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AKENAT 004LP
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A collection of mind-blowing songs from Hindi films 1958-1984. 12 musical gems from the Bollywood vaults with a wide variety of styles thrown in the mix, from the classic to the rare, a must! An astonishing overview of the magnificent musical talents populating Bollywood films. With a predilection for movies with a strong musical backbone where songs and musical numbers play a pivotal role, the Hindi cinema boom gave birth to a strong and creative music industry where composers, musicians, musical directors, conductors, producers, singing actors, and playback singers (singers who provide vocals for the musical parts of roles played by actors or actresses) found a perfect place to develop their careers. A sample of those incredible talents is included in this compilation, the ideal point to start digging deeper into the lush garden of musical delights that is Bollywood. Featuring Mohammedd Rafi, Asha Bhosle, Kishore Kumar, Geeta Dutt, Kamal Haasan, Sridevi, Kalyanji & Anandji, P. Susheela, S.P. Balasubrahmanyam, Manna Dey, Lata Mangeshkar, Shankar & Jaikishan, and R. D. Burman.
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WRJ 001LP
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2023 repress; New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LP/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. LP version is mastered at half speed; 140 gram vinyl with sticker.
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HE 70015LP
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Kraftwerk is the self-titled debut album by the Düsseldorf band Kraftwerk. It was produced by Conny Plank and released in 1970. LP on 180-gram vinyl with gatefold sleeve.
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WRJ 010LTD-LP
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2024 repress; LP version. 180 gram vinyl, half speed mastered; heavy sleeve with obi and gold ink. We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.
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BEWITH 150LP
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Cedar Walton's Mobius is as brilliant as the stunning jacket design, featuring the legendary jazz pianist morphing into a mobius strip, set against a beautiful sky filled with cumulus clouds. A proper jazz-funk fusion slapfest, Mobius is a stellar electric set from -- essentially -- one hell of a superband. Mobius is elevated by Ryo Kawasaki's stinging electric guitar, pristinely clear vocals by Adrienne Albert and Lani Groves, rootsy percussion by Ray Mantilla and Omar Clay, alto and baritone from Charles Davis, trumpet from Roy Burrowes, Gordon Edwards on bass and Frank Foster's tenor sax, and Steve Gadd on drums. Gem after gem of looping, bliss-inducing gold, it's an incredibly revelatory album. It presents a thrilling synthesis of R&B, funk, blues and hard bop (with a hint of rock), all driven by an idiosyncratic electronic keyboard. Mobius was Walton's debut for RCA in 1975. The versatile artist confirmed his abilities as a player, composer, interpreter and arranger with this stunning record, and his own bright compositions offered a springboard for the improvisations of the different soloists. Mobius is really gorgeous mid-'70s fusion, ranging from the funky to the ecstatic. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue reissue.
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2LP
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EFFICIENT 031LP
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Double LP version. A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord savior. Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honors the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realized her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead's hair-raising gospel, howling into infinite space, and Goldrust's stripped back garden hymn. Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy's lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on "Lowlands." Reaching the furthest corners, Someone Like Me secures the inaugural license of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley's bedroom pop earworm melds peacefully into Charlie Webster's synthesized reverie. Meanwhile, Hollywood's John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg. Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon's figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland. Also featuring The Bob Hughes Band, Jon Betmead, Robison Kaplan Ltd., and Ritchie Tierney. Original recordings range from 1966 to 1990.
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POTOMAK 254752
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Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
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SHUKAI 008LP
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Transilvania Smile is one of the first solo works (recorded in 1994) of Svitlana Nianio. During this time, Svitlana repeatedly visited Germany, where she had the experience of playing in parks and on the streets, gathering contacts of the local art scene. Her cooperation with the international choreographic group Pentamonia, based in Cologne and consisting of several girls who performed in theaters, took part in various performances, and were engaged in music. They met in the 1990s during joint performances with "Sugar-White Death." After that, they corresponded, and the idea of doing something together arose. Svitlana attended several of their performances, which inspired her to write music for a new project, and the band members helped to realize their creative ideas. Later, they started rehearsing together. The name "Transilvania Smile" was invented by the project participants, and it symbolized the mold on the mirror and the reflection of a smiling vampire. However, shortly before the premiere, they changed it to "Firefox", as the participants actively used flashlights and the play of light and shadows in the scenography. The premiere occurred in the local Urania theater, previously a gallery. Isabel Bartensein directed the choreography, and Svitlana played, sang, and improvised. She said it was an excellent experience for her and the band. Besides Cologne, they also performed in Aachen. Later, Michael Springer offered Svitlana to record this material in his "Phantom" studio. They had already worked together and recorded music for their project (Svitlana Okhrimenko / Phanton). Michael was also interested in the Ukrainian independent scene and participated in the creation of several compilations that featured bands from Kyiv and Kharkiv. Svetlana played the piano and harmonium in the studio and also sang. After the recording, the material was never released in its entirety. Two compositions appeared on the cassette compilation Shovaisia (Hide) in 1995, some episodes were re-recorded for the Kytytsi album in 1999, but for a long time, the full version of this recording remained practically unknown to listeners and was kept in Svitlana's and Michael's archives.
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DMOO 059LP
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John Cassavetes' directorial debut Shadows was a largely improvised film set in the bohemian jazz scene of 1950s New York; often referred to as the first truly independent film of American cinema, it featured a brief disjointed soundtrack improvised by Charles Mingus and his saxophonist Shafi Hadi, with various percussionists slotting in, including Phineas Newborn Jr. Gloriously messy, reportedly unfinished and referred to with scorn by Mingus, the Shadows soundtrack sketches ultimately yielded the great "Nostalgia In Times Square," "Alice's Wonderland," and "Self-Portrait In Three Colours," all included here.
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DMOO 061LP
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First issued in 1961 on Columbia's early music venture Colpix, Forbidden Fruit is widely acknowledged as the best of Nina Simone's early releases. Producer Cal Lampley chose to cast her in varied settings, blending a rendition of Oscar Brown's "Rags And Old Iron" with a unique take of Bessie Smith's "Gin House Blues," contrasting with Billie Holiday's "No Good Man" and "I'll Look Around," which Simone shifts to her own image. Her backing trio aim for the understated, the rhythm section leaving ample room for Simone's appealing piano lines, nicely complimented by Al Shackman's guitar. An excellent set from Miss Simone -- grab it!
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AWE 001LP
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Limited repress. LP version. Currently based in Los Angeles, Laurel Halo has spent over a decade stepping into different towns and cities for a moment or more, to the point where everywhere almost became nowhere. Atlas, the debut release on her new imprint Awe, is an attempt to put that feeling to music. Using both electronic and acoustic instrumentation, Halo has created a potent set of sensual ambient jazz collages, comprised of orchestral clouds, shades of modal harmony, hidden sonic details, and detuned, hallucinatory textures. The music functions as a series of maps, for places real and imaginary, and for expressing the unsaid. The process of writing Atlas began back in 2020 when she reacquainted herself with the piano. She relished the piano's physical feedback, as well as its capacity to express emotion and lightness. And when the legendary Ina-GRM Studios in Paris invited her to take up a residency the following year in 2021, she spared no time to dub, stretch and manipulate some of the simple piano sketches she'd recorded over the prior months; these subtle piano recordings and electronic manipulations would go on to become the heart of Atlas. In the remainder of 2021 and 2022, with time spent between Berlin and London, Halo recorded additional guitar, violin and vibraphone, as well as acoustic instrumentation from friends and collaborators including saxophonist Bendik Giske, violinist James Underwood, cellist Lucy Railton, and vocalist Coby Sey. All of these sounds were shaped, melted, and re-composed into the arrangements, their acoustic origins rendered uncanny. In short, Atlas is road trip music for the subconscious. With repeated listens, it is a record that can leave a deep sensorial impression on the listener, akin to walking at dusk in a dark forest. Its humor and sharp focus would dispel any notions of sentimentality. Completely distinct from the rest of Halo's catalog, Atlas is an album that thrives in the quietest places, rejecting bombast and embracing awe. Fitting that it's the debut release on her new recording label, whose slogan parallels the mood and atmosphere of the album: Awe is something you feel when confronted with forces beyond your control: nature, the cosmos, chaos human error, hallucinations.
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BB 456LP
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LP version. Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions+. When reviewing this material for this compilation some titles have been changed, e.g. "Can't Fly Away," "Children's Toy Etude", "Begluckte Schlagbohrmaschine," and "Stay Or Leave" have been released as "Party 1," "Party 8," "Party 6," and "Party 9" previously, and "Woke Up Outside The Dust Bin" was released as "Chromatic."
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BB 450LP
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LP version. Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions+. When reviewing this material for this compilation, some titles have been changed, e.g. "Ma Trompette (Alternative Version)" has been released as "Party 10" previously, "Zwolf Meter unter der Oberflache" has been "(360)" and "Geister, die wir riefen" was "The Lurcher."
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BEWITH 156LP
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Tommy Guerrero's revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. The head-nod funk of "Calling For Ya!" features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The upbeat and bright "40 Summers," featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. Part of Be With's Tommy Guerrero reissue campaign. 140g-vinyl.
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LIFE 041LP
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A.R. & Machines is the solo project of one Achim Reichel. Released in 1971, this album still retains a magical touch. Ranked between the most original kraut albums of all the time, Die Grune Reise (aka The Green Journey) really is a trip. Turning his back to the original beat movement, Reichel embraced the infinity of a multi-layered sound, experiencing the most prolific path of prog rock while joining the obscure meanders of the lysergic renaissance.
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SVVRCH 063LP
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2024 repress; reissue, originally released in 1973. An icon of Brazilian popular music, Tim Maia was a musical polymath and prolific recording artist best known for introducing American soul to the Brazilian music scene, pioneering the sambalanço style by blending elements of soul, funk, rock, and samba. Maia recorded four self-titled albums for Polydor Brazil, this fourth release from 1973 is arguably the best, with its outstanding hits "Réu Confesso" and "Gostava Tanto de Você"; "Do Your Thing, Behave Yourself" shows how the soul form fitted him perfectly and "O Balanço" full to bursting with Brazilian flavor. A superb set from start to finish, it's a must for all Tim Maia fans.
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DMOO 064LP
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At Newport 1958 has the aural dynamite that marked the performing debut of Jimmy Cobb and Bill Evans with the Miles Davis Sextet and it's a thrilling set from start to finish. Just a few months before Kind Of Blue, they hit listeners with an awesome take of Charlie Parker's "Au-Leu-Cha," with Coltrane and Cannonball Adderley in full swing, and on Thelonius Monk's "Straight No Chaser," Evans introduces unusual harmonic chords, the group moving heaven and earth for their own direction. "Fran-Dance," "Two Bass Hit," "Bye Bye Blackbird," and "The Theme" continue the hard-bop brilliance; get it now and play loud and often!
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FTR 766LP
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LP version. Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma Délire: Songs Of Love, Lost & Found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lovie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds listeners that even the most pitch-black night is but a transitional state. Beautiful work. Recorded at home and at Hotel2Tango with Howard Bilerman and Shea Brossard. Mastered by Harris Newman.
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2LP
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BEC 5772110
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2023 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
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VAMPI 160LP
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2023 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 Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. 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 Medellín 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 Medellín. 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 Bogotá, 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.
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MR 453LP
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Virgin by Traffic Sound is described as the band's greatest album, capturing the essence of their musical and existential outlook. Recorded by youthful members barely 20 years old, the album reflects the non-conformist, profound, and occasionally otherworldly spirit that characterized the youth in Lima during the late '60s. The influence of Anglo-Saxon psychedelia is evident, representing a defiance against the prevailing conservative traditions of the city. Released in January 1970, the album exhibits the bold and free spirit of late '60s pop music, drawing inspiration from post-Sgt. Pepper's rock and Peruvian psychedelia. The lyrics, predominantly in English, emphasize the youthful desire to break free and search for answers in both the real world and the hidden corners of a stimulated mind. The album was a gateway to a more pedestrian future, where Latin music exerted greater influence, and individual egos re-emerged in the wake of hippy collectivism. Virgin also reflects the band's desire to express themselves freely and dream of becoming rock stars. The recording process involved meticulous analysis of foreign records, shaping the band's ability to mix and arrange their own compositions. The album's context is set against the socio-political backdrop of Peru in the late '60s, characterized by a military dictatorship with progressive policies. While most local rock bands embraced the aesthetics of psychedelia, they were viewed with distrust by political activists. Traffic Sound, however, adopted a political stance with the song "The Revolution," criticizing the military government. Virgin itself is described as a sonic journey with carefully arranged tracks. The album's songs are divided into "Tomorrow" and "Today," each offering a unique emotional and sonorous experience. The album includes notable tracks such as "Virgin (I Can't Regret You, My Friend)," "Tell The World I'm Alive," "Yellow Sea Days," "Jews Caboose," "A Place in Time Called 'You And Me,'" "Simple," "Meshkalina," and "Last Song." These songs cover themes ranging from failed romance to personal rebirth and socio-political commentary, all infused with psychedelic and experimental elements. Virgin set a high standard in Peruvian rock in the early 1970s, showcasing Traffic Sound's musical prowess and leaving a lasting impact on the country's music scene. Despite releasing two more albums in the following years, Virgin remained the band's best-selling record, continuing to resonate with audiences even years after its initial release. Extensive liner notes and the original artwork on tip-on gatefold sleeve.
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LP
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GUESS 245LP
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Legendary Korean psychedelic band Sanullim's third album, originally released in 1978. From heavy-fuzz psychedelic garage to slow burners, including the monster sidelong track "You Are Already Me," the title track (which sounds like a Korean "Blue Cheer") and more. Featuring original artwork in hard cardboard sleeve. Sourced from the original masters. Includes insert with liner notes and rare photos/memorabilia.
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LP
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BT 117LP
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Black Truffle announces The Mountains Pass, a major new work from Olivia Block. A key player in Chicago's vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalized, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini's Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block's past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. The music sometimes suggests the great outer-limits works of '70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. Block's crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On "f2754," the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing "Ungulates," named in reference to a heard of elk roaming through the mountains. Like Battiato's Clic or Gastr del Sol's Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block's work all along.
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LP
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WWSLP 081LP
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LP version. A stylish selection of jazz-funk from Japanese label Electric Bird, selected by DJ Notoya and featuring Yasuaki Shimizu, Shunzo Ohno, Bobby Lyle, Toshiyuki Honda, Mikio Masuda, David Matthews, and Ronnie Foster. Following the success of the Tokyo Glow compilation, Wewantsounds once again teams up with Japanese Tokyo-based DJ Notoya to dig the rich Electric Bird catalogue and come with a versatile selection of sunny jazz-funk gems recorded between 1978 and 1987 for the label. Most tracks make their vinyl debut outside of Japan and the album has been designed by Optigram/Manuel Sepulveda and is annotated by DJ Notoya. Audio newly remastered in Tokyo by King Records. A sub-label from the venerable Japanese label King Records, Electric Bird was set up in 1977 to cater for the booming Nippon jazz funk audience that King -- as the Japanese licensee for such US jazz labels at Blue Note or CTI -- had grown for years. Taking advantage of their experience and the many contacts King had garnered through their American partners, Electric Bird, headed by in-house producer Shigeyuki Kawashima, decided to apply the same formula to their new label. Kawashima began signing a new wave of jazz musicians from Japan, putting them in state-of-the-art Tokyo or New York studios and backing them with the best American and Japanese players in order to shape the slick, sun-drenched jazz funk sound that would be Electric Bird's signature sound. With Funk Tide, DJ Notoya aimed at showcasing the diversity of the label's output, from the funky opener "In The Sky" by Trumpeter Shunzo Ohno to the sunshine mid-tempo groove of sax player Toshiyuki Honda's "Living in a City" featuring Paulinho Da Costa on perc via Mikio Masuda's Fender Rhodes-infected "Let's Get Together." One of Funk Tide's highlights is certainly Katsutoshi Morizono's "Space Traveller" from 1978, a remake of James Vincent's eponymous cult classic recorded two years before with some of Earth Wind And Fire's musicians and which has since become a favorite on the groove scene. Faithful to Vincent's beautiful laid-back, breezy original, Morizono's rendition add its own spice to it, and ending Notoya's skilled selection of the cutting-edge Electric Bird label on a perfect note.
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DC 127LP
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Repressed; 2024 vinyl reissue. Green color vinyl. "Returned from early '90s Japan are the holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall, and most recently, nehan. The first three Ghost titles (Ghost, Second Time Around, and Temple Stone) were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City's 1996 US release of Lama Rabi Rabi, the label quickly reissued all three on vinyl -- and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then... Now, it's been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost -- sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost's unique lysergic folk music, were followed by the monolithic 'live in various places' happening of Temple Stone, which raised the trippiness levels considerably."
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2LP
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BEWITH 166LP
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Bahamadia's 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With presents the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible vibe from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true '90s hip-hop fanatics. The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-'90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences. With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia's flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Incredibly, only the European and Japanese CD versions of Kollage were released with the brilliantly breezy "Path To Rhythm," featuring Ursula Rucker. Whilst ostensibly a "bonus track," it's anything but. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level," it's absolutely essential. Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years -- and for far too long -- it was a criminally underrated record, an increasingly hidden gem. This Be With double LP reissue has been mastered for vinyl by Simon Francis, cut by Cicely Balston, and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.
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2LP
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HC 079LP
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Double LP version. Hot Casa Records present Togo Soul 2, selected rare Togolese recordings from 1974 to 1989. A treasure-trove of rare and unusual recordings mostly recorded in Lomé during the '70s and '80s. A fusion of traditional voodoo chants, raw soul and even electro funk. Finding these tracks and their rights holders hasn't become any easier even after few trips all over this west African country bordered by Ghana, Benin, and Burkina Faso. After eight years, Hot Casa Records, with the kind help of Roger Damawuzan, decided to select thirteen tracks, a snapshot of some hundreds of rare and often forgotten tapes from the most prolific, professional and exciting phase of the country's recording history included international stars like Akofa Akoussah, Gregoire Lawani, and Roger Damawuzan. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse, the music scene in Togo was at the time even if the political context influenced their creation. Many of the original albums these tracks are taken from high prices online due to their rarity and so with great pleasure Hot Casa present a selection here that evokes a golden boomtime in Togolese music history. Includes biographies and rare photos. Remastered by Frank Merritt. Includes 32-page booklet. Also featuring Ali Bawa, Napo De Mi Amor, Alognon Degbevi & Les Vétérans Jazz, Mamo Lagbema, Koffi Ottytana Bebli, Deg Dos, Tomede Ehue, Mawuli Decker, Palete Wawa, and Agboti.
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DMOO 062LP
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The Jazz Track LP has an unusual backstory. The bulk of the album is Miles' evocative improvised score for Louis Malle's Elevator To The Gallows (1959), a proto-new wave film about a bungled crime of passion. Davis cut this on the fly with a Parisian pick-up band, the work holding dramatic tension and moody features. In the USA this soundtrack was reissued as Jazz Track with three additional songs first issued on a ten-inch the year before, the last of his work with Cannonball Adderley and John Coltrane, and the first with Bill Evans; "On Green Dolphin Street," "Fran-Dance," and "Stella By Starlight" are all stone-cold classics.
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CD
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RCD 2235CD
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After a solid run of five studio albums and two double live albums, Psychedelic Backfire I and II, (both 2019), Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect their previous album Arrival of The New Elders (2021) came as a welcome and most timely addition to their recorded output. More varied, mature and reflective, they were as groovy as ever, but more structured and less jam oriented. Mythical River is molded much in the same way and a natural follow-up, with six stellar new compositions by keyboard maestro Ståle Storløkken, bookended by two short cosmic snippets. From the hypnotic and magical to the razor sharp and polyrhythmic, this is yet another strong group effort from a trio on top of their game. Comparisons have been made with bands dating as far back as the sixties, but with Arrival of The New Elders and Mythical River, Elephant9 appear as a thoroughly contemporary, timeless and even futuristic sounding band. Mythical River was recorded and mixed by previous Dungen producer Mattias Glavå. Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the '90s, soon morphing into Supersilent with Helge Sten on board. He´s also a member of Hedvig Mollestad Weejuns, Møster!, and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint, and Band of Gold, and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.
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2LP
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WRWTFWW 078LP
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2024 repress. WRWTFWW Records announce the first ever vinyl release for Pizza Hotline's brilliant 2022 full-length Level Select, originally only released on cassette and digital. The liquid drum & bass meets Y2K era video gaming aesthetics monster is now available in a limited-edition transparent vinyl double LP with a glorious 45rpm cut, packaged in a heavyweight 350gsm sleeve. Entirely written and composed by UK producer Pizza Hotline (apart from "GLACIER ZONE", a collaboration between Pizza Hotline and DJ Total 90), the stellar eight-song album was initially released as a limited cassette in January 2022 and quickly gained cult status -- making a full-on vinyl release quite the necessity. It's here now with the previously unreleased track "POLYGON DREAMSCAPE" (which sounds as magical as its title) and 45rpm cut for louder, bigger, deeper bass rumbling. Spellbinding, atmospheric, and beautifully melodic, Level Select is a large scope dreamy adventure of liquid DnB filled with ambient escapades, ethereal jungle, high vibe breaks, and a heavy loving dose of late '90s/early 2000s video game influences. Hypnotic late-night hype and pensive chill moods mesh with ease in a cinematic soundscape that re-contextualizes and gives a new life to a beloved music genre -- LTJ Bukem, Peshay, the Wipeout OST or Soichi Terada's Ape Escape come to mind, and sounds and soundtracks from the Sony Playstation, the Nintendo 64, and the Sega Saturn resonate from the speakers. It's all fresh with a subtle nostalgia and so much heart. An instant classic. Press start.
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DMOO 060LP
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Complex, emotive, and straddling several genres, Sketches Of Spain is one of Miles Davis' masterpieces, a landmark of orchestrated jazz. The third of his collaborations with Gil Evans, Sketches was inspired by the classical Concierto de Aranjuez, which sparked the suite that makes up the LP. Drummers Jimmy Cobb and Elvin Jones and bassist Paul Chambers reconfigured their approaches to blend with the orchestra under Evans' command and Davis uses a muted flugelhorn for the epic opener; his solo on "Saeta" is blinding and the adapted Andalusian folk song "Solea" draws on flamenco. This absolute stunner is a must-have!
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DC 917LP
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"Oren Ambarchi has been collaborating with the Fire! trio (Mats Gustafsson, Johan Berthling, and Andreas Werliin) for over a decade -- and both Johan and Andreas played on Oren's Live Hubris as well. Oren and Johan began music-making together back in the early aughts -- but it wasn't until 2021 that the three of them got together to record music. That became the first Ghosted album. When they were done, it was clear they had founded a new group. A music of sustained tension and deep atmosphere marked by subtle, shifting dynamics, Ghosted was released in May of 2022 to psyched response everywhere; the trio embarked upon an ongoing series of concert bookings around Europe, with loads of other people in the world still hoping to have the chance to be in the room at the next show. Two years on, Ghosted has gone through several represses; now, it's time for the 'dreaded follow up album.' What made the most sense was to go back to Daneil Bengtsson at Studio Rymden in Stockholm for a couple days, then have Oren and Joe Talia mix and Joe master it at Good Mixture in Melbourne again, then get Pål Dybwik to do some well-distinctive cover art, and once more, call it a record. Ghosted II has a definitively fresh quality radiating throughout it. The mutual feeling among the three players goes deep, allowing for lots more to say every time they get together -- a further recombination of elements, a new expedition through alternative angles. There's always more, and incredibly, it's all improvised, with next-to-nothing prepared going in and minimal overdubs after they've laid things down. As noted, these guys balance their music improbably between a relaxed feel and a nervy resolve, as each member holds down their corner in an open sound field. Making Ghosted II, the band found that there's a different kind of tension making something for an established project rather than the kind one feels making something for the first time -- and they used this new variety, as before, as a kind of fuel --driving their terse minimalism fruitfully through the process of succumbing to and then transcending guilty pleasures. Finding fresh territory in funk sketches, jazzy heads, ambient pastorals and droning soundtrack pieces, Ambarchi, Berthling and Werliin compellingly haunt a mad variety of spaces."
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2LP
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12XU 156LP
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"Volume, repetition, volume, repetition, volume and repetition, this is the sonic mantra of Austin, Texas's Water Damage. On their new double album, Water Damage continues to scorch the earth with walls of punishing sound. It's no secret that something truly special can happen to the psyche when you are being pummeled with trance inducing drones, you can transcend time, you might laugh, you might cry but hopefully you look inward, letting a calm wash over you with metric tons of distortion. Water Damage are the rare 'rock' band that follow in the lineage of artists like Faust, Tony Conrad, Steve Reich, and Pärson Sound, one that creates such heavy yet minimalistic audio treasures that not only hit you viscerally but also give space to contemplate on your place in the cosmos. Their longest offering yet, Water Damage hits you with four side-long tracks of krautpunk ending with a cover of 'Ladybird' by Shit & Shine featuring Craig Clouse on vocals. Drone until you hear god speak." --Joe Trainer, Dummy
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2LP
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UNROCK 026LP
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Saginaw Racket, the new double album by Sir Richard Bishop, features the first new recordings from the former Sun City Girls guitarist in over five years. It is a singular work for electric guitar in four parts with each part being a full side. Each of the four parts were recorded in one take and they are presented in the order they were originally recorded. But this is also a circular work with no fixed beginning or end. One can start the record with any of the four sides, with the remaining sides then played in order. Known for his interpretations of Spanish, North African, Middle and Far Eastern guitar and string compositions, Richard Bishop never remains long in any one musical territory. There are no Eastern or exotic touches here. It is more reminiscent of early '70s underground rock (unrock). The entire work is improvised, with recurring motifs and melodies. It is similar in approach to Neil Young's Dead Man Soundtrack, but Saginaw Racket is louder, more energetic and more complex, while retaining its cinematic quality. The tone of the guitar is the voice of the record. It is noisy at times but it is not "noise." It definitely is a racket, though, and it unleashes all the pent-up energy of the last few years, during much of which, SRB never even picked up a guitar. So in a sense Richard Bishop is returning to his roots in the form of a spontaneous soundtrack to old Saginaw where he grew up and first learned to play the guitar -- a Saginaw that certainly doesn't exist anymore. Saginaw Racket is limited to 400 copies pressed on 140g black vinyl.
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LP
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VAMPI 296LP
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In the few years that the Disperú record label was operative, it managed to open its doors to emerging artists, who were often ignored by the major labels but would go on to leave their mark on Peruvian popular music. In 1967, Disperú commissioned trumpeter Toño Reyes to form a band he called Toño y sus Sicodélicos. During the recording sessions for this album, they performed a series of songs that reflected the latest tropical music trends, in his inimitable style. Instrumentals such as "Mr. Boogaloo", "El Guayacol", "La Anticuchera", "La Peinadora", and "La Fiesta es Mañana" are versions that follow the lines traced by the Mexican composer and drummer Leo Acosta. In the early sixties, based in Los Angeles, Acosta played with the orchestras of Harry James, Sammy Davis Jr, Tony Bennett, Herb Alpert, and Dámaso Pérez Prado. Mid-decade, Acosta turned to the novel sounds of boogaloo, which immediately caught the attention of young South Americans. The song "Borinque Bella" is another cover version, originally recorded by The TNT Band, based in New York. Another noteworthy influence on the album is the blind Venezuelan organist Tulio Enrique León, who performed cumbias and guarachas enhanced by his Hammond organ, as is the case of "Chin Chin". Songs in vogue at the time complete the album. The best known is perhaps "Es la lluvia que cae", popularized in Spanish in 1967 by Los Iracundos. "Tequila" and "No te bote", by The Champs and Sonora Matancera, respectively, were also classics on Lima's radio stations. "Las hojas secas", by the Mexicans Los Zignos, was so popular that it was even covered by Peruvian rock groups such as Los Steivos and Los 007. The success reaped by Toño y sus Sicodélicos took them straight to another record company, and the group's records were also re-released in neighboring countries, always with striking psychedelic cover illustrations. First time reissue. Includes original striking psychedelic artwork and remastered sound.
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LP
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DMOO 065LP
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Removing the obligatory piano from his group for Tomorrow Is The Question! gave an inkling of Ornette Coleman's need to break free from traditional jazz strictures. Though not nearly as wild as what was to follow, on Tomorrow Coleman and trumpeter Don Cherry make use of every opportunity to bust loose musically, as heard on "Giggin" and "Rejoicing," even as the rhythm section strives to keeps things anchored and grounded. There's a touch of blues bordering on funk on "Tears Inside" too, and "Endless" switches timeframes repeatedly. This is Ornette on the brink of major change -- an engaging, instructive listen with unexpected twists.
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HE 70012LP
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Pure class as always from Gal Costa! This record is her first after the immediate Tropicalia years, and it's a stunning blend of styles that seems to draw heavily from changes going on in the American rock scene at the time. The core of the music is still steeped in Brazilian elements -- but there's a lot of influences coming into play on the album, like bluesy rock phrasing, showy nostalgia-heavy arrangements, psychedelic production elements, and some of the baroque orchestrations that would show up on Gal's later albums in the '70s. LP on 180-gram vinyl. 45RPM.
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LP
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DC 129LP
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Repressed; 2024 vinyl reissue. Green color vinyl. "Returned from early '90s Japan are the holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall, and most recently, nehan. The first three Ghost titles (Ghost, Second Time Around, and Temple Stone) were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City's 1996 US release of Lama Rabi Rabi, the label quickly reissued all three on vinyl -- and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then... Now, it's been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost -- sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost's unique lysergic folk music, were followed by the monolithic 'live in various places' happening of Temple Stone, which raised the trippiness levels considerably."
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WRJ 002LP
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2023 repress. New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.
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WWSLP 088LP
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Wewantsounds announces the reissue of Fumio Itabashi's highly sought-after album Watarase, hailed as one of the great Japanese jazz albums and featuring Itabashi on solo piano playing an inspired mix of standards and originals. Recorded in 1981 for Denon and released in Japan the following year, the album has since reached cult status among international jazz connoisseurs, thanks to Itabashi's inventive piano playing and to its cult title track, a superb lyrical spiritual composition. Newly remastered by Nippon Columbia using their ORT mastering technology, the album reissue features original artwork including a two-page insert with a new introduction by Paul Bowler. Born in 1949 in Tochigi, Fumio Itabashi studied piano at the renowned Kunitachi College of Music in Tokyo, where Joe Hisaishi also studied. After finishing his studies, he quickly began recording as a session player for Japanese heavyweights such as Sadao Watanabe (making his recording debut on Watanabe's 1972 self-titled album), Terumasa Hino, and Kohsuke Mine before recording his first album as a leader -- accompanied by his trio -- with the album Toh released by Frasco Record in 1976. In October 1981, Itabashi entered Nippon Columbia's Studio 1 to digitally record a new album using Denon's PCM digital recorder as a follow up to Nature. The album, called Watarase was cut in just two days and feature Itabashi on solo piano, playing a couple of standards ("Someday My Prince Will Come" and "I Can't Get Started") and four originals plus "Msunduza," a Dollar Brand composition from 1975. The album highlights the pianist's dazzling technique oscillating between energetic passages as on "Msunduza" and more serene ones as heard on "Someday My Prince Will Come." The high point of the album is undoubtedly its title track, "Watarase" which has become a favorite on the international jazz scene over the years. Paul Bowler, in the liner notes, draws comparisons between Itabashi's and Pharoah Sanders' playing, noting that they both "possess a similar open-hearted blend of spiritualism, passionate intensity and melodic beauty." Watarase was never widely available outside of Japan (with only a limited edition in 2018). Wewantsounds is therefore delighted to bring this classic back in circulation, newly remastered in Tokyo by Nippon Columbia for all Japanese jazz lovers to enjoy.
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CD
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BB 450CD
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Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions+. When reviewing this material for this compilation, some titles have been changed, e.g. "Ma Trompette (Alternative Version)" has been released as "Party 10" previously, "Zwolf Meter unter der Oberflache" has been "(360)" and "Geister, die wir riefen" was "The Lurcher."
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CD
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BB 456CD
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Faust is a group of artists who shared intense musical experiences in the years 1971 to 1974. Supported by producer Uwe Nettelbeck and sound engineer Kurt Graupner, they produced an immense array of recordings in a studio in Wumme which had been set up just for them. Two compact album productions followed, recorded at the Manor (March 1973) and Musicland Studios (May 1974). This album presents a selection of recordings from this period, documenting their creative versatility and explosive dynamism. Some tracks are extremely raw and experimental, others are fully rounded productions. A collection of un-released snapshots which offer a wonderful insight into the world of Faust. This volume includes recordings which have been previously released on other compilations such as 71 Minutes and BBC Sessions+. When reviewing this material for this compilation some titles have been changed, e.g. "Can't Fly Away," "Children's Toy Etude", "Begluckte Schlagbohrmaschine," and "Stay Or Leave" have been released as "Party 1," "Party 8," "Party 6," and "Party 9" previously, and "Woke Up Outside The Dust Bin" was released as "Chromatic."
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LP
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DC 128LP
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Repressed; 2024 vinyl reissue. Blue color vinyl. "Returned from early '90s Japan are the holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall, and most recently, nehan. The first three Ghost titles (Ghost, Second Time Around, and Temple Stone) were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City's 1996 US release of Lama Rabi Rabi, the label quickly reissued all three on vinyl -- and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then... Now, it's been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost -- sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost's unique lysergic folk music, were followed by the monolithic 'live in various places' happening of Temple Stone, which raised the trippiness levels considerably."
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12"
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ENV 012EP
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2024 repress. Morgan Geist's cult classic Super. Originally released in summer 2001, the record is an ode to New York City and many of the producer's most vital influences. With live strings from the Kelley Polar Quartet and plenty of disco DNA, it's no mystery that this was made by half of Metro Area (and released just months before their underground classic "Miura"). Remastered and cut by the award-winning Matt Colton of Alchemy Mastering.
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12"
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RMVL 022EP
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Limited orange vinyl. King Tee aligns producer DJ Pooh on this Bass EP consisting of tracks recorded in 1987. They're joined by The Compton Posse that includes the late Mixmaster Spade and J-Ro from Tha Alkaholiks. This EP sharpens the skillful wordplay King Tee made famous on his debut album Act A Fool. From song to song, this EP has a superior sheen, a tightness and cohesiveness between rhyme and music.
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LP
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WWSLP 086LP
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Wewantsounds announces the reissue of Ziad Rahbani's cult album Amrak Seedna & Abtal Wa Harameyah, one of his praised albums from the '80s, released on the sought-after Lebanese label Relax-in in 1987. This release is an event as the album, recorded at Rahbani's By-Pass studio, was only released in Lebanon at the time. Mixing Arabic music with funk and fusion jazz and hints of boogie, it's a bonified Rahbani classic, sought after by Arabic groove DJs and collectors around the world. The reissue features audio remastered by Colorsound Studio in Paris and a two-page insert with a new introduction by Mario Choueiry from Institut du Monde Arabe in Paris (English/French). Ziad Rahbani is a living legend of Arabic music and a cultural icon in Lebanon where he was born. His father was the famous composer and musician Assi Rahbani, of The Rahbani Brothers' fame and his mother is the legendary Lebanese Diva Fairuz, whom he produced in the late '70s and '80s with such classic albums as Wahdon and Maarifti Feek, that have become highly sought after among Arabic music DJs and collectors over the years. The album Amrak Seedna & Abtal Wa Harameyah was released in 1987 on the Beirut-based label Relax-in' and is the soundtrack to two theatre plays written by famous Lebanese playwright and actor Antoine Kerbaj (born 1935). These two plays were released in the middle of the Lebanese civil war and although Rahbani (who is also an actor) doesn't act in these, he masterminded the soundtrack, composing and recording them at his By-Pass recording studio in Beirut. The album alternates between instrumentals, short interludes and songs sung by his regular fellow singers, Sami Hawat, Abbas Chahine, and Nabil Qazan, among others, mixing Arabic music with Rahbani's usual blend of jazz-fusion, funk and groove.
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LP
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MIND 865LP
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The show at Tavastia, in Helsinki, Finland, recorded on June 18th 1993, Townes Van Zandt's first visit to the country. Stripped back, it features just the voice and guitar of TVZ, a voice that whilst still full of conviction, appears somewhat more fragile than on the previous recordings. Described by Billboard magazine as "largely-obscure-if-legendary," Townes Van Zandt was a remarkable singer/songwriter, and this release is worthy of consideration, shining, as it does, more bright rays of light on a much-missed songsmith.
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LP
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KOM 478LP
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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.
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2LP
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OP 048LP
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2024 restock. Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
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LP
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COSMR 020LP
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2024 repress. A serious obscure object of desire! Amazing collection that gathers some of the rarest Persian 45s. Such an eclectic mix of styles, from garage rock to cool Persian beat, exotic rock and roll, and astonishing prog/psych numbers. Featuring female drummer and singer Zangoleah with some killer garage/rockin' tracks, obscure bands like Takkhalha doing a fab cover of the Stones "Play With Fire" and an amazing take on the Persian traditional song "Mastom, Mastom," Golden Ring-styled beat by Big Boys, exotic Persian beat by Saeed and Tigers, terrific garage-beat by Ojubeha and the two sides of the Kambiz 45, probably the major discovery from Iran in recent years and one of the few, if not the only truly Persian prog/psych 45s ever recorded. Also features Kambiz.
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