinyl exclusive. Mastered by Rashad Becker. Released on Drone.

 

PRICE: $15.50

CAT #: DUST 127CD

FILE UNDER: ELECTRONIC

As part of maintaining The Black Dog's back catalogue, Dust Science now re-issues the 2010 album, Further Vexations. It's a real successor to Radio Scarecrow, moving forward with the dark tone and concepts. Further Vexations picks up from what was started in Radio Scarecrow, moving beyond the world of open secrets and the bemusing transmissions of number stations, to exploring the dark cynicism of Orwellian practices carried out by governments, institutions and corporations. Martin Dust from tBd explained, "Our main concern was and still is the amount of personal freedoms being surrendered under the banner of 'for your own safety' -- CCTV, Biometrics and the World Wide Databases being the latest inventions to save us from ourselves. What is it going to take for people to wake up? How much further can the people that we've put into power go before something finally snaps? We've had enough now! We believe that people have become lazy and accepting of 'beige' political parties who have realized if they stand for nothing, people will fall for anything." 10 years later, the references to George Orwell's 1984 appear to be a little naive and wholly inadequate. From billion-dollar corporate entities openly mishandling our data for profit to highly-targeted and manipulative political propaganda campaigns, the misuse of data and communications is far more sophisticated and devious than originally envisaged. The stark omens of Further Vexations are now more prophetic than ever.

 

PRICE: $37.50

CAT #: DUST 127LP

FILE UNDER: ELECTRONIC

2x12" version. Purple colored vinyl. Limited edition. As part of maintaining The Black Dog's back catalogue, Dust Science now re-issues the 2010 album, Further Vexations. It's a real successor to Radio Scarecrow, moving forward with the dark tone and concepts. Further Vexations picks up from what was started in Radio Scarecrow, moving beyond the world of open secrets and the bemusing transmissions of number stations, to exploring the dark cynicism of Orwellian practices carried out by governments, institutions and corporations. Martin Dust from tBd explained, "Our main concern was and still is the amount of personal freedoms being surrendered under the banner of 'for your own safety' -- CCTV, Biometrics and the World Wide Databases being the latest inventions to save us from ourselves. What is it going to take for people to wake up? How much further can the people that we've put into power go before something finally snaps? We've had enough now! We believe that people have become lazy and accepting of 'beige' political parties who have realized if they stand for nothing, people will fall for anything." 10 years later, the references to George Orwell's 1984 appear to be a little naive and wholly inadequate. From billion-dollar corporate entities openly mishandling our data for profit to highly-targeted and manipulative political propaganda campaigns, the misuse of data and communications is far more sophisticated and devious than originally envisaged. The stark omens of Further Vexations are now more prophetic than ever.

 

PRICE: $12.00

CAT #: ESPDISK 5089CD

FILE UNDER: JAZZ

Formed 29 years ago (1996) by Nate Young, Wolf Eyes is currently a duo generally characterized as "noise," though they have called themselves "psycho jazz" (among other things). Extremely prolific, they have literally hundreds of releases and are a towering presence in underground music. Saxophonist Anthony Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians) and has won a MacArthur and been named an NEA Jazz Master, though his work is hardly confined to jazz. He's also an extremely prolific recording artist, debuting on record in 1968. Braxton famously first heard Wolf Eyes at the Festival International de Musique Actuelle de Victoriaville and immediately bought all the band's CDs that they were selling that night; a year later, they made their first album together, Black Vomit (also a concert recording). Their new untitled album (calling it Live At Pioneer Works, 26 October 2023 is merely a way of helping people distinguish it from their other collaborations and to give it a vintage) is the third Wolf Eyes/Braxton release. The LP has no track titles or even side designations. ESP has tried to keep that same spirit in the other formats."Both parties clearly understand what the other stands for and adapt their approaches accordingly. Braxton purists are in for a solid headache, of course, but something really clicked between these artists, and it was all in good fun. As far as Wolf Eyes' discography goes, this is also one of their best-recorded albums." --Fran?ois Couture, All Music Guide, regarding Black Vomit

 

PRICE: $41.00

CAT #: GET 51540LP

FILE UNDER: HIPHOP

"One year after coming out of early retirement and releasing his 11th studio album Can't Stay Away, Too $hort dropped his 12th studio album You Nasty in the year 2000. With over twenty years in the game, Too $hort don't stop mackin' or rappin' and spits his pimp game over West Coast funk-laden tracks with some Dirty South influences for the Y2K. Get On Down in partnership with Sony Music's CERTIFIED is proud to present You Nasty for the first time on vinyl. The album is pressed on colored vinyl with 3 bonus instrumentals and packaged in a deluxe gatefold jacket."

 

PRICE: $41.00

CAT #: GET 52755LP

FILE UNDER: ROCK

Pressed on pink and purple color vinyl. "When one makes mention of Deee-Lite, the '90s house-funk trio of Lady Miss Kier, and DJs Dmitry and Towa Tei, invariably their Billboard smash single 'Groove Is In The Heart' will come up, and for good reason. With its Herbie Hancock-sampling bassline, some classic rhymes from Q-Tip, and guest vocals by Parliament-Funkadelic legend Bootsy Collins, the song became an indelible classic of '90s music, a massive commercial hit for Deee-lite and is widely considered one of the greatest dance songs of all time. Although a massive success for the group, 'Groove Is In The Heart' led to some pigeonholing from critics and reviewers, who had specific expectations for future records. Rather than deliver more of the same free-wheeling, breezy dance music of World Clique, Deee-lite took a more politically-minded approach with their second album, spurred largely by front-woman Lady Miss Kier, who had a lengthy history of political activism prior to forming the group. 1992's Infinity Within rendered several Dance-chart hit singles, but was not as commercially or critically lauded as its forebear. Deee-lite were undaunted by their change in commercial fortune, regrouping with the addition of junglist DJ Ani, replacing the absent Towa Tei to record their third record. 1994's Dewdrops In The Garden was the result of their efforts, which struck a remarkable balance between the celebratory grooves of World Clique, and the social justice-driven Infinity Within. Lady Miss Kier had done a lot of world-traveling in the time between albums, and the material in Dewdrops was a reflection of her experiences, applying a spirit of global togetherness to their house-funk grooves. Regrettably, Dewdrops In The Garden was not a commercial success, yet it still managed to render its share of #1 Dance Chart singles; the atmospheric techno bounciness of 'Bring Me Your Love,' and the spacious funk-house track 'Call Me.' Though Deee-lite would disband soon after Dewdrops In The Garden's release, the record remains an unheralded favorite among dance music devotees for its coupling infectiously bright, and soulful melodies, with banging dance-floor grooves, and unshakably optimistic vibes."

 

PRICE: $30.00

CAT #: GET 52757LP

FILE UNDER: JAZZ

"Starting in the late '60s, jazz music started to take an interesting, and very soulful turn. Influenced by the funk of the day -- from James Brown to Sly & The Family Stone -- the art form, generally not considered a funky musical genre, started to stretch out and fit into the times. It was a fertile era, and to reciprocate, funk, soul and groovy rock fans started to discover accomplished, open-minded jazz artists like Les McCann, whose tunes made sense to their ears, even if bebop hadn't grabbed them. This incredible album -- long a favorite of forward-thinking hip-hop producers and DJs -- washes over listeners from the first chords of the incredible album opener, 'Sometimes I Cry,' led by McCann's array of analog synthesizers and backed by an excellent rhythm section (Donald Dean on drums; Ralph McDonald on percussion and Jimmy Rowser on bass). Truth be told, highlights are hard to pick out, but fans never go long without returning to the fuzzed-out funk of 'The Harlem Buck Strut Dance,' 'Let's Play (Til Mom Calls)' and 'It Never Stopped In My Hometown.' These keyboard-drenched grooves sat alongside record stacks brimming with Stevie Wonder, Funkadelic, Marvin Gaye's '70s soul and, of course, Miles Davis' space funk experiments of the era (like Bitches Brew)."

 

PRICE: $18.00

CAT #: HAB 001EP

FILE UNDER: WORLD

"After being out of stock for years finally the debut release of Habibi Funk by Tunisian band Dalton is back in stock including an updated artwork and booklet. Dalton's "Alech" single was the label's first release in 2015. In the years before it had started to get into Arabic records and it came across a Moroccan singer called Fadoul, and after some time it decided to try to find him to get his blessing to rerelease his music. This search eventually took years and in the end Habibi Funk learned that Fadoul had passed many years ago, but managed to find his family and license an album from them. Sometime during this search, the label came across a copy of Dalton's single and we immediately fell in love with it. While it was only a 7" single with two songs it was the perfect mix. An upbeat and infectious A-side, paired with a mellow and soulful B-side. Fawzi Chekili is still active as a renowned musician in the Tunisian jazz scene and remains active recording and playing concerts both in Tunisia and internationally. Ridha Kouhen, his co-founder in Dalton sadly passed away in a car crash in the 1980s."

 

PRICE: $18.00

CAT #: HAB 029EP

FILE UNDER: WORLD

"Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record with booklet by Libyan artist Cheb Bakr. Recorded in the early 2000s, Bakr's music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr's sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali. This 45 marks the beginning of the label's work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr's dynamic range. Side A features 'Samh Almea'ad,' a reinterpretation of a 2003 New York classic with Bakr's signature spin. Side B, produced by Ahmed Ben Ali, features 'Rjana Lamta,' a track that hints at American influences alongside a nod to Ahmed's 'Dameek Majeb.' Bakr's artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story."

 

PRICE: $24.00

CAT #: SUBURBIA 045LTD

FILE UNDER: ROCK

Originally released in 1996, Calgary, Alberta punk rock pioneers Chixdiggit's debut album has finally been reissued in its original format. Scattered with hits like "Hemp Hemp Hurray" or "Henry Rollins Is No Fun," this is pure '90s pop-punk for the light-hearted. Exclusively licensed by the indie rock label "par excellence," Sub Pop Records. Limited-edition color vinyl.

 

PRICE: $24.00

CAT #: SUBURBIA 050LP

FILE UNDER: ROCK

Previously unreleased collection that compiles Bum's rare 7" singles and previously unreleased tracks, showcasing their infectious melodies, driving riffs, and high-energy performances. Featuring the original version of the hits "A Promise Is A Promise" and "Wedding Day," and the unreleased songs "Everything I Say Is Wrong" and "You, Down Again". Perfect for fans and collectors, this release is a testament to Bum's enduring impact on the punk rock landscape.

 

PRICE: $24.00

CAT #: HJ 995EP

FILE UNDER: ROCK

Limited 2025 restock. The locution Great Oxidation Event usually refers to the first major mass extinction that has been known on Earth. Occurred around 2.5 billion years ago, it consisted in a huge rise in oxygen in the atmosphere and shallow oceans that radically changed the conditions for the life on our planet, enabling the subsequent development of multicellular life forms. As debut on his own label Hyperjazz Records, with The Great Oxidation EP, electro-shaman Khalab comes back to his natural habitat: the dancefloor. With these three instrumental tracks, the visionary artist aims to drive the listener on a backward journey, down to rediscover the most ancestral human rite: to dance. A return to the origin in a radical way to reach a brighter future, but also a bridge for another world -- a new space where meet new life forms and uncover new feelings and new consciousness. "Anaerobe" features Shigeto.

 

PRICE: $34.00

CAT #: IMR 045LP

FILE UNDER: ELECTRONIC

2025 repress; double LP version. Gatefold sleeve. Danish composer, musician and producer Trentem?ller announces his new studio album Memoria which is set for release in early 2022 on his own label In My Room. Anders Trentem?ller's sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural. A recent, unanticipated drop of four songs, in the form of two singles ("No One Quite Like You", and "Golden Sun"), might leave one surprised to find that a full album's worth of material was also waiting in the wings. As with most Trentem?ller releases, it's a body of songs that are thematically linked by many melodic threads. The first single from the upcoming album, In The Gloaming, which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne's dawning. Stars emerge in the form of percussive arpeggios. 2019's Trentem?ller album Obverse (IMR 033CD/LP) was an exercise in what could be done if the prospect of performing the songs onstage wasn't a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.

 

PRICE: $27.00

CAT #: IMR 052LP

FILE UNDER: ROCK

2025 repress; LP version, crystal clear vinyl. In 2024, fans were treated to the first new music from Trentem?ller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, In My Room now presents Dreamweaver. Featuring ten tracks that traverse Trentem?ller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of Iceland's Disa, who has been in Trentem?ller's fold since the Memoria tour. Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentem?ller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst. With the hatch blown off of the portal, the noisy "I Give My Tears,' driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant. A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure."

 

PRICE: $24.00

CAT #: KR 116LP

FILE UNDER: JAZZ

The Burning Bright Light is a mind-meld between improvisation trio DROMEDARIES (saxophonist Keir Neuringer of Irreversible Entanglements, Shayna Dulberger on double bass and percussionist Julius Masri) and sci-fi writer/vocalist ALEXOTERIC (Alex Smith), evoking epic sci-fi cinemascapes, vocabulary, and reference-rich underground writing, the liberatory jazz tradition, and playful avant-garde experimentation. Recorded in a single high voltage burst of cosmic collaboration on an October afternoon at Philadelphia's Rittenhouse Soundworks, The Burning Bright Light is a sonic document like no other. The album emerges organically on a foundation of speculative fiction, free jazz interaction, avant-garde textures, and freestyle refrains. With no rules set in advance, each participant brought their entire creativity to bear on a session that birthed a constellation of shimmering stories narrated through equally deep music and words. While it retains all the power and excitement of a spontaneous meeting, the album also reveals deep and atypical shared affinities that are simultaneously sonic, musical, social, political, and cosmic. A key figure in multiple Philadelphia arts subcultures, Smith's literary voice is unlike any other, and on this recording he stretches his vocal acrobatics to their greatest extent yet. Listeners hear references to grounded, earthly concerns and figures shot through the farthest reaches of spacetime, always with Smith's incisive queer Afrofuturist lens. Smith describes the album as "a future color spray, a hidden missive laser etched into the seams of your galactic multi-death cult corporation flight jacket, the snow fallen ash and embers of a world you can only view through a prism-powered holo-sim. Wild jazz, bad, fresh with no jive -- the perfect script for the download digital age, transcending experimental musics through the solar battery at the bio-borg filling station. The anti-Boeing, proto-mothership, swinging the body eclectic, crash landing on a brass planet. Dromedaries are plugged in and transforming, delivering ancient spells like slam poetry on Cybertron." All of the music you hear was recorded in real time; for their part instrumentalists Shayna Dulberger, Julius Masri, and Keir Neuringer expanded their energetic, telepathic, playful mode of collective improvisation developed over the past decade together to both embrace Smith as a fourth and equal voice and elevate him as a sacred cosmic orator.

 

PRICE: $33.00

CAT #: KR 118LP

FILE UNDER: ELECTRONIC

For her new and most radical album Electroacoustic Works for Halldorophone, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming -- almost ambient and always demanding your full attention. Aiming to analyze and understand their interaction beyond the composer's control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. While the halldorophone -- famously used by Hildur Gu?nad?ttir for her Joker score -- roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. ?lfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on "minimal interventions -- some string strumming and plucking" that set the interactions of different sounds and frequencies into motion. Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O'Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. Indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay. Electroacoustic Works for Halldorophone is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener "Omen in G" is counterpointed by massive bass drones, while the second piece, "Nominal in D," plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. "Fades in C" -- the longest of the four pieces, clocking in at 17 minutes -- unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and "Organon in D" closes the album by underscoring how Bertoni's unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

 

PRICE: $18.00

CAT #: KOM 497EP

FILE UNDER: ELECTRONIC

Sascha Funke is creating a long overdue monument to an almost forgotten cultural artefact of the GDR: the "Germina Speeder" was the only skateboard made in East Germany before reunification and was launched in 1986. It was produced by VEB Schokoladen-Verarbeitungsmaschinen (a state-owned chocolate processing machine factory) in Wernigerode and was therefore affectionately known as the "chocolate board." However, it was hardly suitable for actual skateboarding due to technical inadequacies. It is not known whether Sascha himself owned such a board, but the tracks on the Germina Speeder EP definitely roll better than the original. The opener "Blaupunkt" breathes the euphoric spirit of the legendary Berlin club "E-Werk," while the title track would have been more at home at the "Dubmission" parties in the Turbine. Sascha leaves the '90s behind with radiant positivism; "Bo Knows" sounds more like a 2000s open air at Caf? Sch?nbrunn. The EP closes with "Mastermind," a high-octane psy-proghouse banger that, like all four tracks, quotes the past but still has both feet on today's dance floors. Or rather, is dancing. 4:1 for love!

 

PRICE: $18.00

CAT #: KOM EX134EP

FILE UNDER: ELECTRONIC

When a new Raxon release drops it's always strongly recommended to firmly hold your socks and pants as they might get blown off. And oh dear? Kompakt caught him in an extraordinarily randy mood for his fourth outing on the prestigious Speicher series. "Acid Call" is a positively rude high energy funk beast, ready to take dancehalls of any size or color to pieces. With "Don't Cry Pluto," Raxon turns into a punk version of the legendary Pied Piper, graciously luring listeners away from this boring village into a world of fun-fueled madness. What a guy, this Raxon!

 

PRICE: $31.50

CAT #: LANR 040LP

FILE UNDER: ROCK

Last copies... RSD 2024 indie exclusive. Official RSD UK Release. For the first time on vinyl the Outsiders demos from the Calling on Youth debut album and One To Infinity EP, both released in 1977. Here's Adrian Borland's first band, before he went to form obscure synth-wave project Second Layer and then joining iconic new wave heroes The Sound. The compilation comes with the addition of several early compositions too. The Outsiders were probably the first post punk band ever, altogether with The Wire.

 

PRICE: $31.50

CAT #: LTJC 016LP

FILE UNDER: JAZZ

2025 restock; gatefold packaging. Terumasa Hino is undoubtedly one of the most famous Japanese jazzmen. Learning the trumpet at the age of nine, he began his career as a professional musician by playing in the orchestra of an US Army base, before joining Hideo Shiraki's Quintet and then forming his own band in 1964. On Hi-Nology, his brother Motohiko Hino appears on drums, Hiroma Suzuki on electric piano, Kumitsu Inaba on electric bass and Takeru Muraoka on tenor sax. The inspiration from the "electric period" of Miles Davis (notably Miles In The Sky released in 1968) is felt and is even accepted, since the opening piece is entitled "Like Miles." Coincidentally, Hi-Nology was recorded on July 31, 1969, the day after the release of In a Silent Way and has nothing to envy of this great record by Miles Davis.

 

PRICE: $47.00

CAT #: LIB 5111LP

FILE UNDER: ROCK

2025 repress. "Double LP on translucent tan vinyl. Beyond his achievements as a founding member of the Byrds, Rock & Roll Hall of Fame inductee Gene Clark was truly one of the most prolific singer/songwriters of the rock era. This album introduces previously unreleased studio sessions from Clark's pre-Byrds days in 1964 with studio recordings from 1967-70 plus the Nyteflyght sessions from 1982."

 

PRICE: $45.50

CAT #: LUMB 036LP

FILE UNDER: ELECTRONIC

Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion's first album for 12 years, skillfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion's work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, "unwanted" analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. On the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on "Strawberry Fields Forever." Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that's at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It's an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison d'etre. The Itself of Itself catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed deluxe cover also comprising a 24pp. booklet of his photographs and an obi strip, this version of The Itself of Itself arrives on Lumberton Trading Company as a double LP pressed in an initial run of 1000 copies.

 

PRICE: $16.00

CAT #: MBT 056CD

FILE UNDER: ROCK

"Formed in Germany in the 1960s The Blackbirds gained recognition as part of the burgeoning beat and psychedelic rock scene in Germany. The band was active in the late 1960s and early 1970s, and their sound was influenced by the British Invasion and American rock and roll, blending elements of psychedelia, beat music, and early progressive rock. Their albums, such as No Destination recorded in 1968, received some attention in the underground music scene, characterized by experimental soundscapes, melodic harmonies, and a distinctive 1960s rock influence. Though The Blackbirds didn't achieve widespread international fame, they remain a notable part of Germany's rock history, especially within the context of the Krautrock and psychedelic rock movements."

 

PRICE: $20.50

CAT #: MUSIQ 298EP

FILE UNDER: ELECTRONIC

The debut release of Italian artists Lorenzo Dada and Leo Benassi. They sent Mule this beautiful '90s Italian Balearic deep house. It's a modern re-interpretation of Italian deep house like '90s Irma Records releases. If you like their sound, you will love this record!

 

PRICE: $20.50

CAT #: MUSIQ 299EP

FILE UNDER: ELECTRONIC

The debut release of UK artist Tee Mango on Mule Musiq. "Never Leave" is atmospheric minimal deep house with lovely voice sample. It will be instant underground hit. "Long Time Listener" is a psychedelic tropical house, while "First Time Caller" is a dark alternative deep house.

 

PRICE: $36.00

CAT #: MOV 1681COL-LP

FILE UNDER: ROCK

"This is the eponymous debut studio album by the American rock band the Modern Lovers, originally released in 1976. Six tracks were produced by John Cale. The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards) -- later of Talking Heads -- Ernie Brooks (bass) and David Robinson (drums) -- later of The Cars -- with Richman's friend and original band member John Felice joining them occasionally. The Modern Lovers influenced numerous aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols, whose early cover of 'Roadrunner' was placed on The Great Rock 'n' Roll Swindle. The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die. In 2003, the album was listed on Rolling Stone magazine's list of the 500 greatest albums of all time. The Modern Lovers is available as a limited numbered edition of 4000 copies on blue colored vinyl."

 

PRICE: $36.00

CAT #: MOV 2982COL-LP

FILE UNDER: WORLD

"This record is the sound of dreams fulfilled, dashed, then fulfilled again. Candy McKenzie, a young singer from North West London, had endured a hard life before she flew to Jamaica in pursuit of a dream that she didn't fully understand. Candy McKenzie was a young talent in need of an experienced producer. Who better than Lee Perry, who had created international hits for another raw female talent, Susan Cadogan, not to mention his brilliant work with Max Romeo, Junior Murvin, and the Heptones? All the magic of Perry's classics are here. Candy sadly passed away in 2003, and it might appear she was an unfulfilled talent, but she and Lee Perry left listeners this beautiful hidden gem of an album. The album is available as a limited numbered edition of 750 copies on orange colored vinyl and includes an insert."

 

PRICE: $36.00

CAT #: MOV 3779COL-LP

FILE UNDER: ROCK

"Sense and Sensuality (1982) was the second and final album by seminal British post-punk band Au Pairs. The four-piece group from Birmingham were very much in tune with the early '80s growth pangs from the first punk explosion -- stripping down their music from their debut LP to a funkier, more rhythmic essence, and shifting the focus of their lyrics to the personal rather than the political. The addition of horns and imaginative synthesizers allowed for more satisfying sonic diversity, from the disco-informed dance-punk of 'Instant Touch' to the cabaret swing of 'Tongue in Cheek.' While 'That's When It's Worth It' takes several elements of popular postpunk -- looping auxiliary percussion rhythms and a sporadically used horn section -- and crafts them into a wild sound that's equal parts dance, psychedelia, punk and art pop. Their distinctly punk take on sex and gender politics, meanwhile, was their strongest thematic strain - and that's truly where Sense and Sensuality shined. Despite only reaching #79 in the UK when first released, it's now widely seen as one of the best post-punk albums ever. Sense and Sensuality is available as a limited numbered edition of 750 copies on silver color and contains an insert."

 

PRICE: $36.00

CAT #: MOV 3861LP

FILE UNDER: JAZZ

"Art Blakey, whose career spanned nearly 50 years of Black music history, exemplifies the timeless role of the drums in jazz. This Album of the Year LP, originally released in 1981, features the Jazz Messengers: trumpeter Wynton Marsalis, saxophonists Robert Watson, and Bill Pierce, pianist James Williams, and bassist Charles Fambrough, alongside drummer and bandleader Art Blakey. The album was recorded in Paris, and tracks include 'Cheryl' (written by Charlie Parker), 'Soulful Mister Timmons,' and 'Little Man,' among others. The accompanying liner notes were written by Ted Panken."

 

PRICE: $50.00

CAT #: MOVATM 075C-LP

FILE UNDER: CLASSICAL

"Yo-Yo Ma Plays Ennio Morricone is a 2004 album of recordings from Morricone's various film scores by brilliant cellist Yo-Yo Ma and Ennio Morricone. The album was recorded with the Roma Sinfonietta Orchestra and Gilda Butta on piano. Morricone functioned as orchestrator, conductor and producer. The album stayed 105 weeks on the Billboard Top Classical Albums. Yo-Yo Ma Plays Ennio Morricone positively diverges from most of the other interpretation albums in its collaborative aspect: the music's original creator, Morricone, had as much to do with this album as did Ma and his creative team. Yo-Yo Ma Plays Ennio Morricone is available as a limited edition of 1500 individually numbered copies on translucent yellow colored."

 

PRICE: $54.00

CAT #: MOVATM 378G-LP

FILE UNDER: SOUNDTRACK

Green color vinyl version. "Hereditary is a 2018 American psychological horror film written and directed by Ari Aster in his feature directorial debut. He later went on to direct Midsommar (2019) and Beau Is Afraid (2023). The movie stars Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne. When Ellen, the matriarch of the Graham family, passes away, her daughter's family begins to unravel cryptic and increasingly terrifying secrets about their ancestry. The more they discover, the more they find themselves trying to outrun the sinister fate they seem to have inherited. The soundtrack for the movie was written, arranged, and produced by Colin Stetson. Aster tried to keep it simple for Stetson regarding the music, but he wanted one thing to be apparent: the music had to 'feel evil.' Stetson explained that he tried to look at the score as though it was a character in the film, the character of the unfolding narrative. With this score, he tried to avoid certain ubiquitous tropes found in film scoring and used sound sources to accomplish different ends. Stetson wanted that the music developed as the narrative progressed. Hereditary is available as a limited edition of 500 numbered copies on translucent green colored vinyl. This 2LP is housed in a gatefold sleeve that includes liner notes by the director, Ari Aster."

 

PRICE: $54.00

CAT #: MOVATM 378Y-LP

FILE UNDER: SOUNDTRACK

Yellow color vinyl version. "Hereditary is a 2018 American psychological horror film written and directed by Ari Aster in his feature directorial debut. He later went on to direct Midsommar (2019) and Beau Is Afraid (2023). The movie stars Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne. When Ellen, the matriarch of the Graham family, passes away, her daughter's family begins to unravel cryptic and increasingly terrifying secrets about their ancestry. The more they discover, the more they find themselves trying to outrun the sinister fate they seem to have inherited. The soundtrack for the movie was written, arranged, and produced by Colin Stetson. Aster tried to keep it simple for Stetson regarding the music, but he wanted one thing to be apparent: the music had to 'feel evil.' Stetson explained that he tried to look at the score as though it was a character in the film, the character of the unfolding narrative. With this score, he tried to avoid certain ubiquitous tropes found in film scoring and used sound sources to accomplish different ends. Stetson wanted that the music developed as the narrative progressed. Hereditary is available as a limited edition of 500 numbered copies on translucent green colored vinyl. This 2LP is housed in a gatefold sleeve that includes liner notes by the director, Ari Aster."

 

PRICE: $38.00

CAT #: MOVATM 423LP

FILE UNDER: SOUNDTRACK

"Will Butler, known for his work with Arcade Fire, has composed the original score for the Broadway play Stereophonic. The play, set in the 1970s, explores the dynamics of a rock band on the brink of success or collapse. Butler's score authentically captures the era, using period-specific instruments and recording techniques to evoke the raw energy of 1970s rock. His compositions range from high-energy anthems to introspective pieces, enhancing the emotional depth of the narrative. Critics have praised Butler's work for its authenticity and emotional impact, noting how it drives the story and deepens audience connection. He recorded the parts with the original cast from Stereophonic, including Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack. The production received acclaim from critics and no less than 13 nominations at the 77th Tony Awards, taking home five, including Best New Play. Stereophonic now holds the record for the most Tony nominations by a play. Stereophonic is available as a limited edition on translucent red colored vinyl and includes an insert."

 

PRICE: $27.00

CAT #: NSD 247LP

FILE UNDER: HIPHOP

"As the first decade of the 21st century came to a close, a new generation of hip-hop artists began to emerge, leveraging the power of digital mixtapes to capture the attention of listeners around the globe. With deceptively intricate flows bringing smoke-filled visions to life, two of the leading lights in this rap renaissance were Smoke DZA and Curren$y. These talented artists both released breakthrough projects in 2009 before ascending to even greater heights, including Billboard-charting albums, high-profile collaborations, extensive touring, and joint projects alongside Wiz Khalifa, The Alchemist, Pete Rock, Big K.R.I.T., Freddie Gibbs, Benny The Butcher, Styles P, Harry Fraud, and more. In 2019, Smoke DZA and Curren$y finally linked for a full-length release, entitled Prestige Worldwide. The two longtime collaborators bring out the best in each other on the acclaimed collection, with inspired rhymes and trunk-ratting beats reverberating from Harlem to New Orleans. Featuring appearances by Styles P and Dave East, Prestige Worldwide is now receiving a new vinyl release via GoodTalk and Nature Sounds after years out of print."

 

PRICE: $30.00

CAT #: NA 5285LP

FILE UNDER: ROCK

"This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier -- the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away B-side, the hasty afterthought the band cobbled together the night before hitting -- or while in -- the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been -- in an alternate universe -- a ballad. The Third Guitar's 'Baby Don't Cry,' El Pooks 'I Could Do The Impossible' and Spider Harrison's 'Beautiful Day' all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvelous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat -- or, to follow our tagline, epitomize 'sweet funk.' Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's 'Deeper'). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, your time is now."

 

PRICE: $24.00

CAT #: RRS 004X-LP

FILE UNDER: ROCK

Silver color vinyl. Formed in the anonymous town of Watford, northwest of London, in 1980, atmospheric quintet Sad Lovers and Giants was part of the bourgeoning post-punk scene. With a barely perceptible undercurrent of paisley psychedelia, the group's jangling guitars, eerie keyboards, subdued beats, and brooding vocals put them somewhere between the Chameleons, Echo and the Bunnymen, and early Cure. Epic Garden Music was the debut release on Nick Ralph's Midnight Music label and this expanded edition comes with five bonus tracks taken from their first three singles -- a must for all SLG fans and post-punk devotees.

 

PRICE: $24.00

CAT #: RRS 096CV-LP

FILE UNDER: ROCK

One of the most popular and notorious of all British hardcore acts, the Exploited were formed on a dire Edinburgh council estate in 1978 by singer Terry Buchan and guitarist Stevie Ross, although Buchan's brother Wattie would soon become leader and the lineup seldom stayed stable. Influenced by the Pistols, they built their large working class and skinhead following through an aggressive, fast-paced, and uncensored hardcore style. Gathering singles from their street punk days and the best tracks from their first three albums, Totally Exploited was the band's first compilation and it remains the best by far. Essential Exploited!

 

PRICE: $26.00

CAT #: RRS 263G-LP

FILE UNDER: ROCK

Color vinyl version. Released in 1982, You Goddamn Kids! by Geza X is a raw, rebellious album from L.A.'s underground punk scene. Known for producing bands like the Dead Kennedys and Black Flag, Geza brings his wild production style to his own music here, mixing punk energy with satirical lyrics that take sharp jabs at society. Tracks like "Isotope Soap" and "We Need More Power" embody the chaotic spirit of early punk. This edition includes two bonus tracks, adding even more grit and attitude to a cult classic that resonates with punk's DIY ethos. Limited edition vinyl reissue comes with double sided insert and reproduction of the original bumper sticker included in the first edition. Remastered by Geza X.

 

PRICE: $24.00

CAT #: RRS 263LP

FILE UNDER: ROCK

Released in 1982, You Goddamn Kids! by Geza X is a raw, rebellious album from L.A.'s underground punk scene. Known for producing bands like the Dead Kennedys and Black Flag, Geza brings his wild production style to his own music here, mixing punk energy with satirical lyrics that take sharp jabs at society. Tracks like "Isotope Soap" and "We Need More Power" embody the chaotic spirit of early punk. This edition includes two bonus tracks, adding even more grit and attitude to a cult classic that resonates with punk's DIY ethos. Limited edition vinyl reissue comes with double sided insert and reproduction of the original bumper sticker included in the first edition. Remastered by Geza X.

 

PRICE: $24.00

CAT #: RRS 265O-LP

FILE UNDER: ROCK

Green color vinyl. The Chameleons Live at The Hacienda, January 28th, 1983 captures the band at a crucial stage in their career, delivering a raw and electrifying performance. Recorded at Manchester's iconic venue, the set features early classics like "Paper Tigers" and "Don't Fall," showcasing their signature blend of atmospheric guitars and powerful rhythms. The energy of the band is undeniable, with Mark Burgess' commanding vocals adding an extra layer of intensity. For fans of post-punk and the vibrant Manchester music scene of the '80s, this live recording is an essential listen.

 

PRICE: $24.00

CAT #: RRS 8007CV-LP

FILE UNDER: ROCK

"It is impossible to overstate the significance of The Crowd to the nascent L.A. hardcore scene. Whilst bands like early Agent Orange and Social Distortion were playing to handfuls of fans in northern Orange County, in 1979 The Crowd were already filling backyards on their home turf in Huntington Beach, California. Ironically, it was further afield in the San Gabriel Valley that I first saw them perform, opening for the still punk Go-Go's in a small club. Without the continuing success of The Crowd in 1979 and throughout the summer of 1980, I would have packed my bags for London. Instead, the L.A. hardcore scene lifted off!" --Robbie Fields, Posh Boy Records

 

PRICE: $22.50

CAT #: RSL 13005LP

FILE UNDER: ROCK

The Cramps FM radio broadcast at Weekend On Mars-Club, New York, NY. Recorded August 18, 1979.

 

PRICE: $14.50

CAT #: RANDB 106CD

FILE UNDER: ROCK

1960 may have been the year that instrumentals hit the charts in a big way, but it was in 1961 that their hold on the hit parade was consolidated with a good number of guitar or sax-led rockers and slinky organ groovers. These are the discs that teenagers wanted to hear in the juke joints: exciting, up-tempo stompers with catchy, melodic riffs, and slow, soulful, down-home blues. This compilation throws the spotlight on instrumentals by artists who are more widely associated with vocals, along with more obscure musicians who may only have one or two releases to their name. 1962 was the peak year for hit records instrumental style, with no less than 123 discs scoring on the American pop charts. There wasn't much in the hit parade to interest R&B fans though, apart from King Curtis's Soul Twist, Booker T. & The MG's Green Onions and James Brown's Night Train, but that's where Mighty Instrumentals R&B-Style 1962 comes in. So what was new in 1962? A bit of surf, a bit of funk, a brand-new rhythm on boogie twist. More slinky organ groovers, uptown dancers and late night smoochers for teenagers to dance to. Featuring Cal Valentine, Mighty Men, Phil Upchurch, Steve Douglas, Bill Doggett, The Earthworms, Lucky Three Trio, Eugene Blacknell, Tom and Jerry, Bobby Gregg, Lonnie Brooks, Clarence Green, Quincy Jones, Earl Forest, Gene Ammons, Blue Notes, James Booker, Lloyd Glenn, King Curtis, Lionel Torrence, Jr. Walker, The Blazers, Noble 'Thin Man' Watts, Tonni Kalash, Bo Diddley, Harold Andrews, Larry Frazier, T-V Slim, R.D. Stokes, Herman Griffin, The Mar-Keys, The Parkays, Paul Williams, Hop Wilson, B.B. King, Albert Collins, Freddy King, Freddie Robinson, Gus Jenkins, Lee Walker, Don & Dewey , Frank Frost, Googie Ren?, Harry Lewis, Eddie Kirkland, Wild Jimmy Spruill, Howard McGhee, Hound Dog Taylor, Jerry McCain, Mac Rebennack, Bill Smith Combo, Elliott Shavers, The Whammies, Chris Columbo, Don Wilkerson, Hank Marr, Earl Hooker, Reggie Boyd, Bo Diddley, The Poor Boys, Ike Turner, Al Tousan, Long John Hunter, The Red Tops, Nat Kendrick, Cleanhead Cootsie, Magic Sam, Bill Elliot Combo, Renaldo Jackson, Eldee Young, Dave Hamilton, Mac Rebennack, Spot Barnett, Johnny Otis, Jimmy Reed, Jack Dupree, Big Bo Thomas, Haze Hart, Sonny Thompson, Big Walter, Herb Hardesty, Ace Holder, Big Jay McNeely, Jimmy Forrest, Jump Jackson, Daddy Goodloe, and The Church Street Five.

 

PRICE: $28.00

CAT #: RS 068LP

FILE UNDER: CLASSICAL

Long time friend of the label and Stones Throw alumni Rejoicer joins forces with longtime collaborator, fellow Apifera band member and renowned pianist Nitai Hershkovits to present a new moniker and concept piece Cinema Royal -- a delicate yet audacious album that quietly commands attention. Having previously collaborated on works for Raw Tapes and beyond, this body of work exists more on the modern classical plain with splices of ambient and jazz woven into the musical fabric of the compositions. Led by piano, the album features a dizzying array of orchestral, percussive and traditional string instruments from around the world -- flawlessly combined in a way that might sound contrived, but just fits effortlessly. The fact that it's such an easy listen distracts from its complexity. Synthesizers cozy up to Afro beat indebted drums, East Asian zithers swim amongst classical string arrangements whilst Ethio- jazz keys dance atop restrained but irresistibly funky drum machine patterns. Inspired to create a cinematic energy they saw the essence of Fellini in their album cover choice, striving to create an album that could exist as a film score. The album exudes a sense of ease, a feeling of lightness that speaks to the virtuosic abilities of the players. The sense of fun is infectious and the playful improvisation is energizing. Conceptually inspired by a simple drum loop and single take via the piano the two exist working in a deeply involved flow with collaborations from friends to enhance the initial piano melody.

 

PRICE: $29.00

CAT #: SEC 321CD

FILE UNDER: ROCK

CD/DVD version. DVD is NTSC format, region 0. "This live album was recorded at the Roundhouse in Camden, London, 6th September 2008. Sleeve notes included by Celeste Bell, Poly Styrene's daughter, who also features on the encore of 'Oh Bondage Up Yours!' This is the first time this has been released on vinyl. X-Ray Spex emerged in the late 1970s, known for their distinctive sound, socially conscious lyrics, and the dynamic frontwoman Poly Styrene. The band was active during the first wave of punk rock and played a significant role in the punk movement. Lead vocalist and songwriter Poly Styrene was known for her unique vocal style and often cited as an influential figure in the punk scene. X-Ray Spex released their debut album, Germfree Adolescents, in 1978, featuring the title track, 'Germfree Adolescents.' The album is considered a classic of the punk era. Poly Styrene's lyrics often addressed social and consumerist issues, and her unconventional fashion sense and energetic stage presence added to the band's overall identity. While X-Ray Spex had a relatively short-lived career, disbanding in 1979, they left a lasting impact on the punk scene, and their music continues to be celebrated for its originality and influence. Poly Styrene sadly passed away in 2011, but her contributions to punk rock remain influential."

 

PRICE: $24.00

CAT #: SEC 321LP

FILE UNDER: ROCK

"This live album was recorded at the Roundhouse in Camden, London, 6th September 2008. Sleeve notes included by Celeste Bell, Poly Styrene's daughter, who also features on the encore of 'Oh Bondage Up Yours!' This is the first time this has been released on vinyl. X-Ray Spex emerged in the late 1970s, known for their distinctive sound, socially conscious lyrics, and the dynamic frontwoman Poly Styrene. The band was active during the first wave of punk rock and played a significant role in the punk movement. Lead vocalist and songwriter Poly Styrene was known for her unique vocal style and often cited as an influential figure in the punk scene. X-Ray Spex released their debut album, Germfree Adolescents, in 1978, featuring the title track, 'Germfree Adolescents.' The album is considered a classic of the punk era. Poly Styrene's lyrics often addressed social and consumerist issues, and her unconventional fashion sense and energetic stage presence added to the band's overall identity. While X-Ray Spex had a relatively short-lived career, disbanding in 1979, they left a lasting impact on the punk scene, and their music continues to be celebrated for its originality and influence. Poly Styrene sadly passed away in 2011, but her contributions to punk rock remain influential."

 

PRICE: $15.00

CAT #: SIL 030CS

FILE UNDER: HIPHOP

Cassette version. "After endless requests for a Czarface and Dr. Octagon collaboration, the comic book inspired supergroup Czarface takes a turn for the cosmic, creating a funky full-length adventure with the spacey Kool Keith! When the record is playing, they become a counterpart character that can even give the mighty Czarface a run for his money -- Stress Eater! You can expect a rich blend of what makes both acts so special: block-rocking beats and bizarre, mind-bending lyricism, all served up with a cover from Czarface artist Lamour Supreme."

 

PRICE: $13.50

CAT #: SCR 300CD

FILE UNDER: ROCK

Ride guitarist and songwriter Andy Bell's third solo album Pinball Wanderer is an otherworldly collection of intergalactic wizardry that mixes psychedelic melodies, Can-via-The Stone Roses grooves and Arthur Russell-style experimental textures. With guest appearances from Dot Allison and Neu! legend Michael Rother on a cover of The Passions' peerless post-punk classic "I'm In Love With A German Film Star," it is perfect for both deep-listening headphones moments and cutting across the coolest, most understated dancefloors. The loose-limbed rhythm tracks were the starting point and were laid down with the help of Andy's old Oasis bandmate Gem Archer. The rest followed after an intense all-night session last summer, with the completed album being delivered the following morning. It's Andy's finest work to date; a quintessential nighttime record where you can slip through the gaps in the notes and revel in the moment.

 

PRICE: $35.00

CAT #: SCR 300LP

FILE UNDER: ROCK

LP version. Cyan color vinyl. Ride guitarist and songwriter Andy Bell's third solo album Pinball Wanderer is an otherworldly collection of intergalactic wizardry that mixes psychedelic melodies, Can-via-The Stone Roses grooves and Arthur Russell-style experimental textures. With guest appearances from Dot Allison and Neu! legend Michael Rother on a cover of The Passions' peerless post-punk classic "I'm In Love With A German Film Star," it is perfect for both deep-listening headphones moments and cutting across the coolest, most understated dancefloors. The loose-limbed rhythm tracks were the starting point and were laid down with the help of Andy's old Oasis bandmate Gem Archer. The rest followed after an intense all-night session last summer, with the completed album being delivered the following morning. It's Andy's finest work to date; a quintessential nighttime record where you can slip through the gaps in the notes and revel in the moment.

 

PRICE: $33.00

CAT #: ORBIT 084LP

FILE UNDER: ROCK

Warehouse find, last copies of this RSD 2023 indie exclusive. Official RSD UK Release. 180 gram silver vinyl. Pete Kember (Sonic Boom/Spacemen 3) and Simeon Coxe of legendary '60s electronic innovators Silver Apples came together to create this brilliant EP in 1998. It was released the following year on Space Age recordings. The numerous electronic instruments and oscillators used by Pete and Simeon invoke a timelessly purist electronic aesthetic, occasionally augmented by the presence of additional musicians Will Carruthers, Iain Worrall, and Alf Hardy, who add bass, drums and yet more layers of electronics to the mix. Now, to mark 25 years after its inception, this highly lauded and sought-after recording is being repressed in 180 gram heavyweight silver vinyl.

 

PRICE: $28.50

CAT #: SOD 138LP

FILE UNDER: ELECTRONIC

Flutter Ridder is the duo of Norwegian multidisciplinary artists Espen Friberg and Jenny Berger Myhre, both of whom play important roles in Oslo's contemporary art and music underground. The pair first collaborated during the production of Friberg's debut solo record, Sun Soon (Hubro, 2022), quickly recognizing in one another a creative kinship rooted in a playful, intentionally naive approach towards making art. In November of 2023, the pair decamped to the coastal town of Hvisten in southeastern Norway to record what would become this debut, self-titled album in an ancient wooden church. Drawing from a palette of Friberg's idiosyncratic Serge modular system and the church's resident pipe organ and intoxicating acoustic reverb, they began recording and sculpting music informed by the notion that air and electricity share a common flow, a continuous current that can be directed through valves and potentiometers. The pair came to think of the Serge and pipe organ as sibling instruments, the former yielding characteristically unpredictable and complex timbres that complement the wooly, reedy drones and strange, microtonal overtones of the latter. At once sublime, liturgical, and whimsical, Flutter Ridder offers its listener a series of moving, cinematic natural landscapes, affirming the sensibilities of its makers and the indelible influence of the environment in which it was produced.

 

PRICE: $15.50

CAT #: SR 579CD

FILE UNDER: ELECTRONIC

Sopa Boba is a Belgian/Dutch, electronic, modern classical project. The idea behind the form is a so-called Oratorio from the present age which unfolds a dramatic tale within a sociopolitical framework. The compositions incorporate a neo-classical style string quartet, harsh modular synths, and spoken word vocals. It features Pavel Tchikov (Ogives) and G.W. Sok (The Ex, Oiseaux-Temp?te). That Moment is an adaptation of the eponymous text by Moldavian writer Nicola Esinencu. The starting point of That Moment takes place in a real fact, which happened in present-time Moldavia, where a father cut his son's finger with an axe, as a punishment for stealing a bit of money from the father's wallet. From there the author combines the tale and its reality with a caustic irony, interrogating an unbridled capitalist society, where everything and everyone is for sale. The total playing-time is 55 minutes, somewhere in between a hybrid electronic-modern classical oratorio and a concept album, with seven tracks that serve as seven chapters of an ironic and satiric story about the downward spiral of the capitalist society.

 

PRICE: $28.00

CAT #: SR 579LP

FILE UNDER: ELECTRONIC

Double LP version. Sopa Boba is a Belgian/Dutch, electronic, modern classical project. The idea behind the form is a so-called Oratorio from the present age which unfolds a dramatic tale within a sociopolitical framework. The compositions incorporate a neo-classical style string quartet, harsh modular synths, and spoken word vocals. It features Pavel Tchikov (Ogives) and G.W. Sok (The Ex, Oiseaux-Temp?te). That Moment is an adaptation of the eponymous text by Moldavian writer Nicola Esinencu. The starting point of That Moment takes place in a real fact, which happened in present-time Moldavia, where a father cut his son's finger with an axe, as a punishment for stealing a bit of money from the father's wallet. From there the author combines the tale and its reality with a caustic irony, interrogating an unbridled capitalist society, where everything and everyone is for sale. The total playing-time is 55 minutes, somewhere in between a hybrid electronic-modern classical oratorio and a concept album, with seven tracks that serve as seven chapters of an ironic and satiric story about the downward spiral of the capitalist society.

 

PRICE: $20.50

CAT #: SVVRCH 095LP

FILE UNDER: ROCK

Norwegian rock trio Crossbreeze's self-titled LP is one of the rarest of all beasts to emerge from the Scandinavian rock scene of the 1970s. Pressed in minute quantities on Experience, the label and studio founded by engineer/guitarist Nils Johan ?ybakken in the small northern town of Mosj?en, Crossbreeze moves between acid rock and prog-y folk-influenced rock, Terje Nilsen's fuzz guitar and Walter Albriktsen's Moog bleeps adding shades of psychedelic space-rock. Crossbreeze disbanded after this impossibly rare group effort, and now that the album is finally available again, grab a copy of this must-have killer while you can!

 

PRICE: $20.50

CAT #: SVVRCH 097LP

FILE UNDER: WORLD

During the mid-1970s, Jorge Ben could do no wrong. Known as the father of samba rock, Ben gained an international audience with an infectious singing style marked by bright optimism and funny satire; A T?bua de Esmeralda deviated from the script by delving into the alchemy of the Middle Ages, as well as the second coming of Jesus, but the production is so nuanced and his voice so agreeable that the album was a surefire hit, and Ben manages to squeeze in some groovy numbers saluting womanhood, and slave leader Zumbi dos Palmares. The result is a must-have Jorge Ben gem that has stood the test of time, and then some!

 

PRICE: $15.50

CAT #: TAIGA 003LP

FILE UNDER: ELECTRONIC

2025 restock. This is the third in Rafael Toral's Space Program series of releases -- his long-term research project launched in 2004, through which he has unearthed an innovative approach and a complete re-thinking of how electronic music is conceived and experienced. Using custom experimental instruments, Toral performs electronic music concerned with "phrasing and swing" and performing strange melodies with physicality, movement and gesture in flux. The result is something you're unlikely to have heard before, a kind of alien electronic jazz. After the acclaimed, orchestral Space and the follow-up Space Solo 1, this is the first volume of the Space Elements series, each release being focused on one kind of instrument, on small settings and including collaborations. Space Elements Vol. I features Rute Pra?a (cello), Margarida Garcia (electric double-bass), Sei Miguel's amazing percussionist C?sar Burago, and David Toop (flute), besides a short appearance by Sei Miguel himself. From Toral's liner notes: "Having found that jazz is the field of musical knowledge where disciplined decision-making is most developed, this music is more informed by jazz than by any other. The Space Program emphasizes articulating silence and sound, by structuring musical discourse on experimental instruments with a simple and clear sonic identity. To my surprise, I found no historical precedents to this practice, being that it draws practically no information from electronic music history (which is grounded on different thinking patterns), and it draws very little from jazz history as well, since the instruments I use are inadequate to play any music based on the Western system. I regard this approach to jazz (meaning a system of individual decision-making from the standpoint of free-spectrum live electronics) as a new and exciting field of creative possibilities. I called it 'post-free jazz electronic music.'" Space Elements Vol. I was mastered direct to metal and pressed on clear 200 gram virgin vinyl in a limited edition of 500 copies. The jacket was designed by Helder Lu?s at No Type and features a collage by contemporary artist Jo?o Paulo Feliciano.

 

PRICE: $15.50

CAT #: TAIGA 010LP

FILE UNDER: ELECTRONIC

2025 restock. Space Elements Vol. II is the fourth release in Rafael Toral's ongoing project, the Space Program. Following the first Elements release, this volume features a new set of collaborators: Evan Parker (soprano sax), Manuel Mota (guitar), Afonso Sim?es (drums), Stefano Tedesco (vibraphone), Jo?o Paulo Feliciano (Rhodes piano), and Ruben Costa (digital synthesizer), as well as returning guests Sei Miguel (trumpet), C?sar Burago (percussion), Fala Mariam (trombone), and Rute Pra?a (cello). Space Elements Vol. II displays a melodic quality that, along with a refined management of silence, marks a new area and consolidates the Space Program's complex network. Its spaciousness is explained in Toral's liner notes: "While finding ways to make decisions on sound emission, it became evident to me that such sounds should have a reason to exist, they should be essential and necessary." Dan Warburton's writing in The Wire about Space fits Space Elements Vol. II perfectly: "The melodic logic that drives certain instruments within Space also recalls birdsong, with dense, convoluted runs of twittering melody ending in single piping notes, as spontaneous as Messiaen's birdsong transcriptions were painstaking and meticulous." Toral's music is a jazz-inspired re-evaluation of live electronics: "Despite working in a sound world that is cosmetically closer to R2D2's vocabulary than Louis Armstrong's or John Coltrane's, Toral has claimed a kinship to jazz because it models instant music making within a disciplined framework." (Bill Meyer, Dusted); "Toral is looking for nothing less than a totally fresh language to work in" (The Wire). Space Elements Vol. II was mastered direct to metal from 24-bit files and pressed on clear 200 gram virgin-vinyl. With design by Helder Luis at NOTYPE, the LP features a collage by Jo?o Paulo Feliciano. Presented in a limited edition of 500. CD version available on Staubgold.

 

PRICE: $15.50

CAT #: TAIGA 016LP

FILE UNDER: ELECTRONIC

According to Rafael Toral, the Space Program is all about a simple idea: to perform abstract electronic music under jazz values. The result is full of fascinating paradoxes: "melodic without notes, rhythmic without a beat, familiar but strange, meticulous but radically free." Taiga now releases its most eloquent example so far: "Space Elements Vol. III is the strongest and musically most diverse statement within Rafael Toral's Space Program to date. You will experience "jazz on electronics" in full effect -- a totally new language in sound." --Staubgold; With blooming sound, compliments of the mastering by James Plotkin (not found on previous releases in the Space Program), Space Elements Vol. III has a very rhythmic, percussive character. It unfolds a fresh set of collaborations with an array of drummers and percussionists, while Toral's electronic phrasing reaches previously-unheard heights of maturity. Edition of 500 LPs featuring Jo?o Paulo Feliciano's artwork and graphic design by NOTYPE. Pressed on 200 gram plasma virgin vinyl, the LP was cut with DMM.

 

PRICE: $26.00

CAT #: TR 498LP

FILE UNDER: ROCK

2025 repress; LP version, Carambolage never set out to be a "girl band" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. Britta's passion for the drums ignited in 1974 in Fresenhagen, North Frisia, where she played percussion for Ton Steine Scherben. R.P.S. Lanrue's little sister Elfie-Esther was an obvious candidate. Angie, a child from the streets who joined the commune in 1972, completed the line-up. Carambolage surfed on their very own "North Frisian Wave" -- an epithet dreamed up for their distinctive sound. Shortly before her death in 2004, Britta was interviewed by music journalist Tine Plesch and described how the "girls gang" gave them the freedom to experiment and come up with "these really funny, filthy lyrics". There is a childish, subversive charm to the songs, emboldened by the realization that "we could fool around as much as we wanted." Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo.With the first demo tapes in circulation, Burkhardt "Zensor" Seiler organized a gig for Carambolage in the hip Kreuzberg club SO36. At a time when anything that could be labelled "Neuen Deutschen Welle" (German New Wave) was stamped accordingly, the trio played by their own rules. The eponymous debut album Carambolage, produced by Rio Reiser and R.P.S. Lanrue in the summer of 1980 and released on the Scherben label David Volksmund Produktion, could not be constrained by NDW marketing concepts. Instead, the disc was defined by its "colossal, inventive sound" which fed on Elfie's curiously autodidactic "Fantasiegriffen" guitar style and her "Fresenhagen sparrow" voice, counter-balanced by Angie's organ and inimitable basslines and energized by Britta's relentless drumming. Backed by quirky organ and ragged drums, Elfie spits her lyrics with emphatic simplicity. Once her words are in your head, they stay there. Tracks like "Die Farbe war Mord" hint at a sense of feminist awareness. Carambolage may not have coined the phrase, but "lipstick feminism" became a thing, consciously playing with feminine clich?s and hammering them home in performative fashion, rather than boxing them off. Towards the end of the record, vocals and sound are transcended in the monotone shimmer of "22 rue Chenoise".

 

PRICE: $26.00

CAT #: TR 568LP

FILE UNDER: ELECTRONIC

Restocked, LP version. With their unpredictable live performances and songs such as "Zur?ck zum Beton" and "Industriem?dchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around D?sseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue series sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. Pure Freude Singles includes previously unreleased songs. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby D?sseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorize. In the intensive years that followed, S.Y.P.H.'s productions often featured guests from the D?sseldorf scene around Ratinger Hof or CAN's Holger Czukay. While around 1980, punk and Neue Deutsche Welle (German New Wave) were solidifying as supposedly clear-cut concepts, S.Y.P.H.'s music testified to the blurriness of genre boundaries: already on the first, self-titled LP, the band belts out short punky songs like "Zur?ck zum Beton" and "Lachleute und Nettmenschen," while the B-side surprises with more than ten-minute long Kraut-inspired pieces.

 

PRICE: $16.50

CAT #: TR 587CD

FILE UNDER: ROCK

Der Moderne Man formed in 1979 and operated mainly in the vicinity of Hanover's No Fun label. Inspired by visits to concerts and record stores in London and New York and bands such as the Ramones, Siouxsie and the Banshees, Iggy Pop, and the Clash, the group developed an explosive sound that led to the first album 80 Tage auf See ("80 days at sea") in 1980: German-language post-punk that stood out from Hanover's underground sound and also gained support from BBC's John Peel. Tapete Records now re-issues their first two studio albums. This is accompanied by Jugend Forscht, a compilation of demos, EPs and singles with some unreleased tracks. All three releases are complemented by detailed liner notes and previously unreleased images. 80 Tage auf See captures a historic moment. When the record was released in 1980, the so-called "Neue Deutsche Welle" (German New Wave) was no more than a rumor. It was still far from clear what (post-)punk on West German terms might entail. 80 Tage auf See was recorded over a short time span and hurled onto the market just as swiftly. The 80 days of the album title most likely do not refer to time spent in the studio. This release occupies one of the top spots in the race for the very first German punk album. It is perhaps the first "first German punk LP" that managed to reproduce the force and urgency of the English original, albeit in a way so deferred and strange that the term "Krautpunk" comes to mind. Der Moderne Man was to Damned and Wire what Amon D??l II was to Hawkwind and Vanilla Fudge. No wonder John Peel kept the record in his show's heavy rotation. Shortly after the release of 80 Tage auf See, the basically postnatal New German Wave disbanded into fractions whose initial hostility towards each other gradually turned into indifference. The remains were something like 'Deutschpunk' (not 'Krautpunk') here, avant-garde neo-tonality there and in between some more or less successful attempts to establish contemporary German pop music. On 80 Tage auf See, all of this is still on equal footing: (power) pop, the catchy wave punk which would become the signature sound of Hannover's No Fun label and the rather idiosyncratic idea of experimental music which Michael Jarick (aka Ziggy XY) brought in as a singer.

 

PRICE: $16.50

CAT #: TR 588CD

FILE UNDER: ROCK

The Hanoverian post-punk group Der Moderne Man made a splash with the 1980 release of their first album 80 Tage auf See (80 Days at Sea). The album quickly drew attention throughout Germany, later also in the UK and other international territories -- not least thanks to the support of BBC's John Peel. The second LP Unmodern was released in 1982. Tapete Records is now re-issuing the first two studio albums. This is accompanied by Jugend Forscht, a compilation of demos, EPs and singles with some unreleased tracks. All three releases are complemented by detailed liner notes and previously unreleased images."Although Unmodern is still the album of a bunch of amateurishly posing musicians demonstrating self-empowerment, alongside the simple arrangements, statements and songs that repeatedly define POP in three capital letters, it jangles and twinkles in every nook and cranny, and not just like that, but well thought out and in the same way that New Wave was defined and produced in the UK. The topics that Unmodern tackles have aged surprisingly well. I have to put it this way because it sounds good, but you could just as well say that they are quite conservative. Or you could tone it down and say that you must understand it in the context of the times. Abw?rts were afraid of the computer state, Der Moderne Man criticizes the fact that robots are now making music. With 'Nur Die', it's not entirely clear which language is being referred to. It could be German. 'Anakonda' and 'Blaue Matrosen' provoke with a proximity to the exoticism of the 1940s and 1950s: here, 'the faraway' invariably is a somewhat ridiculous world, and the songs do not clearly distinguish themselves from this part of German non-culture. All of this was justified against the backdrop of the hippie dogmatism of the 1970s, but as I said, it can often only be understood in the context of the times. In any case, Der Moderne Man achieved something here that hardly anyone else in Germany would have managed at the time, except perhaps Fehlfarben. A cutting-edge production of international standard. New Wave without caricaturing New Wave. 'Blaue Matrosen' was released around the same time as 'Enola Gay' without being left behind or anyone turning up their nose and saying something like 'Oh, the Germans are trying their hand at New Wave now too.' Hats off to that." --Frank Spilker

 

PRICE: $16.50

CAT #: TR 589CD

FILE UNDER: ROCK

Der Moderne Man emerged from the vicinity of Hanover's No Fun label, an incubator for a scene somewhere in between punk, avant-garde and new wave. In addition to two studio albums, the band recorded various demos, EPs and singles between 1981 and 1983. These songs, which did not appear on the two regular albums, are now being re-issued for the first time as an independent compilation. Jugend Forscht spans an arc from the first EP to early demo recordings and a single that was never released as a regular album to the German-language New Wave of the last mini-LP Neues aus Hong Kong. The tracks collected on Jugend Forscht tell the story and development of Der Moderne Man in an impressive way. The compilation is supplemented by detailed liner notes and some never-before-published images. Der Moderne Man combined a wide range of influences: the punk rock minimalism of guitarist Eckhardt 'EKT' Kurtz, English music magazines, imported records bought during visits to Berlin, the hyperactivity of drummer Claudius Hempelmann and the lyrics of Michael 'Ziggy XY' Jarick with their very own view of everyday life. After touring with five other bands from the No Fun label and new drummer Felix Wolter, Der Moderne Man released a live mini-LP and produced the LP Unmodern with the additional band member Thomas 'Tonio Scorpo' Schnura on saxophone and synthesizer. With the addition of bass player Axel Wicke, 1982 was shaped by numerous tours and positive to euphoric reviews. Soon, major record companies were coming along with offers, but the band (for the most part) rejected the industry's temptations. Der Moderne Man incorporated influences from England and the USA on their 1983 mini-LP Neues aus Hong Kong. This could have meant a career boost, but German audiences were tired out by the glut of cheap German new wave industry output and the band subsequently dropped out in autumn of that year. The songs now compiled on Jugend Forscht show that Hannover was capable of more than just rock music.

 

PRICE: $15.50

CAT #: TO 125CD

FILE UNDER: ELECTRONIC

2025 repress! This is Fennesz's most reflective album to date. Composed and recorded at the end of 2023 and completed in the summer of 2024, Fennesz set up a new studio space, the third one in four years. He had no immediate concept, this time starting from scratch, with a strict working routine. He got up early in the morning, worked until midday then had a break and worked again until evening. At first, just collecting ideas, experimenting, improvising. Then composing, mixing and correcting. Yet the title came early, Mosaic, which mirrored this process of putting an element into place one at a time to build the full picture, an ancient technique of making an image, before pixels did it in a flash. This "9 to 5" working routine had already been developed on Agora. All the other albums before were done differently; a few weeks work, then months in between and another few days or weeks of work. Mosaic was done from beginning to end without a break. Packaged in the now familiar DVD-style case with artwork and photography by Jon Wozencroft, there is an echo to Venice but 20 years later the division between the land, the horizon and the deep blue sea is more extreme. Fennesz experiments with unusual time signatures. It's not obvious, but "Love and the Framed Insects" is in 7/4. "Personare" is somehow influenced by West African pop music from the 1980s. "Goniorizon" originally consisted of six hard rock guitar riffs mixed on top of one another. Then it became this "thing" that somehow opened possibilities for new things to come -- all this adds up to a filmic, highly involving and beautiful score of diverse influences and multiple possibilities to be explored by the listener. Recorded by Christian Fennesz at Seven Fountains/Vienna between January and May 2024. Mastered by Denis Blackham. Photography and design by Jon Wozencroft.

 

PRICE: $18.00

CAT #: TFAD 010EP

FILE UNDER: ELECTRONIC

Last time Touch From A Distance released a Brother Nebula record the moniker was still shrouded in mystery. A few years later the veil has been lifted and anyone inclined would know Lance DeSardi has been behind those meticulously crafted tracks all this time. In line with his past outings on his own imprint Legwork, Brother Nebula keeps exploring the nooks and crannies of varied tropes of club music. There's the razor sharp, Dub Techno inspired stomper "Mach Loop." There's "Ice Giant," a heavy drum workout equally indebted to UK Garage and Jeff Mills. There are "The Grandeur Of Delusion" and "God's Green Earth" invoking the forgotten transantlanticism between West London and Detroit. Having relocated to London and immersed himself in the local scenes and culture, Brother Nebula connects the dots of his past, present and future. Smooth melancholia meets icy beat science creating vivid contrast which makes this EP such an intriguing offering.

 

PRICE: $14.00

CAT #: TOYT 064EP

FILE UNDER: ELECTRONIC

2025 repress. The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series, the crew shares some of their favorite old tracks -- in a reworked version. This time COEO destroys a couple of '70s disco jams. Recut and re-pasted, they gave them their special COEO touch. Of course it's irresistible! Vinyl only.

 

PRICE: $40.00

CAT #: VMP 1157LP

FILE UNDER: HIPHOP

"Released in the spring of 1989, Gang Starr's debut album, No More Mr. Nice Guy, arrived right at the crucial intersection of the old school and golden age of New York rap. You cannot begin to discuss New York rap lineage without drawing a line through the first decade of Gang Starr. Should history be corrected to appropriately acknowledge Gang Starr's influence and brilliance, it will need an origin story. No More Mr. Nice Guy is that saga. It's a hard ridge in a changing landscape, the sound of everything shifting, the kernel of greatness germinating. It is Guru and Preemo. Preemo and Guru. An essential title not just for what it would lead to, but because of what it is." Double-LP, red & white color vinyl. Lacquers Cut by Barry Grint, Alchemy Mastering at AIR. Listening notes booklet by Dean Van Nguyen.

 

PRICE: $32.00

CAT #: VMP 1158LP

FILE UNDER: JAZZ

"During the pagan hours of an otherwise uneventful Harlem pre-dawn in 1963, Gary Bartz glimpsed a galactic mystery that conventional aeronautics could not explain. Only a few weeks prior, the nascent alto saxophone virtuoso had acquired his first telescope to pursue a newfound passion for astronomy. The purchase was already yielding dividends. The recent Juilliard graduate's fascination with the heavens began with astrology, but the then 22-year-old quickly realized that those celestial sketches were just photographs of the sky as captured during a specific orbit. Why bother with the rough blueprint when you could witness the entire electromagnetic spectrum in its full glory?" Originally released 1969, 180 gram vinyl, tip-on gatefold jacket. (AAA) Lacquers cut rrom the master tapes by Ryan Smith, Sterling Sound. Listening Notes booklet by Jeff Weiss.

 

PRICE: $32.00

CAT #: VMP 1164LP

FILE UNDER: JAZZ

"By 1973, Herbie Hancock already had both feet planted firmly in the future -- some 50 years based on the vast, electronic funk he crafted during this period. How could he have known that this music would soundtrack block parties in the '80s and give ground to a burgeoning hip-hop culture? How could a man so steeped in the history of jazz be so untethered to form and genre that he created a sound all his own? Did he envision a world much like this one, where smartphones dictate lives and musical compositions co-mingle without adherence to artificial marketing terms? Herbie likely wasn't that prescient, but doubt his genius. Based on the interplanetary trance funk of Sextant, his 11th studio album, such foresight wouldn't be surprising. Then and always, Herbie was the master of the road less traveled. He was the light guiding his peers where they needed to go." 180 gram vinyl, Lunar Marble color. (AAA) Lacquers cut from tapes by Ryan Smith, Sterling Sound. Listening Notes booklet by Marcus J. Moore . Art print by Tomi Copi.

 

PRICE: $32.00

CAT #: VMP 1177LP

FILE UNDER: JAZZ

"On August 26, 1965, listeners find John Coltrane and his quartet recording at RCA Victor Studios on 24th Street in Manhattan. In the tunes tracked for Sun Ship, listeners hear Coltrane revisiting ground he had covered in the past with heightened sensitivity and a deepened interest in timbre. Sun Ship is a portrait of Coltrane's most important band during his most important year, and while it's sometimes overlooked in Coltrane's discography -- probably because it was released posthumously -- it's a crucial document for understanding what this band had accomplished, and it also offers a glimpse of why Coltrane moved beyond it. He needed to be in places where he was less sure of himself." Originally released 1971 by Impulse. 180 gram vinyl, tip-on gatefold sleeve. Pressed by RTI. (AAA) Lacquers cut from the original master tapes by Ryan Smith, Sterling Sound. Listening Notes Booklet by Mark Richardson .

 

PRICE: $32.00

CAT #: VMP 1203LP

FILE UNDER: JAZZ

"Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. Nina Simone Sings the Blues comes on 180gram blue vinyl." Originally released by RCA, 1967. 180 gram vinyl, with 8-page liner notes + photo booklet

 

PRICE: $32.00

CAT #: VMP 1208LP

FILE UNDER: JAZZ

"In 1959, Coleman released his boldly titled magnum opus, The Shape of Jazz to Come, on Atlantic Records. Prioritizing mood over traditional orchestration, it was the highest-profile free jazz album, released before the terms 'free jazz' and 'avant-garde jazz' even existed. Coleman's bravery opened the door for others to experiment with the genre in ways they wouldn't have before. Without The Shape of Jazz to Come, who knows if Coltrane would have had the heart to try spiritual jazz, or if an up-and-coming pianist named Herbie Hancock would've been bold enough to blend funk into his atmospheric hybrid. Coleman was the first major artist to leap into unforeseen territory, and he did it at a time when the courage wasn't always rewarded. Despite the hardships, Coleman pressed on with his objective and did what the album declared he would. Jazz has never been the same, and we're all better for it."

 

PRICE: $32.00

CAT #: VMP 1212LP

FILE UNDER: HIPHOP

"From the moment Kamaal The Abstract begins, it's evident that this is Tip at his most free and vulnerable, musically, up until that point. Most songs transform into (and end in) extended jams or have solos sprinkled throughout (or both). Jazz serves as the base, with Tip and his band using its colorful and intricate chord progressions to explore funk, rap, rock, R&B and soul -- sometimes all on the same song. The album is an artistic statement that's just as musically bold as it is conflicted, with a playful Tip at the center of it all, just trying to find freedom through music." Originally released by Sony, 2001, 180 gram vinyl, yellow/black/white color. Lacquers cut by Cicely Balston, Alchemy Mastering at AIR. Listening Notes booklet by Elijah C. Watson.

 

PRICE: $32.00

CAT #: VMP 1238LP

FILE UNDER: ROCK

"Anchored by seamless jam sessions and syncopated grooves, which Neville would call 'tight, sparse and funky as the fuckin' devil,' The Meters evolved from unfussy, mostly instrumental tracks to full-throated, expansive funk that reached an apex on their fifth album, Rejuvenation, in 1974. With deep-fried grooves, astounding musicianship and a reverence for their history both in New Orleans and in Africa, this album has only felt more vital with age. While it didn't sell as many copies as the record deserved at the time, it's a product of these band members' years of hard work gigging in sweaty night clubs, backing up other artists as session players and persevering through a thankless industry. Above all, it's a testament to New Orleans." Originally released by Reprise. 180 gram yellow vinyl. (AAA) Lacquers Cut from the original analog tapes by Ryan Smith, Sterling Sound; Plated at Welcome to 1979. Listening Notes booklet by Josh Terry. Art Print by Julia Fletcher.

 

PRICE: $32.00

CAT #: VMP 1242LP

FILE UNDER: ROCK

"When Thin Lizzy's Jailbreak was released on March 26, 1976, rock and roll was at a fascinating crossroads. The old-school dinosaurs who led '60s rock -- The Who, Led Zeppelin, The Rolling Stones -- were still standing but limping along, already sounding like nostalgia acts to younger listeners. The next generation of arena-rock groups -- Aerosmith, Kiss, Black Sabbath -- were grounded in a more flamboyant, 'party till you puke' sensibility that would soon be subsumed by the ascendent heavy metal movement. Jailbreak would prove as foundational to the future sound of metal as AC/DC's High Voltage or Mot?rhead's Mot?rhead, just as Thin Lizzy's no-nonsense musical approach informed the sensibility of punk." 180 gram vinyl, on "overmaster orange" color. Lacquers cut by Kevin Gray at Cohearent Audio. Listening Notes booklet by Steven Hyden. Art Print by Jim Fitzpatrick.

 

PRICE: $32.00

CAT #: VMP 2226LP

FILE UNDER: JAZZ

"Blackman came from the jazz world, but spent time in the fusion-funk hybrid that hovered around the edges of the chart in that transitional period of the early '80s. Although it slipped between the cracks at the time, Don Blackman is a minor funk masterpiece that deserves shelf space next to Fuzzy Haskins's A Whole Nother Thang, Bernie Worrell's Blacktronic Science, Trey Lewd's Drop the Line, and others. Though those albums turn up on most P-Funk expanded discographies, Blackman's record often doesn't because there's no playing or production from Clinton, Collins, or Worrell. It might make more sense to think of it at the center of a Venn diagram whose circles include P-Funk, the jazz-funk practiced by artists like George Duke and Roy Ayers and the soul-funk of Fonzi Thornton and Garfield Fleming. Right in the middle, shining brightly, Don Blackman."

 

PRICE: $32.00

CAT #: VMP 2229LP

FILE UNDER: JAZZ

"Eternity arrived at a transitional point in Coltrane's artistic and spiritual journey after she had founded her Vedantic Center in 1975, but before she abandoned secular performance for a quarter-century; after she had somewhat shaken the relentless comparisons to her husband's work (and those who would use 'John Coltrane's widow' in lieu of her name), but still long before she was universally recognized as a musical luminary. Also importantly, after she released a slew of unexpected pop collaborations and as she signed to a major label pouring money into building a new jazz catalog. Secular, agnostically spiritual, and Vedic songs mingle together, as do a range of different musical textures. In this kind of middle place, Eternity showcases Coltrane's ambition and range, offering a glimpse at sounds and styles she would rarely revisit."

 

PRICE: $40.00

CAT #: VMP 2259LP

FILE UNDER: ROCK

"Live at The Old Quarter, Houston, Texas, the 1977 record from troubadour Townes Van Zandt, was the VMP Country Record of the Month for November 2022. It's here on exclusive 2LP black and white galaxy vinyl."

 

PRICE: $32.00

CAT #: VMP 2267LP

FILE UNDER: ROCK

"Musical Massage is of the body, and beyond the body. Far past merely the physical or the sexual, or even the romantic -- the engine of Musical Massage is a spirit, a cohesion, a rhythm, a way of life, and a shared understanding."

 

PRICE: $40.00

CAT #: VMP 2302LP

FILE UNDER: HIPHOP

"Released in December 2007, The Big Doe Rehab was a technical commercial success at the time, but it endures spiritually as an essential title in Ghostface Killah's own expansive, 13-album discography, let alone his larger body of work with other artists. While every Wu member's solo project inevitably serves as a stage for the Clan, with The Big Doe Rehab, the spotlight never leaves Ghostface Killah in the dark, even with so many other big-name players entering and exiting -- a level of artistry that could only be achieved by one of hip-hop's top dart spitters."

 

PRICE: $31.00

CAT #: WWSLP 018LP

FILE UNDER: ELECTRONIC

2025 repress; LP version. Obi strip; Includes insert. Wewantsounds present a reissue of Akiko Yano's Iroha Ni Konpeitou, originally released in 1977. Another superb Akiko Yano album and one of her funkiest, highlighting her singing and songwriting talents. Iroha Ni Konpeitou is perhaps Akiko Yano's best-known album in the Western world not just because of its striking front cover -- a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin. A slick mix of Japanese pop and New York funk, the album was recorded in Tokyo except for the title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee, and Nicky Marrero. For the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar, to name just a few. Interestingly, two Hosono compositions are featured on the album: "Ai Ai Gasa" which he recorded on his 1973 landmark debut Hosono House and "Hourou" originally recorded in '75 by singer and musician Chu Kosaka, on the eponymous album Horo. Last but not least, Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, and Yamaha CP7C. Matsutake would soon become programmer in chief for Yellow Magic Orchestra, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction "KAWAJI", a short electro fantasy, or on such tracks as "Ai Ai Gasa" and "Kino Wa Mou" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song. "Iroha Ni Konpeitou" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography. Remastered sound. First release outside of Japan.

 

PRICE: $33.00

CAT #: WWSLP 047LP

FILE UNDER: ROCK

2025 repress; LP version. Gatefold sleeve; includes 24-page booklet. Wewantsounds reissue Akiko Yano's cult classic Ai Ga Nakucha Ne, recorded in 1982 and co-produced by Ryuichi Sakamoto. Ai Ga Nakucha Ne ("there must be love" in Japanese) is Akiko Yano's sixth studio album and follows Tadaima in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye. Over a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes "Our music's different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24/7." The eleven tracks featured on Ai Ga Nakucha Ne, mostly composed by Akiko -- are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, "I didn't think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them." There are many highlights on the album, from the pop edge of "Aisuru Hito Yo" to the avant groove of "Another Wedding Song", each song is memorable and the album ends with the superb "Good Night" sung by Akiko and David Sylvian. The original 1982 LP release included a 24-page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album. Also includes a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. Audio remastered from the original tapes by Mitsuo Koike.