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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 04/20/2026

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PRICE: $24.00

CAT #: 12XU 168LP

FILE UNDER: ROCK

"The title track for Lupo Citt?'s second LP, Inverno ('winter' in Italian), was born in January 2023. Written in waking sleep at 4 am. Looking out the window at the winter world below when it's too quiet, no one is around, but anything and everything feels possible. Lupo Citt? wrote the songs for Inverno by instinct: each song, in viscera, a life and personality of its own. Chris, Jenn, and Sarah each brought in songs at different stages, in different forms and moods. Some came together fast, others took long. Some songs had to be stripped, slowed down or sped up, while others were completely gutted and rebuilt. A hard coming out of post-COVID lockdown, trying to relearn to live outside of isolation. Moving from the dark of winter into light, a jarring shift, the world was changing so fast in such stark contrast between the quiet isolation the world settled into with close friends and family. While Lupo Citt?'s debut was melodic, energetic, world-weary, sometimes chaotic, Inverno is out on a limb, taking a risk, and not caring at all how it turns out. Inverno is a snapshot of the bad and good, trying to stay awake and be present, fighting off the sleep of winter and the lure of time standing still. Writing, playing, listening to music is essential, now, more than ever, for survival amidst uncertainty, doubt, dystopia, grief, loss, blindness, vision, and love. This is Inverno."

 

PRICE: $18.50

CAT #: AALP 2784LP

FILE UNDER: REGGAE

Sugar Minott -- a Jamaican artist who came on the scene in the late '60s who impacted the blueprints for the rise of the dancehall style music worked for Studio One, Exterminator, and many others. An artist who was affiliated with many labels. Here he is, produced by P. Burrell. Fine yardstyle dubs and melodies. Personnel: Dean Fraser - horns; Robbie Shakespeare - bass; Sly Dunbar - drums; D Dennis - keyboard; Stephen "Cat" Collin's - guitar.

 

PRICE: $36.50

CAT #: ZORN 085LP

FILE UNDER: JAZZ

First time reissue of Japan/US free jazz rarity. Old-style gatefold LP with rare photographs and liner notes by Ed Hazell. Edition of 1000. The 1970s were Marion Brown's most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as "a more deliberate kind of music that had more structure to it," pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines. Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown's methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style. "La Placita," making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard "Flamingo" is reshaped through diasporic rhythm and lyrical soloing, while "Pepi's Tempo" and "Mangoes" harness crisp funk and reggae grooves to generate what Brown called a "manifestation of community" through collective improvisation. Even the overdubbed solo feature "And Then They Danced" reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player. This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles -- rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, "from life and from the world of experience."

 

PRICE: $36.50

CAT #: ZORN 098LP

FILE UNDER: JAZZ

First time reissue of free jazz rarity, pre-Seikatsu K?jy? Iinkai group. Old-style gatefold LP with rare photographs and liner notes by Alan Cummings. Limited edition of 500. The single album self-released by the quartet Sh?dan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo's free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In free jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the center: a cramped basement beneath a rice shop, seating just 20 people. Among the most active of the new venues was Alone in Hachi?ji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene. In early 1976, Umezu and pianist Yoriyuki Harada -- recently returned from New York's loft jazz environment, where they had played with musicians such as David Murray and William Parker -- formed Sh?dan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning "mass evacuation," pointed to their self-chosen exile in Hachi?ji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms. They returned to Alone on December 24 to record Sono zen'ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. Alone closed in September 1977, and Sh?dan Sokai soon dissolved, later morphing into the expanded Seikatsu K?jy? Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

 

PRICE: $28.00

CAT #: BTR 103LP

FILE UNDER: WORLD

2026 repress; Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv's number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting. Mulatu Astatke requires little introduction at this point. Born in Jimma, Ethiopia, Mulatu went on to live and study in London, Boston and New York. Initially drawn to and trained in jazz and Latin music, he developed the sound he called "Ethio-jazz" over a series of seminal albums combining jazz, Latin, funk and soul, with traditional Ethiopian scales and rhythms. Formed in 2012 on the south side of Tel Aviv, the 12 member Hoodna Orchestra is a collective of musicians and composers who initially bonded over a shared love of Afrobeat. They have gone on to incorporate psychedelic rock, hard funk and soul, jazz, and East African music into their sought-after releases, winning praise and airplay from the likes of Iggy Pop and Huey Morgan on BBC Radio 6 Music. The collective draws together a huge array of musical talents such as guitarist Ilan Smilan and organist Eitan Drabkin of Sababa 5 fame, Shalosh trio drummer Matan Assayag, and percussionist Rani Birenbaum of The Faithful Brothers, many of whom also contribute compositions to the orchestra, ensuring its collaborative environment. Since releasing a recording with Ethiopian singer Tesfaye Negatu, Hoodna Orchestra had been looking to find ways to collaborate with Astatke himself and in early 2023 the opportunity arose to invite Astatke to Tel Aviv, record an album and perform it live for their home audience. Stars aligned as Neal Sugarman, multi-instrumentalist member of the Dap-Kings and co-founder of Daptone Records, joined and produced the session with Smilan. On one hand, Tension is clearly a deeply personal tribute by the Hoodna Orchestra to iconic Mulatu Astatke, but at the same time the recordings emit a remarkable amount of chemistry, and together they have created an essential addition to Mulatu's rich discography that charts new directions in his Ethio-jazz trajectory and provides the Hoodna Orchestra with their strongest album to date.

 

PRICE: $33.00

CAT #: BEWITH 102LP

FILE UNDER: JAZZ

2026 restock. Be With Records present a reissue of Ian Carr's Nucleus' Roots, originally released on Vertigo in 1973. From the wild cover to the iconic breakbeats, Roots is thick, funky-prog jazz-rock heaven. Genius trumpeter and visionary composer Ian Carr was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet. The title track is a low-slung, doped-out heist-funk. It was sampled by Madlib for Lootpack and Quasimoto's "Loop Digga". The soothing vocal fusion delight of "Images" follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates' silky vocals and Dave MacRae's Rhodes never sounding better. The cool, driving "Caliban" closes out the first side. Originally the third movement in a four-part commission to celebrate Shakespeare's birthday it stands up on its own, all robust rhythms and blended brass. Keyboard color and Carr's trumpet are splashed across the funk drums and basslines (and there's even some bamboo flute). Side two opens with the short, thrilling samba of "Wapatiti". Next up, "Capricorn" forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would've envied, "Odokamona" is a venomous slice of riff-soaked jazz metal, elevated by Carr's wah-wah horns. The album closes with MacRae's exceptionally cosmic "Southern Roots And Celebration". Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. Keith Davis's cover art for Roots is an acid-tinged airbrush dystopian/utopian living-room party scene. Remastered by Simon Francis from the original Vertigo master tapes. Cut by Pete Norman.

 

PRICE: $58.00

CAT #: BT 139LP

FILE UNDER: JAZZ

Gatefold! Comes with booklet. Black Truffle presents Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith, and Keith Rowe, Reichel's rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release. Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely center of European free jazz in the late 1960s, also home to Peter Br?tzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. Reichel was an important source for the development of Oren Ambarchi's own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel's work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. Many of the pieces from the 1980s make use of varieties of the "pick behind the bridge guitar," instruments of uncanny harmonic richness primarily designed to be played on the 'wrong' side of the bridge. At times the unexpected behavior of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realized solely through Reichel's unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel's own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel.

 

PRICE: $31.50

CAT #: BPLP 25001LP

FILE UNDER: ROCK

LP version. Time Out, a pause, like an injunction to suspend the course of events in order to project oneself into a more serene future, is the title of Malted Milk's eighth album. From the haunting Afro beat of the title track to the decadent boogaloo of "I Feel Numb", via the ballad "What a Night" and the funky "It's Alright", the band demonstrates its mastery of arrangements, its creative ability and its talent for revisiting the soul/funk genre. As with the previous album, 1975, Marco Cinelli is back on writing and production duties, bringing undeniable added value to the band's sound and aesthetic. The live translation of this album bears Malted Milk's trademark precision, energy, instrumental talent and group cohesion. Malted Milk once again demonstrates its musical strength and affirms the special place the band occupies on the current soul scene. Also featuring Benin International Musical and Ben L'oncle Soul.

 

PRICE: $35.00

CAT #: BB 429LP

FILE UNDER: ELECTRONIC

2026 restock; double LP version. "In 1984, four years after the release of my first solo album Synthesist on Sky Records, I wanted to produce a new solo album. At the time I was operating on the fifth floor of a former backyard factory on Graefe-Str. in Berlin Kreuzberg with my Neue Deutsche Welle Band Lilli Berlin. We'd turned the space into a small music and rehearsal studio where we set up a Tascam 8-track tape recorder, a 12- channel MM mixer that roared like hell, a Mini-Moog and a Roland Jupiter-6 synthesizer. This is where the basic recordings for Oceanheart were made. Essentially sequences and chords, which I then added piano, drums, Indian tablas and solo voices to in Christoph Franke's (Tangerine Dream) studio in Berlin Spandau. It was then mastered on a Betamax video recorder -- at that time the non-plus-ultra of modern stereo recording technique. Oceanheart was released on Sky Records in 1985. At the beginning of 2022 Gunther Buskies, owner of Bureau B label, had the inspired idea to expand the planned re-release of Oceanheart with a remix album and to call it Oceanheart Revisited. Around the same time, I met Tobias Stock through my friend Chris Mick. Tobias, a qualified electronics engineer and musician, had put together a complex, top-class analog studio over 20 years of meticulous and passionate collecting -- bringing each of the numerous component parts back into the best technical state with his own hands. There are only few studios of this kind and quality in the world and it was here, in his 'On TAPE' Studio, we created the analogue mixes of Oceanheart Revisited on a NAGRA 2-channel tape machine. I really enjoyed working on Oceanheart Revisited and I'd like to share this experiment with you." --Harald Grosskopf, January 2023

 

PRICE: $31.50

CAT #: CAP 142LP

FILE UNDER: ROCK

Adam Green's new album is a flamboyant synthesis of his recent creative work, compiling three EPs he had previously released exclusively digitally. Houseface University, Magic Spells/Vending Machine, and Falling Around finally unite into a single, coherent project: a singular work of incisive songwriting, lo-fi psychedelic pop, and poetic irony. A key figure in the New York anti-folk scene, the singer-songwriter, visual artist, filmmaker, and poet Adam Green has influenced an entire generation since The Moldy Peaches. His songs have been covered by Regina Spektor, The Libertines, Carla Bruni, and Will Oldham; his films and installations have been exhibited at the Beyeler Foundation and acclaimed by the international press. In 2023, the tribute album Moping In Style: A Tribute to Adam Green (featuring Father John Misty, Devendra Banhart, Sean Ono Lennon, and others) confirmed his enduring influence on the global indie and alternative music scene. With this new album, Adam Green continues his unique trajectory: an instantly recognizable visual and musical universe, somewhere between quirky pop and minimalist folk. One of his most accessible and accomplished albums.

 

PRICE: $20.00

CAT #: CAP 143CD

FILE UNDER: ROCK

Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Cl?ment Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. Out For Blood bears witness to a transformation in Turner Cody's life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene -- closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueled a new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody's "three chords and the truth" to create this unique magic!

 

PRICE: $31.50

CAT #: CAP 143LP

FILE UNDER: ROCK

LP version. Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Cl?ment Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. Out For Blood bears witness to a transformation in Turner Cody's life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene -- closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueled a new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody's "three chords and the truth" to create this unique magic!

 

PRICE: $15.50

CAT #: CSR 238CD

FILE UNDER: CLASSICAL

2026 reprint. Cold Spring Records present a reissue of Krzysztof Penderecki's Kosmogonia, originally released in 1974. Unnerving, intense, bloodcurdling, sinister, dramatic -- the music of Kosmogonia features Penderecki's famous, unorthodox instrumental techniques, and some of the darkest music ever composed. Hailed by The Guardian as "Poland's greatest living composer," Krzysztof Penderecki is the maestro behind the unforgettable, disturbing music on 1980's The Shining (including "De Natura Sonoris II," featured here). A complex tapestry of sound with striking use of pizzicato and flexatone, with aggressive barrages from brass and percussion, dissonant woodwind chords, spoken and hissing sounds, fervent strings, swirling organ, and climactic choral and solo vocals. Krzysztof Penderecki's unique music has featured in films such as: The Shining, The Exorcist (1973), Children Of Men (2006), The People Under The Stairs (1991), Shutter Island (2010), and many more. Thanks to the estate of Krzysztof Penderecki, Cold Spring Records present this masterpiece in digital format for the first time since the 1974 vinyl release. Sympathetically remastered for CD by Denis Blackham and Martin Bowes; Comes in a digipak.

 

PRICE: $20.50

CAT #: DMOO 003X-LP

FILE UNDER: JAZZ

A modal masterpiece from 1959, Kind of Blue is a true classic that never gets old, no matter how many times you listen to it. Bill Evans' understated piano is the perfect foil for Miles' melodies, contrasted by the soaring alto sax of Cannonball Adderley; Jimmy Cobb and Paul Chambers keep the rhythm section steady but unobtrusive, allowing Miles and Cannonball to shine. "So What" and "Freddie Freeloader" are seductive, deceptive gems, imparting all the frustration, begrudging and joy as only a great jazz record can; "Blue In Green" and "All Blue" have melancholy hues and "Flamenco Sketches" a precursor to Sketches Of Spain. Every household should have at least one copy of Kind Of Blue, one of the greatest records ever made.

 

PRICE: $16.00

CAT #: DUST 139CD

FILE UNDER: ELECTRONIC

"Loud Ambient 2 picks up directly from where Loud Ambient (DUST 135LP) left off. After picking the drum machines back up, we returned to the colorfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off. Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality. The creative side landed easily this time. There is something about working with colorfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response. With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result." --The Black DogAlso available on orange color vinyl (DUST 139LP).

 

PRICE: $38.50

CAT #: DUST 139LP

FILE UNDER: ELECTRONIC

LP version. Orange color vinyl. "Loud Ambient 2 picks up directly from where Loud Ambient (DUST 135LP) left off. After picking the drum machines back up, we returned to the colorfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off. Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality. The creative side landed easily this time. There is something about working with colorfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response. With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result." --The Black Dog

 

PRICE: $15.50

CAT #: EB 225CD

FILE UNDER: REGGAE

From the wicked mixing desk of Greg Dread (fame with Dreadzone & Big Audio Dynamite) plus support by the legendary rebel dread Don Letts, here's a special selection presenting the legendary Serious Dropout from Frankfurt/M. 13 killer tracks for the first time available on CD, overdubbed and worked out as a "Mega Mix" processed and edited for longplay album release. Overdubbed by Greg Dread at Dreadzone/Dubwiser studio. Salt & Pepper by Don Letts.

 

PRICE: $35.50

CAT #: ERGODOS 043LP

FILE UNDER: CLASSICAL

From the opening notes -- arriving as if in mid-air -- to its final, cheerful burblings, Sean Mac Erlaine and Caoimh?n ? Raghallaigh's Old Segotia is an album about friendship: both musical and human, the product of two distinctive musicians visiting each other's worlds with a sense of veneration, and a sense of joyful wonder. Here, Mac Erlaine and ? Raghallaigh meet on common ground developed over 20 years of playing together, with Mac Erlaine's musical language rooted in jazz and sonic experimentation, and ? Raghallaigh emerging from an Irish traditional music that he has shaped and reshaped in a deeply personal way. In this place, Mac Erlaine and ? Raghallaigh's music is profoundly integrated and emotionally textured: at times bursting with explosive energy, at times almost sighing into life, but always searching. Here are the touching unison duets of "Cantandor," the lyrical wanderings of "Swallow Dive," or the flirtations with finding a groove in "Reverse Burst." The palette of instruments speaks to the album's feeling of abundance, with Mac Erlaine performing on clarinets, chalumeau d'amore, three different flutes, car hooter, percussion, live electronics, Wurlitzer, synthesizer, vocals and alto saxophone; and with ? Raghallaigh bringing his signature hardanger d'amore sound plus a turn on the flute and live electronics, too. With the title echoing a well-worn Dublinese expression for "friend," Old Segotia plays out with "Oiche Crua Sna Sleibhte" (A Hard Night in the Mountains), with ornithologist Se?n Ronayne's field recordings of birdsong rising out of the musicians' playful explorations, offering a taste of life echoing music, echoing life.

 

PRICE: $30.50

CAT #: FARO 117X-LP

FILE UNDER: WORLD

2026 repress. Far Out Recordings present a reissue of the seminal debut album from Azymuth, Azim?th, originally released in 1975. Having never seen a vinyl release outside of Brazil, Azim?th is considered a milestone in Brazilian music. Azymuth -- Jose Roberto Bertrami, Ivan Conti, and Alex Malheiros, as well as Ariovaldo Contesini -- formed in the late '60s just as Os Mutantes released their debut record (1968). Whilst Mutantes were honing a psychedelic "Amazonian" version of western pop music, Azymuth were creating a futuristic, electric interpretation of US jazz -- also driven by the same rootsy Brazilian "swing" that Mutantes had harnessed. Bertrami was the drive behind Azymuth's sound -- a control freak and musical genius obsessed with the latest technology who wanted to use it to push the boundaries of music in a way that no one else in Brazil had done. His use of keyboards has drawn comparisons between Azymuth's work and Herbie Hancock's early '70s output, yet with its Brazilian swing Azymuth's electric jazz sound is unmistakably their own. Conti is an impulsive and an incredibly energetic drummer. Alex Malheiros, who learned his trade playing from the master of Brazilian swing Ed Lincoln, is one of Brazil's original groove masters. Bertrami rose to fame as an arranger in the mid-60s, and by the late '60s he was arranging for the queen of Brazilian music, Elis Regina. Released in summer 1975, the album was a minor commercial success selling 200,000 copies. Opening track "Linha do Horizonte" -- a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar -- was chosen for a TV novella and went on to sell half a million, propelling Azymuth onto the Brazilian music scene. The rest of the album doesn't disappoint -- "Mel? Dos Dois Bicudos" sees Azymuth plugging them into the Brazilian national grid for a slice of electrified psyched out samba funk with crashing military drums, shrieking sirens and psych synths. "Brazil" is a lolloping bass led groover with Bertrami's melody giving the track a charming, innocent naivety, and "Ca?a A Raposa" is a boogie jazz funk groover. Azim?th is the album that kick-started it all for them, the record that was the blueprint and definition of their "samba doido/crazy samba" sound. Comes in a gatefold sleeve; 180 gram vinyl.

 

PRICE: $32.00

CAT #: FD 005LP

FILE UNDER: WORLD

2026 restock. Fatiado Discos present a reissue of Di Melo's self-titled album, originally released in 1975. One may say that in the '70s, in the Brazilian northeastern music scene, specifically in Recife/Pernambuco it was a magical time. The fusion of local original Brazilian genres such as samba and bai?o with North American soul music, funk and British psychedelia resulted in one of the richest cultural scenes worldwide. And it is exactly in such context that Di Melo was in when he wrote his acclaimed debut album. Roberto de Melo was known as Bob Di Melo amongst freaks and weirdos in the art and music scene when Jorge Ben introduced him to important executives of the music business in S?o Paulo, where most record labels were. His strong personality is best seen in his music and also helps launch his 1975 first album through a major company with amazing musicians such as Hermeto Pascoal. "Kilari?", the opening song of the album, became a big hit all over the country. Other songs such as "A Vida Em Seus M?todos Diz Calma" and "Pernalonga" were also a hit on the radio and clubs. Di Melo, the album, became then a success by the critic and public mainly for going through several music genres not letting go of the deep Brazilian roots. The young man of 25 coming from the outskirts of Pernambuco was at the peak of his success. Psychedelic drugs and cinema references were blowing his mind away when he realized that he was being conned by music industry rats. His songs were at the hit parade on the radio and his music had been recorded by some of the biggest names in Brazil, but what he was being paid for made no justice to that. People say that after watching the movie Blow Up by Antonioni, Di Melo himself beat the shit out of the publisher who paid him less than 10 dollars for his rights for the past three months. Such events, ran by the same strong personality that initially opened doors, made Di Melo ostracized by the ungrateful Brazilian music industry. Perhaps that's what it took to make such a mythical album. Includes original 1975 insert with lyrics plus photos from personal family archives and for the first time the full credits with all the name of every single musician who took part, among them, Hermeto Pascoal.

 

PRICE: $43.50

CAT #: FIELD 040LP

FILE UNDER: ELECTRONIC

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalizes on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing. The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album -- field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon -- a unique release that holds its own space comfortably, The Setting Sun is a profound benchmark in a stellar discography.

 

PRICE: $30.50

CAT #: FH 003LP

FILE UNDER: ELECTRONIC

Australian ambient electronic album Green Chaos, reissued for the first time on vinyl LP. Originally released in 1988 on Sydney based private press label Freefall, Green Chaos marks the sole release from Ripley-Marshall. In the late '80s Ripley-Marshall lived a Bohemian lifestyle in inner city Sydney; "surrounded by musicians, actors and artists, there was an amazing creative experimental vibe going on." While playing in new wave/art rock band D Face she began Green Chaos as a personal project to counteract the creative friction sometimes experienced within a group dynamic, heavily inspired by Arnold Frolows' "Ambience" radio show on Australia's Triple J and particularly the music of Tangerine Dream, Harold Budd, and Brian Eno. Initially a solitary endeavor, once she decided to record in a studio Green Chaos morphed into a somewhat collaborative, improvisational project with other musicians invited into the studio to improvise and add their own interpretations and ideas, additional layers and dimensions, resulting in a work that combines a clear influence from the electronic repetition of the Berlin school with a meandering, futuristic lyricism. Although influenced by the long form sonic journeys of artists like Tangerine Dream, Ripley-Marshall's background in art rock and new wave brings a more concise approach, each song a self-contained universe that says only what is necessary in the arrangement. After completing a sound engineering course Ripley-Marshall recorded the album at Sydney's Exeter House Studio over several months alongside studio engineer Andrew Knight, met through a fellow member of D Face. Knight ran Freefall, a private press recording label releasing folk and bluegrass music, which had Green Chaos as its sole ambient release. Ripley-Marshall self-distributed the album to local inner city record stores and dropped a copy to Triple J, where it became a regular staple of Arnold Frolows' show. These days Ripley-Marshall has moved away from music and is predominantly focused on visual art. Green Chaos stands as the only released product of her musical years, both a personal window into the vibrant experimental art scene of late 1980s Sydney and a deep, timeless anomaly of Australian electronic music.

 

PRICE: $20.00

CAT #: GME 228CD

FILE UNDER: ROCK

Ta? Phong is a French progressive rock band formed by two Vietnamese brothers, Khanh Ma? (guitar, voice) and Ta? Sinh (bass, guitar, voice, keyboards), in 1975. They were joined by Jean-Alain Gardet (keyboards), Stephan Caussarieu (drums, percussion), and Jean-Jacques Goldman (guitar, voice, violin). They released three albums between 1975 and 1979: Ta? Phong (1975), Windows (1976), and Last Flight (1979). "Sister Jane" (1975), the first single from their first album, was a radio hit.

 

PRICE: $38.50

CAT #: GME 929LP

FILE UNDER: ROCK

LP version. Ta? Phong is a French progressive rock band formed by two Vietnamese brothers, Khanh Ma? (guitar, voice) and Ta? Sinh (bass, guitar, voice, keyboards), in 1975. They were joined by Jean-Alain Gardet (keyboards), Stephan Caussarieu (drums, percussion), and Jean-Jacques Goldman (guitar, voice, violin). They released three albums between 1975 and 1979: Ta? Phong (1975), Windows (1976), and Last Flight (1979). "Sister Jane" (1975), the first single from their first album, was a radio hit.

 

PRICE: $20.00

CAT #: GME 932CD

FILE UNDER: ROCK

Ange (lit.?'Angel') is a French progressive rock band formed in September 1969 by the D?camps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Au-Dela Du Delire.

 

PRICE: $20.00

CAT #: GME 934CD

FILE UNDER: ROCK

Ange (lit.?'Angel') is a French progressive rock band formed in September 1969 by the D?camps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Emile Jacotey.

 

PRICE: $20.00

CAT #: GME 936CD

FILE UNDER: ROCK

Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. 1001 Centigrades was released April of 1971.

 

PRICE: $20.00

CAT #: GME 938CD

FILE UNDER: ROCK

Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released in the spring of 1970.

 

PRICE: $26.00

CAT #: SUBURBIA 065LP

FILE UNDER: ROCK

Originally released in 1999 on Marutake Records, the Disgusteens became a cult favorite in the Japanese underground punk scene with a light, catchy pop-punk sound rooted in the spirit of mid-'90s Lookout! Records releases. Fast, melodic, and heartfelt, if you love The Queers or Screeching Weasel, this is punk rock with its own voice. First time on vinyl, a must for fans of melody, speed, and timeless three-chord hooks. Double-sided insert included.

 

PRICE: $12.00

CAT #: SOUL 023CD

FILE UNDER: ROCK

A bumper collection of early Detroit Soul, R&B and what would soon be called The Motown Sound. The number of new labels and artists that appeared each week was quite phenomenal and when added to the existing stock, Detroit had by far the fastest growing black music industry in the USA, not just recorded music but a live gig scene just as prolific. Sit back and enjoy another batch of Detroit gems. Includes 24-page booklet annotated by Keith Rylatt. Featuring The Van Dellos, The O'Jays, Lee Rogers, David Ruffin, Barrett Strong, The Four Holidays, Melvin Davis, The Distants, Saundra Mallett & The Vandellas, The Barons, Bobbie Smith & The Dream Girls, Richard Wylie & His Band, Gino Parks, Singin Sammy Ward & Sherri Taylor, Ty Hunter, Willie Jones & The Royal Jokers, Benny Mccain & The Ohio Untouchables, Loe & Joe, Shorty Long, Ruben Fort, Timmy Shaw, The Temptations, The Spinners And Bobby Smith, Martha & The Vandellas, Calvin Williams, Mary Wells, The Ohio Untouchables, Richard Street & The Distants, Betty Lavett, Harvey, Wilson Pickett, The Merced Bluenotes, Johnny West, Bobbie Smith & The Dream Girls, The Contours, The Falcons, Johnny Rodgers & The Nu-Tones, Yvonne Vernee, The Technics, Timmy Shaw, Joe Stubbs, Geraldine Hunt, Sherri Taylor, The Seminoles, The Sty-Letts, Bobby Williams, Gino Washington, Lamont Dozier, Roger Wade, Willie Kendricks, The Sonnettes, The Taylor Tones, Mack Rice, Nolan Strong, and Benny McCain.

 

PRICE: $16.50

CAT #: IMPREC 259CD

FILE UNDER: EXPERIMENTAL

2026 restock. "Includes liner notes & archival photographs. 1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage. In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, amongst others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc..., which appears to be her very last feedback loop composition. Vice-Versa, etc... was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace. In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2'42", weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13'41", it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on Vice-Versa, etc... are surprisingly similar to those she would go on to produce with her synthesizer. Vice-Versa, etc... is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period. Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released -- needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple playthrough provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations."

 

PRICE: $14.00

CAT #: IMPREC 260CD

FILE UNDER: EXPERIMENTAL

2026 restock. Originally released in 2009. "Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from ?liane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the premiere of Adnos I (IMPREC 028CD) in San Francisco in 1974, a group of French students introduced ?liane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth... ?liane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980); Adnos III (1981) [both included on IMPREC 028CD]; Songs of Milarepa (1983), with the voices of Lama Kunga Rinpoche and Robert Ashley; Jetsun Mila (1986); as well as the Triologie de la Mort (XI 119CD): Kyema (1988), Kailasha (1991), and Koum? (1993). Archival images included in the accompanying booklet." --Manu Holterbach

 

PRICE: $14.00

CAT #: IMPREC 337CD

FILE UNDER: EXPERIMENTAL

2026 restock. "Transamorem - Transmortem was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, Transamorem - Transmortem was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way."

 

PRICE: $20.00

CAT #: IMPREC 497CD

FILE UNDER: EXPERIMENTAL

2026 restock. Eliane Radigue's complete Opus 17 (1970), her finest and final work created using feedback, is contained on this double CD. With Opus 17, Radigue perfected her slow mixing technique with sublime results. Imperceptible transformations envelop the attentive listener who is confronted with an immensely physical experience. Time is suspended in powerfully poetic and artful ways as Radigue masterfully sculpts the physical matter of sound using feedback for the last time. Opus 17 is an absolutely essential masterpiece in the realm of early electro-acoustic/drone/minimalist composition.

 

PRICE: $36.00

CAT #: ITR 409LP

FILE UNDER: ROCK

Double LP version. "Fuzz, the California based trio of Ty Segall (vocals, drums), Charles Moothart (vocals, guitar), and Chad Ubovich (vocals, bass), present their latest release Fuzz's Fourth Dream on In The Red Records. This is the band's first release in four years and is a collection of singles, unreleased demos, and rarities. 'I lived in a four-bedroom house in San Francisco that housed anywhere from six to ten people at a time,' Moothart explains. 'Friends were always crashing when they were between spots, on tour, or just couldn't make it home. It was a chaotic space, but a space that was cherished by many. Chad frequently crashed on our couch when on tour -- surrounded by ashtrays full of cigarettes and joint roaches; beer cans and spray paint cans. I remember jamming on guitar and drums with Ty at like 2 AM in the garage (still feel bad for putting the neighbors through that.) One day, under Ty's guidance, I dragged a 388 in to the garage. I decided I wanted to write a Sabbath-style riff just to see what happens. I laid down some drums, then came up with what would become Fuzz's Fourth Dream. I showed Ty the 'demo' which was more of a sloppy idea. He basically said 'Let's make this band' and Fuzz was off. This collection really does give a proper road map to what this band is and was, as well as how the two connect,' Moothart explains. 'Fuzz means a lot to me, and I have learned so much through these processes. Thank you to any one who has been listening to these songs since the beginning, and thank you to any one who is here for the first time.'"

 

PRICE: $33.00

CAT #: JB 011LP

FILE UNDER: WORLD

Tulipa Ruiz is a Latin Grammy Award-winning singer, songwriter, and illustrator from S?o Paulo. Born in a family of musicians (her father, Luiz Chagas, played with Itamar Assump??o, and her brother, Gustavo Ruiz, is her longtime producer), she follows the footsteps of the Vanguarda Paulista and offers a bold, genre-bending sound. Fusing MPB, soul, pop, and rock, her music is joyful, rich, and one of a kind. Since her debut album, Ef?mera (2010), Tulipa has become one of Brazil's most distinctive voices, with five critically acclaimed albums, collaborations with Elza Soares and Milton Nascimento, and performances at international festivals such as the Montreux Jazz Festival and Lollapalooza. From the hypnotic "Sama?ma" to the infectious "Estardalha?o," Habilidades Extraordinarias seamlessly blends improvisation and groove. The duet "Disco Voador" with Jo?o Donato, one of her last recordings, bridges generations, combining bossa-jazz swing and the warmth of Donato's Fender Rhodes with Tulipa's luminous vocals. "Pluma Black" (featuring Negro Leo) explores pre-jazz abstraction, while "Novelos" and the album's title track evoke the soul-jazz of the Hermeto Pascoal and Stevie Wonder era. Acclaimed throughout Brazil, Habilidades Extraordinarias established Tulipa Ruiz as a leading figure in modern MPB, combining melodic sophistication, humor, and emotional depth. Ten years after her spectacular climb to success and her Latin Grammy Award victory, she continues to enrich the Brazilian pop and jazz scene.

 

PRICE: $18.00

CAT #: KOM EX139EP

FILE UNDER: ELECTRONIC

On Speicher 139, Dessagne's project Fantastic Twins is finally let loose on Kompakt's storied series. The key words: psychedelic acid trax. "False Index" is peeled back to core: a fearsome rhythm, with an endlessly helixing synth pattern twisting around your skull, crinkling like cellophane and warping like burnt plastic, while Dessagne's "Sprechstimme" floats above everything. Everything here's simultaneously under control, all under the watchful, guiding eye of Dessagne, and playfully, wildly out of control, little arrangements of phenomena let loose to build new worlds.

 

PRICE: $28.00

CAT #: KM 580096LP

FILE UNDER: ROCK

2026 restock; LP version. Die Kosmischen Kuriere reissue the legendary debut album of the krautrock all-star band from 1974. Produced at Dierks Studios with the collaboration of Dieter Dierks. What an amazing improvement in the sound of this 48-year-old recording. Remastered from the original analog tapes. Released on the original Die Kosmische Kuriere label. Contributors: Manuel G?ttsching, Klaus Schulze, J?rgen Dollase, Harald Gro?kopf, Dieter Dierks, a.o.

 

PRICE: $35.50

CAT #: SCIE 3925LP

FILE UNDER: EXPERIMENTAL

Ste Cy, the latest studio offering from the trio of Jac Berrocal, Vincent Epplay, and Timo van Luijk, ripens like a forbidden fruit -- born of an improvised instrumental session captured in the secluded hush of Kulta Saha by Timo van Luijk. These raw recordings were later reshaped into 12 songs by Vincent Epplay at Studio Villejuif in Paris. And over it all drifts the poetry of Jac Berrocal -- sensual and incendiary, seeping into the music like spice into flesh. Jac Berrocal: voice, words, trumpet, double bass; Timo van Luijk: guitar, piano, vibraphone, percussion; Vincent Epplay: field recording, drums, percussion, EMS Synth A, Noizoid OCS 2, double bass.

 

PRICE: $25.00

CAT #: LOS 013LP

FILE UNDER: ROCK

"A magus is a wizard -- a sorcerer. Magus, the band, is certainly interested in such things (who isn't), but the name is especially apt due to the band's approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks' deft use of the keyboard dovetails with Greg Weeks' more standard six-string approach. Not standard is the band's sound. Doomy yet inspirational, dour yet vibrant, the duo's tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus. Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trance-like spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks' Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album. Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band's fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release's inner panels."

 

PRICE: $28.50

CAT #: PLAYRJC 134EP

FILE UNDER: ELECTRONIC

Tim Paris stands, not at the center, but as a narrator. As someone who knows that the voice is an attitude. "That Boy" is not a pose, but a mirror, ironic, direct, vulnerable. Paris moves between new wave house and club, always aware that identity is never fixed, but formed in the moment. This remix record is not a gathering of names. It is a situation, four perspectives on the same question: What does it mean to exist in sound? This cover of "That Boy," featuring Foremost Poets, created by Konstantin F?rchtegott Kipfm?ller, a visual artist at the Hochschule f?r Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing inspiration from the urban environment, Kipfm?ller transforms traces of decay, weather, and time into abstract narratives that, like the music of Tim Paris, Roman Fl?gel, Abe Duque and Red Axes, unfold meaning layer by layer.

 

PRICE: $151.00

CAT #: METAPHON 026BOX

FILE UNDER: EXPERIMENTAL

Hardboard linen box set edition with 8-page booklet and download code. 250 copies. Metaphon presents this premi?re edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy. Liliane Donskoy (1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, Gy?rgy Ligeti, and Iannis Xenakis. Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions. Donskoy's oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication. Anthology produced by Timo van Luijk. Mastering by EARLabs. Booklet edited by Vincent de Roguin. Design by Meeuw.

 

PRICE: $89.00

CAT #: METAPHON 026LP

FILE UNDER: EXPERIMENTAL

Slipcase edition with 8-page booklet. 250 copies. Metaphon presents this premi?re edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy. Liliane Donskoy (1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, Gy?rgy Ligeti, and Iannis Xenakis. Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions. Donskoy's oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication. Anthology produced by Timo van Luijk. Mastering by EARLabs. Booklet edited by Vincent de Roguin. Design by Meeuw. Also available as hardboard linen box set edition with 8-page booklet and download code (METAPHON 026BOX).

 

PRICE: $35.50

CAT #: METAPHON 028LP

FILE UNDER: EXPERIMENTAL

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz B?ttner, and Mike Lewis. On April 28, 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art. Owing to its exploratory electric sound world and Plank's distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation. Shortly after the studio session, Ranta and B?ttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo '70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances. The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and B?ttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously released studio material, retaining the distinctive "Wired" sound while situating it within a live, site-specific context. Production: Timo van Luijk. Painting: Wayne Jacob. Mastering: EARLabs. Design: Meeuw.

 

PRICE: $35.00

CAT #: MUSIQ 305LP

FILE UNDER: ELECTRONIC

The debut solo album by Henrik Raabe, guitarist of the German trio Wareika, who rose to prominence in the 2000s with their minimal deep house sound. Departing from the cool, jazzy deep house he was known for, Raabe delivers a uniquely crafted downtempo album that feels like a seamless blend of jazz, Afro, dub, new age, and postmodern influences. It evokes the spirit of an imagined encounter between the Durutti Column and Dennis Bovell, with Virginia Astley joining in -- reminiscent of the UK sound of the 1980s -- yet rendered more minimal and refined, in a distinctly German way. With each listen, the album draws you deeper in. It is poised to become a defining release for Mule Musiq.

 

PRICE: $21.00

CAT #: MVD 20174DVD

FILE UNDER: Misc

DVD is NTSC. Region Code: 0. "Throughout the 1980s, outfits like Black Flag, D.O.A., Dead Kennedys, Minor Threat and the Circle Jerks helped define the decade's deafening hardcore punk sound, paving the way for the eventual explosion of punk bands through radio and MTV in the decades to come. While punk rock's upper echelon may no longer be as culturally seditious as they once were, the genre's effect on a new generation of activists and aspiring politicians has never been more clear. The Vancouver-based D.O.A. have always been a politically outspoken outfit since first forming in 1978 as teenagers. Their mix of raucous anthems like 'Fucked Up Ronnie', 'America The Beautiful', 'The Prisoner' and others remain classics. The band's 1981 LP entitled Hardcore '81 was awarded the prestigious Slaight Family Polaris Heritage Prize in 2019, which honors groundbreaking Canadian albums from the past, winning out over 11 other critical album releases including The Band's Music From Big Pink, and Joni Mitchell's Court And Spark. In 2018, after 40 years of fighting against oppression, homelessness and corporate greed around the world, D.O.A. frontman Joe Keithley decided to turn art into life and run against the outspoken Mayor of Burnaby, Derek Corrigan. In a classic underdog scenario --and with only a $7000 campaign budget -- Keithley convincingly won a city councilor seat that year and helped to unseat the entrenched five-term Corrigan. The filmmakers followed Joe Keithley during his 2022 reelection campaign to document the amount of work and commitment that goes into running for public office. They were allowed unprecedented access to Keithley's entire campaign throughout its often chaotic and nail-biting conclusion. Ultimately, Something Better Change is a documentary film that proves music, political steadfastness and social advocacy can work together to effect real change just about everywhere -- including city hall."

 

PRICE: $24.00

CAT #: OSTGUT 129EP

FILE UNDER: ELECTRONIC

Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Na?t A?ssa) on Ostgut Ton, feels like a homecoming. A testament to introspection and self-awareness. Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.

 

PRICE: $65.00

CAT #: 9783907236666

FILE UNDER: Misc

Hardcover, 656 pages, 500 color images. 28 ? 21 cm. "A massive photographic archive of Lee 'Scratch' Perry's legendary recording studio. A 600-page tribute to one of the most famous locales in music history, Black Ark is a detailed inventory of photographs and writings from the Black Ark Studios in Kingston, Jamaica, where producer Lee 'Scratch' Perry created music from 1973 onward. The eclectic and constantly evolving decoration of the studio provides an enduring visual counterpart to Perry's expansive musical catalog. From mural paintings to shape-shifting assemblages of records, instruments, found objects, posters and newspaper clippings, the artworks layer upon one another as they intertwine with the studio building itself. Perry created his own dense and diverse world in which to work: memorialized in this volume before the Black Ark disappears for good. The photographic documentation of the studio in the spring of 2021 was supplemented by efforts to secure and preserve Perry's works, objects and recordings as part of a joint project with the Smithsonian Institution in Washington, DC. Black Ark reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the development of this publication until his death in August 2021. The book closes with memorial essays from Ishion Hutchinson, David Katz, Kodwo Eshun, and John Corbett. Lee 'Scratch' Perry (1936-2021) was a musician and producer best known for pioneering the dub genre in the 1970s. He worked with well-known Jamaican artists such as Bob Marley and the Wailers, the Heptones, the Congos, and Max Romeo. In 2003 he won a Grammy Award for Best Reggae Album."

 

PRICE: $22.00

CAT #: RRS 121LP

FILE UNDER: ROCK

2026 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.

 

PRICE: $24.00

CAT #: R-N 146EP

FILE UNDER: ELECTRONIC

Raster Media 30 years anniversary edition repress. 180gram vinyl. "ich bin meine maschine" is a spiritual track. "ich bin meine maschine" is a musical track. "ich bin meine maschine" is a scientific track. To underline this tryptic statement and to demonstrate the diversity of one of Atom TM's compositions that appeared on his 2013 HD album, Raster now re-releases the long sold-out vinyl EP featuring remixes by Boys Noize, Function and Atom TM himself. "ich bin meine maschine," in an elaborate manner, illustrates Uwe Schmidt's main musical concern -- the exploration of electronics in pop music. Inspired by a statement of the cybernetician Heinz Von Foerster, Atom TM generated a message that is playing around with a widely-cited Kraftwerk quotation, turning "ich bin eine maschine" into "ich bin meine maschine" ("I am my machine"). Besides the album version of "ich bin meine maschine," the EP features some dominantly techno influenced versions that perfectly connect the pop attitude of HD with dancefloor functionality. The Boys Noize remix shows off Alexander Ridha's deft skills for translating Atom TM's futuristic pop into his own rough and driving electronic language. On the other hand, Atom TM's "Linear Remix" breaks down the original structure of the song and turns it into a reduced and much straighter, forward looking composition. Function -- one of techno's true underground heroes -- provides a remix that is breathing the air of solid and hypnotic club music, in which just the essential elements are streamlined and condensed into perfection. All three remixers adapt the track to their particular universe. By doing so, they prepare the 12" vinyl for its final destination -- the club.

 

PRICE: $30.50

CAT #: SRS 3510LP

FILE UNDER: ROCK

2026 restock. Legendary and pioneering Tr?d, Gr?s och Stenar is considered Sweden's oldest rock band to play psychedelic underground music. The group originally formed in 1967 as International Harvester, later became Harvester, and eventually evolved into Tr?d, Gr?s och Stenar. Their unique blend of psychedelic rock and traditional Swedish folk music was groundbreaking at the time -- and still resonates with new generations of listeners today. This long-awaited "Green Album" from 1970 marks their very first release under the name Tr?d, Gr?s och Stenar. Now, for the first time since its original release, it's being reissued on vinyl-complete with rare photos, an in-depth story, and a 30x60 cm poster. Decades later, the band continues to perform under the name TR?DEN, now with only one original member. He is joined by a new generation of acclaimed musicians, who are keeping the spirit alive and carrying the sounds and legacy of Tr?d, Gr?s och Stenar into the future.

 

PRICE: $25.00

CAT #: SB 207LP

FILE UNDER: ROCK

"Can you believe there are now four C.I.A. Debutante LP's in the world? That's right, this newest one, Trespass is batting in the cleanup spot and it is very to task; the strongest, most focused effort put forth yet. Narrator/guitarist Nathan Roche is at the peak of his oratory and string mangling prowess. His recitation over flared fret work, conjoined with Paul Bonnet's alchemical electronic stitchery summons forth a promethean tableau that's inexplicably both gothic and futuristic. Imagine if Mary Shelley had created Roxy Music instead of Frankenstein? Trespass burns with a demanding urgency, its majesty sweeping across time from the charnel houses of Ingolstadt, Barvaria, to the Offworld shoulders of Orion -- frontiers! Whatever you thought of their previous three albums, those are now but tears in the rain. With Trespass, could C.I.A. Debutante be approaching the pinnacle of Godhead? The Fates whisper only, 'perhaps.'"

 

PRICE: $22.00

CAT #: SORC 1009LP

FILE UNDER: ROCK

2026 restock. Sorcerer Records present the first reissue of Jody Harris and Robert Quine's Escape, originally released on the New York based No Wave label Infidelity (Lust/Unlust subsidiary) label in 1981. Jody made his name on the NY scene mainly through his work with the legendary avant-funksters, The Contortions, while Robert Quine, who sadly passed away in 2004, was one of the most acclaimed guitarists of his day, noted for his work with Richard Hell & The Voidoids, Lou Reed, Tom Waits, John Zorn, Matthew Sweet, and many more. The two recorded Escape in Quine's apartment with a whopping budget of $7 (that's what it cost Quine for the tape). The album sees them both engaging in guitar duels over a primitive drum machine, a kind of skeletal minimal-synth with avant-guitar excursions overhead. Outward-bound yet wholly listenable, the five tracks represent a great lost gem of the NYC underground scene of the day. Recommended to fans of No Wave, Rhys Chatham, Suicide, and the music of Robert Quine and Jody Harris, of course. This edition also comes with an inner sleeve featuring liner notes from Jody Harris detailing the recording, as well as exclusive photographs of the two. Remastered by Mikey Young and fully authorized by Jody Harris and Robert's brother, Van. Edition of 600.

 

PRICE: $25.00

CAT #: SPIRITUAL 033LP

FILE UNDER: ROCK

"The long?awaited sophomore release and first full?length LP from San Francisco's hybrid psychedelic Latin blues rock explorers, Bolero! has risen -- an unapologetically primal expression of human music. The album unfolds as a guided journey through the spiritual and mortal realms, bridging past, present, and future through dynamic, richly layered compositions. Drawing inspiration from the San Francisco Sound of the late '60s and '70s while reframing it through a contemporary lens, the record moves fluidly between groove, ritual, and reflection. The journey opens with 'Greetings,' an acknowledgment and welcome to the planet spoken in fourteen languages by friends and family of the band, layered over a deep, funky instrumental jam that ignites the album's momentum. A drum hit snaps into motion the next track, 'Esp?ritu,' beginning in a hypnotic trance with ghostly vocals inviting listeners to commune and dance with the spirits. The piece steadily builds into a powerful groove, featuring percussion breaks and soaring guitar and organ harmonies. Wind chimes drift in as a deep, tribal rhythm emerges, leading seamlessly into the final track of Side A, 'Bathala.' Inspired by the ancient Tagalog deity said to have created the universe, the song erupts like a volcanic war cry -- thunderous, cathartic, and elemental. Side B opens with 'U.A.V.' a bluesy, fuzz?drenched anti?war anthem featuring vivid, incisive lyrics delivered in a dark, Morrison?esque baritone over a crushing, Sabbath?inspired musical assault. As the smoke clears, 'Simply Livin' rolls in like the ignition of a classic car. Rooted in California sweet soul, the track pairs everyday imagery with soothing vocal harmonies and tight musicianship, offering a warm moment of release. The album closes with the acoustic track 'Alegira,' a multicultural folk blend combining tropical Latin rhythms, wah?wah finger?tapped guitar leads, Spinetta?inspired chord voicings, and intimate campfire?style Spanish vocals. A final spiritual surprise seals the comedown, completing the album's immersive journey. The album was recorded and produced in Brisbane, California at Lucky Recording Co. by Kurt Schlegel and Mikel Ross."

 

PRICE: $20.00

CAT #: SW 007EP

FILE UNDER: ELECTRONIC

Originally released in 2024. Y'Know returns to Spiritual World with Why Now, an 8-track 12" that is so stacked with groove that you can physically feel the claps when you run your hand over the record. Why Now lifts the fog established on the duo's digital 2023 two-song debut, pushing their signature beat-forward minimalism into digital dancefloor soundscapes. Why Now features four vocal cuts on the A-side backed with four reimagined and stripped back dub versions on the B-side. Featuring Ashleigh Ball.

 

PRICE: $27.00

CAT #: SW 010X-LP

FILE UNDER: ELECTRONIC

Originally released in 2025. Teal's Original Watercolour is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition. The bi-coastal family trio -- Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND -- bring a fresh, genre-defying sound to the table with their latest six-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures and emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

 

PRICE: $20.00

CAT #: SW 012EP

FILE UNDER: REGGAE

Originally released in 2025. Spiritual World's first archival 12" vinyl release from the UK's free festival dub pioneers. The Ullulators, an experimental dub and global music ensemble from Bath, UK, have long been associated with the UK's free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography ?"Simply Conscious Dub" and "Eternal Now" -- are issued on 12" vinyl, marking the first archival release on Spiritual World. Together, these tracks not only showcase the group's wide stylistic range but also underscore their forward-thinking approach to genre hybridity.

 

PRICE: $27.00

CAT #: SW 013LP

FILE UNDER: REGGAE

Originally released in 2025. N1_SOUND and Ras Yunchie join forces on an 8-track LP that transcends both definition and generation. Inna DJ Style marks the Toronto veteran singer's first-ever vinyl release. Pairing four vocal cuts with four dub versions on the B-side, Inna DJ Style bridges experimental dub, digi, and roots, embodying what Ras describes as an "open" sound -- one that draws from reggae traditions while boldly breaking new sonic ground. N1_SOUND first encountered Ras' distinctive voice and soaring falsetto at Toronto sound system parties. A cornerstone of the city's reggae scene, Ras Yunchie has been performing since 1983 and remains a vital presence more than 40 years on. His contributions have been recognized with a Lifetime Achievement Award from the National DJ Association, alongside titles such as DJ of the Year, DJ Sound Champion, and winner of the 1985 DJ Sound Clash. While the rhythms pulse with heavy bass and the three-dimensional lead melodies synonymous with N1_SOUND, it's Ras' vocals that make Inna DJ Style truly shine. Each track was recorded in a single take and left largely untouched -- a testament to the raw talent and enduring artistry of the 61-year-old singer. Across the four vocal cuts, the alchemy of contrasting styles, influences, and lived experience highlights how collaboration can push sound and genre into bold, unexpected territory.

 

PRICE: $24.00

CAT #: STAR 4381B-LP

FILE UNDER: ROCK

2026 repress; LP version. Black vinyl. Songs To Fan The Flames Of Discontent was first released in 1996 and catapulted the band Refused from Umea in northern Sweden into the hardcore punk premier league. The Scandinavians, who were known for their hard, uncompromising and irreverent lyrics, followed the album with extensive tours all over the world, for example with Kristofer Astr?m's Fireside, Madball and Entombed.

 

PRICE: $39.50

CAT #: STUDIOMUL 055LP

FILE UNDER: JAZZ

The first-ever reissue on Studio Mule of the debut album by Japanese jazz legend and bassist Yoshio Ikeda. Having performed with such illustrious figures as Sadao Watanabe, Masabumi Kikuchi, and Terumasa Hino, Ikeda's first album as a leader features pianist and vocalist Ichiko Hashimoto -- also known for her involvement with Yellow Magic Orchestra -- Berlin-based jazz pianist Aki Takase, and leading Japanese drummer Motohiko Hino. Avant-garde yet imbued with a distinctly Japanese sense of melancholy, this is a work that resonates profoundly with the present moment. The gem "whispering weeds," highlighted by thrilling piano and Hashimoto's evocative scat vocals, was also included on a compilation by BBE. Remastered from the original master tapes by Kuniyuki, the album has been revived with a richer, more lustrous sound in this definitive reissue.

 

PRICE: $29.00

CAT #: SV 210LP

FILE UNDER: ROCK

"Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called 'noise rock' bands, it has yet to be surpassed in its nihilistic glee. Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi's icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction. In early '80s punk, when the hardening default was 'faster-shorter-louder,' Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. 'Ever' sets the tone with trademark restraint, while closer 'Sex Bomb' is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs. Tons of indie bands have attempted to recreate Flipper's mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat."

 

PRICE: $14.50

CAT #: THRILL 647CD

FILE UNDER: ROCK

"The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."

 

PRICE: $25.00

CAT #: THRILL 647LP

FILE UNDER: ROCK

LP version. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."

 

PRICE: $27.00

CAT #: THRILL 647X-LP

FILE UNDER: ROCK

LP version. Maroon color vinyl. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."

 

PRICE: $14.50

CAT #: THRILL 658CD

FILE UNDER: ROCK

"OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."

 

PRICE: $27.00

CAT #: THRILL 658LP

FILE UNDER: ROCK

Gold vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."

 

PRICE: $27.00

CAT #: THRILL 658X-LP

FILE UNDER: ROCK

Silver vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."

 

PRICE: $34.00

CAT #: TU 001LP

FILE UNDER: ELECTRONIC

"Akusmi is the new project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album Fleeting Future. With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. Fleeting Future stands apart as an inventive and inspirational debut. The creation of the album's richly colorful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on Fleeting Future seed from the Slendro scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; 'the compelling way things dramatically change when you shift from any given scale to another.' The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis. Fleeting Future was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiraling into the unknown is the future."

 

PRICE: $34.00

CAT #: TU 003LP

FILE UNDER: ELECTRONIC

"London based composer, multi-instrumentalist and producer Akusmi presents Lines, an exhilarating new collection of works born from the desire to take where the acclaimed debut album Fleeting Future left off -- in search of new forms. Formed with a sense of urgency and a reductive approach, Lines is almost entirely comprised of alto saxophone, clarinet and piano, with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process: 'I wanted to go a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me.' 'Secant' is the electrifying and cinematic opener, emerging with the main motif deriving from the recording sessions of Fleeting Future. It's distinct sound echoes New York, a homage in part to the works of Steve Reich and inspired also by train travels across the English countryside. Rhythmical looping pianos unite with shifting strings that build to a symphony of hypnotic rich layers, towards a euphoric and filmic climax."

 

PRICE: $36.00

CAT #: TU 009LE-LP

FILE UNDER: ROCK

"Laurie Torres is a Canadian musician and composer raised in Montre?al, Que?bec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK. In 2023, Laurie shifted focus to work on her own creations, a process of making time -- the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio, and ML Buch, Apre?s Coup finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of 'other options.' Centering around piano, drums and synthesizer with interweaving field recordings, Apre?s Coup follows the precursor EP Correspondances in the form of a sprawling 11-track album. Translating directly from French -- afterwards, after the event -- its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Ze?non, Que?bec offered an unparalleled location and set up for her freeform creativity. Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of 'pop music' as she elaborates: 'I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive.' With her 'pop' past workings never far away, Laurie artfully drifts between uplifting and melancholic hues, never overbearing or undermining one another. She plants seeds throughout and only in consuming the album in its entirety do we make sense of its seriality, as new meanings unfold where repetition and subtleties produce increasingly complex meanings."

 

PRICE: $10.00

CAT #: NOWAR POSTER

FILE UNDER: Misc

Now that we have a new war to "celebrate", available again: Tresor & Wordandsound A1-Poster Campaign - 100% Donation for Ukraine 100% of all income will be donated to the Ukrainian Humanitarian Fund. https://www.unocha.org/ukraine/about-uhf 500 A1 Posters available. 23.4 x 33.1 inches. All Posters will be shipped folded!

 

PRICE: $32.50

CAT #: KHZ 1017LP

FILE UNDER: ELECTRONIC

Ritual of Light is the first full length from Descending Pharaohs. Recorded in mid-2022, it marks the band in its first year as a trio with a sound that is mainly implemented by the conventions of guitar, bass, and drums and enhanced by rich textures created by Turkish sazbaglama, greek tzoura, and oud as well as drone-driven electronics. Their influences run deep in the realms of '70s electric Arabic/Anatolian, spiritual jazz, and krautrock, but they project these influences towards a modern translation to produce a sound and vocabulary that transcends these collective influences. There is a primal nature to the songs that captures the ethnographic post-punk excursions of Savage Republic or the Sun City Girls, and the more sinister sides of the Krautrock worlds of Ash Ra Tempel or Amon Duul II. The Pharaohs are quite heavy in a traditional sense of the word, but also bring the compositional complexity and raw power of amped up Eastern scale workouts that are rarely executed without pretension by American musicians. The creative dynamic between Theo Khoury, a bassist/oudist of Palestinian descent who grew up consuming as much UFO and NWOBHM as he did George Wassouf, and Ricardo Esway, a guitarist with disparate influences that can be heard clearly through a vaguely third stream filter, is well-versed in Omar Khorshid and a veteran of post-punk projects and live gamelan orchestra, results in vivid multimovement soundscapes that animate future folklores, complete with casts of characters, dialogues, and story arcs that elicit a reaction from the listener. Together, the band takes on half-structured and half-improvisational passages that are ultimately accessible yet still maintain one foot within the abstract. These songs can often take on a dark modal character that is vanquished by a dirty, angular ferocity.

 

PRICE: $14.50

CAT #: UR 161CS

FILE UNDER: ELECTRONIC

The Buenos Aires-based producer's second album on Umor Rex can be read on at least two levels. The most direct traces its origin to the influence of environmental music, as well as to some pioneers of electronic music. The album was recorded in a single session, making extensive use of loops that were later edited and condensed into the six pieces that make up Peque?o clima dom?stico. This working method responds to a playful approach that runs through Entidad Animada's musical intentions, which often start from a specific genre or aesthetic and then filter it through his own language. From a more conceptual perspective, the record proposes music as a tool capable of modifying the perception of a moment. Rather than closed songs, the album functions as a device that allows one to tune a state, transform a space, or alter a mood. In this sense, it engages with the idea of functional music not as a utilitarian background, but as a means to equalize time, slow the pace, and reconfigure the listener's emotional climate. All songs written and performed by Entidad Animada. Recorded in August 2025 in Buenos Aires, Argentina. Field recordings and processed textures by Guazuncho. Mastered by Jos? D'Agostino at Moloko Estudio, Frankfurt, Germany. Cover photo by Diego Berruecos. Layout by Daniel Castrej?n.

 

PRICE: $37.50

CAT #: VAMPI 341LP

FILE UNDER: WORLD

Restocked; the historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in previous volumes, this fourth instalment in the series Cumbia Cumbia Cumbia!!! comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Featuring Carlos Haayen Y Su Combo, Bovea Y Sus Vallenatos, ?lvaro C?rdenas Y Su Conjunto, Carlos Rom?n Y Sus Estrellas, Luis Enrique Mart?nez Y Su Conjunto, Pello Torres Y Sus Diablos Del Ritmo, Banda 20 De Julio De Repel?n, Andr?s Landero Y Su Conjunto, Cumbia Mochila, Combo Maravilla, A.M. Camacho Y Cano, Eliceo Garc?a Y El Conjunto Palma Africana, Wasamaye African Rock, Conjunto Maravilla De Palo Alto, Manuel Villanueva Y Su Orquesta, Manuel Caraballo Y Su Conjunto, Pedro Salcedo Y Su Combo, Los Tiburones, Cumbia Bolivariana, Los Curramberos De Guayabal, Juan Polo Valencia, Lucho Better Y Su Orquesta, Florentino Montero Y Su Conjunto, Joe Montes Y Su Orquesta, Tere Garc?a Con Ram?n Ropa?n Y El Tr?o Fantas?a, Los Indios Selectos Con Alberto Pacheco Y Su Acorde?n, Rufo Garrido Y Su Orquesta, and Mincho Anaya Y Su Combo Moderno.

 

PRICE: $31.50

CAT #: VLEK 043LP

FILE UNDER: ELECTRONIC

Hand-assembled offset-printed sleeve. Limited edition of 250 copies. Hawk Deh Near marks the return of MT Gemini with his most intense and uncompromising release to date. The title draws from the Jamaican proverb "Chicken merry, hawk deh near," a phrase balancing humor and warning, and encapsulating the album's central tension between apparent lightness and underlying threat. Leaning toward incantation rather than genre, Hawk Deh Near treats reggae as raw material. Fragments of rhythm, melody, and texture are pulled into abrasive hypnotic compositions where repetition, saturation, and warped psychedelia destabilize familiar forms. The result is a music of deconstruction: raw, ritualistic, and emotionally immediate. The album was recorded, produced, and mixed by Yannick Franck using a process deliberately opposed to hyper-controlled digital production. Texture, imperfection, psycho-acoustic phenomena, and instability are foregrounded, allowing distortion, accidents, and ambiguity to actively shape the music. MT Gemini is Franck's long-running avant-dub project, fusing Jamaican forms such as ska, rocksteady, and dancehall with unorthodox electroacoustic practices. Rather than revivalism, the project operates through mutation and fabulation: obscured elements of classic rocksteady or popular dancehall tunes re-emerge from unfamiliar angles, reconfigured into dense, ritualistic sound environments. Drawing from pataphysics, defined by Alfred Jarry as "the science of imaginary solutions to actual problems," MT Gemini stages collisions between genres, techniques, and cultures that rarely communicate, embracing radical cross-pollination as a creative method. MT Gemini's work has been released by Sub Rosa and Antibody, the left-field imprint founded by Franck himself, and has been praised by The Wire and Brainwashed.

 

PRICE: $31.50

CAT #: VLEK 044LP

FILE UNDER: ELECTRONIC

Hand-assembled offset-printed sleeve. Limited edition of 250 copies. Late Bush presents Hoarses on Vlek Records, an original repertoire in which he blends electronic music, power ambient, IDM, avant-pop, and early music, which share the same affective intensity, a taste for ornamentation and a form of sonic excess. At the heart of this material, AI-cloned voices, both human and spectral, extend the idea that any baroque interpretation is a reconstruction of the unknown. They contrast with organic strings recorded with Echo Collective, in a temporal and radical hybridization, creating a fluid and unstable material, between memory and simulation. One of the conceptual starting points is essential: there is no sonic trace of baroque music as it was played. Only scores remain, and sometimes contradictory indications, a sensitive archaeology, even an imaginary projection. Everything that is played today is therefore, in fact, a reconstruction, an interpretation of a vanished material. According to this logic and to pursue this reflection, the cloned voices, transformed by AI, are not a rupture but propose a natural continuation of this chain of reinvention, of this relationship to the invisible, to the indefinite. They do not aim to replace a human voice, but rather to embody the fact that any baroque restitution is already a fiction. The project does not seek to imitate the real, but to play with the thresholds of the plausible, of the spectral. The music then becomes a fluid material, manipulable, alterable, and the performers, musicians or machines, are its vehicles. The strings, carried by the sensitive and expressive interpretation of Echo Collective, breathe into the project a vibrant authenticity. Their presence brings an organic and tactile dimension that contrasts with the fluid and intangible aspect of the voices and the electronics.

 

PRICE: $18.00

CAT #: VPALWR 52273EP

FILE UNDER: REGGAE

"Ring the alarm! Here comes the next essential cut on the Stalag Riddim from the late, great Tenor Saw. This is the ultimate soundsystem weapon and a must have for every selector worth their salt. Backed with the crucial original Ansell Collins Stalag 17 instrumental keyboard work out recorded for techniques, Stalag is one of the cornerstones of reggae music, used and utilized by a galaxy of the music world's superstars including Big Audio Dynamite, Public Enemy, Run DMC, Alicia Keys, Kayne West, Sublime etc. An original twin killer double sider-limited press in illustrated sleeve."

 

PRICE: $33.00

CAT #: WWSLP 114LP

FILE UNDER: WORLD

Wewantsounds presents Ayam El Disco, a new selection of Egyptian 1980s disco and boogie cassette tracks curated by Egyptian DJ Disco Arabesquo, following his highly acclaimed Sharayet El Disco. Most tracks make their vinyl debut in this set. A journey through the funky sounds of 1980s Egypt, Ayam El Disco ("Disco Days") features Ammar El Sherei, Al Massrieen, and other underground artists from Cairo's vibrant cassette culture. The audio has been remastered for vinyl by David Hachour at Colorsound Studio in Paris, and the LP features artwork by Egyptian graphic designer Heba Tarek, along with a two-page insert showcasing the original cassette artwork and insightful liner notes by Moataz Rageb. Based in Amsterdam, the Egyptian DJ has spent years collecting rare tapes from the 1980s and early 1990s -- a period that transformed Egypt's musical landscape and shaped his own listening experience. By the 1980s, the cassette format had become a revolutionary medium in Egypt. Affordable and easily duplicated, tapes allowed artists to work independently while absorbing global influences such as disco, funk, and synth-pop through imported and bootleg recordings. Rather than mirroring Western club culture, these sounds were adapted to local contexts. Disco entered everyday life -- played at home, in cars, at weddings, beaches, and family gatherings - resulting in a distinctly Egyptian interpretation rooted in Arabic musical traditions. Ayam El Disco reflects this era through a carefully curated selection ranging from smooth disco and boogie to funkier instrumentals and early proto-Jeel sounds. Also featuring Firkit Americana Show, Firkit Hany Shenoda, Mostafa El Sakka, Hamid El Shaeri, Firkit El Pharana, Omar Fathy, Ammar El Sherei, Medhat Saleh, Aida El Ayoubi, and Ahmed Adaweya.

 

PRICE: $32.00

CAT #: WRWTFWW 123EP

FILE UNDER: ELECTRONIC

WRWTFWW Records releases The Gentle People The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. This is an exclusive four-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before -- a must have for all the gentle fans!

 

PRICE: $24.00

CAT #: YORE 060EP

FILE UNDER: ELECTRONIC

Yore Records presents Yore 060 by DJ Alone Again from NYC -- four deep, driving cuts channeling the essence of '90s New York house. Fusing raw groove, crisp percussion, and soulful undercurrents, this EP delivers pure dancefloor authenticity with a modern touch. DJ Alone Again captures that timeless NYC spirit: hypnotic, stripped-back, and irresistibly groovy. Strictly limited to 250 copies worldwide.