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2026 repress. "The partnership of Dennis Brown and Errol 'Flabba' Holt continues to pay rich dividends, for of all the producers the singer worked with across the '90s, arguably Holt was the most sympathetic. Blood Brothers, where Brown joined forces with Gregory Isaacs, was very good indeed, but Holt still had to cater to the latter man's style as well; here he can lavish his attention on Brown alone. The results are awe-inspiring. Backed by Holt's Roots Radics, and with a guest appearance by bassist Leroy Sibbles and drummer Sly Dunbar, the album is driven by modern digitized beats, but boasts the Radics at their richest. The group plunder the Jamaican songbook for old rhythms, reaching back into the past to root out old roots numbers, disinter the beautiful melodies of the rocksteady era, and even cross the Caribbean to plunder the American pop chart." --AllMusic

2026 repress! "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."

Beat Records reissues on CD the brilliant OST by Ennio Morricone for the romantic film La notte e il momento, directed in 1995 by Anna Maria Tatò with a screenplay by Anna Maria Tatò and Jean-Claude Carrière, photography by Giuseppe Rotunno, editing by Ruggero Mastroianni, music by Ennio Morricone. Morricone perfectly represented the eighteenth century in music with a fascinating orchestral soundtrack introduced by the cheerful and fast-paced baroque main theme. The composer always created atmospheres balanced between romanticism and comedy. The love theme emerges in "La notte e il momento," which listeners hear again in "The loving game" sung by Simona Patitucci. The purely eighteenth-century atmosphere is produced by the sound of "Un clavicembalo," the mysterious and suspended string tremolos acting as background in "Spiegazioni di torture," and a solemn march for wind instruments and strings in "Tromba e cavalli." In 1995, Sony published a CD prepared by the composer, and in 2011, GDM reissued this music on CD with the addition of six bonus tracks for which Ennio Morricone gave his approval. This presentation returns this OST to the market as a tribute to the musical brilliance of Ennio Morricone.

Beat Records reissues on CD the OST by Ennio Morricone for the drama film Il pentito, directed in 1985 by Pasquale Squitieri with a screenplay by Pasquale Squitieri, Laura Toscano, Lino Jannuzzi, Orazio Barrese, and Franco Marotta. In 1985, Ennio Morricone prepared a twelve-track album that never saw the light of day at the time, but ten years later, in 1995, the material was released on GDM Point paired with "Corleone." In 2007, under Ennio Morricone's supervision, Il pentito was expanded on GDM CD with the addition of eight bonus tracks. Now, this presentation, taken from the stereo masters of the original sessions, is back on the market.

"Bright Madness is the third album from the pinch-me-is-this-real improvising trio of Wendy Eisenberg, David Grubbs, and Bonner Kramer. Fresh off their 2025 Big Ears appearance, Squanderers slid on over to Kramer's adopted hometown of Asheville, North Carolina and laid down the glorious afternoon's worth of instant compositions that stands before you. It's the sound of Eisenberg, Grubbs, and Kramer doing their damnedest to dazzle one another. Bright Madness follows If a Body Meet a Body and Skantagio, two full-length Squanderers offerings on Kramer's Shimmy-Disc label. As Raphael Helfand concluded in his Pitchfork review of If a Body Meet a Body, 'What we're left with is not so much a pristine work of collective genius as a testament to the transcendence that can occur when a group of individual geniuses sit down together with no greater aim than melding their minds for a while. If only all our squanderings could be so fruitful.' Wendy Eisenberg is an improviser and songwriter who uses guitar, pedals, the tenor banjo, the computer, the synthesizer, and the voice. Their work spans genres, from jazz to noise to avant-rock to delicate songs; their performances span venues, from international festivals to intimate basements. Though often working solo as both a songwriter and improviser, they also perform in the rock band Editrix, and in endless other combinations of their heroes and peers including Bill Orcutt, Caroline Davis, Ryan Sawyer, and John Zorn. David Grubbs has released sixteen solo albums and was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait. He has performed with Tony Conrad, Pauline Oliveros, Luc Ferrari, Susan Howe, Will Oldham, the Red Krayola, and many others. Grubbs is the author of numerous books including Good Night The Pleasure Was Ours, The Voice in the Headphones, Now That The Audience Is Assembled, and Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Bonner Kramer is a composer/musician/filmmaker and multi-instrumentalist who has worked with artists as diverse as John Zorn, Butthole Surfers, Bill Frisell, Ween, The Fugs, Thurston Moore, Penn Jillette, Allen Ginsberg, Jad Fair, and Laraaji, to name but a few. He is also a renowned record producer and the founder of the iconic NYC record label, ShimmyDisc. He rarely performs onstage, and Squanderers is his first long-term recording project to include live performances since 1999. He currently lives and works in the Appalachian temperate rainforest."

2026 restock; LP version. Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

"Originally released in 1978. A classic reggae album re-released on 180gram vinyl and produced by Linval Thompson with extensive sleeve notes. Recorded at Channel One Recording Studio & Harry J's Recording Studio. Cornell Campbell is one of an elite group of Jamaican reggae singers who has weathered the changes throughout the music's development - in his case, from the ska era to right up to date -- whilst retaining their relevance. Witness his recent alliance with UK Afrobeat/reggae band The Soothsayers or Jazmine Sullivan's R&B hit 'Need U Bad,' which sampled his classic 'Queen Of The Minstrel' -- a song that still sounds fresh more than thirty years later. Sweet Baby was pressed on bright red vinyl, which only added to the excitement when you saw the selector position it carefully on the deck. On the LP cover was a painting of Cornell wearing an emerald green shirt and framed by a lurid sky, which might have left some people wondering if it was a soul album. It wasn't, although there is certainly soul in the grooves, and especially on R&B covers like 'Gonna Take A Miracle' -- first recorded by the Royalettes -- and 'Darling You Send Me,' which Sam Cooke had introduced to the US Billboard charts some twenty years earlier. Both are among the highlights but then the whole album is good in truth, and a heartfelt 'I Need Somebody' and 'My Sweet Baby,' plus the two-step favorite 'Just Enough' were regularly played on sound system. 'Blinded By Love,' 'I Didn't Know' and 'Can't Hide My Love' are tinged with melancholy and like the seductive 'Whenever You Need Me,' display all the hallmarks of a classic Cornell Campbell side --swooping vocals, a driving rhythm and seductive lyrics included. Nearly forty years later, it is gratifying to know there is still no mistaking him when his records are played in a dance. That relaxed vocal style draws you in but it's his falsetto, quivering with understated emotion that hooks you and turns you into a lifelong fan."

"The Liverpool connection runs through the family itself: the boys' mother, Zi Lan Liao, grew up in the city and it's where her father established the Pagoda Chinese Youth Orchestra -- in which John T and Charlie were soloists. Mystic Liverpool is psychedelic in the truest sense -- a mystical, immersive journey into songs that have always pointed east, now heard through the family that lives between those worlds. The CD digipak comes with an eight-page booklet featuring liner notes by Jah Wobble. The album draws on Wobble's signature dub bass, John T's drums, Chinese percussion and yangqin, with Charlie's erhu and vocals."

Cinevox Records, in collaboration with AMS and Beat Records Company, presents the first-ever vinyl release of Il Secondo Tragico Fantozzi's soundtrack, marking the 50th anniversary of the theatrical release of Fantozzi II. Fantozzi II, directed again by Luciano Salce, is the sequel to the highly successful first film, released just a year earlier. It picks up on the original plot, expanding it with numerous new situations involving Italy's most famous accountant, played by Paolo Villaggio. The soundtrack, composed by Franco Bixio, Fabio Frizzi, and Vince Tempera, draws inspiration from the previous album's mood and quickly becomes a true cultural marker for the Fantozzi film phenomenon. It shrugs off the idea of simply reworking the previous year's score and quickly stands on its own two feet. Available on vinyl for the first time, this 50th anniversary edition features the period poster photo on the cover, depicting Paolo Villaggio as a lightning rod. The 12-inch crystal white vinyl is available in 400 exclusive copies, mastered by Claudio Fuiano, and graphic design by Daniele De Gemini.

2026 repress. Twofer reissue of the excellent Lee 'Scratch' Perry & The Upsetters LPs, Chapter 1 (1981) and Blackboard Jungle Dub (1981). Comes with large poster. Not an exact duplication of the original LPs. "The material is weirdly wonderful and represents some of Perry's earliest and most unrestrained efforts at dub madness. Issued on one disc, they ebb and flow seamlessly (set your CD player or playlist on 'shuffle' for proof), with tracks like 'Scratch The Dub Organizer' and 'Dub From Africa' especially delicious. This is a great way to dig deep into Perry's unique mindset without spending a ton of money." --John Dougan, AllMusic

2026 repress. Some of Barrington Levy's most significant (and enduring) recordings from Channel One Studio, mixed by Scientist. Originally released in 1982. "It's difficult to overstate the transformative effect that Barrington Levy's earliest recordings had on the sound of Jamaican music. In late 1979, Levy's spare, hauntingly arranged early singles such as 'Shine Eye Gal,' 'Collie Weed,' and 'Shaolin Temple' completely overtook Jamaican dancehalls and streetside sound clashes. . . . By the time Levy released Poorman Style in 1982, he was arguably Jamaica's preeminent vocalist. Poorman Style features a set of punishing rhythms from the crack studio outfit The Roots Radics, with production work from singer-turned-label owner Linval Thompson and former King Tubby protégé Scientist. The title track -- a crisply observed sufferers' tale full of tragic notes and indelible details from everyday life -- hits particularly hard." --iTunes

"Eskimo Folk Tales returns The Residents to the world of their landmark Eskimo project through six newly recorded pieces rooted in material first encountered during the album's original development. In the 1970s, the group's mentor, The Mysterious N. Senada, sent them a collection of handwritten Inuit folk tales with the suggestion that they be incorporated into the record, but the stories were ultimately set aside after the band had already assembled more than enough material of its own. Nearly five decades later, The Residents revived those tales for a forthcoming live interpretation of Eskimo, combining familiar elements from the original album with newly composed music. The result is not presented as a lost side of Eskimo, but as a modern exploration of ideas that might, in another version of events, have found a place within the original work. This studio recording preserves the new songs created for the performance and pairs them with read-along stories based on the texts transcribed by Senada. The project extends The Residents' long-standing interest in invented ethnography, theatrical narrative, and experimental sound while reconnecting with one of the most distinctive works in their catalog. Presented as a 10-inch release, Eskimo Folk Tales includes individual story texts and the bonus track 'The Arctic Fox.' The complete program features 'The Barren Woman and the Worm,' 'The Old Woman and the Skull,' 'A Tale of Two Tupilaqs,' 'The Fool Who Made Friends with a Stone,' 'The Skeleton at the Bottom of the Sea,' and 'The Arctic Fox.'"

"The second Milkshakes album to be released was Fourteen Rhythm & Beat Greats and highlights the group's penchant for rock 'n' roll from the '50s and '60s right through to punk rock. As stated in volume one of this series, Black Sails in The Moonlight is a direct reference to 'Red Sails In The Sunset,' a favorite tune of the lads off the Beatles At The Star Club L.P., which must be considered a key influence on the group. The Milkshakes IV -- The Men With The Golden Guitars Instrumentals had always played a key role in The Milkshakes' set, so for their fourth long player, inspired by the likes of Link Wray, the boys set out to compose their own collection of guitar-led wordless tunes. Long thought lost, the tapes of The Men With The Golden Guitars had to be specially baked to make them edible, sorry -- audible -- to the consumer. The Milkshakes In Germany, was released on the same day in 1984 on Berlin's Wall City Records. Ironically, the photograph for the cover of The Milkshakes In Germany was actually taken in Rochester, England. One afternoon, while sipping tea on the deck of Mickey's boat, he and Billy were distracted by an angry dot which appeared on the horizon. On the now famous and much copied L.P. cover of Nothing Can Stop These Men are the maturing Milkshakes on Rochester Bridge spanning the river Medway. They often liked to span rivers. Studying the cover, it becomes obvious to the viewer why our four handsomely debonair and chiseled heroes caused sensation and sparked pandemonium every time they visited the outskirts of Strood. Furthermore, listening to the songs, it becomes evident why knicker sales went through the roof in the Medway towns at the time this record was first released."

"Wet is the fifth full length album by Black Meteoric Star and the tenth release. Black Meteoric Star is a project Rayna started in 2006 when she was living in Berlin that brought together her life-long love of dance music culture with spiritual themes, drag, and her formative experiences of S/M culture. Black Meteoric Star has always had an avenger quality in Rayna's life and creative work, and this iteration plays that role in response to the current political landscape. Wet celebrates the long-standing shared history of electronic music and queer leather/SM culture and imagines a future where these two cultural expressions are re-connected. Electronic music and leather/SM are both ways that queer people have historically built community, created and shared knowledge, and kept each other safe. The current administration demonizes and villainizes queer people on the basis of a false moral framework of respectability, and it's a trick. Revitalizing the connection between electronic music and queer leather/SM is a way to affirm the cultural power of both during a time when it has never been clearer that people keep each other safe. Rayna, a transgender woman with a deep commitment to all of these cultural forms, has a strong message to deliver with this album. She has been a DJ and producer of electronic music for over thirty years and has been producing community cultural events for as long. She has also been involved in kink and BDSM for decades and is a well-known and respected DJ in the New York leatherdyke scene. Rayna made international headlines in 2017 when she came out as transgender while touring with LCD Soundsystem. In 2018 she left the Grammy-winning band to pursue projects that were more connected with her queer experience, including founding Voluminous Arts, a cultural organization that supports trans artists. Black Meteoric Star is a continuation of a thread in Rayna's work that runs through her Paper Eyes project and her role in Black Leotard Front. This thread has a comic book or X-rated graphic novel component based around her experiences of being a sad lonely lesbian trans girl who was bullied a lot and found escape and the possibility of being avenged through X-Men comics and Dungeons and Dragons books."

"We went back to an older method of writing for this one. We jammed and jammed and jammed. I took the tapes home and ironed out some mutant tunes. We went back into the studio and burned them to tape live and then I took it home to Stu-Stu-Studio and did the vocals and bought in Tom Dolas and Brigid Dawson to put the finish on. Spice is always nice. Mixed it all up in the cauldron and thus we have a strange brew indeed. Floating in the smoke we have: A couple long jams, a couple short jams and a finale that'll dump a bucket of ear worms on you (reminiscent of 'the axis'). Dip your toe in organ rock and roll. So without further ado we present to you Off Course. An album wondering where the fuck are we and how did we get here. A signal dispatched out into the darkness. We are here. We are alive. And we are together."

2026 restock; blue vinyl. "This is Fugazi's first full-length record, released in 1990. This 12" LP was re-cut and re-issued In April 2009."

2026 restock, on red vinyl. Fugazi's fourth album, originally released in 1995. Remastered with full color inner sleeve. "For all its eclecticism, Red Medicine is rock solid, held together with seductive hooks, hummable melodies and an overarching continuity that takes the listener from the familiar Fugazi sound of 'Do You Like Me' and the aptly titled 'Back to Base' to the mesmerizing psychedelia and spare dub of 'By You' and 'Version.' This is an album for all fans of inventive guitar rock -- whether Fugazi like it or not." -- Rolling Stone

"Keen listeners who have dug below the surface of Oren Ambarchi's triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren's work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams, Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles. Beginning with piano ripples from Eiko Ishibashi, after only a few seconds 'Hidden Tableau' takes an unexpected turn with the entrance of a groaning synthetic voice. The first half of the piece develops as an oddly moving concerto for this moaning and growling ghost in the machine and a delicate backdrop of piano, organ-like tones, and Oren's signature shimmering Leslie guitar. As the beautifully flexible swing of Joe Talia's drums enters, the harmonies fill out into woozy clouds and the synthetic voice seems to morph into something approaching a mutant trumpet. In a left turn that seems to come out of nowhere yet make an inexplicable kind of sense, the piece is then overtaken by patterns of intricate guitar and synthetic arpeggios. These might be Jim O'Rourke on synth, but who knows? Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren's Swedish bandmates play starring roles here, with Johan Berthling's double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, 'Sleight of Hand.' Beginning with glistening layers of electric 12-string guitar, 'Sleight of Hand' takes some key cues from electric Miles touchstones like 'Feio' or his epic take on David Crosby's 'Guinnevere,' with Berthling's sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on sho and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper-complex 'solo' from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis' UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten's guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew. It's certainly Cooked, but not overcooked."

LP version. "Keen listeners who have dug below the surface of Oren Ambarchi's triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren's work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams, Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles. Beginning with piano ripples from Eiko Ishibashi, after only a few seconds 'Hidden Tableau' takes an unexpected turn with the entrance of a groaning synthetic voice. The first half of the piece develops as an oddly moving concerto for this moaning and growling ghost in the machine and a delicate backdrop of piano, organ-like tones, and Oren's signature shimmering Leslie guitar. As the beautifully flexible swing of Joe Talia's drums enters, the harmonies fill out into woozy clouds and the synthetic voice seems to morph into something approaching a mutant trumpet. In a left turn that seems to come out of nowhere yet make an inexplicable kind of sense, the piece is then overtaken by patterns of intricate guitar and synthetic arpeggios. These might be Jim O'Rourke on synth, but who knows? Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren's Swedish bandmates play starring roles here, with Johan Berthling's double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, 'Sleight of Hand.' Beginning with glistening layers of electric 12-string guitar, 'Sleight of Hand' takes some key cues from electric Miles touchstones like 'Feio' or his epic take on David Crosby's 'Guinnevere,' with Berthling's sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on sho and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper-complex 'solo' from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis' UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten's guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew. It's certainly Cooked, but not overcooked."

The core of Gschlössl, Ullmann, and Leipnitz remains; Haves has become a constant as well. This time out they are joined by Messerschmidt and Hillbig. GULF of BERLIN is a sextet consisting of five musicians and a real-time sound designer, exploring the space between improvisation and composition. What initially appears to be spontaneous sonic creation gradually reveals itself as music that emerges in the moment while unfolding according to its own internal logic. Each individual acoustic voice is transformed through real-time electronic processing and fed back to the musicians as a reflection, so that the ensemble comes across as a polyphonic collective: each band member reacts to an altered version of themselves. The resulting soundscapes range from hovering ambient textures and eruptive noise formations to intricate rhythms reminiscent of progressive rock visionaries. Beneath the surface resonates the radical spirit of the AACM, while the spiritual intensity of Albert Ayler repeatedly comes to the fore. GoB conceives its music as a laboratory: precise, disciplined, and at the same time open to the unforeseen. From this productive tension emerges an energy that understands composition not as a fixed structure but as a living process. Here, music becomes a utopian space -- an open terrain where the collective invents new sonic forms and makes the future audible.

Susana Estrada was one of the muses and main figures from the period known as "Transition" in Spain. No other woman represented better than her the freedom and sexual revolution which the country experienced in the '70s after the end of the dictatorship. A truly erotic Goddess, Susana was a model, singer and actress and one of the first women to perform fully-naked plays in Spain. She appeared in numerous erotic magazines and movies and her famous sexual counselling column for Play-Lady magazine caused a big commotion at the time. She reached fame with her erotic musical plays like "Historias Del Strip-Tease," "Muñecas," or "Machos." As a singer, in 1980 Susana released her first 45 for the Belter label from Barcelona: "Machos"/"Acaríciame." Produced by Josep Lobell and Manuel Gas, it contained two sexy disco tracks which paved the way for her first LP, Amor y Libertad, released on the Belter sub-label Sauce in 1981. Produced by Cosmic Disco pioneer Josep Llobell, this is a real fest of '80s Italo Disco, Munich Sound, boogie, funk and modern soul. The fabulous, minimal production of Llobell collides with the sensual vocals and moanings of Susana, singing about sexual liberation and freedom. Of course, when the album was originally released, nobody understood it. Criminally underrated for many years, Amor y Libertad has now become a cult item in the international Cosmic Disco scene. But in 1980, a strange cassette by Susana called Machos was also released on the Belter label. It featured music and songs from the play of the same name. On this comp, you'll find the entire Amor y Libertad album except the two tracks which were not in a disco/funk vein, plus "Machos," "Acaríciame" from the first Belter 45 and two tracks from the Machos cassette: "Espacial" and "Hagamos el amor." Also includes a previously unreleased track courtesy of Susana: "Tócame," recorded in 2007, in a High Energy Euro Disco vein. Master tape sound. Includes insert with liner notes and rare photos.

"Grapefruit presents the first new album in 25 years from the legendary New Zealand singer-songwriter, Peter Jefferies. Known for his seminal post-punk bands Nocturnal Projections and This Kind of Punishment as well as his equally influential solo records such as The Last Great Challenge in a Dull World, Electricity, Elevator Madness, and Closed Circuit, Jefferies has been one of the towers of the New Zealand underground music community since the early 1980s. The Day They Let You Out Is The Day They Might Not Let You Come Back is a new masterpiece in an already staggering catalog. Only Peter Jefferies could take a quarter of a century off from songwriting and come back as if a moment hadn't passed. If anything, the world has given him even more to grapple with and his voice is as urgent and necessary as ever."

LP version. Orange Neon/Yellow Neon/Green Neon/Blue splatter color vinyl. There comes a point in every band's life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record, Forgeries (72-84), 16 return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what you love and make it semi-unrecognizable through devotion. The band have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artwork, rendered by the ever-amazing Marald, completes the ritual, iconic, unsettling, and unafraid. From the early '90s onward, 16 have treated covers as translations rather than as replicas, acts of tribute and emulation, filtered through distortion, fatigue, and lived experience. In the band's collective head, this album exists because these songs demanded it. In the end, Forgeries (72-84) stands as both a thank you note and a theft, a reminder that all music worth a damn is borrowed, broken, and passed on between friends. The selections on Forgeries (72-84) span eras and attitudes, unified not by genre but by necessity. Each track is a document of obsession, of influence absorbed and re-expressed without permission.

"Following the tragic death of band member Collin Walcott in 1984, who was killed in a road accident near Magdeburg, Germany whilst on tour, the surviving members -- Ralph Towner, Paul McCandless, and Glen Moore -- withdrew from the public eye. At first, music was the last thing on their minds. It was only after half a year that they came together again to give a memorial concert in New York for their late bandmate. Also taking part was Trilok Gurtu, who had travelled specially from Hamburg and of whom Walcott had once said that Trilok could stand in for him should he ever be unable to attend. The musical chemistry between the remaining trio and Gurtu clicked straight away, and so he was first invited on tour and later became a permanent member of the band. Trilok Gurtu had breathed new life into the remaining trio with his enthusiasm for playing; the joy of making music returned. In total, this line-up recorded three albums: Ecotopia (1987), 45th Parallel (1989) and finally Always, Never and Forever from 1991, which was released on Intuition Records. The album is one of the best the band has ever released, a dazzling display of dynamism and musical ideas. Musically, Oregon were at the height of their powers, even though Gurtu left the band again after this album. Whilst many jazz musicians in the 1970s were discovering the electric sound, Oregon, as pioneers of their time, created something entirely new: a unique fusion of jazz, world music, classical and improvised chamber music. Their distinctive style helped shape what came to be known as 'world jazz.' Always, Never and Forever is a prime example of this unique band's masterful style. The album, dedicated to the recently deceased guitarist Ralph Towner, is now being remastered and released in a slightly abridged form on 180-gram vinyl as part of the Intuition Master Series."

"50 years ago, The Heartbreakers arrived in London to join the Sex Pistols on the 'Anarchy' tour. They spent most of 1977 there, recording L.A.M.F. and cementing their status as elder statesmen of the punk movement. This last date of their European tour was to be their very last as a band -- until the reunions. Drummer Jerry Nolan had already jumped ship; his substitute is The Clash's Terry Chimes. The gig was filmed for a movie that was never to be -- this is the soundtrack recording. Limited edition of 600 worldwide in red vinyl."

"Geins't Naït was founded in Nancy, France, in 1986 by Thierry Merigout and Vincent Hachet, both students at the Architecture School of Nancy. A year later Laurent Petitgrand joined the band. Their sound is often described as an equivalent of bands like Einstürzende Neubauten, Coil, or Test Dept., but Geins't Naït is not pure classic Industrial. While Geins't Naït offers rough pieces of music as an extension of its punk attitude, Petitgand refines them to create some musicality within the post-industrial collages, adding guitars, piano, and classical instruments. Geins't Naït and Laurent Petitgand sharpen sounds, giving them a kind of balance and density and ensuring that the musical language evokes a deep experience. Their music is raw and fascinating, and largely influenced by Surrealists and Situationists. Their early albums were released by French label Permis De Construire. Recently, the group has collaborated with British electronic musician Robin Rimbaud aka Scanner. On this album Thierry Merigout is joined by his daughter Lø."

"Other:M:other is a trio from Austria, consisting of Judith Schwarz (extended drums), Jul Dillier (prepared piano) and Arthur Fussy (modular synthesizer). Judith is a drummer and composer and internationally well-known with bands like Chuffdrone, Little Rosies Kindergarten, or the duo Hofmaninger/Schwarz. Arthur is a sound designer, composer and engineer. He also works for theatre productions in Austria, Germany and Switzerland. Jul describes himself as a sound poet. He works as a solo artist, performer and jazz pianist. Other:M:other's aim is to create a rhythmic symbiosis of sound. Acoustic sounds melt with electronic sounds, percussive impulses grow that take their inspiration equally from experimental music and beat-driven club music. With an unusual line-up, expanded ways of playing their instruments and a free improvisational background the trio manage to react musically to their surroundings. A set by Other:M:other can be a rather experimental affair, but it can also be an hour of dance music. In contrast to their debut album MetaMorph which was a live recording, the new album is a studio-recordings with seven songs that make up one composition. Using reduced musical material, the trio creates complex sounds somewhere between composition and improvisation. They also reflect upon the meaning of the word material in a consumer society -- what stays with us, what matters."

"Founded by Alessandro Pizzin (aka Alieno deBootes) in 1978 and active in the Venetian underground music scene since the second half of the 1970s, Ruins became mainly a duo in late 1979 as Piergiuseppe Ciranna and Alessandro Pizzin. Coming from different backgrounds, the two shared a vision and besides recording more conventional songs, they also recorded a vast avant-garde musical repertoire. This work showcases the expressive and creative urgency of the period, in which research and even extreme experimentation characterized artistic production, ranging across an increasingly multifaceted sonic universe capable of blending reflective soundscapes with noisy, bizarre, and ultimately indefinable episodes. Attentive to multimedia and exploring connections with other expressive forms, the two Ruins often collaborated with artists from different disciplines, creating sound-video installations in art galleries and recording one of the first art albums, Marea, in 1984. Through their research, Ciranna and Pizzin developed innovative solutions that Ruins later incorporated into their more accessible and internationally recognized productions. A must-have for collectors of the Unconventional Residents series, as you will see the similarities between this music and what the Residents produced at the same time"

"Severed Heads are an Australian electronic music group founded in 1979 as Mr. and Mrs. No Smoking Sign. The original members were Richard Fielding and Andrew Wright, who were soon joined by Tom Ellard. Fielding and Wright had both left the band by mid-1981 with Ellard remaining the sole consistent member for the rest of the band's existence. In 1984 the band released 'Dead Eyes Opened' as a single, which was remixed in 1994 and re-released, reaching No. 16 on the ARIA Singles Chart. Two of their singles, 'Greater Reward' (1988) and 'All Saints Day' (1989), reached the top 30 on the Billboard Hot Dance Club Songs chart. Ellard disbanded the group in 2007 and continued with other projects. Subsequent Severed Heads reunions have occurred, the last one a headlining Europe tour in 2019 plus a couple shows in 2025. Emergency Broadcasts combines two rare albums by Severed Heads made available only on the legendary sevcom website in the early 2000s. First comes a barrage of live performances across Australia based entirely on chopped up daytime TV. The worst of regional television makes for the best media barrage with grunge-in-cheek beats. Up next 'I Taste D King' is strange chill-out music for TV jingles and program pauses. For the first time the complete video for both albums is available and linked by a QR code on the album sleeve. The whole package has been remastered and refreshed with new hand-crafted artwork."

"Krishna Goineau was born in Sri Lanka in 1963. He spent his youth in the 1970s in Barcelona, where he met Javier Hernando in 1978 to found the post-punk group Xeerox. In 1981 Goineau moved to Düsseldorf, where he met Chrislo Haas and Beate Bartel. He became the singer of the joint project Liaisons Dangereuses and lent his unmistakable voice to the band's big hit ('Los Niños Del Parque'). At the end of the 1980s Krishna Goineau lived in Brussels and became the singer and keyboardist of the groups Metropakt and Veldorome, together with Jordi Guber. Meanwhile Goineau lives very secluded in the south of France and concentrates mainly on his painting. Javier Hernando is an electronic musician who started in 1979 with the group Xeerox followed by Melodinamika Sensor in the early 1980s. He is also the producer of the programs Los Silencios de la Radio (1981-1987) and (1991-1996) on Radio PICA. Revenir is their first collaborative album since the early days of Xeerox and comes as a mix of electronic and acoustic instrumentation. It was recorded between 2023 and 2024 and was mastered by Martin Bowes of Attrition."

"Hélène Breschand is a French harpist, composer and improviser. Breschand leads a career both as a solo artist as well as in ensemble work, playing both a contemporary repertoire and premiering new works as much as she plays improvised music and musical theater. She is a musician who plays on the verge of several genres ranging from contemporary music to jazz. She plays both written and improvised music. Elliott Sharp is an American contemporary classical composer, multi-instrumentalist, performer, author, and visual artist. He is a central figure in the avant-garde and experimental music scene in New York City since the late 1970s. Sharp has released over eighty-five recordings ranging from contemporary classical, avant-garde, free improvisation, jazz, experimental, and orchestral music to noise, no wave, and electronic music. He has used algorithms and fibonacci numbers in experimental composition since the 1970s, and has cited literature as an inspiration for his music and often favors improvisation. Chansons du Crepuscule is the duo's second group album after their self-titled debut in 2014. Chansons du Crépuscule tends toward an angular, hard-edged expressionism carrying the strong imprint of Sharp's sonic alchemy and Breschand's Dadaesque vocals. But they can switch registers at will, diverseness is the other side of their virtuosity."

"Tungu, whose real name is Sergiy Senchuk, is a sound artist, bassist and experimentalist who resides in Chernigiv, Ukraine. That's a city known, through recent events, for strong resolve. Tungu's music draws on this spirit. He's produced a series of wide-ranging recordings that draw collaborators from all over the world, for example Mia Zabelka, Charles K. Noyes, Al Margolis, Frank Gratkowski, or Maggie Nicols. Henry Kaiser is an American guitarist and composer, known as an idiosyncratic soloist, a sideman, an ethnomusicologist, and a film score composer. Recording and performing prolifically in many styles of music, Kaiser is a fixture in the San Francisco Bay Area music scene. He is considered a member of the 'second generation' of American free improvisers. Henry founded Metalanguage Records in 1977 and has collaborated with people like Fred Frith, John French, Wadada Leo Smith, or Elliott Sharp. In 2001 he spent over two months in Antarctica which led to collaborations with filmmaker Werner Herzog, for whose films he made underwater camera work but also soundtracks. The Unexplained is Tungu & Henry Kaiser's second collaborative album."

"The Hillmen is the seminal bluegrass LP recorded by a super-group of players including mandolin prodigy (and future Byrd) Chris Hillman, country music legends Vern and Rex Gosdin, and banjoist Don Parmley. Recorded in '63/'64, these recordings would not see official release until 1970 as an 11-track LP. The Hillmen displays their unique takes on Bob Dylan, Pete Seeger, Woody Guthrie, and Maybelle Carter, alongside several original songs by the Gosdin Brothers. The original 11-track album is now enhanced with six bonus tracks and will recreate the original artwork by Dean Torrance of Jan & Dean fame. Produced by Byrds manager Jim Dickson, all of the tracks were mixed from the original three-track tapes in 1970 by engineer Dave Hassinger (Rolling Stones, Jefferson Airplane, Jackson 5). This LP is a must-have for fans of bluegrass music and is a true treasure of Americana."

"James Grauerholz has long been known as 'The Burroughs Guy.' From 1974 until William S. Burroughs' passing in 1997, James has handled the business of William S. Burroughs Communications, acting as his manager, bibliographer, editor, literary executor and companion. What has been little-known up until now is that James has led a double life as an accomplished musician and songwriter with an extensive body of work stretching back from the late 1960s to the present. James set out to be a singer-songwriter before fate led to his calling with William S. Burroughs and despite the demands of his literary responsibilities, he continued to write music as a creative outlet. Over the years, James witnessed and has been a key figure in many extraordinary musical movements. He has been referred to as the 'Zelig of Punk Rock,' having been part of a small coterie who kick-started the CBGBs/Max's Kansas City scene in NYC. The Zelig comparison is dead accurate, but it goes far beyond punk rock. James was there for the Midwestern Country-Rock explosion of the early 1970s. He was there for the AOR singer-songwriter movement of the late 1970s, mixing his songs with Boz Skaggs in San Francisco. He was at the Hacienda in Manchester where Factory Records and New Order were birthed. He was around when New Wave and Hardcore were emerged AND he was an important piece of the puzzle in the evolution of underground music of the early 1990s. In Lawrence, KS, where James has lived since the early 1980s. James lent his opinions, his studio, his gear, his chops and his time unselfishly on innumerable occasions to help fledgling bands evolve. Through all of these eras, James' voice as a songwriter has held its own piece of Real Estate. Each of the twenty-one tracks represented on this double album bear a style that is distinctly his own, both lyrically and compositionally. It is worth adding that James is one hell of a guitar player too. 180gram double vinyl reissue."

"In 1979, Nine Days Wonder finally called it quits. NDW frontman Walter Seyffer and NDW guitarist Bernd Unger joined forces as the duo Wintergarden and signed a record deal with the progressive-oriented Harvest label, a division of EMI in Cologne. Musically, the two had moved far away from their Krautrock past and turned instead to the singer-songwriter genre. In terms of sound, they drew inspiration primarily from American bands such as Pablo Cruise, Seals & Crofts, and the Eagles. The production quality of their albums was impressive. Walter Quintus from Bremen, who also collaborated with Udo Lindenberg, Gary Moore, Jack Bruce, and especially Rolf and Joachim Kühn, produced their self-titled debut album in 1979. The album met all of the record label's commercial sales expectations. Wintergarden appeared on German television stations and performed on shows like 'Rockpop' (ZDF). In 1980, Harvest released the follow-up album In The Land Of Milk And Honey, but then the Neue Deutsche Welle took over the charts and dominated the German music scene from that point on. The paths of the Seyffer/Unger duo diverged, and the album III marked the end of the line. Now, after 46 (!) years, the two Harvest albums are available on CD for the first time -- and thus also digitally. In addition, there is a wealth of bonus material from the Harvest years, including outtakes and demos."

"Exiled is a remarkable 1980 space themed concept album crafted by songwriters Bob Mitchell and Steve Coe, blending melodic rock, progressive textures, and a richly cinematic sci-fi narrative. Recorded with an impressive lineup of renowned British musicians, the album features guest performances from Francis Rossi (Status Quo), Dan McCafferty (Nazareth), and Terry Cassidy, accompanied by backing vocals from Hudson Ford -- the partnership of Richard Hudson and John Ford, both formerly of Strawbs. Keyboardist Chris Parren adds further depth to the album's sound, while additional vocal contributions from Colin Blunstone (The Zombies) and Lesley Duncan. Originally released in 1980, Exiled stands today as an overlooked gem of British progressive rock: a meticulously produced studio project that combines strong songwriting with a stellar supporting cast drawn from some of the UK's most respected musicians of the era."

"The Dead Next Door Original Motion Picture Soundtrack presents the complete score from J.R. Bookwalter's landmark 1989 zombie epic, fully restored from the director's original source material and mastered specifically for vinyl. Bookwalter wrote, directed, and scored the ambitious independent horror film, which was famously financed by Sam Raimi, who served as executive producer under the pseudonym 'The Master Cylinder' using part of his Evil Dead II salary. Bruce Campbell also supervised post-production sound and provided the voices for two characters. Produced over nearly four years in Akron, Ohio on Super 8mm film, The Dead Next Door became a cult classic for its inventive gore effects, ambitious scope, and relentless zombie action. The score follows the film's journey as the elite Zombie Squad battles a deadly virus that reanimates corpses into flesh-hungry monsters while uncovering a sinister religious cult determined to replace humanity with the undead. From Washington, D.C. to rural Virginia and the suburbs of Akron, the music underscores the film's escalating tension, action, and horror through fifteen atmospheric compositions. This deluxe gatefold edition is pressed on 180-gram green and yellow translucent serum vinyl. Every track has been restored directly from Bookwalter's original recordings, making this the definitive vinyl presentation of one of independent horror cinema's most celebrated soundtracks."

2026 restock, last copies. "Edition of 700 copies. Featuring with John Balance (Coil), very great release and limited edition in gatefold double LP."

Formed in 1969 in Massachusetts under the name Mask, Pugsley Munion was born from the desire of three teenage musicians to leave behind the cover-band circuit and perform music of their own creation. Combining hard-rock with psychedelic and progressive influences, the trio quickly developed a powerful sound that caught the attention of the newly revived J&S Records. The band was invited to New York City to record at the legendary Bell Sound Studios, one of the city's first 8-track recording facilities. Forced to change their name, the group adopted the unforgettable name Pugsley Munion, a tongue-in-cheek creation. Originally conceived as an album titled Three in One, the sessions were recorded in just two days. The band expected to return to complete overdubs, remix tracks, and finish the project. Instead, J&S Records released the recordings in their rough, unfinished state, changed the album title to Just Like You, misplaced the original cover artwork, and issued the record without the band's approval. Despite these setbacks, the album received regional radio airplay and would eventually earn cult status among collectors of American heavy psychedelic rock. Newly 24-bit domain remastered sound. Includes original artwork in hard cardboard sleeve. Includes insert with liner notes and photos.

Furious, primitive psychedelic hard-rock from Idaho! Featuring the two versions of their monster Oceans Inside Me 45 from 1969 plus previously unreleased at the time recordings (1969-1971). Stone Garden emerged from Lewiston, Idaho, in the mid-1960s, when brothers Pat, Gary, and Neal Speer transformed childhood music lessons into one of the Pacific Northwest's most respected underground rock bands. Inspired by the British Invasion and the psychedelic explosion of the era, the group evolved from neighborhood garage rehearsals into a powerful live act known for its original songwriting, musicianship, and energetic performances. Originally performing as The Three Dimensions, then Knights of Sound, the band adopted the name Stone Garden in 1967 as the psychedelic movement swept America. The lineup soon expanded with bassist Dan Merrell and later featured accomplished musicians including John Purviance. Stone Garden quickly built a loyal following throughout the Pacific Northwest, performing extensively in Idaho, Washington, Oregon, Northern California, British Columbia, and Montana. The band blended psychedelia, hard-rock and blues, influenced by artists such as The Doors, Jimi Hendrix, and Cream. Their independently released single "Oceans" received regional radio airplay and helped establish Stone Garden as one of the Northwest's most promising young bands. Later sessions at Vancouver's Ripcord Studios further captured the band's creative evolution. Although Stone Garden disbanded in 1972 after relocating to Seattle, their recordings survived as sought-after collector's pieces, first issued by the legendary Rockadelic label and have since been rediscovered by fans of vintage hard-psychedelic and garage rock around the world. Remastered sound. Includes insert with liner notes and photos. RIYL: Black Sabbath, Blue Cheer, proto-doom, proto-metal.

"Some more new music made with a system of hand-drawn, modular passages rearranged in coherent and incoherent signatures. The tracks of At the First Clear Sound are stubbornly absent of improvisation, solos, virtuosity, and compositional form while being full of naïveté, a harsh smoothness, an agitated calm, and inharmonic harmonics. Dazzled by the automatic nature of this modular technique Leimer worked quickly, choosing to respect his mistakes and question his choices. 'As reliant as the music is on computers, samples, digital processing, and typing, this work is still rather imperfect, rather handmade. And, of course, my compulsion to work with infinitely pliant sound is now clearly bordering on mild psychosis.' Technically, there's never a final mix. K. Leimer founded Palace of Lights in 1979. Leimer's work has also been issued by Autumn, First Terrace, Les Giants, Invisible Inc., Origin Peoples, and RVNG. His early cassette work is included in the critically acclaimed VOD box set American Cassette Culture and is included in Cherry Red's Noise Floor series. Leimer has been actively producing music since the mid-1970s -- his current catalog includes solo albums, soundtracks, installations, and collaborative albums with Savant, Marc Barreca, Tyler Boley, and Three Point Circle."

2026 restock. "For our 50th label release, Permanent Records could not be MORE EXCITED to announce the 40th Anniversary reissue of Zipper's self-titled LP from 1975!!!! You all know Fred Cole from Dead Moon. And yes, Pierced Arrows too! But preceding both of his more 'famous' bands (and others like The Rats, etc, etc) was Zipper! Formed when Fred and Toody Cole returned to Portland, Oregon after homesteading in Alaska, Zipper was the beginning of both Whizeagle Records, their in-house label, and Fred's long illustrious DIY RnR career. Equal parts acid fried psych, raw blistering guitar fireworks, proto-punk pummel and bone crunchin' heavy rock machismo, Zipper was Fred's headfirst dive back into the rock world after his disillusionment with the 'garage scene' post Weeds / Lollipop Shoppe. No managers to tell him what songs to play or what 'sound' was in. No label to fight with. Just Fred Cole and a close knit group of fellow disenchanted rock n rollers (Lorry Erk, Jim Roos and Greg Shadoan), playing their in-the-red whiskey and cigarette fueled music as loud and furious as can be!!! So for those into scorching Acid Archives psych rock, Zipper is yer next fix! And for those those Fred and Toody Cole completists, this reissue is ESSENTIAL, as originals go for as much as $250!!!! For everyone else, if you like yer rock n roll, RAW, MEAN AND UNHINGED, just like it should be."

LP version. "For every moment of overwhelming sorrow, there's another of indescribable bliss. For every death, there's a birth. For all of the darkness, there's just as much light. Deathchant have never shied away from extremes. Their sound seamlessly oscillates from high-octane rubber-burning riffs and gravelly chants to purring feedback and melodies as expansive as the desert at night. After gathering millions of streams, earning enthusiastic acclaim, and an endless string of packed shows, the Los Angeles, CA quartet -- Thomas J Lemieux (guitar, vocals, keys, bass), Doug Stuckey (guitar, vocals), Quinn-George Camacho (bass), and Nick 'Joose' Mcdonnell (drums) -- explore life's highs, lows, and everything in between on their fourth full-length LP, Kova. Named after their late friend Davey Kova, it's simultaneously a raucous send-off worthy of a Viking, an introspective look at manhood, and a dyed-in-the-wool badass barnstorming hard rock record. Back in 2018, Deathchant began to make noise on the West Coast. The group captivated a cult-like audience with the self-titled Deathchant (2019), Waste (2021), and Thrones (2023). They landed looks from CBS News, Angry Metal Guy, and It's Psychedelic Baby Magazine who marveled at their 'combination of rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, and punk fury.' Plus, they ignited the YouTube channel Jam In The Van with a fiery performance and canvased the globe on tour, playing at festivals such as Psycho Las Vegas, Desertfest Belgium, Keep It Low Festival, and SonicBlast Festival. While writing Kova, they said goodbye to its namesake. 'My best friend Davey Kova was a dude who white-knuckled life, treated each day like it was his last, took chances, rode fast, and partied hard, but he was the sweetest guy you could ever meet,' sighs TJ. 'It's a weird way to live, yet it's beautiful. He passed away during the writing process. The record seemed to finish itself after that. The album is a eulogy to not just Davey, but countless friends we've lost in the last couple of years.'"

LP version. "Elements of the past, present, and future coalesce within the spell cast by Early Moods. The Los Angeles band channel the sludge-born spirits of seminal doom metal and beckon them to attack even faster with a jolt of NWOBHM guitar-craft and a twist of thrash attitude. The quintet -- Alberto Alcaraz (vocals, keys), Oscar Hernandez (guitar), Eddie Andrade (guitar), Elix Felciano (bass), and Chris Flores (drums) -- transfix with otherworldly transmissions of cosmic and catchy heaviness. 'Our sound is more honed,' notes Elix. 'We've found our identity. I think it takes a couple of albums for most bands. This record isn't too far removed from what we've done in the past, but the songwriting has certainly matured. You can hear the chemistry. You can feel the mood changes in specific songs and all of the dynamics. It's really alive.' Originally formed by Alberto and Eddie, the musicians unlocked an uncanny balance between heavy and hypnotic on the self-titled Early Moods in 2022. The sound further crystallized on A Sinner's Past (2024). Along the way, they incited the applause of Angry Metal Guy, The Obelisk, and more. Hitting the road, the group shared stages with the likes of High On Fire, Candlemass, Pentagram, Coven, Lucifer, Pagan Altar, and more in addition to joining the bill of Desertfest. They recorded Ready For The Grave at Cyan Sound Studio with producer Toshi Kasai (Melvins, Tool). He invariably inspired them to level up. Ultimately, Early Moods deliver a body of work befitting of their energy on stage. It's powerful enough you'll feel like they're in the room with you."

"The Rock n' Roots of Motörhead is a compilation album that dives deep into the band's musical roots, featuring rare cover versions and guest appearances. This release perfectly captures Motörhead's early influences and collaborations. Although frequently categorized as a pioneer of the New Wave of British Heavy Metal, founder Lemmy always insisted their music was nothing but pure rock and roll. Featuring The Rocking Vickers, Hawkwind, Girlschool, Wendy O. Williams, Albert Järvinen & Lemmy."

"It starts over in Chicago. So, in 2018, when saxophonist and 'cultural organizer' Dave Rempis had the idea to assemble this quintet for a visit to the city by double bassist and 'cultural organizer' Luke Stewart was visiting town. Four pillars of Chicago's musical wisdom gathered around the D.C.-based double bassist. It was for the Exposure concert series at Elastic Arts, hence the name the five men chose for themselves when they extended the experiment and performed at another series, the Options Series, at the Experimental Sound Studio, before releasing their debut album on Astral Spirits. There are many concert series in Chicago, each building on the ideas of the last. But it doesn't stop there; there are also scenes from everyday life in Red Hook, Washington, London, Brussels, and Saalfelden on this second album, which was recorded in a studio this time. The quintet's improvisations are peppered with sounds from the world, field recordings that take the music beyond some of its usual haunts. 'This project explores the idea that music takes us on a journey around the world,' explains Luke Stewart, 'in communion with the Universe. We observe and gather experiences that translate into sound, in a spirit of universal connectivity.' Among the real conditions of improvisation are the place and its spirits. There is the idea, yet another idea, that creative music draws its strength each time from a place on Earth and from everything that converges there. And that, in return, it opens up a space, a door, an energetic corridor there, leading to other places, real or imaginary. This is also what the old blues songs meant when they spoke of coming back home and bringing back home which is what 'Foreign Landing' and its somnambulistic clarinets convey here. The end of a long quest, a home, a prism. For a place is a bond, it fulfills wishes, a place is a link between all manner of things, present and absent, a magnetic field."

"Claudio Simonetti and his Goblins create a new version of the soundtrack for Tenebre, the film by Dario Argento. The main characteristic of this score is its ability to blend 1980s electronic dance melodies, typical of Italo disco, with a highly original electronic prog rock sound. Featuring vocoder, electronic drums, and pulsating basslines, it stands as one of Claudio Simonetti's most original soundtracks, reimagined with meticulous sonic detail and a haunting horror dance-rock atmosphere. limited deluxe CD with bonus tracks remixes by Tibia & Simulakrum Live, alternative, and live versions."

LP version. Originally released in 2004 on the highly influential Atavistic label, Radiale is back, bringing together explosive energy, avant-jazz improvisation and experimental rock in a landmark collaboration. Featuring saxophone player Ken Vandermark, bassist Nate McBride and gifted Afro-American drummer Hamid Drake the record has a slightly more exploratory feel. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity. With amazing cover versions of classic Afro futurist anthems -- the Sun Ra medley "We Travel The Spaceways/Space is The Place," Art Ensemble Of Chicago "Theme De Yo-Yo" and Funkadelic "You And Your Folks, Me And My Folks" -- Radiale was widely appreciated in underground circles and helped cement Zu's reputation as one of the most innovative experimental bands in Europe. More than just a collection of tracks, it stands as a cohesive and immersive work aimed at listeners willing to engage with music that challenges traditional structures and expectations.

LP version. Purple color vinyl. Originally released in 2004 on the highly influential Atavistic label, Radiale is back, bringing together explosive energy, avant-jazz improvisation and experimental rock in a landmark collaboration. Featuring saxophone player Ken Vandermark, bassist Nate McBride and gifted Afro-American drummer Hamid Drake the record has a slightly more exploratory feel. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity. With amazing cover versions of classic Afro futurist anthems -- the Sun Ra medley "We Travel The Spaceways/Space is The Place," Art Ensemble Of Chicago "Theme De Yo-Yo" and Funkadelic "You And Your Folks, Me And My Folks" -- Radiale was widely appreciated in underground circles and helped cement Zu's reputation as one of the most innovative experimental bands in Europe. More than just a collection of tracks, it stands as a cohesive and immersive work aimed at listeners willing to engage with music that challenges traditional structures and expectations.

"Stunning Japanese modal/spiritual jazz album by the incredible saxophonist Sinsuke Fujieda featuring Fumiko Takeshita on violin. Five splendid own compositions given the Superfly Records/Production Dessinee treatment on high-quality Japanese vinyl. A beautiful listen!"

2026 repress. "Standards, the fourth full-length recording from Chicago's Tortoise, boldly announces their return following 1998's TNT. Tortoise spent the bulk of 1998 and a portion of 1999 touring the world. Following tours of the U.S., Europe, South America, Japan, Brazil, and Australia, Tortoise members worked on other projects that occupied them until the spring of 2000 when they began to record Standards. In 1999 members of the band toured the US as the backing band for legendary Brazilian composer/singer Tom Zé's. Tortoise-members Dan Bitney, John Herndon and Jeff Parker worked fastidiously to record and tour in support of two full-length Isotope 217 albums. Musically, Standards is their most concise statement of purpose thus far. The tunes are direct and immediate, yet they maintain the exploratory edge that has always characterized the group's output. The fusion of instrumental sounds (electric, acoustic, and synthesized) is subtle and subversive. Similarly, the group's fluency within the studio environment gives the finished work a quality that alternates between artifice and reality. Whilst TNT was constructed in the studio using segments recorded, improvised or altered electronically, the 'Standards' sessions began after a period of rehearsal and composition. The contrast, simply stated, is that the studio was used extensively as a compositional tool for TNT, whereas with Standards it was used predominantly as tool to realize and enhance the existing new compositions. The resulting record is the clearest demonstration of the band's many skills and strengths. In recent years Tortoise has become part of the fabric of our culture. The have inspired countless other musicians. Their music has been used in commercials, films and fashion shows. They have used each successive record and collaboration, whether it's Autechre, Tom Ze, Steve Albini, Derrick Carter, or Oval to name a few, to push their personal musical boundaries individually and collective. John Herndon once commented, 'When our music works best, it can be either a backdrop to your life, or you can concentrate on it totally.' As with all their works, Standards serves both these dual functions, and does so more confidently and completely than its predecessors. Standards is a document of lessons learned and skills refined. It is clearly their finest work to date."

"A clerestory -- a bright or 'clear' level or 'story' -- is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection -- of key importance for Reidy's work as a whole -- inform the sumptuous surfaces of Clerestory. 'Shadow Symmetric' is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. Reidy's pairing with the quartet is felicitous: JACK are one of the preeminent new music ensembles working today, with a particular interest in just intonation, an important component of Reidy's music. It is primarily a music of harmony, but rhythmic organization is key to its effect: arranged as successive harmonic blocks that at times overlap, with staggered introductions of the quartet's four voices often serving to key the listener's attention into the blurring of the near-unison pitches, the music moves with the stateliness of an early Baroque chorale. Through it, there threads a melodic theme, passed between instruments and tuning systems, almost at the threshold of perception but with the same yearning quality familiar to listeners of Reidy's guitar works. 'Clerestory Windows' offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, repositioning its rigorous harmonic exploration somewhere between the Lovely Music Ltd universe and a '90s RPG soundtrack. This episode derives from Reidy's installation Inside, Crystals and Circuitry, held in Stockholm in 2025, made up of multi-channel sound broadcast by transducers in suspended sheets of glass illuminated by spotlights, producing a mysterious effect where shadows appear more palpable than the sheets themselves. The piece moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear, now frozen and stretched into slow-moving waves, with electric guitar tones rippling across. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI, an early digital synthesizer. Clerestory is a meditation on fundamental dynamics of human experience: orientation and disorientation, the hazy borders the hazy borders between the material and the spiritual, and the instability of identity."

LP version. Gold color vinyl. "A clerestory -- a bright or 'clear' level or 'story' -- is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection -- of key importance for Reidy's work as a whole -- inform the sumptuous surfaces of Clerestory. 'Shadow Symmetric' is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. Reidy's pairing with the quartet is felicitous: JACK are one of the preeminent new music ensembles working today, with a particular interest in just intonation, an important component of Reidy's music. It is primarily a music of harmony, but rhythmic organization is key to its effect: arranged as successive harmonic blocks that at times overlap, with staggered introductions of the quartet's four voices often serving to key the listener's attention into the blurring of the near-unison pitches, the music moves with the stateliness of an early Baroque chorale. Through it, there threads a melodic theme, passed between instruments and tuning systems, almost at the threshold of perception but with the same yearning quality familiar to listeners of Reidy's guitar works. 'Clerestory Windows' offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, repositioning its rigorous harmonic exploration somewhere between the Lovely Music Ltd universe and a '90s RPG soundtrack. This episode derives from Reidy's installation Inside, Crystals and Circuitry, held in Stockholm in 2025, made up of multi-channel sound broadcast by transducers in suspended sheets of glass illuminated by spotlights, producing a mysterious effect where shadows appear more palpable than the sheets themselves. The piece moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear, now frozen and stretched into slow-moving waves, with electric guitar tones rippling across. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI, an early digital synthesizer. Clerestory is a meditation on fundamental dynamics of human experience: orientation and disorientation, the hazy borders the hazy borders between the material and the spiritual, and the instability of identity."

2026 restock. "One album into their career in 1969, Mutantes showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, Mutantes relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ('Dom Quixote') has the same focus on stylistic cut-and-paste as their debut LP's first track ('Panis et Circenses'). Among the band's musical contemporaries, Mutantes sounds similar only to songs like the Who's miniature suite 'A Quick One While He's Away' -- though done in three minutes instead of nine, and much more confusing given the language barrier. The album highlights ('Nao Va Se Perder por Ai') and ('Dois Mil e Um') come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including 'Magica' and a slap-happy stomp called 'Rita Lee', there's a palpable sense that the experimentation here isn't serving much more than its own ends. If the first album's relentless eclecticism did in fact occasionally result in dry passages, it's especially true here." --All Music

We Jazz Magazine, Issue 20 Fall 2026: Brilliant Corners for Thelonious Monk. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. Thelonious Monk by Francis Gooding, Mats Gustafsson, Fielding Hope, Patrick Preziosi, Andy Thomas, Arttu Tolonen, Bret Sjerven, Daniel Spicer, Wif Stenger, Miles Okazaki by Andrew Scott, Kiri Ra! by Wif Stenger, Jazz Is Dead By Tina Edwards, Dirar Kalash by Henry Boon, Dewey Redman on Impulse by Andy Beta, Water Damage by Matt Sonzala, Mikel Patrick Avery by Patrick Romanowski, The Torched Torch Singers by Alex Coles & more.

"The Axes Volume IV: Winter Solstice documents the fourth installment in The Axes, an ambitious concert series created by Daggerboard and the Erik Jekabson Orchestra. Recorded at Berkeley's historic Hillside Club on December 18, 2025, the performance captures original compositions written to celebrate the spirit and atmosphere of the winter solstice. Beginning with minimalist motifs that gradually evolve into expansive orchestral works, the music reflects the seasonal themes of reflection, renewal, and celebration. This LP presents both the live performance and material developed during rehearsals, showcasing eight original compositions alongside inspired reinterpretations that blend jazz, modern composition, and orchestral improvisation into a richly textured listening experience."

"Kuon Ganjo, Mike Clark's third release for Wide Hive is fantastic! Featuring Patrice Rushen on Rhodes and piano, Essiet Odu Essiet on bass, Craig Handy on sax, and Eddie Henderson on trumpet. Mike really centers into the New York sound he fell in love with early on here; starting things off with a burning East Broadway Rundown. The entire set is wonderful and the band is amazing, great album."

"Ruby of Thanks is the songwriting and home-recording project of Hudson Valley musician Andy Weaver. A fourth-generation New Yorker, Weaver is also a house painter and drummer whose work has included Widowspeak, Castanets, Wildflower, and Andre Ethier. With Ruby of Thanks, he turns toward something quieter: intimate, handmade songs that find beauty in ordinary life. Before You Turn Into A Dog is the project's second full-length album. Split between solo recordings made at Weaver's home in Kingston -- where he played every instrument himself -- and collaborative sessions with friends in Cairo and Catskill, the record values process as much as polish. Several songs preserve their very first complete performances, documenting ideas as they emerge rather than after they've been refined. 'Hopefully it captures some spirit of creation,' Weaver says. 'The idea of songwriting as a way to process events and create peace at home by working with your hands, making things. Self-recording as a response to capitalism in art.' That philosophy gives Before You Turn Into A Dog its quiet gravity. These songs dwell in everyday rituals and fleeting moments of transcendence, moving through love, depression, work, and the search for peace with remarkable patience and generosity. Weaver's warm acoustic guitars, understated melodies, and homespun recordings never ask for attention -- they earn it through honesty, intimacy, and careful craft. There are echoes of artists like Little Wings, John Andrews, and the Yawns, and Hand Habits, but Ruby of Thanks resists easy comparison. Like the records that have long defined the Woodsist orbit, Before You Turn Into A Dog feels less like a statement than a place to inhabit: unhurried, deeply human, and quietly transformative."

LP version. "Dense Band returns in this newly remastered 40th Anniversary edition, celebrating one of David Moss's most groundbreaking recordings. Originally released in 1985, the album marked a defining moment in the career of the innovative vocalist, percussionist, composer, and performance artist, whose work has long occupied the intersection of improvisation, noise, experimental rock, and contemporary composition. After establishing himself within New York's Downtown music scene, Moss assembled the Dense Band to explore a new vision that fused adventurous experimentation with irresistible rhythmic drive. Produced by legendary guitarist and experimental pioneer Fred Frith, who also performs on the recording, Dense Band blends live electronics, inventive percussion, theatrical vocals, free improvisation, and tightly constructed songs into a sound unlike anything of its era. The album moves fluidly between groove, abstraction, and controlled chaos, demonstrating Moss's singular ability to unite complex musical ideas with infectious energy. Carefully remastered for this anniversary edition, Dense Band introduces a landmark experimental recording to a new generation while allowing longtime listeners to experience its remarkable detail, power, and originality with renewed clarity."