Forced Exposure New Releases for the Week of 6/24/2024

 

PRICE: $10.00

CAT #: VIRUS 077CD

FILE UNDER: ROCK

"At last, one of the all-time bat legends, Nomeansno has returned to Alternative Tentacles Records. The entire catalog no less, starting with their most beloved album, Wrong. Using the original all-analog master, from the original mother, as engineered by George Horn, John Wright, and Jello Biafra. Nomeansno formed in a vacuum, in Victoria, British Columbia in 1979 and honing their sounds for years before relocating to Vancouver and releasing eleven albums over an almost forty-year career, including a collaborative album with Jello Biafra, and numerous EPs and singles. Originally formed as a two-piece by brothers John and Rob Wright, and later joined by monster guitarist, Andy Kerr. Mixing hardcore punk, dark lyrics, and sophisticated arrangements boarding on prog, Nomeansno was massively influential and widely regarded as the first band to be referred to as 'math rock.' Originally released on Alternative Tentacles in 1989, Wrong stands on its own and is still considered to be a much-loved classic. Allmusic called the album a masterpiece and a definitive jazz core album. In 2021, the album was voted by the publics' to win the Canadian Polaris Heritage Prize to honor classic Canadian albums released before the creation of the award. In 2015, drummer John Wright described the album as their 'most popular album by a country mile' and to the St. Louis Music Press of Wrong's success to the rise of alternative music and the success of Nirvana: 'That's where all the buzz about us came from. We were touring throughout the States in the mid-'80s, and we'd get a little bit of an audience here and there, but after a couple of years in Europe, we started doing some big shows there, and all of a sudden, people in the States were coming out to our shows. And we went from getting paid $200 to getting paid $1000. It was just like that. You had to have the buzz, and then it all just kind of blew up.' Getting Nomeansno vinyl into stores is long overdue, so it all starts here with Wrong. Expect all vintage Nomeansno vinyl to systematically return in the days ahead."

 

PRICE: $34.00

CAT #: VIRUS 377LP

FILE UNDER: ROCK

2024 repress. "The Alternative Tentacles 'Reissues Of Necessity' is back! We've hooked another live one from the swirling depths of the most obscure, desirable, and just plain deranged. Like many early punk pioneers The Eat operated in a near-total vacuum. This time in that infamous cesspool of clueless retirees and moronic sun worshippers known as South Florida. Their classic 7"s were rare and sought after from the moment they came out, distribution was nil, most were given away at shows and crushed on the spot, some even wound up lining parrot cages. As a result, Communist Radio and God Punishes The Eat are some of the most sought after and obscenely expensive Killed By Death items on eBay. Th e band's angle on the world has a lot to do with this. Political concerns like 'Communist Radio', 'Nut Cops', 'Kneecappin' and 'Nixon's Binoculars.' Environmental awareness like 'Manatee Smacker,' 'M-80 Ant Death' and 'Living Like a Pig', and numerous celebrations of that seedy Florida lifestyle like 'Catholic Love', 'Silly Drug Songs', 'Money for the Police' and 'Psychotic McHale's Navy.' The Eat reappeared sporadically clear through the mid-90s, yet still seemed unaware how wide their cult and notoriety had spread, especially among people who've never actually heard them. So now everyone can! Both early 7"s are here, the dropouts in the five God Punishes songs fixed up at last, followed by the entire Scattered Wahoo Action cassette album and all the unreleased songs from their aborted Hialeah album that was chopped down to their third and final 7". Sound is top-floor melodic punk 'n' roll, sort of a sped-up Real Kids with rock-bottom Angry Samoans-style lyrics. Disc one's a whopping 30+ studio tracks, many never before released. But that's not all folks. The CD version comes with a bonus live disc with two dozen more songs and many a crude rude remark from band to audience."

 

PRICE: $19.00

CAT #: AMOON 003EP

FILE UNDER: ELECTRONIC

Vicent, an electronic music producer, unveils his debut EP titled Find Yourself, offering a deep dive into a techno universe subtly infused with Japanese influences. This innovative project features four mesmerizing original tracks, complemented by remixes from BXTR, Swooh, and Iannis Rezgui. Notably, a unique ambient piece crafted exclusively from sounds recorded in Japan is included.

 

PRICE: $25.00

CAT #: ASH 707LP

FILE UNDER: WORLD

2024 repress. "Michael George Henry (aka Ras Michael and, for this lone release, Dadawah) was born in 1943 in Saint Mary Parish, in northeastern Jamaica. Henry was raised in a Rastafari community when the religious movement was still in its infancy and marginalized within Jamaica. It was there that he began performing Nyahbinghi, the Rastafarian devotional music that combines the influences of African drumming and Black gospel. Henry found himself in Kingston in the late 1950s where he worked for Coxsone Dodd at the legendary Studio One. By 1968, he had formed the group Sons of Negus and the first overtly Rasta record label, Zion Disc. As Rasta filtered into the mainstream, Henry released more music including albums for Trojan, Dynamic and Grounation labels. Originally released in 1974, Peace And Love - Wadadasow is Dadawah's magnum opus. Produced by Lloyd Charmers, the album features slinky basslines, wah-wah guitar, hypnotic keyboards, dubbed-out studio trickery and, of course, the propulsive drumming and rhythmic chanting characteristic of Nyahbinghi. Antarctica Starts Here presents the first widely available domestic release of Peace And Love - Wadadasow. This reissue is part of an archival series that focuses on Trojan's essential '60s and '70s catalogue. Liner notes by JR Gonne."

 

PRICE: $26.00

CAT #: BALMAT 010LP

FILE UNDER: ELECTRONIC

Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there's a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code. Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It's chillout music with a chilly edge, ambient with a darkly ironic undertone. Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. Panoram's output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of "bio-acoustic transmissions" came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down. Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas -- the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram's approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost -- and an invitation to remain in the maze as long as you like.

 

PRICE: $26.00

CAT #: BTR 057TRS-LP

FILE UNDER: WORLD

Lost somewhere between the mysterious alleys of '70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, ?atellites self-titled debut album is presented by Batov Records. The ?atellites' sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dance-floor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honoring the Anatolian folk and psych artists from this golden era of music. Covering important tracks such as female singer Kamuran Akkor's track "Olurmu Dersin," and musician and guitarist Zafer Dilek's "Yekte," the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (Bass) Lotan Yaish (Drums), Yuli Shafriri (Vocals), Tsuf Mishali (Keys and Synths), Tal Eyal (Percussion) and Itamar Kluger (Diwan saz, both electric and acoustic, electric baglama, Greek four double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst travelling the Ka?kar mountains in Turkey's eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of ?atellites' union, and plays predominance throughout the bands' album and music. In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called "Anatolian Rock" and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music. As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional middle-eastern rhythm and structure, opening up the wealth of Turkish music to the western world, so that anyone and everyone can relate to something from the album. With that said, ?atellites emphasize that their music is not fundamentally Turkish music, on the contrary, they merely try to sound as close to the genre as possible. Their sole aim is to honor this amazing culture and to present it to the world in a more accessible and attainable form. Presented on color vinyl.

 

PRICE: $28.50

CAT #: BEC 5613970

FILE UNDER: ROCK

Toujours l'?t? is the very first Les N?gresses Vertes Best Of on vinyl. 12 classic tracks pressed on white vinyl. Les N?gresses Vertes are a cult French alternative band formed in 1987 with a unique sound. The original line up was a group of nine friends, some of whom never played music before. They can best be described as a fusion of world music and alternative rock. Their particular music influences were Ra?, Mediterrean music and French caf?/chanson fran?aise. After two cult albums Mlah (BEC 5543328) and Famille Nombreuse (BEC 5543330) and the death of former charismatic singer Helno, the band decided to keep on playing with St?phane Mellino and Matias Canavese replacing Helno. After Zig-Zague (BEC 5543333) and Trabendo (BEC 5543327), they disbanded in 2001. Following a few live reunions, St?phane and Iza Mellino reformed the band in 2018 to celebrate the 30th anniversary of Mlah with an intensive French tour. They have kept playing since. Longue vie aux N?gresses Vertes!

 

PRICE: $28.00

CAT #: BPR 040LP

FILE UNDER: ROCK

Eight years after the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado's spooked vocals. Pure rock n' roll yet devoid of clich?. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together. Recorded on tape in Mercado's garage, there's a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. "It's just chatter about life and human feelings. Stylized human expression," is Christopher's self-effacing explanation of his mind bending, playful, storytelling. Somehow the Mad Walls manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb.

 

PRICE: $30.50

CAT #: BPR 040SB-LP

FILE UNDER: ROCK

Blue color vinyl version. Eight years after the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado's spooked vocals. Pure rock n' roll yet devoid of clich?. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together. Recorded on tape in Mercado's garage, there's a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. "It's just chatter about life and human feelings. Stylized human expression," is Christopher's self-effacing explanation of his mind bending, playful, storytelling. Somehow the Mad Walls manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb.

 

PRICE: $22.00

CAT #: BMR 135LP

FILE UNDER: ROCK

"While their first two releases (Prequel and Space Mirror) saw these veterans of post-punk, new psychedelic noise, and 1990s garage rock expertly navigate the murky waters of COVID isolation with yoga-worthy ambient excursions, on their third record the quartet slides into fifth gear and terraplanes toward a fresh take on instrumental prog-rock. It's not entirely unexpected, but there's rapid accelerated growth at play on Tabula Rasa. Infinite River is composed of Gretchen Gonzales (Universal Indians, Slumber Party, Terror At The Opera), Warren Defever (His Name Is Alive, ESP Beetles, Ethan Daniel Davidson), Joey Mazzola (Detroit Cobras, Sponge, Sugarcoats), and special guest drummer Steve Nistor (Sparks, Ural Thomas, Seedsmen To The World). These instrumental recordings were tracked between the end of 2022 and the start of 2023 in Warren Defever's new loft studio space in glorious Hamtramck, MI, where the sessions were supervised by Defever's cat, Brother James. 'My apartment is a big, echoey room; previously we were close together in a tight space,' Defever explains. 'The other studio is cozy; this is an art gallery. So it's a really different vibe.' Tabula Rasa is closer to what the band is like live now. It highlights the point at which new age type music can become biker rock -- which at times approximates Hawkwind or much German music from 1976, while rarely sounding like anything but itself. Tracks like 'Around The Sun' and 'Sky Diamonds' definitely have evolved out of the group playing new age type music together. But here, the melodies are more pronounced; the chords and harmonies are more like pop music. Drone-based elements remain, but the pieces are shorter and far more propulsive. 'Gonzales shows off her noise-guitar pedigree with both subtlety and aggression. Defever has largely ditched his tanpura for a bass synthesizer. It's a joy to hear Nistor, who's been a member of Sparks for close to two decades, open up, and just go gonzo on his kit. Mazzola's songwriting has followed suit; these are great (and often lovely) compositions here. And his practice in playing with the band, especially Nistor, allows Mazzola to open up new possibilities for downright prog than he's ever shown before."

 

PRICE: $61.00

CAT #: BEA 003LP

FILE UNDER: JAZZ

"A legendary concert by one of the great unrecorded bands in free jazz history is here at last. WEBO, the third installment in the Black Editions Archive series of previously unreleased recordings from Milford Graves' private tape library, roars into the station June 21, 2024. For the first time, Charles Gayle, Milford Graves, & William Parker -- three lions of the Black American jazz avantgarde -- are finally heard together on record, presented here across three audiophile-quality LPs for two brutalizingly joyous hours of real ju-ju & musical mastery. The trio of Charles Gayle, Milford Graves, & William Parker gave only seven public performances between 1985 and 2013, and released no recordings. Their June 1991 two-night stand at the short-lived Lower East Side venue Webo, long referenced as a signal event in New York free jazz's 1990s resurgence, has been a topic of discussion among close followers of the music for decades. In the uncompromising grassroots spirit of the 1970s New York Musicians Organization and loft jazz movements from which they had emerged, the band produced and promoted the WEBO concerts themselves. Photography and audio recording were not allowed at the concerts, and this official recording, commissioned by the artists, was never released -- until now. So vivid was the lore surrounding WEBO that it topped the list of recordings sought by Black Editions Archive from Graves' private collection. The tapes maximally substantiate eyewitness accounts describing extra-sensory levels of communication within the band, and the extraordinary clarity and impact of their performance. From William Parker's liner notes: 'Imagine a village or choir of drummers, horn players and strings. You can hear the bass and drums churning with a call and response, a melodic-rhythmic propulsion. In reality there is only one drummer, one bass, and one saxophone.' Age 52 at the time of these concerts, Charles Gayle had only recently made his first recordings. To all but the most immediate insiders he was still more myth than reality. Milford Graves, two months out from his 50th birthday, was about halfway into his body of recorded work and had sanctioned just one appearance on a commercially released recording in the last 14 years (Pieces of Time by an all-drummer quartet with Kenny Clarke, Andrew Cyrille, and Famoudou Don Moye). William Parker, the young man of the group at age 39, was a mere fifty entries into his discography, now 500+ entries and counting. All three musicians were at least a quarter century into passionately developing a personal and collective music rooted in the cultural values and radical aesthetics of the 1960s and '70s Black American avant-garde. 30+ years after the WEBO concerts, Black Editions Archive is honored to make these historical recordings available to the public. The three LPs are presented in a heavy black, pigment-stamped box with mounted cover painting along with liner notes by William Parker, commentary from Alan Licht (witness to night one of the WEBO concerts), a reproduction of the original concert flyer, and a set of 6"x9" printed photos from the 2021 WEBO reunion outside MoMA PS1, Queens, NY. Cover Painting by Jeff Schlanger/musicWitness, made June 8, 1991, at Webo during the band's performance. Vinyl pressed at RTI, lacquers cut by Kevin Gray at Cohearent Audio." --Michael Ehlers, 2024

 

PRICE: $31.50

CAT #: BT 119LP

FILE UNDER: ELECTRONIC

Black Truffle presents Resonant Trees, the first vinyl release from French composer-performer L?o Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes. Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins "Resonant Tree I" alone, slowly sounding out a series of arpeggiated chords that emphasize the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesizer, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars. On "Resonant Tree II," a similar structure and ensemble (without the flutes) are used with quite different results. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as "space and a sound that one could grasp in one's hand." As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa's classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

 

PRICE: $48.00

CAT #: BT 120LP

FILE UNDER: ELECTRONIC

Black Truffle presents the first vinyl reissue of David Rosenboom's unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period. Future Travel emerged from the confluence of two important streams in Rosenboom's work at this time. First, his exploration of "propositional music," defined as "complete cognitive models of music" that start from the radical question, "What is music?" In this case, the music belongs to the universe of Rosenboom's In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom's long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla's hybrid analogue-digital keyboard synthesizer, the Touch?, the instrument heard most prominently here. In a way that no purely analogue synthesizer could, the 300 Series and Touch? allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming "intelligent instruments" that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply "playing the system," recording live at Francis Ford Coppola's Zoetrope studio in San Francisco. Future Travel is bracingly sui generis, existing in a unique universe where radical formalization spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies. At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between "The Double" (an embodiment of humanity's timeless desire to replicate itself in spiritual and technological copies) and two "Spirit Characters.: Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert's delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. The record includes a 12-page booklet with notes about the album.

 

PRICE: $12.00

CAT #: BFR 033CD

FILE UNDER: ROCK

"New Lord Buffalo album Holus Bolus takes its name from an antiquated phrase meaning 'all at once.' It materializes instantly from the first opening notes, a grey haze drawing listeners in with deft juxtapositions of droning violin, guitars, drums and vocals. While the quartet wades into the same murky waters as dark emotive brethren David Eugene Edwards/Woven Hand, All Them Witches, Emma Ruth Rundle, Earth/Dylan Carlson, Chelsea Wolfe, and Nick Cave, the creative interplay of Middle Eastern influences and Western folk Americana takes the record in its own enveloping, meditative direction. Embarking on a sleep-deprived road trance through High Plains iconography, Holus Bolus is bleak yet hopeful, a mix that is by now Lord Buffalo's established custom blend."

 

PRICE: $34.00

CAT #: BJR 085C-LP

FILE UNDER: WORLD

Yellow color vinyl. Les Disques Bongo Joe present the release of Derya Y?ld?r?m & Grup ?im?ek's DOST 1&2! This double gold printed LP gathers all tracks from the acclaimed DOST 1 and DOST 2 released respectively in 2021 and 2022. Derya Y?ld?r?m & Grup ?im?ek's subtle and groovy Anatolian psych folk sound matches the powerful quality of the songs often led by Y?ld?r?m's sublime vocals and ba?lama (Turkish lute). They captured a lively, unique piece of interpretation which connects to the meaning of DOST. "DOST is a friend, a comrade, a brother, a sister and even more than that. DOST is the connection to keep this life and world meaningful." No doubt that with this project Derya Y?ld?r?m & Grup ?im?ek will bring sounds, people and emotions together.

 

PRICE: $32.00

CAT #: BJR 085LP

FILE UNDER: WORLD

Les Disques Bongo Joe present the release of Derya Y?ld?r?m & Grup ?im?ek's DOST 1&2! This double gold printed LP gathers all tracks from the acclaimed DOST 1 and DOST 2 released respectively in 2021 and 2022. Derya Y?ld?r?m & Grup ?im?ek's subtle and groovy Anatolian psych folk sound matches the powerful quality of the songs often led by Y?ld?r?m's sublime vocals and ba?lama (Turkish lute). They captured a lively, unique piece of interpretation which connects to the meaning of DOST. "DOST is a friend, a comrade, a brother, a sister and even more than that. DOST is the connection to keep this life and world meaningful." No doubt that with this project Derya Y?ld?r?m & Grup ?im?ek will bring sounds, people and emotions together.

 

PRICE: $28.00

CAT #: BJR 103LP

FILE UNDER: WORLD

LP version. Introducing Azerbaijani Gitara Vol. 2 by R?hman M?mm?dli, the eagerly awaited sequel to Bongo Joe's acclaimed debut featuring R?st?m Quliyev. Born from the vibrant streets of Baku, Azerbaijani gitara culture has evolved into a mesmerizing fusion of indigenous traditions and global influences. From the oil boom era to Soviet rule, musicians have embraced the electric guitar as a symbol of cultural expression. R?hman M?mm?dli, a legend in his own right, revolutionized the sound with his innovative techniques and impassioned performances. Drawing inspiration from mugham music, M?mm?dli's compositions resonate with soul-stirring melodies and electrifying solos. Azerbaijani Gitara Vol. 2 promises to captivate listeners with its depth, diversity, and unbridled passion, inviting you on a journey through the heart and soul of Azerbaijan's musical heritage.

 

PRICE: $22.50

CAT #: BRUTALISM 001LP

FILE UNDER: ELECTRONIC

Following on from Brutalism's audio-visual experiences in St. Gertruds church in cologne, this album contains eight excerpts from live sets, specially produced for the unique space of the building designed by Gottfried B?hm, in an attempt to capture its architecture and sound. Since 2015, Brutalism's goal has been to establish a format at the interface between pop and club culture, as well as "academic" electronic music, in which media art, visuals, sound installations and dance performances play a central role in an immersive and architecturally memorable environment alongside the sophisticated musical program. Featuring M?tyrer, lomi, and Dornen.

 

PRICE: $27.00

CAT #: CAM 027LP

FILE UNDER: ROCK

Formed in 2018 by Takujuro Iwade, film director and drummer Kaya Koike, and Mayumi Sakurai with the theme of "Lovers Rock from the other side," Love Wonderland performs reggae with a unique interpretation influenced by psychedelia and synth-pop. The Best Twilights LP compiles tracks from three demos released between 2019 and 2024 and reflects their full spectrum from electronic dub to pop tinted reinterpretation of their peers. Considered as the best kept secret of the Japanese dub scene, they continue to grow at each live performance with faith and passion. Love Wonderland's main aspiration is to keep their motto alive. Mastered by Krikor Kouchain and limited to 400 copies.

 

PRICE: $20.00

CAT #: DAMGOOD 611CD

FILE UNDER: ROCK

"A compilation of Billy Childish related groups to celebrate the release of the brand-new book - To Ease My Troubled Mind: The Authorised Unauthorised History of Billy Childish, written by Ted Kessler.'My name is William Ivy Loveday, aka Steve Hamper, aka Guy Hamper, aka Jack Ketch, aka Billy Childish. I was born on the Medway, Kent, where I still live. I left school in 1976 when I was 16. Because I have no qualifications, I was turned down by art school so went to work in Chatham dockyard as an apprentice stonemason. I later managed to get onto a painting course at St. Martin's School of Art on the basis of my paintings. Me, Bruce, Big Russ, and little Russ formed The Pop Rivets in 1977 and made our first recordings. Our inspiration was punk rock, TV21 and The Swinging Blue Jeans. I learned to play guitar then in 1979 I worked for four weeks at Oakwood Mental Hospital as a ward porter, then me, Mick and Bertie formed The Milkshakes. Our inspiration was Link Wray, the Beatles' Live at the Star Club LP, the track 'Gotta Get the First Plane Home' by The Kinks and our hatred of new romanticism. Then I was expelled from St. Martin's School of Art for writing what was described as 'the worst type of toilet wall humor.' I beat my father up on his release from prison for drug smuggling. We never paid ourselves in The Milkshakes and put all the money back into making our own records. I kept the money in a bank account under the name of Kurt Schwitters. I lived on the dole for 12 years.' --Billy Childish"

 

PRICE: $55.50

CAT #: LPDM 047LP

FILE UNDER: SOUNDTRACK

Double LP version. Digitmovies presents the soundtracks composed by Bruno Nicolai for four of Jess Franco's movies: A Virgin Among The Living Dead, 99 Women, Nightmares Come At Night, and Eugenie De Sade'70. A Virgin Among The Living Dead's score features several atonal music themes for strings with additional distorted electric guitar. Nicolai has written a wonderful love theme for the main character of Christine, a sweet and melancholic theme performed by the crystal voice of Edda Dell'Orso. For Nightmares Come At Night, Bruno Nicolai has written an OST of experimental kind, perfect as background for the protagonist's recurrent nightmares. He alternates experimental atmospheres with piano and percussions, with suspended motifs for guitar, organ and light percussions and with a magic love theme. The soundtrack for Eugenie De Sade'70 was originally released in 1969 on the Gemelli label. On the 99 Women soundtrack, Nicolai has written and conducted a symphonic score that alternates mysterious, dramatic and action themes to other romantic and sensual ones given by the sax and the orchestra that reprise instrumental variations of the main theme song. For this publication, Digitmovies used every take found in the original master tapes.

 

PRICE: $62.00

CAT #: DPRMBX 167CD

FILE UNDER: ROCK

The Long Shadow Falls is Current 93's first-ever CD box-set, and is as beautiful as the moon! This gorgeous, elaborate, boxset consists of 7CDs, plus a 7" single, and a beautiful 48-page art-book. The Long Shadow Falls collects the 41 unknown and redreamt mixes that C93 created for two (long-ago sold-out) lathe-cut 12" releases, respectively titled The Long Shadow Falls and Why Can't We All Just Walk Away?, which were both issued in editions of just 39 copies, cut by The Bricoleur at Bladud Flies!, which came with hand-painted covers by David Tibet, and with original artwork by him inserted into each copy. It also adds two final mixes of "The Long Shadow Falls" that were not released on vinyl. The box-set cover, booklet, CD covers, and 7" single all carry images from David Tibet's Channelled Hallucinatory Shadowed Found Fotograph series. For these photographs of ghosts, C93 spelled: David Tibet, Andrew Liles, and ChoirBoyHigh.

 

PRICE: $31.00

CAT #: DC 892LP

FILE UNDER: ROCK

"Drag City presents the first ever vinyl pressing of guitarist Lee Underwood's under-sung 1988 acoustic guitar opus, California Sigh. Lee Underwood had been Tim Buckley's stalwart, inspiring, accompanying and being inspired by Buckley as they both navigated a heady set of changes in the late '60s and early '70s. Then, he abruptly stopped working as a professional musician, leaving behind a body of work, that, as noted by Eugene Chadbourne, was the work of 'a loner, who didn't quite march under any one flag, whose improvisations involved the level of sophisticated harmonic development one finds in jazz, floating as freely as Ornette Coleman.' 35 years later, yet still in time, train your ears on the meditations of California Sigh! As Byron Coley's liner notes observe: 'The music is guitar-based acoustic instrumental melodicism with a lovely tone and alternately ruminative and jazzy structuring. The playing is generally in the vein of William Ackerman and Alex de Grassi rather than progenitors like Basho and Fahey, although 'Lady of the Streams' does display a bit of a Fahey lilt at times. Throughout these pieces there are also flashes of single string runs straight out of the Django Reinhardt playbook. But the overall mood is tranquil -- reflecting the musical joys Underwood found when surrounded by nature.' The tenor of the production is transcendent to be sure. The playing of Chas Smith and Kevin Braheny Fortune, on pedal steel and soprano sax respectively, lend additional colors to Lee's music on several songs, but it is largely the soulful depth of Lee's guitar figures, limned by Steve Roach's synthesizers and the Roach/Underwood co-production, that give dynamic shape and elevation to Lee's lovely cycle of songs. And now, with this remastered vinyl edition, the air around the instruments -- both real and implied -- and the full sonic impact of California Sigh -- alternately gentle and mighty, like the natural world that inspired it -- is magnified incomparably. In the years following the release of California Sigh, Lee wrote and recorded two solo piano CDs, Phantom Light and Gathering Light. He continues to live in Northern California. California Sigh is 'dedicated with love and respect' by Lee to his late wife, Sonia Crespi, for the friendship and inspiration she brought."

 

PRICE: $33.00

CAT #: DC 893LP

FILE UNDER: ROCK

"What might appear to be the most unlikely collaboration of 2024 proves also to be one of the most invigorating listens of the year! Shackleton & Six Organs of Admittance are in full aural/metaphysical alignment in their mutual effort to become Jinxed by Being. On first listen, it becomes immediately clear that this fusion of Shackleton's bass-heavy cosmic dread and Six Organs' ritual folksong makes total sense. Longtime listeners know that both Shackleton and Six Organs of Admittance have been unafraid to pursue their muse into any and all encroaching depth of darkness or outer boundary of potential dissonance -- in fact, that has always been their default mode, finding more of resonance way out there in the process. They also share that ol' maverick psychedelic ritual transcendental music vibe, don't they? And a fascination with repetition and cycles. And a mutual inspiration drawn from alternative tunings and literature -- all this considered, it's been basically inevitable that Ben Chasny and Sam Shackleton would work together. It took a while for them to find each other -- and once they did, it was almost eerie, how preordained it felt. When the music started coming, though -- that's when it got really eerie. The mood rises from the music like smoke, a sure signal of total integration. Jinxed by Being finds Shackleton and Six Organs of Admittance delighting in their synthesis. Reveling in the unique sonic textures found in the collage, they launch small details that unfold into a massive space, then fracture into multiple lines of dimensional reality, crossing the stereo spectrum with enervating motility. Here lies all the proof you need against the danger of categorizing by perceived genre rather than intention -- encounters like Shackleton and Six Organs of Admittance might never have found the linear space in which they sit next to each other, beyond alphabets and other institutional organizing principles. Rearrange your libraries -- or you might miss getting Jinxed by Being.

 

PRICE: $25.00

CAT #: DC 902LP

FILE UNDER: ROCK

"Drummer Chris Corsano is a tireless collaborator. Among the 150 or so albums that he's contributed to over the past 25 years, only six have been credited to Chris alone, which makes the existence of The Key (Became The Important Thing [& Then Just Faded Away]) a rare instance of Chris going deep on his own vision. Indeed, this album finds him involved in every aspect of the process, from making the string-drums that the music is based upon, to playing all parts of the music, mixing them, and doing the cover art, too! This is a special album, bringing his encompassing focus on free improvisation and noise into a granular fusion with acoustic experiments and ideations of hard rock riffing and the post-punk sound. In Chris Corsano's collaborations over time with Paul Flaherty, Joe McPhee, Dredd Foole, Michael Flower, Paul Dunmall, Bill Orcutt, Nate Wooley, Mette Rasmussen, C. Spencer Yeh, Ben Chasny, and Sir Richard Bishop (as individuals, and together as Rangda), Bill Nace, Wally Shoup, Evan Parker, and dozens of other players, it's clear the vibe may get intense/heavy/OUT. Accessing this place, in itself, is an incredible calling -- but on The Key (Became The Important Thing [& Then Just Faded Away]), the intensity radiates entirely from inside Chris's process, in conversation with himself. And that's something that hit a bit different once he was done making it. The pieces here were largely built out of Chris's string drum playing, utilizing a setup he's created involving a silicone string, stretched across a snare drum with a bridge. When the string is hit, it resonates the drum -- a conception similar to that of the banjo, but with more of a bass tone. Several songs focus on Chris playing a bass string drum with a full kit, while the basic parts of two other pieces ('I Don't Have Missions,' 'The Full-Measure Wash Down') implied possibilities for full band arrangements which Chris was compelled to respond to himself. All the results on the tape, when listened back, found a higher order, transcending sequences of experimentation and technique, becoming much more than the sum of an internal conversation, standing together as a set of insistently compelling pieces of a whole. And so they became The Key (Became the Important Thing [& Then Just Faded Away]). They unlocked something in Chris Corsano."

 

PRICE: $14.00

CAT #: DC 918CD

FILE UNDER: ROCK

"Emerging once again from the unending waves crashing upon fragile timecraft (adrift on the eternal ocean, and taking on water), Dirty Three are a) back, b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares, and c) not wasting another minute -- as nothing is guaranteed. For their first album in over a decade -- yep, it's been since 2012's Toward the Low Sun -- they flew in, got together and started playing. End of story. What else is there to say or do but that? Music's their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything. The Dirty Three -- Warren Ellis, Mick Turner, and Jim White -- formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they'd broken out -- out of Australia, out of anything else they might have been inside of, to boot -- and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they've gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. These lot were born to be as weathered as they are today. Time doesn't matter. They make their gathered wisdom of the ages sing like something new every time. It renews. And Love Changes Everything."

 

PRICE: $12.00

CAT #: DC 918CS

FILE UNDER: ROCK

Cassette version. "Emerging once again from the unending waves crashing upon fragile timecraft (adrift on the eternal ocean, and taking on water), Dirty Three are a) back, b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares, and c) not wasting another minute -- as nothing is guaranteed. For their first album in over a decade -- yep, it's been since 2012's Toward the Low Sun -- they flew in, got together and started playing. End of story. What else is there to say or do but that? Music's their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything. The Dirty Three -- Warren Ellis, Mick Turner, and Jim White -- formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they'd broken out -- out of Australia, out of anything else they might have been inside of, to boot -- and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they've gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. These lot were born to be as weathered as they are today. Time doesn't matter. They make their gathered wisdom of the ages sing like something new every time. It renews. And Love Changes Everything."

 

PRICE: $24.00

CAT #: DC 918LP

FILE UNDER: ROCK

LP version. "Emerging once again from the unending waves crashing upon fragile timecraft (adrift on the eternal ocean, and taking on water), Dirty Three are a) back, b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares, and c) not wasting another minute -- as nothing is guaranteed. For their first album in over a decade -- yep, it's been since 2012's Toward the Low Sun -- they flew in, got together and started playing. End of story. What else is there to say or do but that? Music's their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything. The Dirty Three -- Warren Ellis, Mick Turner, and Jim White -- formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they'd broken out -- out of Australia, out of anything else they might have been inside of, to boot -- and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they've gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. These lot were born to be as weathered as they are today. Time doesn't matter. They make their gathered wisdom of the ages sing like something new every time. It renews. And Love Changes Everything."

 

PRICE: $23.00

CAT #: DC 934LP

FILE UNDER: SOUNDTRACK

"Evil Does Not Exist is an expansive new soundtrack undertaking from Eiko Ishibashi, a stellar further display of her ability to explicate the depths of the unspoken in her music. That it is also the soundtrack to the new Ryusuke Hamaguchi feature is marvelous news for all who loved her score for his Oscar-winning 2021 film, Drive My Car. That her music harmonizes effortlessly with the state of nature as depicted in his film, a nuanced tale of humans' uneasy efforts to maintain co-existence with the delicate state of the planet, is a further profound achievement. At play here, though, is much more than fantastic new music from a powerful new film -- it is evidence of a vital recomposition of the relationship of sound to narrative, and composer to filmmaker. The impetus for this came when Eiko was asked by overseas promoters for a program of live performances backed by visuals. After some thought, she asked Hamaguchi if he would make something for her to use for this purpose. This led Hamaguchi to develop the script further, with sequences of dialogue. In the end, he made two works: Gift, a silent film to act as a visual score for a live performance by Ishibashi, and Evil Does Not Exist, his new narrative feature film, which provided the visual material for the silent film Gift and features Eiko's music as its soundtrack. This is a fittingly synergistic exchange within their two disciplines, in which the moods and intentions of the music and the film acted in practical conversation: each one a sovereign statement, made possible by its relationship with the other. Eiko's compositions are scored for violin, cello, guitar, drums and keyboards. Her longtime partner Jim O'Rourke played the guitar and mixed and mastered the recordings when they were done, eliciting further the necessary nuances of atmosphere and mood that one would expect in one film, much less two!"

 

PRICE: $15.50

CAT #: DUST 124CD

FILE UNDER: ELECTRONIC

Experience the sonic journey that is The Black Dog's latest album, Other, Like Me, as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, Other, Like Me, draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, Other, Like Me offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

 

PRICE: $40.00

CAT #: DUST 124LP

FILE UNDER: ELECTRONIC

LP version. Experience the sonic journey that is The Black Dog's latest album, Other, Like Me, as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, Other, Like Me, draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, Other, Like Me offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

 

PRICE: $17.50

CAT #: ECHO 080EP

FILE UNDER: ELECTRONIC

2024 repress. Babe Roots and Another Channel join forces with Danish label Echocord with four dubbed-out cuts titled Takeover. Turin based artist, Babe Roots' catalog has seen a steady growth since he started out in 2016. Takeover sees him team up with Another Channel, an up-and-coming German producer. "Takeover" is spaced-out, dub-tinged atmospheres to ease you in; "Can't See" provides pitched-down, meditative ambience peppered with deep, sedative reggae drums, calming synth flutters and enchanting vocals. "Money Run Things" sustains the mellow moods with dubby vibrations. "Get You Down" offers a meditative, dropped- tempo take on dub-techno.

 

PRICE: $17.50

CAT #: ECHO 083EP

FILE UNDER: ELECTRONIC

2024 repress. Following 2018's Babe Roots EP, Echocord revisits with reworks from Forest Drive West, Mike Schommer, Felix K, DB1, and Babe Roots themself. London's DB1 leads the package with his take on "Work Hard", a mostly beatless interpretation. Felix K then ups the energy levels with a high-octane take on "Sufferation Time". Forest Drive West steps up next to remix "Jah Nuh Dead". Former Deepchord member Mike Schommer's take on "Bless Me" follows, the pioneer of contemporary dub techno delivers a cinematic rework. Babe Roots revisits "Sufferation Time", delivers a more refined feel this time around.

 

PRICE: $25.00

CAT #: EFFICIENT 037LP

FILE UNDER: ELECTRONIC

Efficient Space welcomes Th Blisks to the fold with their mutant strain of melodica dub, torched hip hop breaks, post-punk and procession song. Th Blisks' members have many notches on their collective belt. Amelia Besseny and Altered States Tapes' founder Cooper Bowman are prolific in their ritualistic ambient-pop duo Troth, while Yuta Matsumura holds a formidable Sydney punk band pedigree on top of his Low Company-backed solo work. A reward for those who took the time to dig it out, Th Blisks' 2022 debut How So? was a DIY creation that fully embraced its outsider roots, reveling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, they return with Elixa. With an unseen clarity of vision, Elixa conjures its meticulously fleshed out world. Those familiar pieces are all there -- the mystery, the patience, a cheeky pop hook -- however this time there's an intentionality to it all. A blurred dialogue stretching across Australia, it was largely recorded remotely with tracks bouncing between Bowman and Besseny in Muloobinba (Newcastle) and Nipaluna (Hobart), and Matsumura stationed in Warumpi (Papunya). Every element is carefully considered, stemming from their individual time spent as lifers in the local DIY scenes. Through these tracks you can feel that history; echoes of Castings and Vincent Over The Sink in "Do You Bless It?," Bowman's distinctive submerged tape loops gurgling away under boom bap and that Sydney guitar tone in "Esk." Elixa attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. Informed by the old but drug into The New, it is a begrudgingly current Australien record that respectively nods at the UK's sound history.

 

PRICE: $14.50

CAT #: EPR 076CD

FILE UNDER: ROCK

On From The Source, Causa Sui's first new studio album since 2020, the band has created some of their most ambitious music ever -- simultaneously travelling through the sonic landscapes that has come to define the group's sound and pushing towards new horizons. With the four bandmember's ties to jazz, experimental and ambient music, Causa Sui is something of an anomaly in the ever-growing European psychedelic rock scene. Always following their own path. Never before has the group's wide-ranging influences been more meticulously weaved together as on From The Source, from groovy Zamrock and electric jazz to floating post-rock, Sabbath riffage and hypnotic kosmische. The album was recorded during months of sessions in their own studio, refining each part gradually through intense explorations, yet keeping room for improvisation and favoring "magic" takes over clinical perfection. The temperament of the music spans white-iron hot and sub-zero chilled with every ebb and flow in between. Dynamic range has always been central to Causa Sui but on this set the band explores it to a new degree -- every track twists and turns, seamlessly leading the listener down unpredictable paths. The pinnacle of the album, and arguably of the band's singular ethos in general, is the sidelong odyssey, "Visions of a New Horizon" -- a 24-minute suite in seven parts. An appropriate closing monument on the album that marks the 20th anniversary of the band.

 

PRICE: $26.00

CAT #: HE 65002LP

FILE UNDER: JAZZ

The Astrud Gilberto Album (with Antonio Carlos Jobim) is the debut studio album by Astrud Gilberto. With Antonio Carlos Jobim on guitar and the arrangements by Marty Paich, it was released via Verve Records in 1965. It peaked at number 41 on the Billboard 200 chart. In 2017, NPR placed it at number 73 on the "150 Greatest Albums Made by Women" list.

 

PRICE: $26.00

CAT #: HE 67009LP

FILE UNDER: ROCK

The Cyrkle's second LP published in 1967, Neon, was an album with some of the most soaring three-part harmonies and intricate arrangements that '60s pop music had to offer. This album provides much to enjoy to fans of typically '60s harmonies, artful production, and crafty integration of acoustic and electric dynamics with a wide range of instruments. About the best of the lot are "Our Love Affair's in Question," which sounds quite a bit like 1966 Simon & Garfunkel, and "Don't Cry, No Fears, No Tears Comin' Your Way," which is tougher than most of their output.

 

PRICE: $26.00

CAT #: HE 68009LP

FILE UNDER: WORLD

This is the second incredible album which the Brazilian bossa combo Tamba 4 did in the US for A&M Records, during the brief time when they were expanded to a quartet from the original Tamba Trio lineup. This album can be considered a masterpiece that combines their original style with American sophistication. The set is completely sublime. A wonderful mix of the group's trademark harmony vocals and crackling bossa rhythms, with the warmly flowing CTI production style of the time -- not funky like the CTI sound of the '70s, but a bit more sophisticated than the style Creed Taylor had been using earlier at Verve. Tracks are short, breezy, and often very lively -- bossa grooving warmed in the California sun.

 

PRICE: $26.00

CAT #: HE 71005LP

FILE UNDER: ROCK

Thru The Years is a compilation album of music by John Mayall released in October 1971 by Decca Records in the U.K. and London Records in the U.S.A. The album was the second compilation to be issued by Decca/London with Mayall's blessing and it features a mixture of previously unissued songs or non-album tracks that had only been released as singles. A grab bag of rare tracks from the '60s, some of which stand among Mayall's finest. His debut 1964 single "Crawling Up a Hill" is one of his best originals. The eight songs featuring Peter Green include some top-notch material that outpaces much of the only album recorded by the Green lineup (A Hard Road), particularly the Green originals "Missing You" and "Out of Reach," a great B-side with devastating, icy guitar lines and downbeat lyrics that ranks as one of the great lost blues-rock cuts of the '60s. The set is filled out with a few songs from the Mick Taylor era, the highlight being the vicious instrumental "Knockers Step Forward."

 

PRICE: $26.00

CAT #: HE 72006LP

FILE UNDER: JAZZ

John Surman's Jazz in Britain '68-'69 is an overview disc of his '60s band and one of the more enjoyable vintage British jazz records. These tunes come from several different sessions recorded in the late sixties, as evidenced by the alternate drummers -- Alan Jackson and Tony Oxley -- and the use of different instrumentation, like the three-horn modal piece "Bouquet Garni," from 1968 that places Surman in the company of only two other horn players -- Alan Skidmore and Mike Osborne -- and no rhythm section, in the configuration that would emerge in the mid-'70s as S.O.S. For most of the other tracks, Oxley is the drummer, Kenny Wheeler plays flugelhorn, and John Taylor plays piano (acoustic and electric). The music here is all over the place stylistically, but it hardly matters because all the players are fully engaged, and as an ensemble, they all shine and were seemingly looking forward to the impact the new jazz would have.

 

PRICE: $26.00

CAT #: HE 72008LP

FILE UNDER: ROCK

Lady Lake is the second album by British progressive rock band Gnidrolog. Originally released in 1972, it offers fans an immersive experience into the band's unique blend of intricate melodies, complex arrangements, and thought-provoking lyrics. Gnidrolog's Lady Lake showcases the band's exceptional musicianship and songwriting skills. The album seamlessly combines elements of progressive rock, folk, and classical music to create a captivating sonic journey. LP on 180-gram vinyl. Includes insert with story and lyrics.

 

PRICE: $17.50

CAT #: EUDEMONIA 017EP

FILE UNDER: ELECTRONIC

Sound Synthesis returns to eudemonia with another stellar acid-infused electro EP. This time the Maltese delivers four wonderfully crafted tracks that send you to outer space.

 

PRICE: $18.00

CAT #: XBITCLSX 001EP

FILE UNDER: ELECTRONIC

Two undeniable classics from Rico Puestel are back! Remastered in their truest idea of sound and for the first time on vinyl.

 

PRICE: $29.50

CAT #: FAITBACK 001LP

FILE UNDER: ELECTRONIC

2024 restock. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moir? (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000)."Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moir? - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moir? laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat

 

PRICE: $34.00

CAT #: FAITBACK 012LP

FILE UNDER: ELECTRONIC

2024 restock. On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colors and paints). On double-LP vinyl for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek's home studio in Berlin at the time. The farben project has its roots in Jelinek's love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music's most extravagant stock phrases about various states of love. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall, you hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of color, are dissolved into details and abstractions. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking, and speculation. Gatefold sleeve; includes download code.

 

PRICE: $28.50

CAT #: FEINES 060EP

FILE UNDER: ELECTRONIC

Feines Tier is entering its 60s together with Lithuanian lad Liudas Lazauskas aka Roe Deers and his Landscape EP. "I'm very sorry (Acid)" delivers everything the title promises, experience report included. After that comes "Helicopter" and "Glory," followed by "Shoes." The penultimate "Silent Stories" picks up the pace again a little bit, but gets even more grubby, hypnotic and seductive vocals included, before another face-melter with the closer "Sash," which goes hard on the electric bass in your face, pitched-down vocals and some cowbells for good measure.

 

PRICE: $26.00

CAT #: FIELD 032LP

FILE UNDER: ELECTRONIC

Field Records takes a look into the vast catalogue of Celer, the prolific ambient project from Tokyo-based artist Will Long. Perfectly Beneath Us was originally released in 2012 as a CD-R on Still*Sleep, and now it's being presented as a vinyl release remastered by Stephan Mathieu. Celer began in California as a collaborative project in 2005 between Long and Danielle Baquet, resulting in reams of self-released work up until Baquet passed away in 2009. Long opted to keep their project going, and Celer has continued to grow as an expansive exploration of purest ambient. Meanwhile Long's solo work under his own name has been equally accomplished, with scores of releases on DJ Sprinkles' Comatonse Recordings and respected Norwegian leftfield label Smalltown Supersound. With such a sizable library of sounds to explore, the reissue of Perfectly Beneath Us serves as an ideal entry point into the Celer catalogue, presenting four pieces of sustained, glacial movement wreaking profound emotional impact from the subtlest methods. Long exercises the utmost patience from the shorter "Distressing Sensations" and "Ultra-terrestrial Yearning" through to the ten-minutes-plus stretches of "Slightly Apart, Almost Touching" and "Absolute Receptivity Of All The Senses." It's truly immersive, captivating drone music that rewards the attentive listener as much as it soothes the casual drifter. Originally limited to just 100 copies in 2012, it's now beautifully framed on a carefully considered reissue which adds to Field's own repertoire of evocative, subliminal electronics.

 

PRICE: $12.50

CAT #: FD 152CD

FILE UNDER: ROCK

For a number of years now, Splintered have played a sporadic selection of live shows in London, Krakow and Wroclaw. Due to the fact the original members found themselves both still getting on well together and being able to tap into the chemistry that was there until the group ground to a halt in 1997, the idea of recording new material was never far away. As such, between 2021 and 2024 Splintered began working on new material and managed to finish a few songs that are now presented on the first album since the 1996 collaboration with Germany's musique concrete artist, RLW. Bringing together several new songs of a lengthy, hypnotic and atmospheric nature, Between Scylla and Charybdis sees the original lineup joined by Stuart Carter (Theme, The Fields of Hay, Heroin, etc.) and deploying the same combination of rock instrumentation, electronics, location recordings, loops and mostly submerged vocals they were always known for. Spanning almost an hour, Between Scylla and Charybdis is an often-intense reflection of the stormy times it was recorded in and marks the sixth album the group have produced since they began in 1990. Splintered are: Paul Wright, James Machin, Paul Dudeney, Richard Johnson, Steve Pittis, and Stuart Carter.

 

PRICE: $39.50

CAT #: GPM 295LP

FILE UNDER: ELECTRONIC

Helsloot announces debut album Never Tried on Get Physical. Thomas Helsloot's debut album comes on the heels of a run of great releases on Get Physical Music. He is a master of melody who has released on the likes of Domino, remixed Bob Moses and Fritz Kalkbrenner, and secured huge streaming numbers such as 400 million plays for his track "Because You Move Me." His freshman LP, Never Tried, sees him distil everything to date into something profoundly personal and engaging. "Mirrors" opens up in absorbing fashion with a signature deep house groove before "It's Alright" (featuring Malou) sends shivers down the spine with its angelic vocal and icy beats. There is a rueful feel to the well-crafted pads that soar above the warm rhythms of "Midnight Fog" and after the wispy cosmic synths and brooding bass weight of the fantastically serene "Outburst" comes the masterful melancholic album single "One Step" featuring Ninja Tune artist Jono McCleery. As the journey continues and Helsloot's evocative synths keep bringing seriously potent emotions, there are darker drums to "Disco Maxi" and silky arpeggios that lift you to the heavens on "Beautiful Losers" (featuring Rangleklods). Elsewhere, Helsloot collaborates with Tinlicker on the languid "Hideaway" with a bittersweet bassline, whilst "Lowlands" keeps your head amongst the stars with its celestial melodic glow and airy house drums. "Let's Pretend" is the standout closer with its retro '80s synth sounds and snappy beats, sending you off with a sense of great resolve.

 

PRICE: $37.50

CAT #: GLOSSY 016LP

FILE UNDER: ELECTRONIC

Glossy Mistakes presents Atlantic Mavericks: A Decade of Experimental Music in Portugal 1982-1993, a groundbreaking double LP compilation that offers a unique glimpse into the vibrant landscape of Portuguese experimental music. This monumental release showcases the evolution and innovation of the Portuguese music scene during a transformative decade marked by political upheaval and artistic experimentation. Compiled by Glossy Mario and featuring liner notes by Rui Miguel Abreu, Atlantic Mavericks captures the essence of a generation of artists who dared to challenge conventions and push the boundaries of what was possible in music. The compilation stands as a testament to the eclecticism of the Portuguese music scene during this period, featuring a diverse range of genres and styles. From ambient and new age to electro, rock, and synth-pop, Atlantic Mavericks offers something for every listener, inviting them to explore the rich tapestry of sounds that defined the era. The 1980s in Portugal were a time of profound transformation, marked by the aftermath of a peaceful revolution and a burgeoning desire for artistic expression. As the country emerged from political turbulence, a new generation of musicians began to explore uncharted territories, paving the way for a wave of experimentation and innovation. From the emergence of artists like Rui Veloso and bands like UHF, who ushered in a new era of Portuguese rock, to the founding of independent record labels like Funda??o Atl?ntica and Ama Romanta, the 1980s saw a surge in creativity and a desire for independence within the music industry. Each song on this album tells a story of artistic evolution and creative risk-taking, reflecting the diverse influences and eclectic tastes of the Portuguese music scene during this transformative decade. Spanning from 1982 to 1993, the compilation includes contributions from a wide range of artists, including SPQR, Croix Sainte, Linha Geral, Balladium, Ban, Santa Maria, Gasolina Em Teu Ventre!, F? de S?bio,Nuno Rebelo, V?tor R?a, T? Neto, Luis Cilia, Pilar, Carlos Mar?a Trindade, Balladium, Pop Dell'Arte, and Telectu. With each track carefully curated to showcase the breadth and depth of Portuguese experimental music, Atlantic Mavericks promises to be a must-have for music enthusiasts and adventurous listeners alike.

 

PRICE: $34.00

CAT #: GOO 017LP

FILE UNDER: ROCK

2024 repress. "Daydream Nation was Sonic Youth's sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen. Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wide commercial success without compromising their artistic vision. More recently, Daydream Nation has been recognized as a classic of its time: Pitchfork ranked it #1 on their '100 Greatest Albums of the 1980s'; Spin listed it at #13 on their '125 Best Albums of 1985-2010'; Rolling Stone put it at #45 on their '100 Best Albums of the Eighties' list and #328 on their '500 Greatest Albums of All Time.' It was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006. 2007 saw the release of an expanded four-disc vinyl box set, but now the album is back in its original form after years of being out of print and highly sought after. As a special 21st century bonus, the vinyl now includes a digital download card -- radical adults rejoice!"

 

PRICE: $28.00

CAT #: HG 2403LP

FILE UNDER: ELECTRONIC

FUJI||||||||||TA returns to Hallow Ground with his second full-length for the Swiss label after it had released his international breakthrough album iki in early 2020. Active since 2006, the Japanese composer and sound artist has become prolific since the release of iki, releasing a slew of records while also touring the world. His new album MMM is Yosuke Fujita's most complex so far. Changing the set-up of his pipe organ by switching to an electric air pump allowed him to activate new sonic and compositional potentials of the instrument, while he also expanded upon his experiments with his own voice. MMM is a masterpiece of conceptual and formal rigour -- a testament to how multi-layered and versatile the music of FUJI||||||||||TA can be. Previous releases had already showcased Fujita's interest in working with the rhythmic potentials of the organ he built himself in 2009. Replacing its hand-operated air pump with an electric one allowed him to work with it more freely and simultaneously record its sounds. The subtle tonal shifts of the organ take on a more subdued role this time, and Fujita's scat growling and singing reappears in processed form. Just like its title can mean a lot of different things, MMM itself is ever-evolving, traversing different moods and opening itself up to a plethora of interpretations at each of its many turns.

 

PRICE: $36.00

CAT #: IA 117LP

FILE UNDER: ELECTRONIC

"Pittsburgh artist Gregg Gillis (a.k.a. Girl Talk) has scrupulously created music from samples for over eight years. His fourth album on the Illegal Art label, Feed the Animals, continues his sonic evolution towards his party-infested live show and steps even closer towards a creation that is centered on pop musicality rather than attention-deficit sample splicing."

 

PRICE: $36.00

CAT #: IA 123LP

FILE UNDER: ELECTRONIC

[initial pressing sold, repress available in April] "All Day is the fifth studio album by American musician Gregg Gillis, known by his stage name Girl Talk. The album was originally released as a free digital download by Illegal Art on November 15, 2010. Gillis composed the album using overlapping samples of 372 songs by other artists. All Day was released as one seamless 71-minute file and as twelve separate tracks, available in MP3 and FLAC. As with prior Girl Talk albums, All Day was 'intended to be listened to as a whole,' but was 'broken up into individual tracks only for easier navigation.'"

 

PRICE: $24.00

CAT #: ITR 393LP

FILE UNDER: ROCK

LP version. "Earth Tongue, the brainchild of guitarist Gussie Larkin and drummer Ezra Simons, present their second full-length album Great Haunting. The duo, known for their heavy flavor of fuzz-soaked psychedelic rock, are also pleased to unveil their signing to In The Red Records. Earth Tongue's partnership with In The Red stems from a run of shows supporting the legendary Ty Segall throughout New Zealand. Larkin explains: 'Ty's band Fuzz was a significant influence for our sound early on. Ezra and I saw them play live in London about nine years ago, long before Earth Tongue existed. We absorbed a lot of music at that time, and in fact many of the bands we saw released records via In The Red.' Great Haunting sees the duo draw inspiration from the eerie depths of '70s and '80s horror cinema, delivering a sonic concoction of dark and primitive songs with thick layers of fuzz and punchy, compressed drums. The album was engineered by Jonathan Pearce from The Beths at his studio on Karangahape road in Auckland. The ascent of Earth Tongue is testament to their dedication and hard work. They've toured relentlessly across Europe and scored support slots for acts like IDLES and Queens Of The Stone Age. They're consistently selling out headline shows and have featured on festival lineups throughout Aotearoa and Australia."

 

PRICE: $14.00

CAT #: IC 1004LP

FILE UNDER: JAZZ

2024 restock, limited stock. The most legendary avant-jazz group, reissued by Soul Jazz, raved about by Thurston Moore and accessible to anyone who'd normally not know a thing about this type of music. Certain Blacks was originally released in 1970 on a French label, America Music, and features one of their side-long freakouts, "Certain Blacks 'Do What They Wanna'." This is an exact repro of the 1976 reissue, released on Inner City.

 

PRICE: $29.50

CAT #: KOM 478LP

FILE UNDER: ELECTRONIC

Repressed. Dettinger's Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as pop ambient, while also existing, somehow, to the leftfield of any clearly recognizable genre. Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Originally released on CD only in 1999, Intershop was Kompakt's first artist full-length. The music here simmers and broods, with opulent banks of tone marking out territory for rhythms that seem to be built from the clacking detritus of technology -- hisses, thunks, knocks. Bass is deployed carefully, each drop a dubbed-out depth charge; drones spin and spiral, warping and weaving between the beats. There is, of course, other music to know Dettinger by, too -- his three excellent EPs for Kompakt, Blond (1998), Puma, and Totentanz (1999), the latter of which, Michael Mayer once argued, "invented dubstep." There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt's Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distill Dettinger's singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.

 

PRICE: $29.50

CAT #: KOM 479LP

FILE UNDER: ELECTRONIC

Repressed! Dettinger's Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as Pop Ambient, while also existing, somehow, to the leftfield of any clearly recognizable genre. Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Oasis, released in 2000, refined the palette that Dettinger had explored on its predecessor, Intershop. A blurred crusade of ambient texturology, its unassuming patterns, and subtle, incremental dynamics, admit to real beauty, and a kind of abstract sensuality that you don't often experience with music that is, perhaps, similarly tooled, but not as poetic. Through seemingly simple gestures -- whether lushly expansive repetitions, hyper-acute tremolo tones, or ear-tickling rhythms -- it builds complex emotional resonance. It's no surprise to discover Oasis is held in high esteem by artists like Panda Bear of Animal Collective, who once said of Dettinger, "For us, he was the dude." There is, of course, other music to know Dettinger by, too -- his three excellent EPs for Kompakt, Blond (1998), Puma, and Totentanz (1999), the latter of which, Michael Mayer once argued, "invented dubstep." There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt's Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distil Dettinger's singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.

 

PRICE: $29.50

CAT #: KOM 485LP

FILE UNDER: ELECTRONIC

LP version. With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it's a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives. Lorenzo Dada creates across multiple fields -- a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he's released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance. Luciano Michelini's history is yet richer. He may be best known, to many, for his piece "Frolic," the theme to Larry David's Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022's "Crip Ya Enthusiasm." But there's much more to Michelini's story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L'Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977). There's a familial energy at play through Lucifer, and Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada's tendency toward minimalism, and Michelini's composerly voice. Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini's lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini's friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada's kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that's because Lucifer was designed that way, as a suite or a sonata of sorts.

 

PRICE: $16.00

CAT #: KOM 486EP

FILE UNDER: ELECTRONIC

After the great response to the launch with Deer Jade and David Hasert/Nicon?, Komapkt's lively split EP format is going into the next round. Always true to the motto: Only killers, no fillers! Brazilian born come Berlin resident Joyce Muniz teams up with Algerian born come Rome resident DJ producer Sara Bluma for their phenomenal Kompakt debut Beats & Lines, an uplifting electro disco affair with plenty of pop appeal. The good vibes between Sara and Joyce are definitely contagious! London's Hardt Antoine is back to the mothership with a bang! "I Will" is a sensual, percussion-driven house anthem for those morning hours, when spirits are high and the sense of unity is palpable. "La Mosca" is taking a more hypnotic approach, putting a joyous chant of unknown origin to good use.

 

PRICE: $17.50

CAT #: KOM 487EP

FILE UNDER: ELECTRONIC

The Dutch-American legend Orlando Voorn is back on the block with a very, very yummy four-tracker that is masterfully channeling his deep love for Detroit techno and Chicago house. "No Cellphones" recalls Green Velvet's classic Relief Records sound, applying a sinister bouncer voice that commands everybody to put their f***ing cellphones away. It's quite a tantalizing idea to drop this tune at an Afterlife party. "Raise The Bar" is a primo minimal heater for prime-time usage, classic Voorn intensity through and through. The flipside harbors two gorgeous, summerly house tracks with plenty of soul for those sun flooded festival floors. Orlando Voorn reigns supreme.

 

PRICE: $15.50

CAT #: KOMP 181CD

FILE UNDER: ELECTRONIC

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it's a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives. Lorenzo Dada creates across multiple fields -- a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he's released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance. Luciano Michelini's history is yet richer. He may be best known, to many, for his piece "Frolic," the theme to Larry David's Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022's "Crip Ya Enthusiasm." But there's much more to Michelini's story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L'Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977). There's a familial energy at play through Lucifer, and Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada's tendency toward minimalism, and Michelini's composerly voice. Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini's lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini's friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada's kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that's because Lucifer was designed that way, as a suite or a sonata of sorts.

 

PRICE: $34.00

CAT #: LANR 010LP

FILE UNDER: WORLD

2024 repress; reissue, originally released in 1982. Officially the latest album released by the British super group, Lows & Highs is the triumphant epilogue to these fascinating adventure in rhythm. Featuring vocals from Crucial Tony and Lizard Logan this is probably the most straight-ahead reggae album in their whole discography. Producer Adrian Sherwood is in charge behind the desk while Style Scott, Eskimo Fox, and Donald Campbell bring all their potential efforts on the drums. Deadly Headley and Dave "Flash" Wright are the top horn section here. The album features the bonus track "Read And Learn" from 1982 single Love I Can Feel. A must have for any English dub worshipper. Fully remastered and licensed. 180 gram vinyl.

 

PRICE: $26.00

CAT #: LY 005LP

FILE UNDER: ELECTRONIC

In the serene expanse of empty spaces, there exists a profound stillness that attracts contemplation. These voids, whether they manifest physically or within the recesses of minds, are spaces for the interplay of light and thought, where time perception is different, allowing for a deeper connection with the inner self. These are moments frozen in the endless flow of existence, a tranquil pause that invites listeners to reflect and to contemplate. The emptiness that permeates this mental space is a canvas upon which ideas are painted. The emptiness that pervades this cerebral realm becomes a blank canvas upon which ideas are woven into existence. Grand River and Abul Mogard's In uno spazio immenso, (translating to "in an immense space,") embodies the essence of this boundless expanse -- a limitless and eternal chamber where the boundaries of thought expand endlessly. For fans of: Caterina Barbieri, Alessandro Cortini, Perila, Sarah Davachi, Kara-Lis Coverdale, Raime, Drew McDowall.

 

PRICE: $32.00

CAT #: LMS 1725195

FILE UNDER: ROCK

Black vinyl version. Celebrating 45 years of Blancmange, Everything Is Connected (Best Of) is the first collection to be curated by Neil Arthur, tastefully blending a mixture of hits and personal favorites. Originally from the UK's post punk DIY scene, Blancmange found success in 1982, long player Happy Families selling Gold in the UK, and its three singles becoming international hits. They went on to have seven Top 40 hits and 70 weeks in the UK album charts. Long-standing admirers include Moby, John Grant, and Honey Dijon, who states that "British synth pop was hugely influential in the burgeoning house music scene and Blancmange was a big part of that." This vinyl features ten of Blancmange's essential tracks. The Top 40 hits "Living On the Ceiling," "Waves," "Blind Vision," "Don't Tell Me" and Abba cover "The Day Before You Came," as well as recent favorites "What's The Time," "Reduced Voltage," and "Some Times These."

 

PRICE: $19.00

CAT #: LIH 045EP

FILE UNDER: ELECTRONIC

Lumberjacks In Hell is the Amsterdam based label run by Marcel Vogel that was established in 2010 and has long been a great source of leftfield club tunes. Having worked with a variety of international artists like Jamie 3:26, Philou Louzolo, Rayko, Karizma, and Giovanni Damico, LJIH proudly presents its first release in two and half years from Lu/Lu & LYMA with Hot Molten Lava. Production duo Lucas van Ee and Tjerk Lammers are collaborators extraordinaire, brothers speaking in code and working in unison, a hive mind of ideas and creativity that was always bound to erupt like a Vulcano. Lu/Lu & LYMA is a side project of the Amsterdam based LIKEMINDS, and together they share a studio together on the outskirts of the city. Both artists are heavily involved in the local music scene, a scene that defies genre in favor of more sonic adventures. As part of this ever-merging network of collaborators, Lu/Lu & LYMA also manifest their music in a vibrant live set. Across the seven tracks of Hot Molten Lava, the music serves as a captivating odyssey of electrifying new house anthems that seamlessly combine the pulsating production rhythms of Lu/Lu with the sultry tones of LYMA. Prepare to be transported to euphoric heights as Hot Molten Lava marks a triumphant return for Lumberjacks In Hell spearheaded by the visionary Marcel Vogel, propelling it into a stratosphere all of its own.

 

PRICE: $18.00

CAT #: MIG 1310CD

FILE UNDER: ELECTRONIC

"Once again, past master Klaus Schulze appears to be in top shape on his twelfth solo album. There is almost no-one who can hold a candle to him as a live musician performing on the synthesizer. The Meta Musik festival at the National Gallery in Berlin, from which the ?Live? track 'Sense' was taken, was an event arranged by Walter Bachauer. He was the head of programs at radio station RIAS. He also was a big fan of minimalist music. The bonus track 'Le Mans au premier' is taken from a concert at the abbey L'Epeau near Le Mans in France on November 10th 1979. 'My music is very emotional and spontaneous, so I play in a quieter mood in a church or an abbey than at the Palais des Sports in Paris for instance. The atmosphere of the place always strongly influences me; that's why 'Le Mans au premier' is also one of my quieter live recordings but a very nice one nevertheless.' ?Klaus Schulze."

 

PRICE: $24.00

CAT #: MIG 3102CD

FILE UNDER: ROCK

"More than 250 concerts in seven countries (Germany, Austria, Switzerland, Netherlands, Italy, Turkey, Romania) have made the Austrian progressive rock legend Eela Craig an internationally acclaimed band. Their stages range from renowned opera houses such as the Frankfurt Opera and the Hamburg Opera to the Philharmonie Berlin and major venues such as the Konzerthaus Wien, the Stadthalle Wien and the Wiener Festwochen. The diversity of her musical journey is also reflected in international appearances, including Zurich, Istanbul, Bucharest and the renowned 'Sagra Musicale Umbra' festival in Perugia, Italy. From 1971 to 1980, Eela Craig released five studio albums, and in 1978 the band ventured into a 'rock mass' with 'Missa Universalis:' a multilingual high mass in a strict liturgical style with instrumental use of electronics and elements of rock music. The mass includes all parts of the Ordinary of the Mass and uses the prescribed standard texts in Latin, German, English and French. Old chorale and Bruckner motifs can be heard in the compositions. The performance of the 'Missa Universalis' at the 1978 International Bruckner Festival met with an extraordinary response. Die Zeit wrote at the time: 'Pop music conquered the Brucknerfest 1978 with 'Missa Universalis'.' The M?nchener Merkur wrote: 'The music of Eela Craig is a perfect mixture of old forms and new sounds. This group goes further than Pink Floyd, their imagination is bigger and more expansive.'"

 

PRICE: $30.00

CAT #: MIG 3121LP

FILE UNDER: ROCK

"Third Ear Band hail from Canterbury and started out as a psychedelic band called The Giant Sun Trolley, playing long, impromptu sets in South London clubs. After one gig, almost all of the band's equipment was stolen. So, by sheer coincidence and obvious necessity, they became an acoustic band and adopted the name Third Ear Band. From 1969 to 1972, the band released three albums on the progressive Harvest label, of which Music From Macbeth (1972) was the best known and most commercially successful. On April 24, 1970, the Third Ear Band performed at the second Essen Pop and Blues Festival. For some reason, they did not appear on the official poster for the event or in the festival program. The line-up was packed with acts like The Flock, Ekseption, Rhinocerous, The Groundhogs, It's A Beautiful Day, and the still unknown Black Sabbath, who had just released their first album. The Essen concert in the quartet line-up with Sweeney on drums, Minns on oboe, Coff on violin and Smith on cello took place just a few weeks before the release of the second album, which fans know as Elements, although it is simply called Third Ear Band and was released in June 1970. Of the four elements, the band played 'Earth' and 'Water' that night, but in a shorter version compared to the album versions. The professional sound recordings of the Third Ear Band's festival performance have only recently resurfaced and have now been restored, edited and mastered."

 

PRICE: $16.00

CAT #: MTB 012EP

FILE UNDER: ELECTRONIC

Strong Detroit influenced techno EP with classic rhythm and slightly modern elements. Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin. Featuring remix by Jancen.

 

PRICE: $36.00

CAT #: MOV 3700COL-LP

FILE UNDER: WORLD

"Deep Nyabinghi drumming and chanting on a version of the Ethiopian national anthem gets things underway on Slave Call, a majestic journey through the spiritual roots of reggae. Later songs add guitars, bass, keyboards, and horns to build a more standard reggae sound on that foundation, but there's always a dignified restraint and the profundity of the nyabinghi beat. the entire album revolves around Leonard Dillon's Rastafarian beliefs, with even the cover of the Beatles' 'Let It Be,' rewritten to a religious end. Slave Call is available as a limited edition of 750 individually numbered copies on orange colored vinyl."

 

PRICE: $36.00

CAT #: MOV 3701COL-LP

FILE UNDER: WORLD

"Sugar Minott was a Jamaican reggae star who was a pioneer of the dancehall style. Minott was a producer, label head, and sound system operator. He collaborated with one of Jamaica's most accomplished producers, Lloyd James aka King Jammy, and among their collaborations was the popular 1979 LP Bitter Sweet, which included the seminal dancehall anthems 'Give The People' and 'I'm Not For Sale.' For the first time in over 40 years, Bitter Sweet is being reissued on vinyl. The album is available as a limited edition of 750 individually numbered copies on orange colored vinyl."

 

PRICE: $47.00

CAT #: MOV 3742LP

FILE UNDER: JAZZ

"Acclaimed jazz artist Bill Evans' Momentum album is the 1972 live album recorded at a concert at Stadsschouwburg in Groningen, the Netherlands. The trio includes, next to Bill Evans on piano, Eddie Gomez on bass and Marty Morell on drums. The ensemble plays compositions by Bill Evans, Miles Davis' 'Nardis,' and Michel Legrand's 'What Are You Doing The Rest Of Your Life.' The album received the prestigious German award Preis Der Deutschen Schallplattenkritik. The 2LP Momentum is available on vinyl for the first time."

 

PRICE: $46.00

CAT #: MOV 3751COL-LP

FILE UNDER: WORLD

"Scratch Came Scratch Saw Scratch Conquered is the 2008 album by Lee 'Scratch' Perry (born Rainford Hugh Perry), who was a Jamaican record producer, composer and singer noted for his innovative studio techniques and production style. Perry was a pioneer in the 1970s development of dub music with his early adoption of remixing and the use of studio effects to create new instrumental or vocal versions of existing tracks. From his Black Ark Studio in Kingston Jamaica, he worked with and produced a wide variety of artists, including Bob Marley and the Wailers, Junior Murvin, Susan Cadogan, The Congos, and Max Romeo. Later, he moved to Switzerland and reinvented himself as a performance and visual artist but continued to produce innovative music -- collaborations include The Beastie Boys, The Clash, Keith Richards, George Clinton, and Adrian Sherwood. Scratch Came Scratch Saw Scratch Conquered is the second in a series of three albums he made with English musician and producer Steve Marshall a.k.a. John Saxon. It features guest appearances by none other than George Clinton and Keith Richards. The 2LP Scratch Came Scratch Saw Scratch Conquered is available as a limited edition of 1500 individually numbered copies on translucent green colored vinyl, housed in a gatefold sleeve."

 

PRICE: $29.50

CAT #: NIGHT 020R-LP

FILE UNDER: JAZZ

Second edition, no longer comes with large booklet. Multi-instrumentalist and composer Isaiah Collier connects with the divine ancestors on a transcendent direct-to-disc session, Parallel Universe. A saxophonist by trade whose multi-instrumental talents and compositional prowess have stretched the limits of the form, Parallel Universe represents a new chapter in Collier's musical journey. Having already performed with a diverse range of musicians such as Chance The Rapper, Waddada Leo Smith, Chicago jazz royalty Angel Bat Dawid and his own band The Chosen Few, Collier's latest work as a bandleader explores the shared musical heritage of the African diaspora with a sense of grace and assurance that belies his years. Embracing the risk and vulnerability that comes with the live process, Collier and his band tapped into the frequencies of improvisation that fired up so many of the most timeless jazz recordings. Name-checking Sun Ra, Ras G, J Dilla, Fela Kuti, Miles Davis, Gil ScottHeron, Whitney Huston, Aaliyah, and Frankie Knuckles, the opening track of Parallel Universe imagines a genreless musical lineage that resonates with the polyphony of stories his band bring to the table, from Chicago and beyond. Featuring gospel soul singer Jimetta Rose, AACM, and former Art Ensemble of Chicago trumpet player Corey Wilkes, blues-rooted guitarist Michael Damani, regular collaborators Julian Davis Reid, James Russell Sims, and Micah Collier, the eight-track album bristles with a sense of love and understanding between players at the top of their game. With vocals sung in Yoruba -- inspired by a gift from legendary saxophonist Kenny Garrett -- "Village Song" soars between rhythms and references, from Afro-Cuban syncopation to the deep triplet swing of mid-'60s Coltrane. Laying the foundations for the album as a whole, the result is truly exhilarating.

 

PRICE: $15.00

CAT #: OGCD 002CD

FILE UNDER: JAZZ

"Reissue of a superb Elton Dean recording with a band full of Brit jazz luminaries -- saxophonists Paul Dunmall and Trevor Watts, bassist Paul Rogers, and drummer Tony Levin -- from the Covent Garden Jazz Saxophone Festival 1989, which was originally released by Ogun in 1990. The artwork has been reworked and new sleeve notes written for this release. The CD also includes a bonus download recording of the band playing at the Le Mans Festival in 1991, previously unreleased."

 

PRICE: $30.50

CAT #: OP 070LP

FILE UNDER: ELECTRONIC

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full-length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it. "Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that people owe nothing to. "Breaking Points" harkens the times that listeners may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward. Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date.

 

PRICE: $15.00

CAT #: CP 4507HLP

FILE UNDER: ROCK

2024 repress. Exact replica exact repro; 180 Gram Vinyl. "Singer/guitarist Steve Morgen and company originally hailed from Long Island, New York. Signed by ABC's short-lived Probe subsidiary, their 1969 debut Morgen teamed them with producer Murray Shiffrin. After this superb debut, the entire band quite simply disappeared. If you're into heavy psych guitar, then this is for you. While Morgen had a competent, if limited voice, he was a truly amazing guitarist with the likes of Nick Saloman of Bevis Frond becoming a staunch advocate of Morgen's status as a 'psychedelic guitar hero.' Tracks such as 'Eternity In Between,' 'Welcome To the Void,' 'Of Dreams' and 'Beggin' Your Pardon' (Miss Joan) were simply drenched with fuzz and feedback guitar. Underpinned by Maiman's powerhouse drumming (easily compared with Led Zepplin's John Bonham) and suitably trippy lyrics and you're looking at a pseudo-classic slice of psychedelia."

 

PRICE: $17.50

CAT #: PSSSH 004EP

FILE UNDER: ELECTRONIC

Dauwd's Psssh imprint returns with the debut release from Zadeh, high-octane, percussive and psychedelic techno from an Iranian sound palette.

 

PRICE: $14.50

CAT #: PP 110CD

FILE UNDER: ELECTRONIC

Ruby is back, and after her last album UPP, she is delivering another amazing full length titled Yummy. Currently putting extra focus on her productions she is keeping busy (already working on another follow up). Dive into her sonic world that is getting more and more refined. You can hear that it's Nice Girl: the playfulness, the humor, the melodies and the omnipresent fun vocal bits all make her sound stand out. As usual Yummy is a wild mix of fast, driving, up-tempo songs and more relaxed, dreamy bits that can be filed under "lounge" in the best possible way. Dig it! Also featuring Michael Kime.

 

PRICE: $35.00

CAT #: QUI 013LP

FILE UNDER: ELECTRONIC

After having finished recordings for Desde Infiernos De Flores, Nov? Sv?t immediately began putting down new songs for a follow-up album, which they planned to finalize benefitting from time won by releasing Desde Infiernos De Flores in slices over a period of some months. J. Weber's and Frl. Tost's return to an earlier life in their hometown Vienna brought a new deck of cards into play and those by then already mixed new pieces, rumored to circle around all things dream and sleep and (waking up in) nightmares, suddenly were regarded as "too Spanish," hence "inappropriate" for release. Instead, in late 2007 surprisingly a synth-only album named Todas Las ?ltimas Cosas ("All the last things"), accompanied by a collection of early demos entitled Todas Las Primeras Cosas, was announced by the acclaimed German label Treue Um Treue/Reue Um Reue. During the following seven years it took Nov? Sv?t to present their next album Mono, tons of unreleased music was made available on various formats. But none of the tracks abandoned in 2007 showed up. Years after their making those recordings were saved from a disintegrating master and compiled for the album DeGenerazione, which when it showed up online caught the attention of Quindi Records, now making the album available for the first time on the intended LP format, presenting a missing link in the Austrians' discography and the final part of a musical triptych, the so-called Spanish Trilogy, begun with Fin.Finito.Infinito back in Vienna, where it now would also find an end. Although noisy and rhythmic in parts, DeGenerazione closes the passage of Nov? Sv?t's exile on an overall introspective note. It stands as a document of a band at the point of implosion, another dark hole -- in a story full of them - illuminated and evidence that J. Weber's Spanish did not improve a bit. Not even living there. A triumph of the will.

 

PRICE: $17.50

CAT #: RB 132LP

FILE UNDER: ELECTRONIC

Since his first appearance on Running Back in 2009, Robert Dietz did a marvelous job staying on his toes as a producer and DJ. Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with "Crane Song" being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics. If you need help afterwards, "Deranged Self Therapy" is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots. "Centro Di Gravita" reconnects those qualities with the aforementioned "Crane Song" ones, while giving it an acid spin, before the ambient salts of "Any Plan(t)s This Weekend" closes the album off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.

 

PRICE: $32.00

CAT #: DURCHXST 001LP

FILE UNDER: ELECTRONIC

It was just a matter of time till these two pearls of the Berlin club scene came together for the ultimate master combo: Sachsentrance X Durch. The result stands for the core values of both collectives itself: pressed into a double vinyl with tracks of Metaraph, OCD, DJ Genderfluid, H369 & Trancemaster Krause, Tonni3000, Sabu!, $errano $chinken, and Akribisch Rapid, this collaboration embodies a harmonious blend pushing the ideals of inclusivity, diversity and a liberated mindset, celebrating the beauty of different perspectives expressed through music and paving the way for a culture founded on openness and freedom of existence.

 

PRICE: $25.00

CAT #: SCAT 035LP

FILE UNDER: ROCK

2024 repress. "Little introduction should be required here. Let it suffice to say that Bee Thousand is arguably the best, or at least among the top Guided By Voices albums in a copious discography. Accordingly, the album has stacked up accolades over the years, including being voted #1 on Amazon.com's '100 Greatest Indie Rock Albums of All Time.' It's a staple of such lists, and has also placed highly on those curated by Spin, Pitchfork, Mojo and Rolling Stone. This new LP pressing, the first since the late '90s, honors the album's 20th anniversary. It features new (and definitely improved) mastering from John Golden, a substantial gatefold jacket with a previously unpublished Robert Pollard collage, and high-quality virgin vinyl from RTI. We've also included a free download card."

 

PRICE: $18.00

CAT #: SAT 065EP

FILE UNDER: ELECTRONIC

New Jersey-born Ali Berger is a drum machine specialist and low-key US electronic music standby, now based in Pittsburgh after spending the 2010s in Boston and Detroit. His catalog of original music runs deep, with over 60 releases on his Trackland label and EPs on imprints like Spectral Sound and Sequencias, all resulting from a lovingly-cultivated studio approach which respects improvisation as a spiritual practice. Here with this sublime release on Scissors and Thread, Ali shares a multitude of sounds and atmospheres across the five tracks. As Ali himself puts it "This record collects tracks from the last three years, plus "0221 (Serious Mix)" which is from 2018. There's a full cross-section of production techniques represented here, from one-take jams to multi-tracked compositions, but through it all there's a deep melancholy which (I hope) is tempered by enough groove to be uplifting. Maintaining emotional balance takes constant, caring attention; music is a part of that process for me and these tracks reflect that." This balancing of melancholic atmospheres and groove is evident throughout. "Rhythm & Simplicity" is a low-key thoughtful banger for the more discerning dancefloors, while "A New World To Forget" also exhibits a deep love of cultured house music and analog drum machines. "Tape Jam Pt 2" is the perfect mix of improvisation and pure groove, put down in a rough and gritty fashion. 0221 (Serious Mix)" merges a breakbeat with pads and synths that give off a Balearic sunrise vibe, while "Motion Anthem" wraps up the EP with a tougher groove coupled with wistful melodies and oceans of feeling.

 

PRICE: $18.00

CAT #: SATLTD 006EP

FILE UNDER: ELECTRONIC

Frank and Tony's long history together has produced many seminal moments, and the release of the Ethos album on their own Scissor & Thread imprint marked yet another high point. The album saw the friends and long-term collaborators produce a body of work that was both joyous, thoughtful and politically charged. Adding to that is this five-track remix EP which enlists artists of a distinct pedigree to reimagine some of the tracks, and to stunning effect. First up is "Cecile" featuring Eliana Glass, the pianist and singer who graces a pair of tracks on the album and this EP. Charles Webster is responsible for the flip -- a typically moody and atmospheric vibe brings out new layers in the original. Eliana Glass also features on Timmy Regisford's remix of "Olympia," which exhibits some of the New York legends greatest attributes -- a hypnotic, uplifting masterclass ensues. Regisford's instrumental version of "Olympia" is also shared here. Elsewhere C.K brings the heat with a rework of "By The End They Will," creating a bumping, raw cut. The same track is flipped by Octo Octa, who takes the vibe fathoms deep and produces an idiosyncratic ravey version while honoring the spirit of the original.

 

PRICE: $14.50

CAT #: SCR 270CD

FILE UNDER: ROCK

Moon Diagrams -- the solo project of Deerhunter co-founder and drummer Moses Archuleta -- returns with a second album, Cemetery Classics. The 12-track album is a co-release between Sonic Cathedral (in the UK and Europe) and Angus Andrew from Liars' new label No Gold (in the US and the ROW) and was mixed by James Ford. It features guests including Anastasia Coope, Patrick Flegel (Cindy Lee) and Josh Diamond (Gang Gang Dance). It's Moses' first new music since 2019's Trappy Bats mini-album and the follow-up to 2017's acclaimed debut Lifetime of Love and everything seems a bit more extreme -- from the Basinski-esque degradation of "Neptune" to the Faustian industrial noise of "Listen To Me" via Art of Noise-style postmodern pop (the first single "Very Much My Promise to You"), Daft Punk bangers ("Fifteen Shows at One Time"), trip-hop, shoegaze, Jan Hammer, Depeche Mode, late Leonard Cohen and more.

 

PRICE: $30.50

CAT #: SCR 270LP

FILE UNDER: ROCK

LP version. Moon Diagrams -- the solo project of Deerhunter co-founder and drummer Moses Archuleta -- returns with a second album, Cemetery Classics. The 12-track album is a co-release between Sonic Cathedral (in the UK and Europe) and Angus Andrew from Liars' new label No Gold (in the US and the ROW) and was mixed by James Ford. It features guests including Anastasia Coope, Patrick Flegel (Cindy Lee) and Josh Diamond (Gang Gang Dance). It's Moses' first new music since 2019's Trappy Bats mini-album and the follow-up to 2017's acclaimed debut Lifetime of Love and everything seems a bit more extreme -- from the Basinski-esque degradation of "Neptune" to the Faustian industrial noise of "Listen To Me" via Art of Noise-style postmodern pop (the first single "Very Much My Promise to You"), Daft Punk bangers ("Fifteen Shows at One Time"), trip-hop, shoegaze, Jan Hammer, Depeche Mode, late Leonard Cohen and more.

 

PRICE: $28.00

CAT #: SSR 113LP

FILE UNDER: ROCK

First pressing of 500 copies on red vinyl with 16-page newspaper insert and additional postcards. Neutrals return after five years with album number two, a co-release between Static Shock Records and Slumberland. New Town Dream is thirteen songs of innocence, intensity and observations of everyday life. It's like a Mike Leigh film lyrically -- seeing the world through the eyes of normal people but with music that leans heavily on the TV Personalities, The Times, The Wedding Present, and the Jam. The rhythm section is the perfect foil for the spikey and clean guitar work but it's always the tune that is king with Neutrals. One listen and you are transported into the world of travel agents, bus conductors, kebabs and substitute teachers.

 

PRICE: $26.00

CAT #: SUBSOUND 127LP

FILE UNDER: ELECTRONIC

Since 1995, orphaned by their previous project, the three founding members of Zu (Jacopo Battaglia, Luca Mai, and Massimo Pupillo) had been hanging out in the historic small room in Piazza Degli Zingari in Rome, every day, all day long, working nights and sometimes sleeping directly in the basement so as not to waste time. Looking for their own voice, without excluding any direction: electronics, tapes, sequencer cello (played by their friend Francesco Chiari), and of course their first iconoclastic outbursts on bass sax and drums. One can obviously hear the shared love for NoMeansNo and Ruins, but much more was already part of Zu's DNA, including an instinctive ability to digest the myriad listens and influences that permeated them, without ever copying anything but transforming everything into their own personal voice. After about two years of intense and continuous rehearsals, this tape was the first demo they sent out, recorded in that room by their friend Giampaolo Felici, with whom they shared that space and with whom years later they would also found Ardecore. The cassette went around so much that the Zu themselves could not find a single copy of it, until one mysteriously reappeared, intact and still perfectly listenable, which transferred and mastered became, more than 25 years later, The Lost Demo.

 

PRICE: $31.50

CAT #: SUBSOUND 127LTD

FILE UNDER: ELECTRONIC

Color vinyl version. Since 1995, orphaned by their previous project, the three founding members of Zu (Jacopo Battaglia, Luca Mai, and Massimo Pupillo) had been hanging out in the historic small room in Piazza Degli Zingari in Rome, every day, all day long, working nights and sometimes sleeping directly in the basement so as not to waste time. Looking for their own voice, without excluding any direction: electronics, tapes, sequencer cello (played by their friend Francesco Chiari), and of course their first iconoclastic outbursts on bass sax and drums. One can obviously hear the shared love for NoMeansNo and Ruins, but much more was already part of Zu's DNA, including an instinctive ability to digest the myriad listens and influences that permeated them, without ever copying anything but transforming everything into their own personal voice. After about two years of intense and continuous rehearsals, this tape was the first demo they sent out, recorded in that room by their friend Giampaolo Felici, with whom they shared that space and with whom years later they would also found Ardecore. The cassette went around so much that the Zu themselves could not find a single copy of it, until one mysteriously reappeared, intact and still perfectly listenable, which transferred and mastered became, more than 25 years later, The Lost Demo.

 

PRICE: $26.00

CAT #: SUBSOUND 137LP

FILE UNDER: ELECTRONIC

In January 1999, after years of continuous daily rehearsals, Zu entered the studio to record Bromio. The album was released in October of the same year to immediate and enthusiastic feedback from the press and the public, and a few months later Zu began to play on stages all over Europe. But the band's inexperience in recording work weighed on them, because the impact they had live was not present in the sound of the CD at all. So it was that during the slightly forced hiatus from 2020 onwards, they finally found the time to reopen those recordings, rework them in various ways, resonate some parts and release Bromio 25 years later in a sound that was much closer to the impact and sound system of their live performances. Listening to it again 25 years later, it still sounds fresh and vibrant, not tied to any predetermined genre or fashion of the moment (it is curious and almost comical that they were called "jazzcore" when in fact the basis of their sound drew much more from prog and metal). Enjoy!

 

PRICE: $31.50

CAT #: SUBSOUND 137LTD

FILE UNDER: ELECTRONIC

Color vinyl version. In January 1999, after years of continuous daily rehearsals, Zu entered the studio to record Bromio. The album was released in October of the same year to immediate and enthusiastic feedback from the press and the public, and a few months later Zu began to play on stages all over Europe. But the band's inexperience in recording work weighed on them, because the impact they had live was not present in the sound of the CD at all. So it was that during the slightly forced hiatus from 2020 onwards, they finally found the time to reopen those recordings, rework them in various ways, resonate some parts and release Bromio 25 years later in a sound that was much closer to the impact and sound system of their live performances. Listening to it again 25 years later, it still sounds fresh and vibrant, not tied to any predetermined genre or fashion of the moment (it is curious and almost comical that they were called "jazzcore" when in fact the basis of their sound drew much more from prog and metal). Enjoy!

 

PRICE: $30.50

CAT #: VWM 058LP

FILE UNDER: EXPERIMENTAL

2 x 10" version. Nanocluster started as a bespoke one-off popup gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994. Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting-edge musicians. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1 (WM 056CD), released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Now, the new album Nanocluster Vol. 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. First comes Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Then comes Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile, Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Nanocluster Vol. 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

 

PRICE: $13.50

CAT #: WM 058CD

FILE UNDER: EXPERIMENTAL

Nanocluster started as a bespoke one-off popup gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994. Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting-edge musicians. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1 (WM 056CD), released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Now, the new album Nanocluster Vol. 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. First comes Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Then comes Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile, Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Nanocluster Vol. 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

 

PRICE: $20.00

CAT #: SYST 140EP

FILE UNDER: ELECTRONIC

After a decade-long hiatus, Blake Baxter (Underground Resistance, Tresor) and Marc Romboy (Systematic, Kompakt) have reunited to release their latest track, "Muzik is Love." More than just a song, it represents a philosophy, a mindset, and a tribute to authentic techno music. The duo previously collaborated on the hit "Freakin'" two decades ago, a track that continues to electrify dance floors. They followed up with several iconic tunes, including "Muzik," "Where Would You Be?" and "House Ya." This new 12-inch record features special locked grooves on the B-side, catering specifically to vinyl enthusiasts. With two records, DJs and music lovers can creatively rearrange the track, blending the locked grooves with individual stems from the original to form a unique mix. Dive into a new realm of vinyl mixing with this innovative release and experience the evolution of techno firsthand.

 

PRICE: $17.50

CAT #: RBTW 012EP

FILE UNDER: ELECTRONIC

Cotton and silk complement each other like cookies and milk, you and your lover, or Tiger & Woods. The new leading track of "Dancing Without Headphones" by the always reliable Italian duo. Now featuring the tried and tested heavenly vocal chords of 'Em and meaningful lyrics. Hardcore boogie peak time vibes! The rest of the record suits these needs and follows Larry Tiger's and David Woods' highest production standards. Play -- and powerful, formidable and floor-shaking, you will be hard-pressed to find the same quality somewhere else. With or without headphones: essential listening!

 

PRICE: $31.50

CAT #: TOUCH 029LP

FILE UNDER: ELECTRONIC

For his fourth release via Touch Sensitive under the Dyslexia Sound banner, Autumns strips it right down to the bone and takes it back to the Source. "Raw Product" indeed, Dyslexia Sound Source sucks up and spits out influence over ten tracks that are both lean but massively heavy. A decade on from his nascent, no-wave debut for Downwards Records, Autumns' productions have both matured and sonically expanded into a dubbed-out dysfunctional metal dance without losing any of the intensity from those early blasts. Anyone who has caught him live over the last few years knows there is simply no compromise. There is the raw rhythm of Cut Hands, the weight of Jah Shaka's sound system, the slink of an ESG bassline, the sensuality of Chris & Cosey, and the soundboard magic of Adrian Sherwood. However, as always, an Autumns release is far from a facsimile. With a unique touch and endless desire to push things forward, this collection can only be classified as the Dyslexia Sound.

 

PRICE: $31.50

CAT #: TDP 54134LP

FILE UNDER: ROCK

A veritable institution of British folk, Fairport Convention has been going strong since the mid-1960s. Double album Live At Rock City is chock full of winners: along with strong adaptations of "John Barleycorn" and "Reynard The Fox" there are top tracks from "Expletive Delighted," including "Three Left Feet," "Sigh Beg Sigh Mor", "Portmeirion" and "Sack The Juggler". There's beautiful symmetry between Dave Pegg's mandolin and Martin Allcock's bouzouki; Ric Sanders raises the roof on electric violin, Dave Mattacks' drums are quietly steady and Simon Nicol's guitar and voice completes the picture. A must for all Fairport fans!

 

PRICE: $26.00

CAT #: TDP 54136LP

FILE UNDER: ROCK

Weather Report's long and illustrious career had many twists, turns and revelations. Live In London draws on the best moments of performances delivered at the Hammersmith Odeon in June 1983, with former Chic percussionist Jose Rossy, plus a take of "Corner Pocket" as played at the Dominion Theatre one year later with Mino Cinelu. Mainstay Joe Zawinul mans the ship alongside saxophonist Wayne Shorter, this edition of WR driven by the frantic beats of Omar Hakim and the bass of Victor Bailey, less showy than Jaco yet just as engaging. Initially cut for radio broadcast, fans of late-era Weather Report will love every moment.

 

PRICE: $26.00

CAT #: TDP 54138LP

FILE UNDER: ROCK

Reissue, originally released in 1969. Obscure psychedelic gospel act Methuselah had its roots in Scunthorpe "Beat" group the Dimples, which became Gospel Garden, whose only 45 infused Northern Soul with psyche leanings. Regrouping as Methuselah, the group signed to Elektra for this sole religious rock concept LP, their sound deceptively American, with vocal harmonies evidencing bluegrass influences; guitarist Les Nicol is never short of excellent. Certain members would later form Amazing Blondel, but Matthew, Mark, Luke And John has a unique flavor, and this edition includes two three bonus tracks. This slice of obscure psyche must be heard to be believed!

 

PRICE: $26.00

CAT #: TDP 54139LP

FILE UNDER: ROCK

Reissue, originally released in 1967. Family vocal group the Esquires was formed in Milwaukee in the late 1950s; by the time they moved to Chicago to launch their recording career the group featured Gilbert Moorer, Alvis Moorer, and Sam Pace and although Curtis Mayfield turned them down, Bunky Sheppard recognized their potential, their debut single "Get On Up" a smash hit that led to the recording of this brilliant debut album, an excellent collection of upbeat melodic soul with the group's vocal harmonies in the spotlight. Further permutations would follow but Get On Up And Get Away captures the group in its illustrious beginning, full of shining joy. A top-notch release!

 

PRICE: $26.00

CAT #: TDP 54140LP

FILE UNDER: ELECTRONIC

Sky's 1979 self-titled album blends technical prowess with catchy melodies, creating an eclectic prog experience. This album showcases virtuoso musicianship and flamboyant arrangements, rivaling classic prog epics. Sky's debut is a hidden treasure waiting to be discovered.

 

PRICE: $26.00

CAT #: TDP 54143LP

FILE UNDER: JAZZ

After playing with Mingus, Coltrane, Lady Day, and Abbey Lincoln, inventive jazz pianist Mal Waldron moved to Europe and first reached Japan in 1970, where he met Idaho-born double-bassist Gary Peacock, who had played with Art Pepper, Bud Shank, Bill Evans, and free-jazz giant Albert Ayler before moving to Japan to study Zen Buddhism. First Encounter, recorded in Tokyo in 1971 for French producer Herve Bergerat, shows that the intense pairing was quite natural, the harmonic dissonance of Waldron's "She Walks In Beauty" contrasted by the up-tempo groove of Peacock's "What's That"; future Native Son founder Hiroshi Murakami makes important contribution on drums.

 

PRICE: $30.50

CAT #: TUNNEL 002LP

FILE UNDER: JAZZ

The album hi is an invitation by Dani Scheffels to explore different emotions while listening to his instrumental music. In his debut album, the Munich-based multi-instrumentalist presents music, that is influenced by both his background as an accomplished drummer as well as his love for modern jazz and experimental electronic music. There is no rule in his writing except one: no lyrics. That way everyone can tie the emotional music to their own experiences best. First not sure if he wanted any features on this album, he decided to collaborate with his sister Amelie Scheffels on the track "this" and his longtime friend Ralph Heidel (known for his brilliant releases on the Kryptox-label, as well as through his work as musical director for artists such as Casper, Tarek K.I.Z, Drangsal, and Bazzazian, just to name a few) on the track "finally." hi is the second LP-release on the Munich based label tunnel.visions.

 

PRICE: $27.00

CAT #: SE 4617X-LP

FILE UNDER: ROCK

2024 restock. "The album was produced by the band themselves, and issued in two different stereo mixes. The more widely distributed mix is the one done by MGM/Verve staff engineer Val Valentin. The other mix was done by Lou Reed, boosting his vocals and guitar solos, while reducing the level of other instruments. This version was dubbed the 'Closet Mix' by Sterling Morrison, because it sounded to him as if it had been recorded in a closet. The most dramatic difference is that the two versions use entirely different performances of 'Some Kinda Love', both taken from the same recording sessions."

 

PRICE: $37.50

CAT #: VAMPI 116LP

FILE UNDER: WORLD

2024 repress. Subtitled: Experimental Guitar-Driven Tropical Sounds from Peru 1966-1976. In mid-50s Peru, mambo was progressively replaced by preferences for other rhythms like merengue, guaguanc?, cha cha cha, joropo, guaracha, rumba and cumbia, which timidly begins to sound during these years. In Lima it's the golden age of great orchestras and music ensembles which are capable of playing swing and jazz, but especially the diverse tropical variants inundating the market. The most successful of all, La Sonora De Lucho Macedo, released in 1965 an LP consisting exclusively of cumbia. Around this time, the successful folklore group Los Pacharacos released the album Los ?dolos Del Pueblo, which included a cumbia number in the middle of the potpourri of huaynos, waltzes, and polkas. The groups preserved the fusion of fox trot and mambo rhythms along with huayno and cumbia in the execution of their music. That feeling would be the basis for the success of such unorthodox and unclassifiable songs as "La Chichera" or "Peti Pan". The recording in 1965 of these two songs by Los Demonios Del Mantaro on a seminal 45 with the Sono Radio label was the jumping off point for the birth of cumbia andina, also called "chichi" precisely for this song, which is dedicated to a vendor of the well-known Incan liquor. The electric shock of rock guitars enters the world of cumbia in 1968. The cause of such copulation was Enrique Delgado Montes, regarded as the genre's godfather. He did it, as part of his band Los Destellos, on a 45 and an eponymous 1968 LP (CAL 001LP/CALC 001LP). His songs constitute the most surprising musical fusions and amalgams of the time, whether they merge Cuban music and psychedelia, explore the sounds of Andean or Amazonian music, combine the digitalization of the Creole guitar with huayno melodies or abuse fuzz tones and distortion pedals. There wasn't an innovation that tropical guitarists didn't add to their sound: delay, fuzz tone, overdrive, wah-wah, reverb, modulating effects typical of rock bands are assimilated into a stunning sonic cocktail. In this context, cumbia reached the top of the charts in popularity. It replaced rock as the urban sound. Includes extensive liner notes in English and Spanish, photos, and memorabilia.Also features Silvestre Montez Y Sus Guantanameros, Los Orientales De Paramonga, Grupo Celeste, Los Mirlos, Manzanita Y Su Conjunto, Los Wembler's De Iquitos, Los Beltons, Los Beta 5, Los Galax, Aniceto Y Sus Fabulosos, Juaneco Y Su Combo, Los Sanders De ?a?a, Los Diablos Rojos, Los Ecos, and Los Demonios De Corocochay.

 

PRICE: $25.00

CAT #: VAMPI 160LP

FILE UNDER: WORLD

2024 repress; LP version. Includes "Todo en La Vida", the track featured in the Netflix Narcos series, "an ode to patience propelled by a yearning riff that wouldn't have been out of place in a Gainsbourg perv-jam").The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogot? by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogot?. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medell?n which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medell?n. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogot?, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.

 

PRICE: $28.50

CAT #: VAMPI 282LP

FILE UNDER: WORLD

Restocked; first time reissue. Afrosound was born from the desire of Discos Fuentes vice-president Jos? Mar?a Fuentes to come up with a domestic version of the emerging African and Latin rock sounds coming from outside the country, inspired by groups like Osibisa and Santana. The mission was to emulate the guitar-heavy tropical sounds emanating from Per? and Ecuador at the time. According to various sources, the 1972 tune "La Danza De Los Mirlos" (by Peru's Los Mirlos) emerged as a great success in Colombia and with it a new way of interpreting the country's most famous musical export, namely cumbia, through a Peruvian perspective. In their perpetual competition with Sonolux, Fuentes executives gathered a veteran team of musicians the following year to address this musical "invasion" from Peru because they sensed a potential for similar success. Released in 1974, Afrosound's Carruseles is the band's third long player and is one of their most sought-after records, with good reason. The recording continues the fantastic mix of psychedelic guitar, exotic keyboards, deep bass, and heavy Afro-Caribbean rhythms of its predecessors, but this time around the band really stretches out on a couple of numbers, making it arguably their most experimental and entertaining. Once again Fruko is at the helm in the studio, simultaneously holding it down and allowing the musicians to explore their most spaced-out fantasies. His trusty mentor, Mario "Pachanga" Rinc?n, returns to the mixing console, pulling all sorts of sonic tricks with edits, panning, reverb, and echo. Wilson Saoko adds his usual playful and wigged-out vocal bits that float over everything like some sort of twisted inner consciousness. Add to this the occasional drum machine, Moog, and Mellotron and you have a formula for a truly unique hybrid unprecedented at the time in Colombia. What makes this Afro-sonic experiment so captivating is the inherent contradictions and contrasts within the formula itself, mixing as it does conventional Latin forms like cumbia, pasebol, son preg?n, descarga and salsa with rock, funk and African music as well as unclassifiable studio improvisations. The miracle is that Fuentes trusted the house musicians and their engineer enough to not only let them make a record, but to keep on producing releases through the decade and into the next, yielding a treasure trove of tunes, with Carruseles being the crown jewel on top. Remastered from the original tapes, with its original "cheesecake" artwork intact. 180 gram vinyl.

 

PRICE: $28.00

CAT #: WJLP 071LP

FILE UNDER: JAZZ

Guitar explorer Nels Cline is best known these days as the lead guitarist in the band Wilco. His recording and performing career -- spanning jazz, rock, punk, and experimental -- is well into its fourth decade, with over 200 recordings, including at least 30 for which he is leader. Beyond Wilco, Cline has, in the last few years, performed and recorded in a duo project with guitarist Julian Lage as well as in his quartet The Nels Cline 4 (featuring Lage plus bassist Jorge Roeder and drummer Tom Rainey). Other collaborators include Mike Watt, Thurston Moore, Elliott Sharp, Tim Berne, Jim Black, Larry Ochs, Phil Lesh, Medeski, and Martin & Wood, among many others. Nels currently collaborates with his partner Yuka Honda as the duo CUP, performs as Stretch Woven with percussionist Scott Amendola, and has led The Nels Cline Singers for 23 years. Chris Corsano is a New York-based drummer who has been active at the intersections of collective improvisation, free jazz, avant-rock, and experimental music since the late 1990's. He's been the rim-batterer of choice for some of the greatest contemporary purveyors of "jazz" and "rock," as well as artists beyond categorization. His dedication to collective improvisation has led to Corsano to join forces with many kindred spirits and his appearance on over 180 records and thousands of live performances. Darin Gray is known as a solo artist, tireless collaborator, session bassist, improviser, composer, educator, Jim O'Rourke's go-to bassist for over 25 years, as half of the long standing duo On Fillmore, as the touring bassist for TWEEDY, as a member of Akira Sakata & Chikamorachi, and as the bassist for Grand Ulena, Dazzling Killmen, You Fantastic!, and Brise-Glace. Darin's discography includes over 150 releases. Its Glenn Kotche's ability to thrive in different and seemingly disparate worlds -- that really makes him stand out as a drummer, percussionist and composer. Since 2001, Kotche has been the rhythmic anchor in the rock band Wilco, garnering a Grammy award and seven Grammy nominations. He has appeared on over 150 recordings by artists as diverse as Taylor Swift, Ed Sheeran, Jim O'Rourke, First Aid Kit, Neil Finn, John Luther Adams, Iron and Wine, Radiohead's Phil Selway & Ed O'Brien, Missy Mazzoli, Andrew Bird and KD Lang, and Neko Case & Laura Viers.

 

PRICE: $29.50

CAT #: WJLP 071X-LP

FILE UNDER: JAZZ

Yellow color vinyl version. Guitar explorer Nels Cline is best known these days as the lead guitarist in the band Wilco. His recording and performing career -- spanning jazz, rock, punk, and experimental -- is well into its fourth decade, with over 200 recordings, including at least 30 for which he is leader. Beyond Wilco, Cline has, in the last few years, performed and recorded in a duo project with guitarist Julian Lage as well as in his quartet The Nels Cline 4 (featuring Lage plus bassist Jorge Roeder and drummer Tom Rainey). Other collaborators include Mike Watt, Thurston Moore, Elliott Sharp, Tim Berne, Jim Black, Larry Ochs, Phil Lesh, Medeski, and Martin & Wood, among many others. Nels currently collaborates with his partner Yuka Honda as the duo CUP, performs as Stretch Woven with percussionist Scott Amendola, and has led The Nels Cline Singers for 23 years. Chris Corsano is a New York-based drummer who has been active at the intersections of collective improvisation, free jazz, avant-rock, and experimental music since the late 1990's. He's been the rim-batterer of choice for some of the greatest contemporary purveyors of "jazz" and "rock," as well as artists beyond categorization. His dedication to collective improvisation has led to Corsano to join forces with many kindred spirits and his appearance on over 180 records and thousands of live performances. Darin Gray is known as a solo artist, tireless collaborator, session bassist, improviser, composer, educator, Jim O'Rourke's go-to bassist for over 25 years, as half of the long standing duo On Fillmore, as the touring bassist for TWEEDY, as a member of Akira Sakata & Chikamorachi, and as the bassist for Grand Ulena, Dazzling Killmen, You Fantastic!, and Brise-Glace. Darin's discography includes over 150 releases. Its Glenn Kotche's ability to thrive in different and seemingly disparate worlds -- that really makes him stand out as a drummer, percussionist and composer. Since 2001, Kotche has been the rhythmic anchor in the rock band Wilco, garnering a Grammy award and seven Grammy nominations. He has appeared on over 150 recordings by artists as diverse as Taylor Swift, Ed Sheeran, Jim O'Rourke, First Aid Kit, Neil Finn, John Luther Adams, Iron and Wine, Radiohead's Phil Selway & Ed O'Brien, Missy Mazzoli, Andrew Bird and KD Lang, and Neko Case & Laura Viers.

 

PRICE: $40.00

CAT #: WE 010LP

FILE UNDER: WORLD

Keith Hudson, who temporarily worked as a dentist in the ghettos of Kingston, emigrated to New York City in 1976 and died there prematurely in 1984. He is best known for his work as a producer for artists such as U-Roy, Big Youth, Ken Boothe, and Horace Andy and within short order Hudson brought his all-round talent to full fruition. In 1974, he produced two ground-breaking albums. Pick A Dub was one of the first official dub albums ever, and is still considered to be one of the greatest moments of Jamaican music. In addition, the unique Flesh Of My Skin, Blood Of My Blood became the first concept album in reggae history. Thematically dedicated entirely to black history, this masterpiece captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. In 1981, he created the dub masterpiece Playing It Cool, Playing It Right which he produced with the help of Wackie's founder and mastermind Lloyd 'Bullywackie' Barnes. It remained the only collaboration between the two producers. Hudson decided to release it on his own label Joint International as he has done on his previous releases. The album continues Hudson's psycho-acoustic journey into the abyss of existence and has the power to overwhelm the listener with the beauty of artistic self-empowerment. "Too Much Formula" sings Hudson, whose voice occasionally recalls Sly Stone, "Darkest Night" answers an echoing background chorus found elsewhere on the track "California." Hudson's production techniques are fascinating on this album. There is often a kind of flashing-whip sound on the snare, which adds dynamics to the whole album. Rarely has a dub record sounded so electrifying, with radical spatial sound spreading out in all directions and rarely has it been as crystal clear, with warm bass and echophonic treatments as contained within these 30 minutes of music. 43 years after its first release and 20 years after its last re-release on the German-British label Basic Replay (Basic Channel/Honest Jon's), Playing It Cool, Playing It Right is now finally available again via Week-End Records, with a newly revised master and a rare interview with Lloyd 'Bullywackie' Barnes, talking about the making of this amazing album."It feels fresh and sounds amazing." --Lloyd Barnes Wackie's"Legendary, strange, compelling music." --Mark Ainley, Honest Jon's

 

PRICE: $28.00

CAT #: WISE 003LP

FILE UNDER: ROCK

Released in 1970 on the British cult label The Village Thing (owned by singer/songwriter Ian A. Anderson), the sole album by couple Anne and Graham Hemingway is a superb acid folk manifesto. Coming all the way from Cardiff, the duo has been described as a mystical, magical hippie small family. Alongside classic guitars, they played dulcimer, glockenspiel, vibes, bells, kazoo and small percussion, joined throughout by label-mate John Turner (bowed and finger-picked string bass) and Andy Leggett.

 

PRICE: $22.50

CAT #: WSR 042LP

FILE UNDER: ELECTRONIC

A Haunted Tongue is the third album by Colossal Squid, the solo project of producer/virtuoso drummer Adam Betts. The first self-titled Colossal Squid album (2016) was intended by Betts as a way of exploring the process of creating music from purposefully limited tools (a drumkit and electronica) and finding a place where technology and live performance could happily meet. In comparison, the second album Swungert (2019) acted as a chance to see if the music written from that same process could be molded (via collaboration and editing) into something more traditionally recognizable as a "song." A Haunted Tongue moves things on one step further, letting the process and approach fade into the background, freeing Betts to balance a million inspirations and filter them through an anything-goes punk aesthetic that results in a feeling of freedom that is both refreshing and rare. The language of A Haunted Tongue isn't straightforward or easily classified but yet the message is clearly understood and embraced by the listener at a primal level. That message is one of hope -- channeling the shared euphoria of communal musical experience and searching for an uncynical and personal expression of positive energy that can move people and resonate with them.

 

PRICE: $16.00

CAT #: WRWTFWW 083CD

FILE UNDER: ELECTRONIC

Repressed. WRWTFWW Records is flying high as it announces the reissue of the 1997 ambient masterpiece Quiet Logic by electronic music visionaries Mixmaster Morris (The Irresistible Force), Jonah Sharp (Spacetime Continuum), and Haruomi Hosono (Yellow Magic Orchestra). Quiet Logic invites listeners to embark on a captivating sonic odyssey, blending intricate rhythms and celestial environments that push the boundaries of electronic music. Co-crafted at Haruomi Hosono's Tokyo studio in 1997, this album represents a time of rapid transformation in the genre, with these three artists at the forefront of redefining soundscapes. With its unique blend of influences from Hosono's immense contribution to electronic, pop, and experimental music to Morris' worldwide chill out DJ performances and Sharp's pioneering label, Reflective, Quiet Logic remains a timeless piece of ethereal electronica. It was originally only released in Japan in CD format on the Harry Hosono-curated Daisyworld Discs label. Remastered for 2024, this reissue is a must-have for fans of Haruomi Hosono/YMO, The Irresistible Force, Spacetime Continuum, Dreamfish, Tetsu Inoue, FFWD, H.I.A., Fax +49-69/450464, and mind-expanding musics. Immerse yourself now.

 

PRICE: $31.00

CAT #: ZEDD 028LP

FILE UNDER: ROCK

2024 repress. Gatefold double LP version featuring 10 tracks from the double CD. Z Records returns with a long overdue gospel album compiled by David Hill. The album leads with a track from The Clark Sisters, who are without doubt one of the most successful and prolific family gospel groups of the last 40 years. Originally released on S.O.G. Records (Sounds of Gospel), Overdose of the Holy Ghost was recorded in 1981 and would go on to become the group's biggest crossover hit after being licensed to Elektra Records and released internationally in 1983. The "Queen of Gospel Music," Shirley Caesar turns in a smoldering, socially-conscious, Philadelphia International inspired groover with "Message to the People." Gospel artists are well-known for taking popular secular songs -- or riffs from them -- and adapting the lyrics to take the song in a spiritual direction. Kristle uses The Emotions' "Best of My Love" as its foundation, and builds from a slow intro, gradually turning up the heat until it's the dancefloor burner that is "I'll Go." Further highlighting gospel music's influence on current music production, we have Norman Weeks & The Revelations' "Hold On" which first appeared on an obscure, and rare, 12" on Rent productions. With further disco and funk-induced soul provided by BeBe & CeCe Winans, Gloster Williams & Master Control, D.J. Rogers, James Moore, The Dynamic Clark Sisters with Mattie Moss Clark, Sharon Johnson and many more gospel luminaries, plus exclusive edits from David Hill and Z Records' Joey Negro, Overdose of the Holy Ghost is a shining example of church music that has been influenced by secular soul that was built for the dancefloor. David Hill began his music career in 1994 as a member of the Ballistic Brothers, together with Ashley Beedle and Rocky & Diesel of X-Press 2. In 1994 he co-founded the Nuphonic record label that also produced the Sony award-winning London Xpress radio show for Xfm. He continues to work as a music consultant to several record companies and on personal projects such as "Rootikal," the monthly roots reggae night, and has a number of reissue and compilation projects currently in production. He is also currently overseeing the production of a book and an accompanying touring exhibition that will showcase Bill Bernstein's photographs of New York nightlife in the late '70s.