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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 12/01/2025

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PRICE: $30.50

CAT #: ACOLOUR 053LP

FILE UNDER: ROCK

Going back to sleep... is a lovingly gathered suite of windswept, heart-bursting contemporary DIY indie-pop and folk including new songs by Carla dal Forno, The Reds, Pinks and Purples, Lewsberg-related duo The Hobknobs and Rat Columns, next to luminaries and newcomers Daily Toll, Who Cares?, The Lewers, The Sprigs, Drunk Elk, I Can I Can't, The Gabys, and Chateau. A beautiful contemporary companion of I Won't Have To Think About You (2017). Focused on Australian artists predominantly recording and performing in intimate spaces, the compilation's sentiment extends to likeminded artists around the world. A feeling of introspection that seems impossible to achieve when recording for anyone but yourself. A trip through the wonderfully diverse international pop underground, or more simply, a group of music makers performing on A Colourful Storm's imaginary stage.

 

PRICE: $19.00

CAT #: ACR 017EP

FILE UNDER: ELECTRONIC

Seishin is a focused, four-track EP from Japan-born, Berlin-based producer Shingo Suwa on Acid Camp. The title translates to "spirit," and the record treats that idea as both a feeling and a relay: an original transmission from a time of quarantined isolation followed by responses from trusted collaborators. Clay Wilson contributes two versions: one a deep, tensile workout and the other a companion take sparked by the legacy of Jasen Loveland. Jasen Loveland also worked on a remix of his own in 2021.

 

PRICE: $20.00

CAT #: ACIDTEST 022EP

FILE UNDER: ELECTRONIC

Acid Worlds Part One marks the beginning of Tin Man's new series exploring the dimensions of collaborative acid. The EP features contributions from Susi Saisa (w/ Jussi-Pekka), John Tejada, Romans (w/ Gunnar Haslam), and Rolling Ones.

 

PRICE: $29.50

CAT #: ATA 018LP

FILE UNDER: JAZZ

2025 repress; originally released in 2020. The Sorcerers began working on a new album during the winter of 2018 and it was during the writing sessions for this album that the concept for the LP began to take shape. The name for the album was taken from the title of a National Geographic article read by bassist Neil Innes and was used as the starting point for the entire concept. The library music scene of the '60s and '70s has always been an intrinsic part of the sound of ATA Records and so it made perfect sense to envisage the album as a soundtrack, given the cinematic quality of The Sorcerers music. Each track was written with a particular scene in mind and the music was then shaped in the studio to best reflect the essence of that scene. Drums, bass and percussion provide the solid foundation onto which flutes, bass clarinets, xylophones, and vibraphones add the atmospheric and melodic counterpoint, deftly weaving between one another to conjure up images of the unforgiving environment of the dense jungle, unknown eyes watching the protagonists of the imagined film as they make their way towards their ultimate goal, their pursuit by unseen assailants, the arcane mysticism of undiscovered cargo cultists and the ancient ruins of long passed civilizations.

 

PRICE: $21.50

CAT #: BAN 002CD

FILE UNDER: ELECTRONIC

Si?cle, the fourth album by Superpoze (Gabriel Legeleux, born in 1992), stands as the culmination of what the composer of Opening, For We the Living, and Nova Cardinale, also a producer and performer, has been meticulously crafting for the past ten years, with both precision and sensitivity. A striking and melancholic electronic music, where instruments and machines collide, blending synthetic textures, strings, and spectral voices. The result is an album of eight expansive and sharp-edged tracks, where life pulses, burns, and soothes.

 

PRICE: $38.50

CAT #: BEWITH 194LP

FILE UNDER: ROCK

140gr vinyl. A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It's one of Be With's favorite ever LPs and it's a complete honor to be giving it the reissue treatment. Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favorite "Step Out Of My Dream." The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King, and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train. The album kicks off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire. Side B is perfection. It kicks off with the NTS favorite "Love Rescue," a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP. Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic. The breezy "It's Too Late" is a perfect slow jam before this remarkable set is rounded out with the sickest proto-acid synth-drizzled jam, "Stimulation"; a perfect slab of '80s funk and a strutting vocoder-laced funk workout. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland.

 

PRICE: $16.50

CAT #: BB 493CD

FILE UNDER: ROCK

So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in W?mme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating. Also available on black vinyl (BB 493LP) and blue vinyl (BB 493LTD-LP).

 

PRICE: $16.50

CAT #: BB 497CD

FILE UNDER: ROCK

By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in W?mme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in W?mme. Faust IV is the result: part studio artefact, part salvage operation, part s?ance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening. Also available on black vinyl (BB 497LP) and clear vinyl (BB 497LTD-LP).

 

PRICE: $26.00

CAT #: BB 497LP

FILE UNDER: ROCK

LP version. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in W?mme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in W?mme. Faust IV is the result: part studio artefact, part salvage operation, part s?ance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.

 

PRICE: $28.00

CAT #: BB 497LTD-LP

FILE UNDER: ROCK

LP version. Clear color vinyl. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in W?mme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in W?mme. Faust IV is the result: part studio artefact, part salvage operation, part s?ance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.

 

PRICE: $14.00

CAT #: BYG 312LP

FILE UNDER: JAZZ

2025 restock. 12th volume in the BYG Actuel series; 180 gram vinyl. "Super-session recorded in Paris on August 17, 1969. Alan Silva collected here many of the top free jazz players of the time, an incredible 11-piece ensemble featuring, among others, Grachan Moncur III, Archie Shepp, Anthony Braxton, Dave Burrell, Leroy Jenkins, and Malachi Favors. As a result, this is a very free record and a historical document of Pan-African high art music. Two tracks."

 

PRICE: $20.00

CAT #: CDZ 037CD

FILE UNDER: ELECTRONIC

Originally released in 2005, OK Cowboy, Vitalic's first album, is celebrating its twentieth anniversary with a reissue in several formats, enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.

 

PRICE: $43.00

CAT #: COR 061LP

FILE UNDER: ELECTRONIC

Extrawelt's latest and longest-brewing album lands on Cocoon. In this beautiful world marked by rising chaos, sometimes the simplest way to escape its troubles is through sonic relief. Germany's renowned electronic duo Extrawelt offer exactly that with their fifth full-length album, Dystortion. For over two decades, the humble duo behind Extrawelt, who shy away from making music for clicks, have been a steadfast presence in electronic music. Known as serious studio and tour-focused artists who craft timepiece albums, each a work of enduring craft, that go on to create atmospheric, out-of-the-box live acts, they've been shaping and redefining electronica since their first release. Dystortion is their most diverse and evocative album to date. Imagined over six years and shaped by a world in flux through COVID, political upheavals, social media, and AI, it reflects the contrasts and twists the world has felt while offering surges of serenity and hope. From brooding tension to playful relief, it moves through different states in an evolved Extrawelt manner. The album's opening credit, "Grand D?part," as if a cinematic prelude, invites listeners into a world of creeping bass, an explicitly Extrawelt sound that's synonymous with the "anti-genre genre" they work within. The album's second track, "Clapland," sees Extrawelt joining forces with Jimi Jules, a name synonymous with excellence in electronic music, creating a rare collaboration that is felt in every note. Soon, the mood shifts into softer melodies as heard in "Surrounded By Miracles," "Hope Sounds Good," and "Sir Stringalot," which bring bright euphorics to balance the darker moments in an album echoed by industrial influences. Later, as "Dystortion" unfolds, audiences are drawn into something few electronic artists can create: raw emotion. This is a gritty landscape as reflective as it is pulsing, glitchy, intense, and richly textured. Dystortion is a reflection of a complex, divided world, carried through dramatically with Extrawelt's signature techno tension.

 

PRICE: $30.50

CAT #: CONICROSE 002LP

FILE UNDER: JAZZ

Conic Rose's debut album has finally come to life on stage. After two years of playing it live, the music has grown, shifted, and deepened. This live album captures that process -- recorded in one night at Kantine Berghain, Berlin. A unique blend of jazz, indie and electronic elements -- the signature Conic Rose sound.

 

PRICE: $51.00

CAT #: CVSD 126CD

FILE UNDER: JAZZ

For the first time, a release of select music performed at Chicago's Empty Bottle in the heyday of the creative music boom of the 1990s. From 1996-2005, writer and producer John Corbett and musician and composer Ken Vandermark teamed up to curate a series of concerts, the Empty Bottle Jazz & Improvised Music Series. Together with annual international festivals, the series comprised more than 500 performances over its nine-year span, which was lauded in the international press and helped focus attention on Chicago as a hotspot for improvised music. The majority of the music was dutifully documented by Malachi Ritscher, from whose archives The Bottle Tapes: Selections from the Empty Bottle Jazz & Improvised Music Series (1996-2005) is drawn. Over the course of six CDs, arranged in chronological sequence, the box set revels in the span of the music presented at the Bottle, from the hardest blown free jazz to microscopic free improvisation and other kinds of experimental music. The lineup incorporates nearly 100 international musicians, including Peter Br?tzmann (who formed his Chicago Tentet at the Empty Bottle in 1997), Milford Graves (performing solo), a Bobby Bradford quartet with Fred Anderson, Hamid Drake and Wadada Leo Smith, Nicole Mitchell's Black Earth Ensemble, the Dutch bands Available Jelly and Clusone 3, Von Freeman in his only performance with Misha Mengelberg and Han Bennink, Jim O'Rourke duetting with Cor Fuhler, Mats Gustafsson and Thurston Moore in their first face-off, Chicago Underground Quartet, Steve Lacy/Roswell Rudd Quartet, and much more. The package comes with a lavishly illustrated 64-page book, loaded with never-published photos and vintage ephemera, including Dan Grzeca's beautiful posters, as well as an in-depth essay by Corbett, with play-by-play notes on the music. Also featuring Willie Pickens, Wilbur Campbell, Ron Dewar, Joshua Abrams, Robert Barry, Alexander Schlippenbach Trio, Fran?ois Houle, In Zenith, Fred Anderson, Kent Kessler, Hamid Drake, Mars Williams, Misha Mengelberg, Aaly Trio, Dkv Trio, Irene Schweizer, Evan Parker, Ned Rothenberg, Andr? Jaume, Floros Floridis, Peter Kowald, G?nter Sommer, John Butcher, Kevin Drumm, Holz F?r Europa, Joe Mcphee, Philipp Wachsmann, Daniele D'agaro Quartet, Erik Friedlander, and the Anthony Coleman Quartet.

 

PRICE: $23.00

CAT #: DAMGOOD 633LP

FILE UNDER: ROCK

LP version. "'The undisputed kings of garage rock' (New York Times) are back once again! Two years on from their 2023 album Irregularis (The Great Hiatus), Thee Headcoats are back with a new record that ranks alongside the very best of their 1990s albums. Featuring 12 fab cuts (or ditties if you prefer) recorded at Ranscombe Studios in Rochester. The Sherlock Holmes Rhythm 'n' Beat Vernacular comes at the same time as Man-Trap, a brand-new album by Thee Headcoatees, which features the chaps on rhythm section duties."

 

PRICE: $30.50

CAT #: ELA 004LP

FILE UNDER: JAZZ

Elations Recordings presents Tairen, an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition. Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately Tairen is an exploration and expression of self. Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasizes restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilizing joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful. While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, Tairen expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

 

PRICE: $9.50

CAT #: FTR 801CD

FILE UNDER: ROCK

After two decades in the experimental music scenes of New York and Western Massachusetts, Wednesday Knudsen might be known equally as a sought-after improv collaborator and the vocalist and guitarist for the beloved long-running psych band Pigeons, as a member of the New England folk rock ensemble Stella Kola, or the psych kraut supergroup Weeping Bong Band. Atrium is Knudsen's fifth solo album, marking her rich recording history with a stunning masterwork. Channeling the "atmosphere of presence" alongside the legions of ?liane Radigue, Hiroshi Yoshimura, and Joanna Brouk, on Atrium, Knudsen plays it all -- alto saxophone, flute, guitar, synth, piano, autoharp, bass guitar, and vocals. Atrium's tracks are sculptural rather than ambient, with a release into the gorgeous hold of gravity that insists listeners don't escape or drift away. While conceived and recorded independently and at different moments over a two-year span, each piece on Atrium was shaped as an occasion, a space, a timbral architecture exposing and inviting presence. Each piece is an effort toward a minimalism meeting the pace of nature, without the need for geographic recognition. These hills don't impose on the listener, reverberating instead like an atrium to wherever and however you are. Atrium is the vital and expansive follow-up to Soft Focus: Volumes One (FTR 649LP) and Two (FTR 650LP) released in 2022. Developing her craft as a multi-instrumentalist since her youth, it took Knudsen nearly two decades to arrive at her own distilled beautiful sound that is disentangled from the fuzz guitar-haze of her pillar underground band Pigeons. Atrium opens with "Fair Aegis," a tone-scape that evokes the mystery of the green trees cathedral of the Taconic Mountains as it simultaneously offers a context and threshold to cross into the remarkable richness of the album. "Place of Dream" is the sound-portrait of a wonderful demi-daydream, an extremely brief, pleasant vision Knudsen experienced that would repeat itself, as if a spinning moment or a flickering, the spiral motion of certain plants as they grow, moving toward the places of their thriving. Other anchors include "Dear Life, Green Flame," the tremulous shape of life striving in first gear, the primal pulse seeking its cadence and the yes of breath. The track was recorded live, in one take, unplanned and improvised, unlike most tracks on the album which Knudsen intentionally shaped. As equally as "Atrium" is an experience of presence, it is music that reinforces the power of art as resistance. The songs distill attention in a language that Knudsen calls "the opening of the heart," reminding listeners that subsistence and community results from their own actions and engagement with their exterior.

 

PRICE: $22.50

CAT #: FELLICE 005EP

FILE UNDER: ELECTRONIC

effgee returns on his own imprint Fellice with three deep house cuts, warm, soul-inspired and topped with dreamy sampled vocals. Fellice 005 comes as a special edition: each sleeve is hand screen-printed by the artist, limited to 250 copies. Another special feature is the label's first remix: a greeting from sunny Bari to the dance floors by Italian deep house fratello Nico Lahs. Your Light reaches back to effgee's production roots -- soulful sampling, dreamy textures and groove-heavy. "Birds" shifts into a fresher club direction, while "Roland Bass" brings together the essentials of his production recipe: analogue synths, sampling, and a punchy kick at the core.

 

PRICE: $21.50

CAT #: FJ 031EP

FILE UNDER: ELECTRONIC

BDK lands on Footjob for his label debut, serving up a four-track EP of disco-laced dancefloor power. The Belfast producer delivers high-octane, funky-driven, floor-focused cuts packed with punchy drums. A guaranteed lift to any house/disco set.

 

PRICE: $22.00

CAT #: FRO 31007LP

FILE UNDER: ROCK

2025 restock; 2011 reissue. Originally released in 1982. "Only Theatre of Pain is the first studio album by the American rock band Christian Death, released on March 24, 1982, by the Frontier record label. It is considered by most critics to be the harbinger of the deathrock style of music, as well as being highly influential on the American gothic music scene."

 

PRICE: $22.00

CAT #: FRO 31011LP

FILE UNDER: ROCK

Restocked; 2021 repress. Originally released in 1983. "Suicidal Tendencies is the debut studio album by American hardcore punk band Suicidal Tendencies. The album was released on July 5, 1983, through Frontier Records with the catalog number FLP 011. It became one of the best-selling punk rock albums at the time and launched the band into its future success. Suicidal Tendencies has received positive reviews from music critics, and by 1993, the album had sold at least 400,000 copies. 'Institutionalized' was released as a single to promote the album."

 

PRICE: $47.50

CAT #: GPM 334LP

FILE UNDER: ELECTRONIC

Body Language Vol. 27 marks the return of Get Physical's landmark series, curated this time by Dutch producer Helsloot. Since its launch in the early 2000s with curators like Dixon, Modeselektor, and DJ Hell, Body Language has become one of the most respected compilation formats in electronic music -- a series that captures moments in club culture while pointing to the future. For this new chapter, Helsloot brings his melodic and emotional touch to the project, weaving together exclusive originals, collaborations, and carefully chosen reinterpretations. A special highlight is his remix of the legendary "Body Language" by M.A.N.D.Y. vs. Booka Shade, which bridges the series' heritage with its modern vision. Across four sides, Helsloot balances intimate songwriting with dancefloor energy, joined by guests including Richard Judge, Pete Josef, Sailor & I, and Beacon. The result is both a personal artistic statement and a continuation of the Body Language legacy -- a timeless journey designed for deep listening as well as club play.

 

PRICE: $35.00

CAT #: GUESS 273LP

FILE UNDER: ROCK

Psychedelic rock holy grail. Hailing from Tel Aviv, the Churchills blended Anglo-American psychedelia with Middle Eastern motifs. The band was in fact a cosmopolitan collective: vocalist Stan Solomon was Canadian, guitarist Robb Huxley came from England, while the rest of the group -- Haim Romano on guitar and mandolin, Michael 'Miki' Gavrielov on bass, and Ami Trebich on drums -- were all from Israel. Released in 1969, Churchills can be considered the first truly psychedelic rock album produced and released in Israel during the 1960s. At a time when Israeli music was dominated by folk and pop, the Churchills' English-language, fuzz-drenched, mind-bending sound and studio experimentation was wildly ahead of its time. Impossible to find in its original form, Guerssen presents a new vinyl reissue of such legendary album, sourced from the original master tapes. Includes eight-page insert with detailed liner notes by Mike Stax with input by original member Robb Huxley and rare photos.

 

PRICE: $31.50

CAT #: GUESS 281LP

FILE UNDER: ROCK

Among the many forgotten bands of the late '60s, few shine as brightly (and unjustly overlooked) as Singapore's own October Cherries. From Singapore to Belgium to Abbey Road, The October Cherries reinvented themselves again and again -- Truck, Col. Truck, Jade & Pepper -- leaving behind a trail of dazzling Beatlesque pop-psych. Originally released in 1974 in Singapore/Malaysia, Truck's Surprise! Surprise! re-arranged songs first released on the Cherries Dreamseller album and sounds like it could've been part of the '60s British psych era but filtered through early '70s production: melodic, Beatles/Badfinger-influenced English vocals, catchy songs, lush arrangements, fuzz and wah wah guitar, electric piano, and cool analog synth/Moog which gives the album a wonderful unique vibe. Featuring "Earth Song," included by the late Trish Keenan of Broadcast in her celebrated Motorway Mix. This was one of the earliest Guerssen reissues, first released in 2004. Out of print for many years, the label now presents a new, updated edition. Features original artwork in hard cardboard sleeve. Remastered sound in 24-bit domain. Includes insert with liner notes and photos, as well as download card.

 

PRICE: $31.50

CAT #: GUESS 282LP

FILE UNDER: ROCK

Among the many forgotten bands of the late '60s, few shine as brightly (and unjustly overlooked) as Singapore's own October Cherries. From Singapore to Belgium to Abbey Road, The October Cherries reinvented themselves again and again -- Truck, Col. Truck, Jade & Pepper -- leaving behind a trail of dazzling Beatlesque pop-psych. Col. Truck's One Fine Day was released in the UK in 1976 and it's the perfect companion to the Truck's Surprise! Surprise! and October Cherries' Dreamseller albums. The October Cherries (Jay Shotam, Peter D?az, Richard Khan, and Benny Siow plus the "fifth" member Balram "Bal" Shotam), became hometown heroes in late-'60s Singapore and Malaysia, crafting a shimmering brand of Beatlesque psychedelic pop that rivaled their UK contemporaries. After government censorship and piracy stifled their career at home, the band relocated to Belgium, releasing the Pepperish gem Dreamseller in 1972. When guitarist Peter Diaz departed to join famous Belgian band The Pebbles, Jay and Bal responded with a bold studio experiment: Truck's 1974 album Surprise! Surprise! -- a reimagined, synth-enhanced reincarnation of their earlier work, bursting with fuzz guitars, Moog flourishes, and melodic charm. What began as "revenge" became their most adventurous and collectible release. Soon after, the Balram brothers relocated to London and issued Col. Truck's One Fine Day (mixed at Abbey Road and mastered at Pye Studios), another gem blending the melodic warmth of Dreamseller with a leaner production. These projects together form one of the most fascinating hidden chapters in Asian psychedelic pop history. Long overlooked outside Southeast Asia, the October Cherries and their Truck offshoots are finally being rediscovered -- a kaleidoscopic bridge between Beatles-inspired pop and early '70s studio experimentation. Remastered sound. Includes insert with liner notes and download card. RIYL: Beatles, Bee Ges, Tin Tin, Aerovons, Badfinger, Fading Yellow Comps.

 

PRICE: $31.50

CAT #: HJR 025LP

FILE UNDER: WORLD

2025 restock; originally released in 2006. The fourth volume in Honest Jon's Records' series celebrating the music of black London, staying for now with the first waves of modern immigration from Africa and the West Indies. After devoting a third installment to the accomplishments of the late Nigerian genius Ambrose Campbell, Honest Jon's resumes an open-house policy, suited to musicians whose lives and artistic ambitions carried them all over the world; calypso and kwela are back, and highlife and bebop, with a little rock 'n' roll, a "mambo Indio," a shango hymn, some Sun Ra-style cha-cha-cha. A lake in a Johannesburg zoo, a Chinese on the Harrow Road; astronauts and prostitutes, landlords, streetfighters and cricketers. The music and detailed notes are presented alongside rare artist photographs by Val Wilmer. Includes tracks by Ginger Folorunso Johnson, Young Tiger, Dorothy Masuka, Lord Kitchener, Cab Kaye, Shake Keane, Eric Hayden, Enoch & Christy Mensah, Victor Coker, Young Growler, The African Messengers, and Nat Atkins.

 

PRICE: $31.50

CAT #: HJR 040LP

FILE UNDER: WORLD

2025 restock; deluxe double LP version, in a beautiful gatefold sleeve. This is the fifth release in Honest Jon's series of albums exploring vintage recordings held in the EMI Hayes Archive. This album uncovers the dizzy beginnings of the golden age of African music zinging with the social and political ferment of the independence movement and anti-colonialism, after the Second World War and the daredevil origins of Congolese rumba -- the entire continent's most popular music in the '60s and '70s. The new music grew in concert with a burgeoning night life especially in the twin capitals of Leopoldville (today's Kinshasa) on the Belgian side, and Brazzaville on the French, where humming factories lured increasing numbers of rural Congolese with the offer of a steady, relatively well-paying job. The astonishing inventions of Europe and America also played an important role in the music's development. Traditional Congolese musicians began to master imported guitars and horns by mimicking what they heard. The jazz of Louis Armstrong and the ballads of European torch singers like Tino Rossi captured the imagination of the rapidly-expanding working class as well as the familiar-sounding music of Latin America. Local musicians swapped the Spanish of the originals for Congolese languages. In his version of "Peanut Vendor," included here, A.H. Depala replaces the seller's cry of "mani," or "peanut," with a lovelorn lament for a woman named "Moni." Depala went on to land a spot in the house-band of the prestigious Loningisa studio. Others failed to gain equivalent recognition, but their music was no less impressive. Listen to likembe (thumb-piano) player Boniface Koufidilia as he makes the transition from traditional to modern in the first few seconds of "Bino," which hits you with a vamping violin while he muses about death (including that of the popular Brazzaville musician Paul Kamba). Andre Denis and Albert Bongu both echo the sounds of palm-wine brought to the Belgian Congo by the coastmen. The sweet vocal harmonies of Vincent Kuli's track were learned, perhaps, in a mission church. Rene Mbu's nimble, likembe-like guitar plucking shines on "Boma Limbala," and is Laurent Lomande using a banjo as a backdrop to "Elisa?" Aren't those kazoos, buzzing along on Jean Mpia's "Tika?" It's as if the musicians, fired up by the times in their zeal for experimental self-expression, tossed into a bottle some new elements and some old, some near and some far, and then shook it hard, to see what would happen. With insert featuring rare photographs and notes by Gary Stewart, author of Rumba On The River. Sound restoration done at Abbey Road.

 

PRICE: $38.50

CAT #: INCIENSO 029LP

FILE UNDER: ELECTRONIC

An intimate, mesmerizing record about loss and change, sorry i thought you were someone else is K-LONE's most personal album to date and his debut release on Incienso. Made after his father's passing, the album became a place of escape and reflection. It's a warm, hypnotic space to drift within.

 

PRICE: $26.00

CAT #: JPR 125LP

FILE UNDER: ROCK

"In 1964, Martin Denny looked beyond the Hawaiian and Asian influences of his previous records to find another place to plant his umbrella in the sand, as well as in your drink: the sounds of Latin America. With this new sound to hang his exciting arrangements on, Latin Village has long been considered one of Denny's high-water marks, and Jackpot is thrilled to have this long-cherished LP back in print. Sourced from the master tapes. First time on vinyl since the original release in 1964. Featuring "The Girl From Ipanema" and "Ho-Ba-La-La". Pressed on limited floral swirl color vinyl."

 

PRICE: $26.00

CAT #: JPR 126LP

FILE UNDER: ROCK

"Although Denny was recording his output at an astonishingly brisk rate, there's something about Exotica Vol. III that makes it one of his best and most sought-after with collectors and listeners. Of course, the brilliance of the lead-off track of Les Baxter's 'Jungle River Boat' with its tight vibe-and-percussion workout intertwined with Colon's iconic bird calls and other worldly sounds, only makes the sweet, lazy water sounds of the following track 'Harbor Lights' all the more delightfully mysterious. On limited sky blue color vinyl. Sourced from the master tapes. First time on vinyl since the original release in 1959."

 

PRICE: $30.50

CAT #: KIOSKID 040LP

FILE UNDER: ELECTRONIC

25 has always been a mystical number in the world of Kiosk ID, woven into our story since the earliest days of Bar 25, Holzmarkt 25, and every chapter since. When 2025 arrived, the magic of the number was undeniable, echoing through Kater Blau, Holzmarkt, and Kiosk ID -- and calling for a celebration like no other. Two core Kiosk ID artists -- Britta Arnold and Sascha Cawa -- took to the decks, weaving a spellbinding journey crafted specifically for this moment. Months in the making, they unfolded a beautifully hypnotic tribute to the magic of 25, premiering five tailormade tracks in the process. That moment lives on as Kiosk ID no. 40 -- a special double LP capturing the magic of that night. Side A features the live New Year's recording: an unfiltered document of Britta and Sascha's hypnotic, otherworldly, and deeply danceable set, as it unfolded in real time -- strobing into the first moments of the new year. Sides B, C, and D feature five exclusive studio originals, written and produced specifically for this night. On "Counting," Britta and Sasha unfold their brand of stripped darkness and rolling groove work, while "Reformer" teeters on taut coils of suspended synths. With "NGVMT," the energy bursts open -- a radiant block-party roller with throbbing staccato swagger and clanking metallic arpeggios. "Beam" lifts off into pure cosmic wonder, its fluttering, airy themes spiraling skyward. "Good Life" rolls the credits with a beautifully introspective soliloquy, tender and reflective beneath gentle waves of aspirating piano chords. Together, these recordings offer both an auditory keepsake and an invitation to relive that unforgettable night or discover it anew. Across five hypnotic compositions and a half hour of dance floor bliss, Good Life 25 encapsulates the ever-evolving sound.

 

PRICE: $21.50

CAT #: LQLDISC 001EP

FILE UNDER: ELECTRONIC

DJ Balaton continues to carve out his part in the puzzle with a fresh four-tracker on LQL 3. A nostalgic nod to Frankfurt with spacious arrangements. The title track "Back To The Mood" orbits around that secret open-air energy -- one of those full-circle cuts for the crew. You are missing the water, baby is all there is to say about "Flow Key", rolling away at 127, disguised but with energy. "Reso 02" grooves along with restrained intensity, shaping the EP into something personal and unique. Closing off, "Push Yourself" is Geoff White meets Herbert in a club-ready outfit.

 

PRICE: $31.50

CAT #: LMS 1725531

FILE UNDER: ROCK

Clear vinyl. FYC40 celebrates 40 years of Fine Young Cannibals, the British trio who stormed the global music scene in the mid-to-late '80s. Their journey began with the soulful, new wave energy of their 1985 debut Fine Young Cannibals, before reaching new heights with 1989's The Raw & The Cooked, a worldwide smash that fused rock, funk, and house, all powered by Roland Gift's unmistakable voice. Across their career, the band scored eight UK Top 40 hits, two U.S. Billboard #1 singles, multiple Grammy nominations, and two BRIT Awards -- cementing their place in pop history. The Raw & The Cooked delivered enduring anthems like "She Drives Me Crazy" and "Good Thing," both U.S. chart-toppers whose influence still resonates today, from hit shows like The Bear to Chanel campaign featuring Dua Lipa and BLACKPINK's Jennie. Includes new artwork and new liner notes. Fully remastered.

 

PRICE: $44.50

CAT #: LMS 1725532

FILE UNDER: ROCK

2LP 180gr black vinyl version. Gatefold sleeve. FYC40 celebrates 40 years of Fine Young Cannibals, the British trio who stormed the global music scene in the mid-to-late '80s. Their journey began with the soulful, new wave energy of their 1985 debut Fine Young Cannibals, before reaching new heights with 1989's The Raw & The Cooked, a worldwide smash that fused rock, funk, and house, all powered by Roland Gift's unmistakable voice. Across their career, the band scored eight UK Top 40 hits, two U.S. Billboard #1 singles, multiple Grammy nominations, and two BRIT Awards -- cementing their place in pop history. The Raw & The Cooked delivered enduring anthems like "She Drives Me Crazy" and "Good Thing," both U.S. chart-toppers whose influence still resonates today, from hit shows like The Bear to Chanel campaign featuring Dua Lipa and BLACKPINK's Jennie. Includes new artwork and new liner notes. Fully remastered.

 

PRICE: $32.00

CAT #: LMS 1725575

FILE UNDER: ROCK

Alongside Joy Division, The Durutti Column were amongst the first artists to be released by Factory Records. Their debut album, produced by Martin Hannett, showcased the filigree guitar work of Vini Reilly, awash with reverb and early experiments with synthesizers. It would be a first album of a five-decade career, in which The Durutti Column would quietly emerge as one of the most influential acts from the Manchester scene and beyond. To celebrate the album's 45th anniversary, London Records revisits the album with new editions, with audio sourced and remastered from the original tapes, with vinyl cut at half speed. 2CD version includes original album, bonus tracks, home and studio demos, and early live tracks (33 tracks total). Features two home demos exclusive to this format. Housed in a special hardback tall storybook edition (dimensions 147mm (w) x 196mm (h)). Includes 48p page booklet, restored 1985 "cassette edition" artwork with textured "tall book" sleeve, and the exact textured card for the outer sleeve has been accurately sourced. Features three essays by The Durutti Column/Factory Records expert James Nice, Primal Scream's Bobby Gillespie and MOJO editor Ian Harrison.

 

PRICE: $20.50

CAT #: LMS 1725592

FILE UNDER: ROCK

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. Double CD version includes 6-page, 4/4 digisleeve with 3 wallets, as well as 12-page booklet and marketing sticker. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.

 

PRICE: $40.00

CAT #: LMS 1725594

FILE UNDER: ROCK

Double LP version. 2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.

 

PRICE: $45.50

CAT #: LMS 1725595

FILE UNDER: ROCK

Double LP version. Yellow and magenta color vinyl. 2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.

 

PRICE: $21.50

CAT #: MACROM 082EP

FILE UNDER: ELECTRONIC

Imp?rieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from K?rcaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece. After conquering the hearts and feet of the scene with his stunning debut album Rezil and the follow-up Fena EP, Imp?rieux caps off his stellar year with a seven-track mini album on Macro. Unpredictability, bound together by a consistent, modernist glint. From the raw jacking of "Gips" to the warm euphoria of "Baka," from the darbuka frenzy of "Duman" to the cutting friction of "Trese" -- a triumph.

 

PRICE: $20.00

CAT #: MSK 015EP

FILE UNDER: ELECTRONIC

Berlin's ZentaSkai returns to his Mask Records with the Billie EP, collaborating with Palawan, Jeremy Reinhard, and Thomas Gr?n for release on vinyl only. He kicks off with the solo cut "A1," which is quick, sophisticated, raw house with a funky clip to the beats that diffuses heat in the grainy sustained pads. It brings serene emotional release through stylish hypnosis and gorgeous vocals that blend seamlessly into the mix.

 

PRICE: $12.00

CAT #: MDW 008CD

FILE UNDER: ROCK

Cambridge's acclaimed psych-folk quintet Fuzzy Lights return with their fifth album Fen Creatures. Following on from 2021's critically lauded Burials the band have created their most conceptually focused work to date -- a mediation on environmental crises that uses the folklore and history of East Anglia as a lens to examine humanity's fractured relationship with the natural world. The album operates across multiple historical timelines, from Iron Age hill forts to medieval plague houses, from Byron's Romantic-era environmental warnings to the immediate threat of rising sea levels, creating a temporal tapestry that weaves ancient stories with contemporary concerns. Musically, the quintet, Rachel Watkins (vocals/violin), Xavier Watkins (guitar/electronics), Chris Rogers (guitar), Daniel Carney (bass), and Mark Blay (drums), have pushed deeper into experimental drone territories while maintaining the crystalline folk sensibilities that have become their signature. Lead track "Greenteeth" transforms the traditional cautionary tale of Jenny Greenteeth, the water spirit who lures children to their deaths. Elsewhere, "War Ditches" imagines the Iron Age dead of a Cambridge hill fort keeping watch over the land, their vigil ending as modern people lose connection with the earth. "The Promise" creates an imaginary encounter with the ghosts of Landbeach village across multiple eras, connecting the 1665 plague with our recent pandemic experience through shared narratives of community resilience and loss. Critics praised Burials as "way beyond folk and folk in essence all at once" (Backseat Mafia) and "folk-rock looking back squarely at the early 1970s" (Financial Times), and Fen Creatures promises to cement Fuzzy Lights' reputation as one of Britain's most vital contemporary folk acts. The album positions them firmly within the lineage of artists like Fairport Convention, Trees, and Comus who understood that engaging with tradition isn't nostalgic escapism, but a way of accessing older wisdoms about how to live in the world.

 

PRICE: $38.50

CAT #: NSP 061LP

FILE UNDER: ELECTRONIC

LP version. In The Name Of Blood is an intimate dive into the heart of identity. The change of stage name, from "Sierra" to Sierra Veins, is at the core of the creative process for this second album. This evolution resonates directly with its central theme: identity. Featuring Ghost Dance.

 

PRICE: $37.50

CAT #: OP 031LP

FILE UNDER: ELECTRONIC

Pomegranates -- Nicol?s Jaar's unofficial/alternative soundtrack to Sergei Parajanov's 1969 film The Color of Pomegranates -- was first released in 2015, and to highlight the 10-year anniversary Other People is reissuing the album on vinyl, with the first edition (a collaboration with the label Mana) having long been out of print. Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it's based, with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar's identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film's tracing of the coming of age of the young poet, Sayat-Nova. At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend's music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar's most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener. In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects.

 

PRICE: $35.00

CAT #: PURR 003LP

FILE UNDER: ELECTRONIC

Vel, recognized for her striking presence in the contemporary techno scene, initiates the Cuddle Protocol, her first ambient album and the third outing on her own label PURR. The nine-track record is a personal and intimate statement. With Cuddle Protocol, Vel explores the paradox of intimacy in a coded world. "I like the idea of a protocol for softness," she explains, "of codifying something that should be intimate and spontaneous." This tension runs through the album: fragile voices and soft layers unfold against serious, carefully structured arrangements, balancing tenderness with rigor. Ambient music has always been Vel's "first love." Before producing techno, she composed ambient exclusively, and this album marks a return to the form in its most sincere expression. "I know this music will follow me all my life. It's not a phase. It's how I express myself most truthfully." Cuddle Protocol is about slowing down, embracing sincerity, and reaching for deeper connection. "When I listen to ambient, I access another world. It's charged with emotion, it makes me drift and forget everything. That's the feeling I wanted to share." Mastering by Sixbitdeep. Artwork by Adone Giuntini.

 

PRICE: $33.00

CAT #: QUI 021LP

FILE UNDER: ELECTRONIC

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi. Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness. Throughout the album you can hear hints of the familiar -- dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow -- just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesizers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.

 

PRICE: $19.00

CAT #: QUINTESSE 097EP

FILE UNDER: ELECTRONIC

Andy Ash is a long-time contributor to the sound of Quintessentials. The Liverpudlian shows superb diversity on his new EP Silent Planet. The opener, "Patch 2," is a stripped down masterpiece of dub techno and a perfect club tool. "Hross" can be called acid house. The B-side shows more of a relaxed vibe with the beautiful string-laded "Franco alley" and the smooth low BPM track "Yellow." This silent planet has something to say and shows great variety of styles and Andy's skills as a producer -- and yes, all AA releases have his own artwork!

 

PRICE: $32.50

CAT #: R 114CD

FILE UNDER: CLASSICAL

2x Gold CDs (glass-mastered). Includes hardbound libretto book (88 pages). Sean McCann presents The Leopard, an opera. Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann's first album since 2019's Puck (R 069LP) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher (Horse Lords), and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound. The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi's devastating "Lagrime mie" (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir. The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a "Copy path," a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves. The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film.

 

PRICE: $92.50

CAT #: R 114LP

FILE UNDER: CLASSICAL

3LP version. + Book Sean McCann presents The Leopard, an opera. Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann's first album since 2019's Puck (R 069LP) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher (Horse Lords), and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound. The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi's devastating "Lagrime mie" (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir. The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a "Copy path," a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves. The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film.

 

PRICE: $16.50

CAT #: RS 115CD

FILE UNDER: EXPERIMENTAL

IIris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital now presents their debut album, Victual Vittle Bottle Cunt. Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern's De ossibus 20 (2020) and Spann's Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other's syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material. This album's conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: "the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses." Many of the texts began as hand-drawn concrete poems by the duo. "Urnshaped Murmuration" stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track "Erections of Angels Directed at Me" is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total. The result is an authentic, sharp mythology -- visceral research into "the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt." Victual Vittle Bottle Cunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a 12-page booklet booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell. Glass-mastered gatefold CD edition of 200.

 

PRICE: $30.50

CAT #: RS 116LP

FILE UNDER: ELECTRONIC

Recital presents The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020). The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet "becomes the point and the problem to explore." The second track "Oven Girls" opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over the listener and they transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On "Music in the Casket," a disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, "The Holy Restaurant," sets a text written by Baron's grandfather. A small chorus voices his words, echoing the humanistic storytelling of "Blue" Gene Tyranny's A Letter From Home. Under sunlit piano progressions, a fleet of smokey trumpets emerges. Running throughout the album is a series of "traces": short melodic phrases painted over again and again with different real and MIDI instrumentation. The "luxurious asceticism of doubling" as Baron puts it. They explain, "Part of the allure for me is that the 'original' material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern." The album's shifting, variegated forms and voices pass quickly; the record feels both comforting and elusive, suitable for any hour of the day. The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron's family members. It is released in a limited-edition vinyl pressing of 200 copies, accompanied by a 12-page booklet of effusive program notes by the composer, alongside an assemblage of photographs, scores, and artwork.

 

PRICE: $22.50

CAT #: RM 4100CD

FILE UNDER: EXPERIMENTAL

A note from Lawrence English: "Even without visiting a place, we often think we know it. It's a syndrome of the modern age. The world is right before us, on screen, summarized and sensorially curated into a particular vision that casts light across 'just so much' of an impression of a place and a time. In some ways, I realized this phenomenon most strongly when I visited Antarctica in the summer of 2010. In my mind's ear (and eye) certain features of that place were front and center -- imagined, as to be real. The stark color schematic, the full spectrum dynamics of life (and death), the distance from wider humanity and the uniqueness of climate formed a collaged pre-conception of the ice continent... The recordings here speak to the everyday of our incursions into Antarctica. They are not exceptional, or unique, in that they unfold across much of the continent's camps and bases moment to moment, depending on the season and location of course. What they do highlight is the confluence of environments, materials, climate, and life that all clamber together in these shifting plains of ice, rock, and water. While not exactly intentional, the way this work played out is largely in three chapters, the human, the land and the water. Each of these intersect and fall into one another of course, but they also exist with a sense of being discrete. Whilst the characters might be shared across these zones of entanglement, the stories they tell into are often unfolding in parallel, rather than in sequence... To me these recordings capture the duality of a place like Antarctica. They are a seasonal glimpse into the lived experience of the wildlife and humans that persist in this environment. They also reflect upon the objects and things that comprise this place. The recordings catch the uneasy murmurs of eroding ice plates, the trickling conversations of high summer streams, the clicking echolocations of Orcas, the barked disputes of territorial Antarctic Fur Seals, and the chirping of penguin chicks racing to shed their downy coats and find their way to the relative security of the ocean before the winter sets in. They also capture the feverish rush of researchers, military personal, and station workers as they prepare for the long, frigid months ahead during which time they are effectively disconnected from the remainder of the planet. These moments exist in urgency, the summer's sweet caress is fleeting and the winter knows no forgiveness."

 

PRICE: $32.00

CAT #: ROOTS 044LP

FILE UNDER: WORLD

2025 repress. Holy grail of US roots reggae released in 1979. Old-style tip-on sleeve replicating the original sleeve. More Relation started in 1977 in New York as a backup band for reggae artists such as Melodians, Larry Marshall, Carlton Coffee, and Ken Booth. They released many now sought-after singles and one self-titled album.

 

PRICE: $20.00

CAT #: ROOTS 052EP

FILE UNDER: WORLD

2025 repress. Matthew (son of Winston McCanuff) was one of the rising stars in the reggae scene around the 2010s, when he got cold-blooded murdered in 2012. "Be Careful" appeared on his debut album with the same title. On the B-side comes the original version. Later on, an alternate version was recorded, which has a more "live" feel to it and also features a wicked dub.

 

PRICE: $18.00

CAT #: RB 143EP

FILE UNDER: ELECTRONIC

The special one! Mr. G's productions are distinctive, deep, driving and, above all, a listen to behold. Like the man -- machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass-like live sets full of swing, grit and soul, or simply through other DJs playing his records. Blessing Running Back for the second time, Mr. G's Reconnection EP is the result of a serious dive into his vaults.

 

PRICE: $21.50

CAT #: RBDEETCS 001CS

FILE UNDER: ELECTRONIC

Cassette version. What began as a nostalgic nod to Camden Market's bootleg culture has become the next chapter of in the Running Back Mastermix series. At once deeply personal and openly communal, it shows how a lifetime of production can be condensed into 90 minutes without losing its edge -- proof that the mixtape, even in 2025, still has stories left to tell. What followed was a patient excavation. Old DATs were pulled out of storage, forgotten files surfaced from hard drives, and new material was written to sit alongside them. Together, these fragments revealed a body of work stretching back more than 25 years -- tracks that moved across the spectrum of house and techno but shared a common thread of character and atmosphere. Recorded live on three decks using Serato, the resulting mix brings together 24 tracks: unreleased material from the past and brand-new productions, all stitched together into a continuous narrative. It's equal parts retrospective and statement of intent -- less a museum piece than a living document.

 

PRICE: $27.00

CAT #: SC 001LP

FILE UNDER: ELECTRONIC

Gaia Weiss is an actress -- not a singer by trade -- and summons Charlotte Gainsbourg and Brigitte Bardot to deliver the spoken words as a fractured monologue, guiding listeners through splintered visions, and detuned chord progressions, in pursuit of the seemingly unattainable. With this six-chapter journey on the newborn Street Cinema label, Tenashee (DJ Tennis and Ashee, Manfredi Romano and Joseph Ashworth) have crafted and refined - like two artisans from another era -- a unique creation: a creature that reconnects electronic music with complexity and richness, fully aware of hyper-contemporaneity, yet capable of resisting surrender to it. Blink To Check It's Real, featuring artist Campbell King, immediately immerses the listener in an electronic reality check, with '90s-inspired tweaking and glitching, all woven together with a poem from Campbell that contrasts the dizzying intensity of lust and connection with the comfort of being able to "loosen their grip" and "make it safe." In "I Can See Now," Aurelia Ray (stage name of pop-music-writing powerhouse Caitlin Stubbs) evokes a sense of serenity, pure love, and trust within a refined, spacious piece of minimalist electronica. Over the course of five years, through exchanges, writing sessions, and fine-tuning in Paris, London, Saint Martin, and Ibiza, the world evolved, but Tenashee's musical mission remained unchanged. The mini-album reflects the musical backgrounds of its two creators, their unique sensitivity to the present, and their desire to challenge each other with sharp, emotional, yet weightless styles and sounds. It is no longer just DJ Tennis; the successful DJ touring worldwide, organizing events, and founding influential labels like Life & Death; nor only Joseph Ashworth with his scientific approach and creativity as a producer and writer in the competitive world of pop; nor Ashee, with his releases on Circoloco and Aus Music. No, Tenashee is something more. It is a duet searching for a thread that connects electronic music -- past, present, and future -- through experimentation, craft, and artistry.

 

PRICE: $25.00

CAT #: SYNAPTIC 014LP

FILE UNDER: ELECTRONIC

Synaptic Cliffs presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

 

PRICE: $20.00

CAT #: SYST 142EP

FILE UNDER: ELECTRONIC

Strictly limited to just 500 copies, this transparent blue 12" vinyl marks the 142nd release on Systematic. It proudly features none other than the boss himself, Carl Cox, delivering a groovy electro killer you might not have seen coming. On the flipside, label head Marc Romboy joins forces with his long-time friend Robert Babicz to present a warm, driving four-to-the-floor tech track that perfectly reflects their signature sound. A truly powerful package!

 

PRICE: $53.50

CAT #: TMSLP 001LP

FILE UNDER: ELECTRONIC

2LP comes in one pink & one black vinyl. For the 25th anniversary of the release of Strange Attitude, TMS Records has decided to re-release the album in a deluxe version (new artwork by H5) on vinyl. The album features an acoustic version of "You Were Born" and an original remix of "Little Scare" by Todd Edwards.

 

PRICE: $23.00

CAT #: TPR 142LP

FILE UNDER: ROCK

"Total Punk's hardest working band Pyrex, are back with their sophomore LP Body. A 16-minute crash course on Human Anatomy led by Jeffrey Dahmer. Concise, eerie, and extremely well crafted. All sinew and muscle, not an ounce of fat to be found on this 8-song ripper! Brain rattling, ear splitting raw power punk. Heavily distorted, pummeling, and covered in bloody spittle. The perfect soundtrack for cutting your hair with a lawnmower."

 

PRICE: $25.00

CAT #: TPR 145LP

FILE UNDER: ROCK

"Reissue of the second LP from Albuquerque, New Mexico's The Drags. 12 tracks of top of the slop '90s trash punk reissued for the very first time. A bit beefier than the debut but still a completely lo-fi affair. Budget anthems about electricity, explosives, and cannibalism! Without The Drags and this album in particular there would be no Total Punk!"

 

PRICE: $29.00

CAT #: TPR 148LP

FILE UNDER: ROCK

"After three albums, two 7"s, a feature length documentary and a smattering of cassettes, the Simps have entered middle age. An unflattering era in the life of a band where the shiny novelty of youth has disintegrated, pressures to expand or leave this mortal coil have mounted and the darling status once indiscriminately slathered onto their oeuvre relegated to the shadows, a blink in the continuum of the next-big-thing economy. Many believe aging gracefully is a myth, and that may be so, but people like Joe, Chris, Obe, Zak and cohort Cole know no other way than to slog onward and upward. With the departure of keyboard magnate Tom Tom, the unequivocal straight man to the chaotic ensemble, the group was due for a proper unravelling or a long hard look in the mirror. Tantric Decapitation was recorded live at Value Sound Studios in two days by Renny Wilson, and after nominal mixing attempts, left bare. It was an exercise in introspection, the gritty product destined to be a looking glass into the rough-hewn nature of the band's sound. Despite the realism and immediacy of this double album, one thing was certain: every record needs a story: a platitude drilled into the heads of banal musicians and record execs alike. Doesn't matter the fortitude of the yarn however, just the way you use it. As such, the Educated Fools were born. A fictional group from the wilds of Nantucket, primed for the newborn sheen the Simps would never touch again. Through devious ploys and high-brow marketing efforts, Total Punk Records concocted a salacious and expansive tale that no groveling blogger or egomaniacal music journalist could ignore, or so we thought. All this context may serve you dear listener, but the meat of this epic remains the same whether you choose to believe myself or the fake news strewn across the internet. This is a steadfast document of unhinged, unedited rock music unlike what you will find anywhere else. It is singular, whether it is total indulgence or just a bad idea."

 

PRICE: $23.50

CAT #: WE 020EP

FILE UNDER: ELECTRONIC

Luminary and guiding light of the wave and Italo resurgence, Curses returns to Wrong Era Records under the veil of Tutto Vetro, presenting the mechanical masterpiece "Trust The Beat" in this fresh form. A master of cinematic body music, Tutto Vetro ignites the release with "Trust The Beat," a slamming and enigmatic proto cut. "Wild Things" delves deeper into his talent for infectious melodies and commanding percussion.