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2026 repress. Matthias, head of Superluminal Recordings and parties in Berlin, offers the second Delicate Bloom. Four versatile, forward-thinking acidic analogue mutations to soundtrack to late-night drives. Follows cult EPs for CABARET, Faciendo, Craigie Knowes and Art Of Dark and plays from selectors including Jane Fitz, DJ Masda, and Desyn.

First time ever on vinyl, Twilight Curtains presents a long-overlooked chapter in the legacy of Truly, the acclaimed Seattle band formed by songwriter Robert Roth alongside Hiro Yamamoto, co-founder of Soundgarden, and Mark Pickerel, founding drummer of Screaming Trees. Originally released in 2000 as a CD-only collection, Twilight Curtains gathers rare, unreleased and alternate recordings captured between 1991 and 1997, documenting the band during its most creative and exploratory period. More than simply another Seattle group, Truly forged a singular sound that blended heavy psychedelic rock, grunge-era intensity, damaged pop and expansive melodic textures. Featuring the contributions of three key figures from the Pacific Northwest underground, this collection offers a fascinating glimpse into the band's evolution through alternate versions, lost recordings and previously unavailable material. Twilight Curtains finally makes this missing piece of the Truly catalogue available on vinyl.

2026 restock. Be With Records presents a reissue of Nick Ingman's Distinctive Themes/Race To Achievement, originally released in 1976. Distinctive Themes/Race To Achievement is legendary arranger Ingman exploring the two distinct ideas of "impressive themes varying in style from Basie to Elgar" and "a study in the pressure and rewards of achievement". Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building "Expanding Markets" is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats. The dramatic "Against The Odds" is another stand-out. Race To Achievement is all rugged funk with stabbing chords and strutting horns. One has to acknowledge the fantastic "Tense Preparation", sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal "Magnetizing" with Del Tha Funky Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this a gem of the KPM catalog. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.

2026 repress. Be With Records presents a reissue of Vaughan Mason and Butch Dayo's Feel My Love, originally released on Salsoul in 1983. If ever an album could transport one to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, or could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches "magic hour" in Santa Ana or Anaheim, then it's Feel My Love. A brilliantly produced deep slung, low rider funk classic, it's a masterpiece of "funk love music." A perfectly formed five track mini LP of unparalleled heat, there's one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, "Feel My Love". This is a work of art that made people fall in love with the funk -- it transcends the limitations of genre. "Feel My Love"'s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It's sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so much raw energy -- this is music. The rest of the record is hardly filler though. Opener "Oh, Love" is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing -- it's sensational. A rollerskating jam named "Rollalong Songs" is an ultra-swish piece of dance floor dynamite; its slick drums, staccato piano, and neck-snapping claps underscore Dayo's buoyant vocals. It's essentially "Bounce, Rock, Skate, Roll Part II". The flip begins with "Party On The Corner" with smoother-than-silk vocals, day-glo synths, a bubbling bassline, and guitar licks that would surely receive the Prince seal of approval. It's another example of how Mason and Dayo flirt with perfection so routinely. The majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater "You Can Do It" is a proto-rap groover that truly smokes. This LP is a stone-cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered by Simon Francis, cut by Pete Norman, with lovingly reproduced artwork, this Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should. 180 gram pressing.

2026 repress. Be With Records presents a reissue of Logg's self-titled LP, originally issued on Salsoul Records in 1981. The undisputed Godfather of boogie, Leroy Burgess' Logg project is his masterpiece. Logg is one of the greatest albums of the post-disco era; it's one of Be With's favorite-ever LPs and so it's a complete honor to be reissuing it. With all the touchstones of Burgess's finest work -- breezy grooves, undulating synths, funk-drenched bass, and life-affirming lyrics -- delivered with gospel-derived vocals and harmonies, it's a record to uplift both body and spirit. Already a cult soul figure as lead singer of Black Ivory, Burgess cut his teeth as arranger, vocalist, and songwriter with producer Patrick Adams on essential late-'70s projects like Phreek and Dazzle. He went on to define the essence of "boogie": the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed the cool boogie of Burgess has the disco bounce, just more laid back. All six tracks here could have been stand-alone hits; indeed, some of them were. But together they are also an incredibly cohesive album. In short, it's a thrilling showcase for Burgess' finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass. Opener "(You've Got) That Something" is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of "Dancing Into The Stars" -- married to percolating synth and airtight drums -- showcases the chemistry between Burgess and the rhythm section. The fusion of funk and gospel-influenced harmonies which propels "Something Else" is remarkable: deep, joyous, and bouncy. Infamously mixed by Larry Levan, "I Know You Will" is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. "Lay It On The Line" radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer "Sweet To Me" is a chilled-out gem of profound soulful elegance. Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, MCDE and Harvey Sutherland have also cited it as an influence. This reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves. Mastered by Simon Francis, cut by Pete Norman with reproduced artwork, this is a reissue that does justice to this classic LP. 180 gram pressing.

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works. A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket. Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times. Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. "When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd's 'Echoes', Yes' 'Close To The Edge,' Klaus Schulze's 'Nowhere Now Here,' Miles Davis' 'Shhh/Peaceful' and 'He Loved Him Madly.' In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title -- Yes' 'Tales From Topographic Oceans' and Tangerine Dream's 'Zeit' being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural -- if indulgent -- goal. From there, each new piece followed sequentially. Four songs. My fourth album.' Phaser For The Ocean, Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset -- and every color in between.

2026 restock. Masayuki Takayanagi was one of the truly iconoclastic musicians to emerge from Japan, or anywhere else, in the 20th Century. Though he won acclaim in the 1950s and '60s as a master of the electric guitar and jazz improvisation, Takayanagi was a restless spirit, deeply engaged with the era's new movements in contemporary art, music, literature, and philosophy. His work, beginning in the late 1960s placed him on the leading edge of these developments; he began expanding on the most radical elements of American and European free jazz, infusing them with the raw feedback and dissonance of electronic and avant-garde music. With his various New Direction groups, Takayanagi broke free of traditional structures and developed a new theory of music that embraced an aggressive and unrelenting style of playing that has remained almost completely unparalleled in its ferocity. Of all the albums to be released during Takayanagi's lifetime, 1975's Eclipse was perhaps the most enigmatic and sought after. Released in an edition of only 100, it almost immediately disappeared and became a holy grail for Japanese connoisseurs of adventurous music, and rightly so. It's first side contained a two-part realization of Takayanagi's "Gradually Projection" modality -- a searching interplay between instruments -- slowly emerging from a sparse open field and building with the tension of a looming thunder storm. The second side contains an epic performance of a "Mass Projection", a high energy, densely layered barrage of sound that in its 25 minutes, never once slackens its intensity. It would be another 31 years before this key album in Takayangi's oeuvre would finally have a (slightly) wider audience through a CD release by Japan's P.S.F. Records.

Black Editions present a deluxe vinyl edition of this masterwork, revealingly remastered from the original tapes by Elysian Masters. The album is packaged in a heavy double tip-on gatefold jacket that pays tribute to the original handmade packaging and features a previously unseen studio photograph of Takayanagi by Tatsuo Minami. Recorded in Tokyo, March 14, 1975. Engineer: Mikio Aoki. Cover, photographs and design by Kazuharu Fujitani. Gatefold photograph by Tatsuo Minami. Insert Notes by Yasunori Saito. Produced by Satoru Obara, Yoshiaki Kamei, Nihon Gendai Jazz Ongaku Kenkyukai. Originally released in an edition of 100 by ISKRA Records, Japan in 1975. Remastered from the original master tapes by Dave Cooley, Elysian Masters, and produced by Peter Kolovos. Deluxe heavy tip-on gatefold LP with matte black paper, second tipped-on metallic gold wrap and insert.

2026 restock. "After the very acoustic ¿Dónde estás María?, I decided to try a new experiment taking as a reference the legendary group Cumbia siglo XX which is a group who explores a futuristic vision of coastal cumbia in the '80s, together with other groups such as Grupo folclórico, 2000 voltios, and others, mainly under the label Machuca and Felito records. This new '80s cumbia was a combination of funky basses and a further evolution of the rhythms, blending this style with disco and even rock music and superimposing the traditional versus the urban context and the modernity. Meridian Brothers took this as a departing point and inspiration, making the same experiment but in XXI century, using the modern media of this time; all kinds of drum machines, guitars and synths, algorithmic software etc, and also taking into account the global exposition of modern cumbia in the 2010s. So all kinds of influences and genres are blended around this cumbia axis. Urban beats, synthy grooves, glitches and all kinds of swear words, and all kinds of slang language are included in the songs of the album. All these elements are filtered and passed through the traditional train of thought of Meridian Brothers, which is the figuration of an abstract picture of sound put it within a concrete context or cultural tendency." --Eblis Álvarez/Meridian Brothers

With over 25 years' experience performing on stages across the globe with their unique take on ska, soul and black music in all its forms, Bilbao-based band AKATZ present their new EP, Á Go Go 3. This new collection features six reinvented tracks with Spanish lyrics and fresh arrangements, bearing the unmistakable stamp of this cult band. The third instalment in the Á Go Go series is an invigorating exploration of soul, vocal jazz, ska and mambo classics, reimagined by O. Munilla and Akatz as a tribute brimming with reverence, creativity and their distinctive flair. From New York to Bilbao with a stop in Havana. Á Go Go 3 is more than just a compilation of covers: it is a celebration, a tribute and a declaration of love for music that moves bodies and minds.

Region Code: 0. "Dr. Feelgood - Oil City Confidential: The Dr Feelgood Story is acclaimed director Julien Temple's documentary celebrating one of Britain's most influential pub rock bands and the third installment in his trilogy examining British music during the 1970s. Chronicling the rise of Dr. Feelgood from their formation on Canvey Island in 1971 through their breakthrough success with songs such as 'Roxette,' the film explores the band's raw musical energy, uncompromising style, and lasting influence on punk and British rock music. Through archival footage, interviews, and personal reflections, Temple examines the personalities behind the band while placing their story within the broader cultural landscape of 1970s Britain. Contributors include Joe Strummer, Glen Matlock, Jools Holland, and Alison Moyet, whose observations help illustrate Dr. Feelgood's enduring impact on generations of musicians and fans. The documentary received widespread critical acclaim, earning the 2010 MOJO Vision Award and praise from critics including Mark Kermode. This edition includes the 106-minute feature documentary along with approximately 60 minutes of bonus material. Presented in a slimline DVD digipak, the release also includes optional French, Spanish, German, and Italian subtitles for expanded accessibility. Released by Cadiz Music, this region-free DVD presents an essential portrait of one of Britain's defining rock bands."

2026 restock. In 1961 Sun Ra took off from Chicago -- where he had established the Arkestra, his dedicated ensemble and the vehicle for his mission to better the planet -- and with a scaled-down version of the band he landed in New York. Their first recording session was in Newark in October of that year. The Futuristic Sounds of Sun Ra, recorded for the Savoy label, is a beautiful document of the material they'd honed during a long residency at the Wonder Inn at the end of the Chicago period. Among tracks left in the vault from that day in the studio were these two great ballads sung by Ricky Murray, both of them redolent of the bright popcraft that had long been part of Ra's repertoire, with classic Afrofuturist themes of navigating outer space and altered destiny cloaked in sweet songs with tart arrangements. This 7-inch vinyl single is limited to 1000 copies, with full-color cover including a rare photo of the band with Ricky Murray. Ricky Murray remembers: "We did that at the Wonder Inn, just before going to Montreal. When we played the Wonder Inn didn't have too big a crowd but we were playing like it was a concert! In Montreal, though, we packed them in! College kids from McGill. They thought we were going to play rock 'n' roll, but Sunny said we didn't drive all this was to do that. Sunny said: 'We're going to New York.' So that was it. We had bass fiddle, drums, and about four guys in one vehicle, very tight. Ronnie Boykins' father's car broke down on the bridge on the way into Manhattan. We had an audition at The Five Spot when we first hit New York, another place called the African Room. We stayed at the Hotel Scott, a floor above Chubby Checker's room. Kinda rough when we hit New York, boy! Mean days. We were doing those songs, 'I Struck a Match' and 'Dreamsville,' also 'China Gate' and a few others that Sunny had. We had an audition also at the Village Gate I think. Marshall Allen especially liked playing 'I Struck a Match on the Moon' because he got a chance to light up a cigarette while we were singing."

"Arriving right on time for its 20th anniversary, Faun Fables' musical theater work The Transit Rider returns in a lovely 2LP vinyl edition that dimensionally burnishes the bristling performances and elevated chamber/cabaret folk sounds of the original CD-only release. At once a work of theatre, allegory and autobiography, The Transit Rider amplifies Faun Fables' distinctive electroacoustic wash of Anglo-European folk sounds, shimmering allusively from traditional to Kurt Weill to folk-rock and back again. The route that led to The Transit Rider goes back even further than 2006; it was first embarked upon in the early '90s, when Dawn McCarthy moved to NYC and was introduced to the transient and constant glories of its subway system, a massive world unto itself. As she rode the trains, the subterranean, singing landscape suggested a journey in song: a rider aboard a ubiquitous transit system, a network of rails, roads, corridors and trails extending in all directions, meeting itself again on the far side of the world. Upon this endless circuitous path, she encounters characters that may or may not help her search to find a clearing amid this mass of machinery and humanity in which to stop and have a picnic. In 2001, The Transit Rider took the form of a full-length theater production in San Francisco, with a cast of thirteen aided by the inspiring work of director/lighting designer Allen Willner. Its music was further developed/recorded/adapted into a touring show by Dawn and her stalwart co-conspirator Nils Frykdahl, joined by multi-instrumentalists Jenya Chernoff and Matt Lebofsky. The album features contributions by Dawn's mother Michelina Tyrie and father Will McCarthy, with thematically related songs by Zygmunt Konieczny, Soeur Sourire, and the Anglo Saxon traditional 'House Carpenter' added to the mix. For the LP release, the artwork has been revamped, featuring previously unseen photos of the original stage show and the touring cast that followed. As with all Faun Fables music, the sweep of history and the voices of the people thrillingly coincide in the songs and singing of The Transit Rider. The project's conceptual/theatrical properties give it a special pride of place in Faun Fables lore. Fortunately, all capricious mists of time have parted just in time for The Transit Rider's 20th anniversary celebration. The Transit Rider combines Faun Fables' distinctive song-telling style with their full-hearted/throated thespian energies, rumbling trippily past flashing lights and strangers in thirteen exquisite folk-cabaret urban anthems, a pungent masterpiece of 21st century folk rock."

Cassette version. "In the wake of the acclaimed Inland See, the on-growing analog ecosystem being animated for ten albums now by Bitchin Bajas boasts new high energy views. Isle Peaks speaks of directions in beats of time, weather and the heart to wherever coast they found themselves when they got it all laid out. Sourced from Inland See sessions, these cuts were subjected to further edits and tweaks, with electroacoustic textures of sampled kalimba, field recordings, autoharp and EWI to activate and transport divergent quadrants of the Bajas cinematic universe. The first two songs were previously released digitally on Qobuz in Jan '26. 'Watch your Step' has been added to balance scales and acidity for the 'Isle Peaks' vinyl edition. 'Isle Peaks,' throbs with the heat and humidity of an unknown landmass, ascending to signal-splitting heights on both atmospheric and ecstatic scales, the most wired ever but calm, then trancing ambiently in heavy modern electronic church thick with drone and atmosphere. High-energy music, first to dance, then to dream! The escaped and wild stepchild of Inland See is a half-hour highlight of the rest of your life to be: 'Isle Peaks.'"

"In the wake of the acclaimed Inland See, the on-growing analog ecosystem being animated for ten albums now by Bitchin Bajas boasts new high energy views. Isle Peaks speaks of directions in beats of time, weather and the heart to wherever coast they found themselves when they got it all laid out. Sourced from Inland See sessions, these cuts were subjected to further edits and tweaks, with electroacoustic textures of sampled kalimba, field recordings, autoharp and EWI to activate and transport divergent quadrants of the Bajas cinematic universe. The first two songs were previously released digitally on Qobuz in Jan '26. 'Watch your Step' has been added to balance scales and acidity for the 'Isle Peaks' vinyl edition. 'Isle Peaks,' throbs with the heat and humidity of an unknown landmass, ascending to signal-splitting heights on both atmospheric and ecstatic scales, the most wired ever but calm, then trancing ambiently in heavy modern electronic church thick with drone and atmosphere. High-energy music, first to dance, then to dream! The escaped and wild stepchild of Inland See is a half-hour highlight of the rest of your life to be: 'Isle Peaks.'"

Cassette version. "In the spring of 2025, right around the release of Possession, Ty Segall started hearing voices, calmly at first, but soon screaming: 'Get the band back together!!!' Immediately, his mind began working, creating, collecting and collating riffs for songs, an album that he and the band -- Ben Boye, Evan Burrows, Mikal Cronin, Emmett Kelly -- will come to all call Chrome. Chrome -- the element, not the album -- is shiny, reflective, resistant to corrosion. Chrome the album's got that too: in hard-springing rock strung with lyrically allusive passages moving furtive and bleak through labyrinthine paths in the darkness. Joining social phenomena and autobiographical dream imagery in song-sequenced, head-snapping flashes, hitting left/right hemispheres fast and furiously. In massive riffs and thudding power in the rhythm core, twin-guitar attack and parry, tightly arrayed lines of fuzz distortion, keyboard textures of bright and thickness. All mixed immediate and flexible, colorful and clean, spicy-sweet, with Ty's vocals of vinegar and sand, wine and grains of silver nitrate, pointing the way. That's Chrome. The band came together fast and hard, their five heads writing half the songs here, with others featuring Ty and Evan collabing, Matt Yoka and Denée Segall writing some too. Accounting for its high-performing social nature and hot rocks. Its guitars slammed immaculate, big waves and dark apocolypto energy bonfires on the beach, from proto to punk to grunch, projected from the crowd-sourced energy of their mind-meld to shake the cages of the larger collective beyond. RIYL: Television, Blue Oyster Cult, The Adolescents, Pink Fairies, Iggy, Crazy Horse, Nirvana."

LP version. "In the spring of 2025, right around the release of Possession, Ty Segall started hearing voices, calmly at first, but soon screaming: 'Get the band back together!!!' Immediately, his mind began working, creating, collecting and collating riffs for songs, an album that he and the band -- Ben Boye, Evan Burrows, Mikal Cronin, Emmett Kelly -- will come to all call Chrome. Chrome -- the element, not the album -- is shiny, reflective, resistant to corrosion. Chrome the album's got that too: in hard-springing rock strung with lyrically allusive passages moving furtive and bleak through labyrinthine paths in the darkness. Joining social phenomena and autobiographical dream imagery in song-sequenced, head-snapping flashes, hitting left/right hemispheres fast and furiously. In massive riffs and thudding power in the rhythm core, twin-guitar attack and parry, tightly arrayed lines of fuzz distortion, keyboard textures of bright and thickness. All mixed immediate and flexible, colorful and clean, spicy-sweet, with Ty's vocals of vinegar and sand, wine and grains of silver nitrate, pointing the way. That's Chrome. The band came together fast and hard, their five heads writing half the songs here, with others featuring Ty and Evan collabing, Matt Yoka and Denée Segall writing some too. Accounting for its high-performing social nature and hot rocks. Its guitars slammed immaculate, big waves and dark apocolypto energy bonfires on the beach, from proto to punk to grunch, projected from the crowd-sourced energy of their mind-meld to shake the cages of the larger collective beyond. RIYL: Television, Blue Oyster Cult, The Adolescents, Pink Fairies, Iggy, Crazy Horse, Nirvana."

"Fifty years after I first encountered the music of Orchid Spangiafora, it is a pleasure to be listening to new work by this most bonny of modern sound manipulators. Like Flee Pasts Ape Elf, which we reissued in expanded form in 2013, Eel Asp Flays Feet (the title of which is an anagram of the earlier set) is an assemblage of immaculate invention. It manages to produce a unique splotch of confusing analog surrealism in an increasingly digital world, and Robert Carey (aka Orchid himself) deigned to provide these notes on creating the music: 'This album is a combination of some new material and ideas and some older stuff that had not found its way into a tangible (non-online) form. 'Syllabus,' 'Dyad,' and 'Retroscope' were an attempt to return to an older style of electronic music. I put these on bandcamp, but they did not attract much attention. In mid-2021, David Greenberger provided me with the voice recordings he had made for the Everybody's Home project he did with Tyson Rogers. He asked if there was something I could do with them. I put together 'Holding Pattern' and 'In A Fog.' These two pieces might be considered the 'dub version' of Everybody's Home. I put them on Bandcamp as 'Nobody's Home.' The rest were originally made up of typical Orchid snippets. When I first took an electronic music course in 1972 one of the things that struck me about tape loops was how readily they produced interesting rhythms. Since then I got more into selecting them for the rhythm, but rather than repeating I tried to convey it in a single shot followed by slightly modified versions. In a number of these pieces I tried returning to actually repeating phrases enough to hear the natural rhythm of each loop. The mechanical sounds combined with vocal loops in, for example, 'Interlude One,' probably were influenced by the collaboration with Seymour Glass on Cous Cous Bizarre. The rapid streams of syllables in the 'Ur Sonata' came from playing around with an audio batch processing program. I used it to cut up regular loops into very short bits and string them together. Then, as with most electronic or 'tape' music, the real work consisted of removing the parts that didn't belong. The title comes from Kurt Schwitters because I felt the piece shared some of the same motivation or aesthetic, although the implementation is not at all alike.' Well, those are the component parts, but to truly grasp the whole, you must hold your brain tight and jump right in. There is just nothing like an Orchid Spangiafora album. Tell your friends." --Byron Coley, 2024

"Fifth solo outing by one of the founding guitarists of Elkhorn, who has also been an essential part of Jeffery Alexander's Heavy Lidders. Gardner is the master of several distinct styles. He can grab the ring of psych-eternity with rare surety. He has versatile outward-spiraling jazz chops. And I've even caught him playing a sort of avant doom metal like he was born Norwegian. I'll admit I haven't heard his last two albums (no promos I guess), but I'll bet they're pretty cool, since Rabbit Ears is a solid gas. The band this time is a quartet. Bassist Andy Cush and drummer Ryan Jewell are still present, with the new addition being guitarist Tom Malach (who is Cush's partner in Garcia Peoples) and the four tracks here are instrumental, loose and open. I am reminded in more than a few spots of Jerome John G****a's work of the early '70s, both in his duos with Howard Wales on Hooteroll, and on the extended tracks from Skullfuck, which Lenny Kaye characterized as 'pome tomes' in his Rolling Stone review of that set. Which is not to infer there is anything lazily referential or anachronistic about the tunes. The band's overall instrumental approach is as fresh as the just-torn veil of a psilocybin mushroom. But it is steeped in the tea of history. There's plenty of real melodic and rhythmic invention going on here, it's just done within a framework players and listeners have been exploring for half a century now. This lends the tracks a kind of faux familiarity that makes them as comfortable to sink into as a scented hot tub. You may have not heard them in this exact configuration before, but the notes documented here are all old friends and should be welcomed as such. A fine and hearty slab. Dig in." --Byron Coley, 2026

You Should'nt try to barrow other People's skin [sic] was recorded professionally with quality vintage microphones, while a few tracks were self-recorded. Each song was recorded live in the studio -- no overdubs, no edits -- giving the album a raw, authentic edge. All songs were recorded analog to two-track tape or four-track tape, with the exception of one song being recorded on a portable tape recorder. Overall, the guitar sound is heavy, hypnotic, and catchy. And at times drone-y and chorus-y. The whole release starts out with a somewhat jarring piece, "Hair Productions Presents Lucas Gunn's Petertag," a very quick thick drone and high-end burst, more expected on a noise record, but showing Lucas' range and playfulness. It actually sounds like it could be the introduction to a low budget horror movie. It has an infectious nursery rhyme quality at times, yet leads into unexpected, unpredictable territories, paving the way for what is to come. The next three pieces feel like a triptych -- all move in and out of emotional stories, raga/raag at times, and always head-nod and toe-tap inducing. Each song utilizes a distinct left field sonic modulation, transforming the structure into an unpredictable journey. "Grandma Rainbow Nervous flew away tomorrow" starts side 2, continuing on with the perfect combination of left and right hand American Primitive styling ala Fahey. Luc then performs a great instrumental rendition of Mississippi John Hurt's "Monday Morning Blues." "Last Creepy Ever" take one starts with a vocal introduction, and then proceeds to its haunting minor key theme in a natural chorus-y tone. "My Flower and my Yellow skinned bird" has a spontaneous and unscripted quality unlike the other songs, a more home-recording sound, with herky-jerky plucking at times, like a peak behind the curtains. "Petertag's mom and dad love theme" is a short keyboard/synth based ditty that feels like a very unexpected shift after the previous wandering guitar piece, but works well. "Swallow the Bird Floating in Sunlight" then returns to the guitar, and has the feeling, like the title conjures, of watching birds floating and soaring in the sunlight, possibly in the late-day golden hour's glow, right when the sun is laying its head down for the night.

Similar to Eric Arn and other folks in the guitar realm, William DeLee leans at times to the more neo-classical and cleaner side of acoustic guitar playing. But like Arn, he is never stale or overly traditional, and also like Arn, William has some mad skills, some might say, he's a virtuoso. Raynol Overlook showcases both Will's expertise, but also his incredible creative approach to both 6-string and 12-string guitar, as well as his emersion into the Andean stringed-instrument the charango. Like on past releases, this LP is a perfect blend of pieces composed on these various instruments. The first three tracks on side 1 are simply titled after the feature instrument, "Nylon," "Charango," and "12-String," which basically lay the groundwork for what's to come. All three showcase Will's incredibly fast and finessed right hand work, at times classical, and other times, almost flamenco in style. Fitting references to his various influences, as well as the origin of the charango. "Falls" and "Rueili" see Will switch to the ronroco, the baritone member of the charango family. "Falls" shows the quick right hand, bursts of fluttering fingers on the strings, accompanied by Joe Apice on shruti box (although its incorrectly credited to the next track, "Rueili"). "Rueili" then continues on the ronroco, but at a slightly slower tempo, but with similar quick finger action. Woven returns to the earlier neo-classical leanings of the first track. "Larch Mountain Trail" completes the side, with an airy live recording, almost sounding like a field recording on said trail, watching the various hikers walk by on their respective journeys. "Panjakent" kicks off side 2 with the return to the 12-string. After a minute of bursts, Will bears down with such consistency and intense right-hand action, with an undertone of pulse and rhythm. On "Night Train to Khiva," Will is joined by Aspen Claire DeVillier on vocals, Josh Moss on acoustic guitar, and Milkshake on electric guitar, expanding the sonic palette of the release, and completely adds to the overall vibe and intensity of this piece. "Kilim" quiets things down a bit, returning to the nylon string guitar, before Will is joined by Jake Soffer on electric guitar, as well as Josh (acoustic guitar) and Aspen (singing bowls) again, to round out the release with meditative and soothing title track.

The defining feature of El Bienestar del Espíritu is its sense of movement. While Pirámides have long explored psychedelic and experimental territory, this new album places rhythm firmly at the center of the experience. Bass and drums drive much of the record, creating hypnotic, trance-inducing foundations that pull the rest of the music into orbit over which voices and atmospheric textures gradually unfold. El Bienestar del Espíritu is the latest transmission from Monterrey (via Tucson) Pirámides. Pirámides have never been easy to categorize. Built around the songwriting of Patricio Coronado and shaped by a philosophy closer to musical collage than traditional rock orthodoxy, the band's music draws equally from folk traditions, improvisation, drone and repetition-based minimalism. That openness is evident throughout El Bienestar del Espíritu. The album's opening track, "En Tu Mirada," develops through subtle variations while "Refugio" or "con las aves" accumulate momentum through polyrhythmic and repetitive patterns. Elsewhere, "al caer la noche" and the closing "para llegar a ti" embrace a more meditative approach, built from drones and gradual transformation until distinctions between song and ritual begin to blur. What makes El Bienestar del Espíritu so compelling is the way it balances opposing forces. The music is rhythmically heavy yet also airy, deeply rooted yet exploratory. Vocal melodies emerge with mystical lyrics from either walls of complex rhythms or from open vast soundscapes with no clear pulsation. Mexican and Latin American influences are woven into the fabric of the record without ever becoming a stylistic exercise. Everything serves the larger drift. This isn't a record interested in quick conclusions. It moves deliberately, revealing itself through repetition, texture and groove. Most psychedelic records float. This one walks.

Chicago cosmic explorers Spiral Galaxy return with Spiral Galaxy II, an ecstatic, deep-space voyage of pulsating drift by flutist Sara Gossett and Plastic Crimewave on guitar/keys/machines. Expanding on the terrain mapped out by their acclaimed 2020 debut, the duo push further into a world where flute, raagini, guitar, drone, and an old school drum machine merge into long-form galactic excursions that feel both meticulously crafted and gloriously untethered. Spiral Galaxy II was aided by the guiding hand of Windy City weirdo-visionary Bobby Conn, who contributed textural treatments and overdubs, vintage percussive devices, and spoken-word passages that all deepen the album's ritualistic atmosphere, placing Spiral Galaxy somewhere between kosmische music, astral folk, and grooving minimalism. The album also draws in a wider circle of collaborators, including Conn's violinist/partner Julie Pomerleau (Monica BouBou) and musicians whose contributions grew organically from years of shared stages and sonic communion. Avant improvisers Drazek Fuscaldo (Mako Sica), alchemical folksters Jen Powers and Matt Rolin, synth-lord Jimmy Lacy (SiP), and motorik country deity Lawrence Peters all make guest appearances. These performers truly became part of the album's collective spirit, adding new dimensions to Spiral Galaxy's evolving sound. Pieces like "Axos IV" developed over years of live performance, while "E' Glynner" transmuted in the studio, revealing new colors and possibilities with every devotional layer. What emerges is pure head music that balances the earthly and the celestial. Eastern resonances, soaring flute lines, shimmering guitars, ticking electronics, and expansive drones, create an auditory world that is simultaneously rooted and interstellar. Spiral Galaxy II is an invitation to surrender to the drift, scoring twilight hours, altered states, and open horizons -- where repetition and devotional sonics merge into a propulsive groove that barely holds reality together. Step into the orbit. Just don't expect to come back unchanged. FFO: Popul Vuh, AshRa, Cluster, Gila, La Dusseldorf, Terry Riley, Faust.

Debut LP from Cardinal Fuzz (UK) and Feeding Tube Records (USA). Presented in a hand stamped metallic copper ink (front and back) print on a black card sleeve with insert. Recorded during downtime but sounding anything but casual, Celestial Power emerged when Dead Sea Apes' Brett Savage and Chris Hardman linked synaptic overload with Cardinal Fuzz's own Dave Cambridge to form a three-headed amplifier cult. Heavy, raw, and deeply resonant, this is music that embraces volume, repetition, and the beauty of imperfection. What they've summoned is a sprawling liturgy of overdriven guitar mantras: brutal, blown-out, and gloriously repetitive. Imagine the Velvet Underground locked in a warehouse mainlining the kosmische pulse of some forgotten Krautrock commune while Bardo Pond's ash-coated spirit hovers overhead, scattering embers into a storm of PSF-style amplifier abuse. Not so much songs as tectonic events. Not riffs, but rituals. This thing doesn't purr it howls. You hear the room breathing. You hear amplifiers gasping as they're pushed past mercy, past design, into some ecstatic mechanical breakdown. Every repetition drills deeper, pushing beyond the horizon line until time itself starts peeling back in sheets. And that's the point. This is repetition as revelation. Volume as transcendence. Human hands wrestling raw electricity into shape, then losing control of it entirely. On "Mandate Of Heaven," the circle widens with the arrival of Nik Rayne (The Myrrors), adding another dimension to the ritual, a desert prophet stepping into the feedback storm, pushing the album's gravitational pull even further into the void. No compromise. No softening. No edges filed off. Just pure voltage, scorched earth repetition, and the kind of heavy psychedelic communion that feels less like listening and more like surviving. Step inside. Bring ear protection. Or don't.

2026 restock; 1992 release. "More classics from the Dangerhouse label's vaults. Also contains previously unreleased songs." 01. Alley Cats - Give Me a Little Pain (2:36) 02. Alley Cats - Too Much Junk (2:44) 03. Eyes - Eniwetok (2:00) 04. X - Adult Books (3:14) 05. Weirdos - Neutron Bomb (2:59) 06. Black Randy - Idi Amin (1:25) 07. Black Randy - I Slept in an Arcade (2:29) 08. Bags - Babylonian Gorgon (2:35) 09. Bags - We Will Bury You (1:55) 10. Rhino 39 - Xerox 12 (1:06) 11. Rhino 39 - No Compromise (0:54) 12. Avengers - Car Crash (4:18) 13. Randoms - ABCD (4:07) 14. Dils - Mr. Big (1:42)

"Heatmiser's Dead Air is still a mighty fine debut album, though more credit should probably go to Elliott Smith's co-singer/guitarist Neil Gust. There's a perhaps inevitable casting of grunge over everything given its 1993 genesis, but instead of sprawl, the emphasis is on tautness, vocals rough but not whined, more Hüsker Dü and Mission Of Burma, say, than Black Sabbath or Black Flag. Neil Gust's knack for anthemic, empowering choruses infused with open emotional passion makes the Fugazi comparison in particular appropriate. The songs don't waste time -- 14 in 37 minutes -- and steer away from easy singalong approaches in favor of slightly more complex headbanging with a brain and heart. 'Stray,' re-recorded from an earlier single, sounds fantastic, just brawling with both fierce energy and close-to-the heart empathy, not to mention a great chorus. 'Bottle Rocket' is a definite winner, with some great call-and-response vocal work and a steadily building verse-into-chorus structure that's fierce without falling prey to incipient emo clichés. Every so often there's some great flash on the guitars -- check out the solo on 'Dirt' -- while the rhythm section does well enough (drummer Tony Lash in particular)."

Double LP version. "Pink/Neon unites legendary guitarist Fred Frith with pianist Cornelius Claudio Kreusch and drummer Johannes Tonio Kreusch for an expansive exploration of improvisation, texture, and sonic experimentation. For Frith, the guitar serves as a gateway to limitless possibilities, with conventional playing transformed through electronics, unconventional techniques, deconstructed sounds, and spontaneous interaction. Together, the trio creates music that continuously evolves, moving fluidly between meditative stillness, abstract expression, and explosive improvisational energy. The album unfolds through drone motifs, ostinatos, atmospheric passages, and richly layered sonic landscapes that alternately crash together and drift apart like ocean waves. Compositions including 'Whisper Wind,' 'Quantum Shadow,' 'Entangled Dystopia,' 'Photon Three,' and 'Retrocausal Aftertaste' demonstrate the ensemble's remarkable ability to balance structure with freedom while maintaining a deeply immersive listening experience. Presented as a 2LP release, Pink/Neon captures three fearless improvisers creating music that transcends traditional jazz, embracing contemporary composition, experimental sound design, and spontaneous collaboration."

Geometrik Records once again plays a part in the exclusive recovery of Marcelo Expósito's previously unpublished work, which had been lost since its original creation in the 1980s. Marcelo Expósito is one of Spain's most internationally renowned contemporary artists, whose work is regularly exhibited across Europe and Latin America. He began his career at a very young age during the era of sound experimentation that flourished in the wake of so-called industrial culture, which found particularly fertile ground in Spain. As co-editor of legendary publications such as the fanzine Experiencias (1983) and, above all, the cassette-fanzine publisher Necronomicón (1983?1987), which operated on an international scale, Marcelo Expósito has, in recent years, been reconstructing those of his sound experiments that had been lost for decades. This album brings together material previously released on cassettes as EGK023 in a very limited edition. These tracks have now been remastered and expanded to complete this record, which noise musician Mattin has described as "secret recordings that constitute a gem from the rich Spanish underground of the 1980s." In the words of Luis Alvarado, editor of the Peruvian label Buh Records, this album "allows us to appreciate how Expósito developed a style of his own that understood sound as a malleable material open to chance. The recordings gathered on The Lost Tapes reveal an artist who moves as much through territories of unsettling textures and atmospheres as through zones of abstraction and radical noise." Influenced by the early work of figures such as Maurizio Bianchi, Nurse With Wound, and La Otra Cara de un Jardín, the release of this album provides a key piece in reconstructing the genealogical puzzle of Spanish experimental music. This carefully curated edition -- in Spanish and English -- includes a lengthy essay by Marcelo Expósito on the creative processes behind his work and the historical context of the industrial culture of the 1970s and 1980s, as well as extensive liner notes contributed by Vittore Baroni, editor of the legendary Italian label Trax; Francisco Felipe, co-founder of the Ars Sonora program on Radio Clásica (Radio Nacional de España) and one of the most active names on the Spanish experimental scene of the 1980s; Mattin and Susana López (Susan Drone), key figures in the sound experimentation of the generation that emerged in the 2000s; as well as the aforementioned Luis Alvarado.

"The Best Of Godzilla: 1954?1975 (Original Film Soundtracks) celebrates the landmark music of composers Akira Ifukube and Riichiroh Manabe across two decades of Toho's legendary monster series. Never content to revisit the same ideas, Ifukube continually developed new themes for each successive film, refining and expanding the musical identity of Godzilla while creating some of the most recognizable film music in Japanese cinema. As the Godzilla series progressed into the 1970s, shrinking production budgets placed increasing pressure on Toho's special effects productions following the era of Eiji Tsuburaya. Effects director Teruyoshi Nakano was tasked with delivering ambitious kaiju spectacles under tighter financial constraints. Ifukube responded with equally ambitious scores, composing dramatic, haunting music for films including Godzilla vs. Gigan. His compositions often elevated the films, providing emotional weight and grandeur that compensated for the limitations imposed on the productions. The collection concludes with music from Godzilla vs. Mechagodzilla and Terror of Mechagodzilla, the final entries of the original Showa-era cycle. These films paired improved visual effects with some of Ifukube's finest late-period compositions. The closing cue from Terror of Mechagodzilla serves as both the finale to the film and a poignant musical farewell to one of cinema's most enduring franchises. The release includes extensive liner notes exploring the evolution of the scores and their importance within the history of the Godzilla series. Presented by GNP Crescendo/BSX, this CD contains 79 minutes of music drawn from the original motion picture soundtracks spanning 1954 through 1975. This edition preserves the classic themes that helped define Godzilla's cinematic legacy and remains an essential collection for soundtrack enthusiasts, Japanese film music collectors, and fans of classic kaiju cinema."

2026 repress; LP version, includes free download code. "The third studio album by Sonic Youth, originally released in May 1986 on SST Records, shows the first signs that the band was ready to transform their no wave past into a greater alternative rock sensibility. 'EVOL ... mark[s] the true departure point of Sonic Youth's musical evolution,' says Pitchfork, who place the album in the #31 slot of their Top 100 Albums of The 1980s. 'In measured increments, Thurston Moore and Lee Ranaldo ... bring form to the formless, tune to the tuneless, and with the help of Steve Shelley's drums..., [impose] melody and composition on their trademark dissonance.' Stereogum likewise praises the album as one that is 'full of suspense..., the cornerstone [of] the Sonic Youth sound..., ground zero for the combination of chiming guitars and atonal skronk... [and] muggy delirium.... The virile "Tom Violence" sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The offkilter [droning love song] "Starpower" ... is sung [by Kim Gordon] in a frosty [Nico-evoking] monotone. "In The Kingdom #19," featuring Mike Watt on bass and ... vocals [by Ranaldo]..., is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by ... live firecrackers into the vocal booth.' 'EVOL slithers into the unconscious,' notes Popstache. 'Once the [detuned melodies and haunting riffs and] final whispers of feedback [of "Expressway to Yr. Skull"] depart from the speakers..., the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.'"

2026 repress; LP version. "Originally slated to be a seven-inch single to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City: nothing like London where punks were starting to scrub their faces and sounds to get on Top of the Pops, and nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon-scrawled cover figure art of Thurston Moore is dark, Lee Renaldo 's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity."

Privately pressed in Scotland in 1974, Captain Marryat is one of the great lost rarities of British progressive hard-rock. Issued in an edition of just 150-200 copies on the band's own Thor label and sold only at gigs, the album disappeared almost immediately, later becoming one of the rarest and most sought-after private press LPs of the era. Named after 19th-century novelist and seafarer Captain Frederick Marryat, the Glaswegian band evolved from a hard-rock trio into a five-piece featuring Tommy Hendry (vocals), Ian McEleny (guitar), Allan Bryce (organ), Hugh Finnegan (bass) and Jimmy Rorrison (drums). Originally planning to record only a single, they found themselves with enough studio time to capture a full album, recording five original songs before closing the session with the improvised instrumental "Dance Of Thor." Deeply inspired by the organ-driven power of Deep Purple, Uriah Heep, and Beggars Opera, Captain Marryat played a powerful blend of progressive rock and heavy psych. Dominated by thunderous Hammond organ, raw guitar solos and strong melodic vocals, the album ranges from the dramatic opener "Blindness" to the epic eight-minute "It Happened To Me," the more accessible "Changes," and the explosive instrumental finale "Dance Of Thor." Although the band built a solid reputation on the Scottish pub circuit, the lack of label interest brought their career to an end in 1975. Their sole album, however, has only grown in stature, earning cult status among collectors and fans of early-'70s progressive heavy rock. Featuring remastered sound. Includes insert with liner notes, photos, and download card.

Released as a private pressing in 1968, Song Of A Gypsy has grown from an obscure self-released album into one of the most coveted psychedelic records ever made. Revered by collectors as the "Holy Grail" of psych, original copies now command thousands of dollars -- but its legendary status rests not on rarity alone. The music remains as captivating today as it was over half a century ago. A singular blend of psychedelic rock, Eastern influences and mystical songwriting, Song Of A Gypsy weaves floating Arabic melodies, finger cymbals, hand percussion, shimmering fuzz guitar and Damon's unmistakable, haunting vocals into a deeply spiritual listening experience. Its songs explore love, loss and the search for meaning with a sincerity that continues to amaze. Behind the music was David del Conte, better known as Damon The Gypsy. After performing around Southern California in the early 1960s, personal struggles led him to abandon the club circuit in search of a different path. Settling in Big Sur, his life took an unexpected turn when an impromptu encounter and jam session with George Harrison and Ravi Shankar inspired the distinctive five-string guitar tuning and Eastern-tinged sound that became the foundation of Song Of A Gypsy. Recorded with guitarist Charlie Carey and a small circle of friends, the album was privately issued on Damon's own Ankh label in an edition believed to total of a few hundred copies across two sleeve variations (single white cover and black gatefold leather textured). With virtually no promotion or distribution, most copies were simply given to friends and family. Decades later, the record was rediscovered by legendary collectors Veronica Breth and Paul Major, sparking a worldwide cult following. Its growing reputation eventually led to acclaimed reissues by Shadoks in 1998, Guerssen Records in 2005 and Now-Again in 2010. Damon himself remained humbled by the album's remarkable journey, calling its success "a mystery" after years of obscurity. Damon passed away in 2016, but Song Of A Gypsy endures as a timeless masterpiece, one of the most extraordinary and original recordings of the psychedelic era. Featuring original artwork (single white cover variant) and remastered sound with pitch corrected. Includes insert with liner notes and photos.

20th anniversary edition of what began the electronic era of Prurient. Subtle alternate layout with 16-page booklet. Digital download code included.

"A skull crushing selection of pure, primeval, rare and untamed tracks from the British masters. Comprised of a lethal Radio 1 session, B sides, outtakes and rare tracks recorded in the golden years of the band, between 1982 and 1985, this selection is sure to please the legions of Venom fans thirsty for a good dose of the legendary trio. A loud, ass kicking, devastating record that proves again Venom are of the most important (and best!) metal bands to ever walk the earth, long live the kings!"

"Coming on the heels of Jackpot Records' vinyl reissue of The Wild Magnolias' S/T debut LP comes the band's follow-up record, They Call Us Wild. Championed by critic Robert Christgau as creating 'the most boisterous recorded party I know,' the band released this funk masterpiece in 1975, but now with a psychedelic streak running deeply throughout it. While the first album (which was also the first commercially released record by a Mardi Gras Indian group) declared 'Smoke Your Peace Pipe (Smoke It Right),' They Call Us Wild is a different type of 'elevated' sonic celebration. Vocals echo and drip; saxophones and keyboards swing from each other's arms, and the omnipresent multi-layered percussion, which The Wild Magnolias were known for, showcase why they continue to be one of the most sampled bands of all time (they have been sampled by everyone from Nas to Public Enemy to Jungle Brothers). With producer Philippe Rault at the helm once again, he continued to capture the dense magic within the band, but on They Call Us Wild, they are taking a darker, more haunted approach with their music. The smokey interplay on songs like 'Injuns, Here We Come,' with its jazzy piano/bass meltdown (courtesy of Erving Charles Jr. and Wilson Turbinton of the legendary New Orleans funk band The Gaturs), solidified them as a band rather than capturing a moment, even though the celebration in the studio is still going just as strong. The band also takes itself to new sonic territory, for instance, slowing things down with 'Jumalaka Boom Boom,' with its sexy groove and spoken-word storytelling sections that rival the best of P-Funk."

2026 restock; LP version. Delroy Wilson's rich vocal tones always added magic to any song put his way. The "Cool Operator" was what he was affectionately named after he worked on a tune with the legendary Jamaican producer, Bunny Lee. A match made in heaven, that you will hear on this collection, where he was put against some of the finest rhythms made in what would be a high point in reggae's history. Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd's Studio One label. His first release at the tender age of 13 was the Lee Perry produced "Joe Liges". This ska-enhanced tune gave the young singer his first hit and the follow-up single "Spit in the Sky" also flew out the record store doors. After a brief stop in 1969, Delroy began working for producer Sonia Pottinger's Tip Top label which gave him more hits including "It Hurts" and "Put Yourself in My Place". The 1970s saw Delroy Wilson's arrival at Bunny "Striker" Lee's door and what would turn into a winning formula, scoring hit after hit. It is from this great period in Delroy's career that Jamaican Recordings have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare. A great dub set mixed at the one and only King Tubby's studio...

"Soundtracks 1970?2014 gathers more than four decades of soundtrack compositions by acclaimed British musician, composer, and author Stephen Thrower. Best known for his work with Coil, Cyclobe, and UnicaZürn, Thrower has built a remarkable career spanning experimental music, film composition, and influential writing on cult and exploitation cinema. This collection assembles music written for a wide variety of film projects, revealing another important dimension of his creative output beyond his celebrated work in the experimental music world. The collection includes compositions created for films such as Ben Wheatley's Down Terrace, Pakistan's pioneering gore film Hell's Ground, and the groundbreaking erotic short films of filmmaker Peter De Rome. Across seventeen pieces, Thrower combines ambient textures, electronic experimentation, haunting melodies, and cinematic atmosphere into a cohesive listening experience that stands equally well apart from the films themselves. Presented on CD, Soundtracks 1970?2014 offers an essential overview of Stephen Thrower's film music, showcasing the breadth of a career that has continually bridged experimental music, cinema, and sound design."

"Nomad Souls/Tribal Warning Shot/The Harvest is the definitive retrospective of Hunting Lodge's formative years, collecting the pioneering American industrial group's essential recordings from 1982 through 1984 across two CDs. Formed in Port Huron, Michigan by Lon C. Diehl, Richard Skott, and Carla Nordstrom, Hunting Lodge emerged as one of the earliest American industrial and experimental acts, combining tribal percussion, electronic experimentation, tape manipulation, and provocative performance art into a distinctive sonic identity. This expansive collection brings together the landmark Nomad Souls album, the Tribal Warning Shot 12", and the rare The Harvest cassette for the first time in one comprehensive edition. The collection traces the band's rapid artistic evolution, from early live recordings and ritualistic soundscapes to the fully realized industrial aesthetic that defined Nomad Souls. Included are the original album, the remixed title track from the German Normal Records 12-inch release, live recordings from The Harvest, and the exclusive bonus track 'Learn To Will I,' originally released on the legendary Beast 666 compilation from Nekrophile Records. All recordings have been newly remastered from the sources prepared for the 2024 vinyl restoration project, offering the clearest presentation of this influential material to date. Presented as a deluxe 2-CD collection, Nomad Souls/Tribal Warning Shot/The Harvest documents one of the foundational groups of the American industrial underground and provides an essential archival release for collectors of experimental, industrial, and post-industrial music."

Nido de Espinas is the fourteenth studio album by Buitres. Uruguayan punk rock band formed in 1989, heirs to the legacy of the iconic post punk band Los Estómagos. It began to be composed in 2022 and was recorded in early 2024. The texts are inspired by the Diary of a Desperate Heart, an arbitrary overflow of feelings written disorderedly with an improvised rein, which demanded exhaustive work from the band to reach maximum expression in each track. Artistic production was handled by Ale Vázquez (Spinetta, Intoxicados, and more) and Sebastián Teysera (La Vela Puerca), who landed the runaway chariot set on fire. Buitres formed in late 1989, following the dissolution of the group Los Estómagos, a band that sparked a new era of Uruguayan rock in 1983. José "Pepe" Rambao, a close friend since childhood, joined the Parodi-Peluffo duo. Buitres has toured extensively throughout the entire Uruguayan territory and has participated in massive international shows both in Uruguay and abroad. Additionally, they have completed six tours across Spain, where the album En la Vuelta was released. Their discography features 14 studio albums. They have released three live albums, two documentary DVDs, and three live DVDs. Three books have been published about the band. The band has received numerous acolytes and awards, but most importantly, after more than thirty years, they continue to maintain a close and emotional relationship with their audience -- one that has endured throughout their history and grows over time. For this reason, the band dedicates their absolute best effort to every new work and every performance Nido de Espinas is their new studio album. These are wild and excessive times. Perhaps this statement applies to our life history just as it did to ordinary people in bygone eras. However, we assimilate the changes, adapt, and move forward. Nothing new under the sun. We grew up assuming static realities without trying to understand that they were newborn and would not last forever. The "forever" was declining into premature obsolescence. Every accessory is fleeting in the dizzying change of language.

Deluxe 3CD version. Originally released in 1986, True Confessions captured Bananarama at the height of their global success, blending their infectious pop hooks with the sleek production of Jolley and Swain and the newly discovered dance floor energy of Stock Aitken Waterman. Featuring the international hit "Venus" alongside fan favorites including "More Than Physical," "Do Not Disturb" and "A Trick of the Night," the album remains one of the defining releases of the '80s. True Confessions saw Bananarama's transformation from DIY ingenues to MTV superstars. It would begin their imperial phase of peerless hit singles and introduction into the Guinness Book of Records for the highest number of chart entries for an all-female group. To celebrate 40 years of True Confessions London Records is re-issuing True Confessions across a multitude of formats. Includes 16-page booklet.

LP version. Picture disc vinyl. Originally released in 1986, True Confessions captured Bananarama at the height of their global success, blending their infectious pop hooks with the sleek production of Jolley and Swain and the newly discovered dance floor energy of Stock Aitken Waterman. Featuring the international hit "Venus" alongside fan favorites including "More Than Physical," "Do Not Disturb" and "A Trick of the Night," the album remains one of the defining releases of the '80s. True Confessions saw Bananarama's transformation from DIY ingenues to MTV superstars. It would begin their imperial phase of peerless hit singles and introduction into the Guinness Book of Records for the highest number of chart entries for an all-female group. To celebrate 40 years of True Confessions London Records is re-issuing True Confessions across a multitude of formats. Includes 2-page insert.

Double LP version. Originally released in 1986, True Confessions captured Bananarama at the height of their global success, blending their infectious pop hooks with the sleek production of Jolley and Swain and the newly discovered dance floor energy of Stock Aitken Waterman. Featuring the international hit "Venus" alongside fan favorites including "More Than Physical," "Do Not Disturb" and "A Trick of the Night," the album remains one of the defining releases of the '80s. True Confessions saw Bananarama's transformation from DIY ingenues to MTV superstars. It would begin their imperial phase of peerless hit singles and introduction into the Guinness Book of Records for the highest number of chart entries for an all-female group. To celebrate 40 years of True Confessions London Records is re-issuing True Confessions across a multitude of formats. Includes 2-page insert.

Originally released in 1986, True Confessions captured Bananarama at the height of their global success, blending their infectious pop hooks with the sleek production of Jolley and Swain and the newly discovered dance floor energy of Stock Aitken Waterman. Featuring the international hit "Venus" alongside fan favorites including "More Than Physical," "Do Not Disturb" and "A Trick of the Night," the album remains one of the defining releases of the '80s. True Confessions saw Bananarama's transformation from DIY ingenues to MTV superstars. It would begin their imperial phase of peerless hit singles and introduction into the Guinness Book of Records for the highest number of chart entries for an all-female group. To celebrate 40 years of True Confessions London Records is re-issuing True Confessions across a multitude of formats. CD includes 4-page digisleeve and 8-page booklet. Also available on deluxe 3CD (LMS 1725880), picture disc LP (LMS 1725881), and black double LP (LMS 1725887).

2026 restock. Collection of early works and Joan La Barbara's first vocal compositions, originally released on LPs in the 1970s and early 1980s on her own Wizard Records. La Barbara says, "One of my earliest pieces, 'Hear What I Feel', was a self-exploratory, sensory-deprivation experimental work, designed to help me discover new sounds, delve into psychological aspects, as well as communicate with the audience on a pre-verbal level of awareness. After spending an hour in isolation with my eyes taped shut and not touching anything with my hands, I was led our into the performance space where my assistant had placed a variety of substances in six small glass dishes. As I touched the material, I tried to give an immediate vocal response to what I felt both emotionally and physically, without the benefit of visual information. I expected the shock of bringing a solitary state of mind into the heightened awareness of a performance situation to intensify my experience, and the poignancy of my 'prepared' state to affect the audience. The sounds are presented here in their raw state; it is truly an experimental work with no intentional musical implications or designs. 'Voice Piece: One-Note Internal Resonance Investigation' explores the color spectrum of a single pitch. 'Circular Song' was inspired by the circular breathing technique of horn players. 'Des Accords pour Teeny', an exploration of multi-phonic technique or choral singing, was dedicated to Teeny Duchamp. In much of my early work I dealt with sound as a physical presence, sculpting it, building up layers in complex constructions, letting the flow of thought and the visualization of sonic gestures direct my studio art. Voice Is The Original Instrument was both a statement of purpose and a manifesto as, through various experiments and explorations, I tried to rediscover the basic function of the voice as the first means of expression as well as to release untapped sonic material. As I gave my classically trained voice its freedom, letting it direct me toward new places and ideas, I developed what was a unique vocabulary and used those sounds to score an orchestra of layered voices."

"Louisiana Red was born in Alabama in March 1932 and died in Hanover almost exactly 80 years later. The early life of Iverson Minter, also known as Louisiana Red, was marked by suffering. His mother died of pneumonia a week after he was born. When he was five years old, his father was executed by the Ku Klux Klan. After that, he lived in orphanages until he was able to spend the rest of his childhood with his grandmother. As a teenager, he was sentenced to hard labor for burglary and subsequently sent by Uncle Sam to the Korean War. Iverson had wanted to become a blues musician ever since he had met Muddy Waters. In the late 1950s, he played in John Lee Hooker's band. In the mid-1970s, he moved to Europe, where he gained recognition among a wider audience through appearances at the WDR Rockpalast and the Montreux Jazz Festival. In the 1980s, Fritz Rau signed Louisiana Red for his successful festival series, the 'American Folk Blues Festival.' In 1983, he released his acclaimed album Anti-Nuclear Blues, whose content and message are more relevant today than ever. The original vinyl edition has since become a sought-after rarity. Now, the album is being rereleased, featuring six bonus tracks from the 1981 'American Folk Blues Festival,' as well as a reissue on vinyl with a fresh sound."

2026 restock; 180-gram LP version. Originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.

2026 repress. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.

"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork

Originally released in 1971, Satori is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, Satori is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, Satori drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. More than fifty years after its release, Satori remains as one of the most influential and forward-thinking records in Japanese rock history. Includes an insert.

Canarios, the band led by Teddy Bautista, was one of the first Spanish groups to incorporate the sounds of emerging musical trends -- primarily from the English-speaking world -- into its repertoire. In 1968, "Get On Your Knees" was released, a stunning soul track recorded by Swiss producer Alain Milhaud that quickly climbed the charts in numerous countries. "To Be A Man" is something of a rarity in the discography of Spanish singer Camilo Sesto, whose songs typically lean toward straightforward melodic pop and ballads. Surrounded by an international team of collaborators under the direction of former Brincos member Juan Pardo as producer, he recorded this psychedelic-tinged pop song.

2026 repress; LP version. Digitally-remastered 2002 release. This is the fourth album by German avant-garde industrial band Einstürzende Neubauten, originally released in 1987. The bonus track "Adler Kommt Spaeter" is an early version of "Zerstörte Zelle." Considerably lower-key than all their previous releases, Fünf Auf Der Nach Oben Offenen Richterskala (trans. "Five On The Open-Ended Richter Scale"), with especially puzzling, almost country-rock track "Morning Dew," sung in English, but with moments of whip-cracking and atomic explosions. There's the same attention to rhythmic assault on this record as on the others, but there's a quieter, more sinister, darker, lower-key ambience at work here, with Blixa Bargeld's vocals right at the center-front of the mix, as he experiments with breath, lower pitches, whispers, and barely-audible squeals. There's a barely-restrained, beautiful tension here that never gets resolved, sounding as if the band is holding itself back from complete annihilation.

"The Current Above - Immersion Seven embraces the sonic senses within a beautifully expansive 76-minute steady-state zone. Designed for infinite low-volume playback, the album's sole track 'The Current Above' continues the evolution of the long-form immersion series of intimate ambient recordings Steve began in the late-90s. The caress of slowly-unfolding cascades of shimmering textures and diaphanous atmospherics makes for the ideal soundworld for one's habitat. It's a delicate and nurturing environment for creative states, sleeping, reading, meditation and other settings where understated sonic incense can gently hold the space. Steve Roach is a leading American composer, performer and icon in the evolution of ambient/electronic music. Steve is renowned for his pioneering role in shaping the genre through deeply immersive, atmospheric and engaging soundscapes over more than four decades. Within his massive catalog Steve has received two Grammy nominations for Spiral Revelation and Molecules of Motion. He's equally prolific in the live setting creating legendary real-time mesmerizing experiences in venues from cathedrals to intimate settings. Alongside all this he maintains an unbroken focus from a life dedicated to the soundcurrent at his longtime Timehouse studio in Baja Arizona. Limited to 500 copies worldwide and presented in a four-panel Digipak, The Current Above - Immersion Seven is another essential entry in Roach's long-running ambient series, inviting listeners into an endlessly evolving environment of calm, reflection, and sonic beauty."

The annual Public Possession Chill Pill compilation sees its eight installment. Volume VIII is yet another beautiful arrangement of songs with a cast of international artists, close to the label. Compiled with Love by Public Possession. Breath in, breath out. Relax the Deejay is here. Featuring Andras, DJ City, Bell Towers, Blasé, César Wogue, R_R_, Melati ESP & Kaazi, Courtney Bailey, Aksel & Aino, and ddwy.

2026 repress. Radiation Records present a reissue of Discharge's Hear Nothing See Nothing Say Nothing, originally released in 1982. Often claimed as the most important punk album of all time, this was the first full-length by UK hardcore prime movers Discharge and rightly considered the manifesto for what would be later defined as "d-beat". Originally released on the Clay Records label in 1982, this masterpiece gave inspiration to literally hundreds in the extreme metal and hardcore punk areas for the subsequent four decades and its legacy remains invaluable to this day. White vinyl; gatefold sleeve.

2026 repress; LP version. Radiation Roots present a reissue of Aggrovators' Rasta Dub '76, originally released in 1976. During the mid-1970s, the Aggrovators could do no wrong. This ace team of session musicians, forged as an off-shoot of the Soul Syndicate, were responsible for some of the biggest hits of the decade, recorded with Bunny Lee's rising stars, such as Johnnie Clarke and his rival, Cornell Campbell. Following on from the great Shalom Dub set of 1975 (RR 313CD/LP), Rasta Dub '76 is another truly magnificent dub set culled from Aggrovators hits (by Johnnie Clarke, Cornell Campbell and others); this time, the entire album was given a scintillating mix-down at King Tubby's studio by the great Prince Jammy, and the sonic excellence has stood the test of time. Another must-have for all connoisseurs of dub.

2026 limited restock. Originally released in 1969. Certainly one of the weirdest experimental psychedelic albums out there, with noise and industrial moments, first released by legendary free jazz label ESP-Disk' in 1969 (ESPDISK 2001CD/LP). An absolute psychedelic UFO of proto-industrial noise, with a pioneering touch of Throbbing Gristle, SPK, Whitehouse, and Test Dept mixed with something fully stoned . . . way ahead of its time in the '60s. Remastered with the same real rough sound and the same feeling sought at the time, but with more volume added. 180-gram LP in deluxe heavy-duty silver chromium gatefold sleeve. Limited numbered edition of 333.

2026 limited restock; lack vinyl version. Color sleeve. Numbered edition of 2000 copies. Rotorelief present a reissue of Silver Apples' self-titled debut, originally released in 1968. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 055C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 055C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 055S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 055S-SIL).

"By 1967, the Overland Stage Electric Band was teetering on its last legs. The New York City five-piece had found some success playing covers of straight-ahead rock 'n' roll at gigs in the East Village, but tensions within the group were steadily tearing them apart. The lead singer, Simeon Coxe III, had gotten his hands on a vintage '40s audio oscillator and was insisting that it become a part of the show. The rest of the band was understandably upset - this was more than a decade before electronic music would become an accepted practice. Before long, the band was down to two members, Simeon, and drummer Danny Taylor. Now with full control, the two members re-christened themselves the Silver Apples and set about releasing one of history's great forgotten albums, their self-titled debut. Silver Apples is a record that reached far ahead of its time. It's not surprising then, in a year when the airwaves were still dominated by Motown and the Beatles (whose experimentation was tame by comparison), that it failed to garner much of an audience. Even now, nearly 40 years later, the record sounds fresh and unconventional - in 1968 there simply wasn't anything else like it." --Adam Bunch, Crawdaddy! (2007)

Limited 2026 restock; double LP version. Silver vinyl. The long-running and infamous project known as Nurse With Wound -- essentially Steven Stapleton joined by a rotating cast of characters -- mixes the overly serious chin-scratching of the contemporary avant-garde with a healthy dose of absurdist humor and wit. Often unfortunately branded with the industrial's tag, Stapleton's music actually reflects elements of musique concrète, ambient, and free improvisation juxtaposed against more traditional forms. No one pigeonhole can adequately describe this diverse and immense catalogue: only by diving in can one truly appreciate the varied sonic possibilities of Stapleton's unfettered imagination. He's that weird, and he's that good. In the mid-1980s, Nurse With Wound existed as a live band for only eight shows, of which only five were in front of an actual audience. Live at Bar Maldoror, released in 1991, documents these various live incarnations. Having been remastered by Andrew Liles, the diverse and lengthy pieces (which were actually recorded in disparate locales, none of which are named "Bar Maldoror") sound rather contemporary. Sparse percussion, tape manipulation, loops, noise, dark drones, improvised semi-musical instrumentation and strangled glossolalia all expose the many facets of Stapleton's oeuvre. In 2023, as part of the silver editions, Rotorelief Records released Bar Maldoror as a double vinyl album, in a luxurious gatefold with four panels of artwork by Babs Santini.

2026 restock; 2017 remastered edition, with new standard glossy jackets. Texture and feeling of 1974 with boosted audiophile sound quality. Black vinyl version. Originally released in 1974. German trio Sand's first album, Golem, is a legendary work of cosmic psychedelic genius. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Factory-noise, riveting hammers from the dockyards, agricultural machines, starfighters low level flights, land manoeuvre by the British Forces in the mountainous countryside along the winding river were the culture medium for extended sound aesthetics. Sand was born and created Golem. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Black vinyl version comes in an edition of 2000 (numbered); Blue vinyl version (ROTOR 1006BLULP) comes in an edition of 500 (numbered); Clear vinyl version (ROTOR 1006CLRLP) comes in an edition of 300 (numbered).

2026 restock, last copies; double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.

2026 repress. The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series, the crew shares some of their favorite old tracks -- in a reworked version. This time COEO destroys a couple of '70s disco jams. Recut and re-pasted, they gave them their special COEO touch. Of course it's irresistible! Vinyl only.

Omniversal Earkestra's Le Mali 70 Vol. II is a vibrant musical journey blending the rich traditions of 1970s Malian music with contemporary jazz and world music influences. Drawing from the golden era of West African sound, the album delivers hypnotic grooves, dynamic horn arrangements, and a deep spiritual atmosphere. The Omniversal Earkestra creates an organic and immersive sonic landscape that bridges past and present with remarkable authenticity. Through expressive improvisation and a strong sense of musical heritage, this release offers a timeless listening experience that resonates with both tradition and innovation.

Eivor, born in the Faroe Islands in 1983, is a vocalist, instrumentalist and songwriter with a voice of rare beauty and power. From the age of fifteen she decided to dedicate her life entirely to music, and her roots in these remote and astonishingly beautiful islands have been the source of her musical inspiration ever since. While this powerful love of Faroese culture remains at the heart of her work, it has been widened through profound contact with other North Atlantic traditions -- she spent some time in Iceland and was named Icelandic Female Singer of the Year in 2003. She is equally at home as a solo singer, accompanying herself, or with her own band, performing a mixture of traditional songs and her own compositions, or collaborating with musicians from many different backgrounds. Eivor is now based in Denmark. Many of her songs are in Faroese, some are in Icelandic and the most recent tend to be in English. Her music covers a wide musical and emotional range, with themes of love, loss, memory, freedom, nature. She has a voice of extraordinary beauty and character, unique in its intimacy, its effortless virtuosity and range of colors. And at the same time she is a riveting live performer with a vivacious and warm stage presence. She has been described as "a pure Viking goddess," as having "an extraordinary presence," and producing music that is "painfully beautiful." Now at the peak of her powers, she is an acclaimed singer/composer with a worldwide dimension, yet (happily) she manages to remain true to the deep, proud and subtle culture of the Faroe Islands.

Eivor Palsdottir is considered the grand dame of the Faroe Islands and has long since played her way into the hearts of music lovers beyond the borders of Denmark. Her fourth album Krakan, which contains songs in her mother tongue Faroese as well as Icelandic lyrics, is finally re-released.

Eivör, born in the Faroe Islands in 1983, is a vocalist, instrumentalist and songwriter with a voice of rare beauty and power. From the age of fifteen she decided to dedicate her life entirely to music, and her roots in these remote and astonishingly beautiful islands have been the source of her musical inspiration ever since. While this powerful love of Faroese culture remains at the heart of her work, it has been widened through profound contact with other North Atlantic traditions -- she spent some time in Iceland and was named Icelandic Female Singer of the Year in 2003. She is equally at home as a solo singer, accompanying herself, or with her own band, performing a mixture of traditional songs and her own compositions, or collaborating with musicians from many different backgrounds. Eivör is now based in Denmark. Many of her songs are in Faroese, some are in Icelandic and the most recent tend to be in English. Her music covers a wide musical and emotional range, with themes of love, loss, memory, freedom, nature. She has a voice of extraordinary beauty and character, unique in its intimacy, its effortless virtuosity and range of colors. And at the same time she is a riveting live performer with a vivacious and warm stage presence. She has been described as "a pure Viking goddess," as having "an extraordinary presence," and producing music that is "painfully beautiful." Now at the peak of her powers, she is an acclaimed singer/composer with a worldwide dimension, yet (happily) she manages to remain true to the deep, proud and subtle culture of the Faroe Islands.

Eivor was born on the Faroe Islands in 1983. From the very beginning, her roots on this remote yet beautiful island have served as a source of musical inspiration for the singer, musician and songwriter, who has a voice of rare beauty and power. At the age of 15, Eivor decided to dedicate her life entirely to music. In addition to her strong love of Faroese culture, the other Nordic countries also served as a source of inspiration for her. She spent some time in Iceland and was honored with the title "Icelandic Singer of the Year" as a Faroese singer in 2003. Not only does Eivor feel at home in different countries, she also playfully alternates between different possibilities of her musical work in her arrangements: she sometimes performs as a solo singer and accompanies herself or she is supported by her band and presents a mixture of traditional songs and her own compositions. However, she feels just as at home performing with other musicians, who can come from a wide variety of backgrounds. Many of Eivor's songs are in Faroese, many others in Icelandic and lately she has been leaning more and more towards singing in English. Her music encompasses not only a wide range of musical influences, but also emotions: for example, her songs deal with themes such as love, loss, memories and freedom, but also of nature. Eivor's voice captivates with its extraordinary and characteristic beauty, is unique in its intimacy, effortless virtuosity and variety of coloration.

Rarely has an album title been more fitting than Faroese artist Eivor's Bridges. When you are born and grow up in a country made up of 18 islands, you know how important these connecting elements are. Her new songs are less about the bridges that connect individual islands and more about the mental connections between people, or places -- between home and far away. The title track, which is accompanied by an acoustic guitar and subtle electronic sounds. In this way, the singer once again embodies her typical "folktronica," which was already responsible for her breakthrough on the 2012 album Room. Bridges is in many ways a classic singer/songwriter album that finds its roots deep in the pop of the sixties. The acoustic guitars set against a drum machine sound create an exciting mix of traditional and modern in a wonderful way. As if that wasn't impressive enough, Eivor also uses her incredibly multi-faceted voice as a further instrument to underscore the atmosphere.

Faroese folk singer/songwriter Eivor's Slor is a collection of newly composed songs, which she sang in her native Faroese language. The album is the successor of the English-language album Bridges, and even though these are two different albums in different languages, there is a connection between the two records. Where Bridges was light and above all yearning, Slor sounds more-raw and reflective. Bridges was inspired by friendship, love and homesickness. It deals with the bridges between humans, relationships between people, places, and also things that touch everyone. Slor, on the other hand, is about wanderlust, separation and the search for peace. A veil can be a symbol of a border between the present and the past, but a bridal veil, on the other hand, represents happiness and devotion above all. Eivor explains the process of the sibling albums: "When I wrote the songs, the songwriting was first done in English and right after that it came into my head in Faroese -- like a kind of mirror image." Thus, it is not only two separate works, but also a composite moment in the song process.

On At the Heart of A Selkie, singer/songwriter Eivor, together with writer Marjun Syderbo Kjælnes, composer Peter Jensen, the Danish National Choir Ensemble, and the Danish Radio Big Band, interprets a musical drama that is deeply rooted in Nordic legends. The story of the Selkies, the ocean, love -- and the conflict between nature and man. At the Heart of a Selkie is a musical narrative about the Selkie women; it is abstract but very sensitive. A fairy tale with an exciting plot but also a moral claim in a unique soundscape, created with samples from nature by sound artist Morten Büchert and hymns by Thomas Kingo playing in the background.

"La Balsa" was the first Argentine massive rock hit. In 1967 Los Gatos became the most famous local rock band with this song. At the front, as composer and singer, was Litto Nebbia. Although this milestone has remained eternally linked to Nebbia's name, almost eclipsing the rest of his work, it is really his solo career that unveils the artist's overwhelming talent and his determination to create music freely, regardless of commercial considerations. Fuera del cielo (1975) is an art rock/space jazz masterpiece infused with prog scents from one of the true legends of Argentinian rock. The sounds of floating acoustic pianos, organ and harpsichord, basslines and even bandoneon combine with Litto's own voice and create a unique blend of deep and delicate beauty. It is an album to be filed next to the highly acclaimed Bazar de los milagros and Cosas que no quieren morir, released the following year, creating an outstanding body of work that represents Nebbia's talent at its best. Nebbia's genius transcends beyond the Southern Hemisphere. The international scene of DJs and vinyl collectors shows signs of its taste for Litto Nebbia recordings, now highly sought after in their original editions, probably as part of a rediscovery of little-explored global sounds, within a journey through music always hungry for exciting new sounds. First time vinyl reissue, remastered sound.

Kingo Hamada's iconic fourth album, and acclaimed 1982 masterpiece, is a timeless blend of sophisticated urban grooves, mellow soul and city pop elegance originally released during his time with the label Alfa Moon. Featuring a lineup of skilled musicians, including his close friend and ace guitarist Makoto Matsushita, who has been enjoying a surge of international popularity in recent years. Includes the fan-favorite "Midnight Cruisin'." Essential for fans of Japanese city pop and yacht rock.

Bloque 6 (1968), by Juan Carlos Calderón, is a landmark recording in the history of modern jazz in Spain, markedly different from the albums Calderón would record just a few years later under the influence of funk, disco music, and even flamenco. Juan Carlos Calderón enjoyed a long and successful career, composing and arranging some of the most iconic songs by Spanish artists such as Joan Manuel Serrat, Mocedades, and Ana Belén, among many others. However, his musical beginnings were closely tied to the world of jazz. His training as a pianist and the restless, adventurous spirit he shared with his brothers -- alongside whom he opened one of Spain's first jazz clubs, a venue that welcomed many of the world's leading jazz figures -- shaped the early stages of his career and led him into the jazz scene. His recording debut came in 1968 with the release of Juan Carlos Calderón presenta a Juan Carlos Calderón, followed a few months later by Bloque 6. For the recording of this album, he assembled a group of prominent Spanish jazz musicians, including Pedro Iturralde, Vlady Bas, and Pepe Nieto. The repertoire combines original compositions, such as the outstanding "Sambando," with interpretations of works by Miles Davis, Thelonious Monk, and Oliver Nelson. The album's sound invites comparison with Nelson's celebrated "The Blues and the Abstract Truth" period, reflecting strong hard bop and modal jazz influences. In 1969, the album was awarded Best International Jazz Album of the Year in the United States, and years later it was reissued on CD by the prestigious Blue Note label. First time vinyl reissue.

Limited restock. Waste Management presents Sisters Of Mercy's Peel Sessions '82-'84.

2026 repress. We R The Aliens is back featuring three intergalactic all-stars in Ohm Hourani and his cohorts Ricardo Villalobos and Amir Javasoul. On the A, Ohm presents "Barbara", a groove-laden with an infectious, plucky lead and tasteful vocal chops perfect for the early morning hours. On the flip, seasoned harbingers of party Ricardo Villalobos and Amir Javasoul give "Barbara" a floor-forward remix treatment with spacy FX, a thumping low end, and a Eurorack spin on the original's vocals.

2026 repress. "Regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.

2026 restock; LP version. Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album Esperanto, composed for a performance by New York avant-garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, Esperanto is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. Esperanto originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film Merry Christmas Mr. Lawrence (in which he starred alongside David Bowie), Esperanto was a return to Sakamoto's leftfield roots. Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion). Indeed, the album is a fascinating soundscape experimenting with the new sampler technology -- which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time. Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones. One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album Hidari Ude No Yume (WWSCD 033CD/WWSLP 033LP/WWSLP 034LP). "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from Esperanto would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin. A unique album in Ryuichi Sakamoto's rich discography, Esperanto is a groundbreaking work worth rediscovering in its full glory. Original artwork; includes two-page insert with a new introduction by journalist Andy Beta. Audio remastered in Tokyo by Seigen Ono.

2026 restock. Wewantsounds close the Makoto Kubota reissue series with the release of Dixie Fever recorded in Hawaii in 1976 and co-produced by Haruomi Hosono. Like its predecessors, Dixie Fever continues to explore American and Island music through a Japanese prism with a skillful mix of blues, swamp funk and America adding an exotic edge to the whole. A year after the release of their highly-acclaimed album Hawaii Champroo in 1975, Makoto Kubota and The Sunset Gang reunited at Sounds of Hawaii studios with co-producer Haruomi Hosono to record a new album, Dixie Fever. They used pretty much the same ingredients that had made the success of Champroo -- an effortless mix of Japanese folk and American roots music with some tropical influences. The same mix that Haruomi Hosono was applying to his own albums, especially Tropical Dandy which was experimenting with the same ideas -- in fact the front cover of both Tropical Dandy and Dixie Fever are illustrated by Yasuo Yagi. As per Hawaii Champroo and Sunset Gang, Dixie Fever includes a mix of original compositions and covers. On the album, you spot The Lovin' Spoonful's "Wild About My Lovin'" and a funked-up version of UK singer songwriter Ralph McTell's song "When I Was A Cowboy". They feature the Gang's usual musicians (Keni Inoue on guitar, Yosuke Fujita on slide guitar and Takashi Onzo on bass and keyboards) complemented by a handful of guests including Tin Pan Alley drummer Tatsuo Hayashi, Motoya Hamaguchi on percussion and New Orleans pianist and Dr. John friend, Ronnie Barron. Together they play a superb brew made of blues, soul, Hawaiian music and southern swamp rhythms. One of the highlights of the album is undoubtedly "Hoshikuzu (Stardust)" which has become a cult classic over the years on the international city pop scene and whose sunshine mid-tempo vibe is the perfect reflection of the group's musicianship. The first time the album is released outside of Japan. Features original artwork with OBI and insert plus remastered audio by Makoto Kubota himself.

2026 repress. Wewantsounds release Sharayet El Disco a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes") features Simone, Ammar El Sherei, and more obscure names from Cairo's cassette culture. Sharayet El Disco is part of an important mission for Moataz Rageb aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as Oum Kalthoum, Abdel Halim Hafez, and Warda take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including Mohsen Gaber's Alam El Phan, Sout El Hob, and Americana. Sharayet El Disco gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie of Simone's "Merci", via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn the cassette to the other side"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by David Hachour/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer Heba Tarek. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by Moataz Rageb. Also features Afaf Rady, Dr. Ezat Abou Ouf & el four M, FIrkIt el Ensan, Eman el Bahr Darwish, Firkit Americana Show, and Lebleba.

2026 restock. Wewantsounds present a first time reissue of Farid el Atrache's cult album Nagham Fi Hayati released in 1974 on Voice of Lebanon. It is the soundtrack of the eponymous film starring El Atrache. Sampled by the Beatles and nicknamed the "King of Oud", El Atrache is one of the giants of Egyptian music together with Oum Kalthoum and Abdel Halim Hafez. The album which showcases El Atrache's versatility and includes the monster groove "Hebina Hebina", is one of Brian Eno's favorite albums. Nagham Fi Hayati also contains an unedited version of "Takassim Oud" highlighting El Atrache superb oud playing. In the '50s and '60s, El Atrache became one of the most famous singers in the Arab world. One of his songs from the '60s, "Awel Hamsa" even got sampled by the Beatles on their "Revolution 9" from the White Album. The album Nagham Fi Hayati (The Melody of My Life) released in 1974, the year of his death. It was also the soundtrack of the eponymous film directed by famed Egyptian director Henry Barakat and also featured female star Mervat Amin. The album is comprised of four tracks. "Alachan Malich Gheirak" (Because There is No One Else for Me but You) and "Ya Habaybi Ya Ghaybin" (My Absent Loves) are typical long romantic songs alternating lush instrumental parts by a full Egyptian orchestra with parts sung by El Atrache. "Takassim Oud" is an astonishing instrumental highlighting El Atrache's virtuoso oud playing explaining why he was nicknamed "The King of Oud". The song is released here in its entirety for the first time on vinyl as a small section that was cut from the original vinyl release, has been reintegrated. The highlight of the album is certainly "Hebina Hebina" (Love Us, Love Us) which has become an Arabic groove club classic over the years featuring a funky loop and groovy organ. The song and the album actually caught the ear of producer Brian Eno who named it one of his favorite albums in an interview with musician William Doyle in 2016 for The Quietus. Originally released on the label Voice of Lebanon, Nagham Fi Hayati was recorded by engineer Nabil Mumtaz (from the cult Polysound Studios in Beirut). It has become one of Farid El Atrache's most coveted albums on the Arabic music scene. Audio newly remastered by Colorsound, original artwork and new liner notes by Mario Choueiry from Institut du Monde Arabe in Paris.

2026 repress; LP version. Wewantsounds announce an extensive reissue program of Meiko Kaji's first five albums released in Japan between 1972 and 1974 on Teichiku Records. The program, in partnership with Teichiku and Meiko Kaji, will see her first five albums reissued on vinyl for the first time ever in their original Japanese artwork and remastered audio. Famous for her early '70s exploitation movies (Lady Snowblood, the Female Prisoner Scorpion and Stray Cat Rock series) revered by Quentin Tarantino, Meiko Kaji was also a singer releasing albums to tie in with her movie career. These albums are a fascinating mix of Japanese pop and groove with superb funky cinematic orchestrations as displayed in Hajiki Uta. A cult icon on the international film scene, Japanese actress Meiko Kaji, born in Tokyo, has been put into the spotlight internationally by Quentin Tarantino when he heavily based his Kill Bill film on the 1973 revenge genre film Lady Snowblood. By the time she appeared in it, she had already made almost fifty feature films (she began her career in 1965) and she was one of the most famous exploitation actresses in Japan doubling as a sex symbol. This gave the studios the idea of getting her to start a singing career and release music closely associated with the films she starred in often singing the theme songs. Thus, she began releasing records at the dawn of the '70s, recording several 7" singles and five albums for Teichiku which have become sought-after and almost as cult as her films. Drawing on her film roles, the music on these albums were an uber-cool mix of kayokyoku (Japanese pop), traditional enka music, acid folk, and funky beats arranged by the best producers of the time in a cinematic way that could sound like Ennio Morricone or Jean-Claude Vannier. The album featured two film songs, namely "Urami Bushi" used for Female Prisoner Scorpion, and "Onna No Jumon" featured in Female Prisoner Scorpion - Jailhouse 41, which have been composed by Shunsuke Kikuchi who also composed the score for these films. Reissued with original artwork. Features new liner notes by Hashim Kotaro Bharoocha who has interviewed Meiko for the occasion. LP version comes in gatefold sleeve; OBI strip and insert.

2026 restock. WRWTFWW Records present the much-anticipated official reissue of Japanese duo Inoyamaland's quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue. With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended." Playful and magical, it's a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The ten-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful. The original recording sessions for the album took place in an apartment filled with Inoyamaland's "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time '80s Japanese ambient greats alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP), Hiroshi Yoshimura's Green, and Satoshi Ashikawa's Still Way (WRWTFWW 030CD/LP) -- and holding that mysterious power of "music that makes life a little easier and happier." 350gsm sleeve with selected UV high gloss varnish.

2026 repress. WRWTFWW Records presents the first ever vinyl release of Joe Hisaishi's original soundtrack for the critically acclaimed and all around classic 1993 Japanese yakuza/crime/thriller movie Sonatine. The legendary album comes in a limited edition housed in a luxurious heavyweight sleeve with selective varnish printing and a special paper obi belt. The celebrated Sonatine was directed, written and edited by Takeshi Kitano, who also takes center stage as the main protagonist of the thrilling yakuza film. Director, screenwriter, comedian, actor, TV personality and icon, 'Beat' Takeshi is also known for Boiling Point, Hana-Bi, Battle Royale, Johnny Mnemonic, Ghost in the Shell, and many many more. Considered one of the greatest ever, Joe Hisaishi is a composer, musical director, conductor and pianist behind over 100 film scores including Kitano's A Scene at the Sea, Kikujiro, and Brother, as well as his famed work for director and animator Hayao Miyazaki's Studio Ghibli masterpieces Castle in the Sky, My Neighbor Totoro, Princess Mononoke, and the list goes on. The Sonatine movie score showcases the composer's more contemplative, minimalistic, and intimate side in a superb and deeply evocative neo-classical and ambient musical journey. The depth and emotional resonance of the compositions make for an exceptional and timeless soundtrack. It is known to be one of Hisaishi's own favorites. Sonatine (Original Soundtrack) by Joe Hisaishi follows the release of the soundtrack of Takeshi Kitano's Violent Cop (1989), as well as music from another groundbreaking Japanese movie, Shin'ya Tsukamoto's Tokyo Fist (1995). For fans of yakuza movies, legendary soundtracks, Takeshi Kitano, Joe Hisaishi, piano, ambient, minimalism, classical, crime thrillers of the '90s, Ghibli, good stuff.

2026 repress; LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.