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viewing 1 To 25 of 27 items
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2LP
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AUK 006LP
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2026 repress; 180 gram black vinyl for the first time. This 1997 album is seen as a classic Brian Jonestown Massacre release. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT, Tee Pee, and now on Anton Newcombe's own A Recordings label. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s, and incorporates influences from world music, especially Middle Eastern and Brazilian music.
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2LP
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AUK 027LP
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2026 repress. Tepid Peppermint Wonderland Volume 2 includes the second half of the double CD Tepid Peppermint Wonderland: A Retrospective (AUK 013CD, 2004), remastered for vinyl. Following Tepid Peppermint Wonderland Volume 1 (AUK 026LP, 2004), Volume 2 continues to mine the period of 1995 through 2004 and includes key tracks from all of The Brian Jonestown Massacre's albums as well as live recordings and many otherwise unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Beginning in 1995, The Brian Jonestown Massacre released numerous albums, first on BOMP!, the label that gave them their start, and later on TVT Records and Tee Pee Records. The band was essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase (the band name is a reference to Stones guitarist Brian Jones and Peoples Temple founder Jim Jones), but his work in the 2000s expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. Gatefold double LP version.
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LP
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BALMAT 021LP
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LP version. Laurence Pike's Possible Utopias for Jazz Quintet represents a search for freedom, potentiality -- liberatory strategies that transcend the ego and the solitary, atomized figure. But in this case, the album title is also a red herring, because there is no jazz quintet here -- just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits. And the results incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings -- including four albums for the Leaf label between 2018 and 2024 -- but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community's Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003 (FAITBACK 005LP); and even post-punk titans Liars, whom he joined in late 2018. Of his first album for Balmat, Pike says, "My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealized culture of the future, or even another world, utilize musical language when the conventions of style and marketing are no longer a factor in music making?" That inquiry, he says, connects to his "guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously." Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces, but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads. Pike's imaginary quintet is hardly without precedent; it's a continuation of concepts floated across Jan Jelinek's Loop-Finding-Jazz-Records (FAITBACK 001LP), Burnt Friedman's many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM's catalog in the late 1970s and 1980s.
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2LP
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BE 1008LP
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Black Editions presents the expanded and definitive edition of White Heaven's brilliant third album Next to Nothing. Originally released in 1994 by Tokyo's Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought-after artifacts of the '90s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead guitar on the group's first two albums. The pairing is revelatory as they weave luminous melodic lines, sometimes in parallel, sometimes opening into sustained intricate counterpoint. Bassist Koji Shimura and drummer Ken Ishihara shuffle and swing in parallel with a fluid, sinuous rhythm, while flourishes of synthesizer, mellotron and the introduction of Go Hirano on keyboards and piano deepens the group's sound with orchestral colors and a soft cinematic haze. Across the album, clear, shimmering guitar tones and gentle chord progressions are layered with bright arpeggiated figures and darker minor-key passages. The songs develop through gradual changes in tone and dynamics as Ishihara's voice reveals a gentle yearning and wistfulness. An extended version of Burt Bacharach and Hal David's "The Look of Love" serves as the album's entrancing focal point; stretching the song's familiar lounge-pop swagger, the group renders it as a slow-burning, psychedelic meditation crackling with electricity as it drifts into the night. Available for the first time on vinyl in over 30 years. Remastered and expanded with three previously unreleased song versions on a second LP cut at 45RPM. Presented in a heavy tip-on gatefold with metallic and ink pigment foil stamping, spot colors as well as a gatefold insert. House in a custom vellum wrap with a mirror metallic sticker seal. Pressed at RTI Recorded at Inter Music Studio, Tokyo 1994. Remastered at Peace Music 2021, Produced by You Ishihara.
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BMC 364CD
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"The pensive, enigmatic compositions of Ensemble Ensemble outline an imaginary folklore: freely drawing on Norwegian and Alsatian traditional music, they equally absorb elements of oral and written, experimental and folk, electronic and analogue, vocal and instrumental cultures, ultimately forming a flow of sounds closely related to ambient music."
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CD
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DAMGOOD 648CD
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"Thirty-three tracks! Rounding up all the band's 7" single releases to date! That's all their A- and B-sides! Cyanide Pills released their first 7" single 'Break It Up' in 2009, following it up with a further 14 fab 45s, the most recent being a split single with Switzerland's Nasty Rumours. Most of these releases featured exclusive non-album B-sides which we've rounded up for Singled Out. Good to have them in one place innit! All tracks were recorded at the Billiard Room in Leeds with producer Carl 'Razorblade' Rosamond. 'Influences? Hmm well, we don't just listen to punk rock, neither did the early bands because there wasn't any' said lead singer Phil speaking with Vive le Rock magazine in 2023. 'We like the usual suspects obviously, our favorites are the Belgian band The Kids, X-Ray Spex, and Buzzcocks. We like Satan's Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin' Wolf. The list goes on and on and on."
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2LP
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DAMGOOD 648LP
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"Thirty-three tracks! Rounding up all the band's 7" single releases to date! That's all their A- and B-sides! Cyanide Pills released their first 7" single 'Break It Up' in 2009, following it up with a further 14 fab 45s, the most recent being a split single with Switzerland's Nasty Rumours. Most of these releases featured exclusive non-album B-sides which we've rounded up for Singled Out. Good to have them in one place innit! All tracks were recorded at the Billiard Room in Leeds with producer Carl 'Razorblade' Rosamond. 'Influences? Hmm well, we don't just listen to punk rock, neither did the early bands because there wasn't any' said lead singer Phil speaking with Vive le Rock magazine in 2023. 'We like the usual suspects obviously, our favorites are the Belgian band The Kids, X-Ray Spex, and Buzzcocks. We like Satan's Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin' Wolf. The list goes on and on and on."
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LP
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FTR 825LP
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On Meditations, Bhajan Bhoy presents four expansive, deeply immersive compositions that slowly open and unfurl across the album's duration. Length here is incidental; what matters is the total listening experience. These pieces move with patience and grace, drawing the listener into a blessed, inward journey. The result is a remarkable record -- equally cinematic, intimate, and richly evocative. Drawing from folk traditions, ambient synthesis, ethereal guitar work, and deep listening practices, Meditations creates a world of textural depth and microscopic wonder. The album's wide-ranging instrumentation -- accordion, piano, yangqin, synthesizers, guitar and bass, banjo, and harp -- highlights Bhajan Bhoy's imaginative and searching compositional approach. Each sound feels carefully placed, allowing space, resonance, and atmosphere to guide the music's emotional weight. There is a quiet power running throughout Meditations: a sense of stillness that never drifts into stasis, and beauty that reveals itself gradually. These are pieces that reward patience and presence, offering something profound to the deep listener. "These tracks served as a series of spiritual prayers when I recorded them," says Ajay Saggar (Bhajan Bhoy). "They became even more important to me later, as personal changes occurred in my life from mid-2025 onwards, and the real power and beauty of the tracks came to the fore -- helping me heal in my body and in my mind." Meditations is a meditative, enchanting work -- music as refuge, reflection, and renewal.
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LP
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GB 147LP
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2026 repress; LP version. YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man's land between Khruangbin and Kraftwerk, surf music, and Southeast Asian psychedelia, Stax soul, and mutant '80s disco, city pop, and Japanese instrumental folk (sōkyoku). Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Off-kilter disco tunes with a trans-local character, neo-Thai psych funk jams and folk-styled soul ballads remain central to their sonic identity, and the influx of fresh ideas results in an even more eclectic and effervescent sound image. Mount Matsu marks a step back from the occasionally more Moroder-esque, rhythm-machine and synth-heavy production style of YĪN YĪN. This is encapsulated in the analogue warmth of their valve amp guitar sounds, vintage synth lines and acoustic percussion timbres, evoking the buzz of being in the rehearsal space with the band. Infectious pentatonic melodicism calling for multiple rewinds!
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CD
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ICM 011CD
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"The drones on this album were created using a Yamaha SY77 FM synthesizer from 1989. I have a special relationship with this machine -- it was the first 'big' synth I ever bought, and it has contributed to almost everything I've recorded over the past 30 years . . . The SY77 features six FM operators with multi-stage looping envelopes. I've always enjoyed crafting steady drones with it -- sounds that slowly evolve into something new over time. The output of the SY77 is routed through a Dynacord DRP 20 reverb and recorded into a DAW. For each piece, I recorded four tracks: one with a very low note, one with a medium-low note, one with a high note, and one where I played freely, following my intuition. The results were then edited and lightly processed to reduce excessive noise in certain sections. I also occasionally added reverb and pitch shifting, using my own custom algorithms. Signal to Noise - Volume II picks up where my 2004 album Signal to Noise left off, revisiting the same techniques and instrument twenty-two years later." --Robert Henke Cover photo taken by Robert Henke on February 1, 2004, at Joshua Tree National Park, CA, USA.
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8LP BOX
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IOR 771681LP
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Three releases in one box set marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston, pianist, composer, narrator, storyteller, historian is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. He is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World."
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2LP
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IOR 771741LP
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"Reissue of the classic Buster Williams album: a lucid and eloquent exposition of his musical philosophy featuring Herbie Hancock and Wayne Shorter. Buster Williams is a man with a strong sense of purpose and a very clear sense of his musical direction. He is also a musician of prodigious gifts -- which is implicit in the fact that his years of professional bass playing have included work with Miles Davis, Dexter Gordon, Sonny Rollins, Art Blakey, Freddie Hubbard, Herbie Hancock, Chet Baker, Woody Shaw, and McCoy Tyner, among many other members of the jazz hierarchy. He is unquestionably one of the giants of the double bass, and his status is a product not only of his natural aptitude, but also of his natural attitude -- because Buster Williams is a man who believes in setting himself the highest creative goals. Williams composed five of the seven pieces and wrote all the arrangements. To bring the music to life he had the services of some most distinguished associates. It would be redundant to recite the credentials of Herbie Hancock, Wayne Shorter and Al Foster. This is a most refreshing and exhilarating album to which Buster Williams has brought a high level of creativity and total integrity. Though very much a personal statement, it is patently a mutually-inspirational collective endeavor because the music is made for the musicians, and the musicians made for the music. As well as being a most articulate soloist, Buster is also an outstanding, listening accompanist for whom the experience of playing for some of the great singers -- Sarah Vaughan, Nancy Wilson, Betty Carter, and Dakota Staton -- has clearly informed his approach to rhythm section playing."
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CD
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GG 522CD
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"James Jeffrey Plewman, better known by his stage name Nash the Slash, was a Canadian musician. A multi-instrumentalist, he was primarily playing the electric violin and mandolin, as well as the synthesizer, keyboards, glockenspiel, and other instruments. Nash worked as a solo artist beginning in 1975; founding the progressive rock band FM in 1976. Soon after releasing the band's first album, Black Noise, in 1977, he left the group; he resumed his solo career in 1978. Nash's music covers an eclectic range, varying from instrumental--mood-setting music, to rock and pop music with vocals. In addition to giving concert performances, he composed and performed soundtrack music for silent films, presenting these works live in movie theatres to accompany screenings of the films. Nash famously never allowed guitars on any of his solo albums and singles. He turned down Pink Floyd guitarist David Gilmour's offer to lay down a guitar track on his album Children of the Night. In the mid-1980s Nash the Slash was invited to support Gary Numan and Iggy Pop on their tours. In 1984, Nash released a compilation album (with most tracks remixed) entitled The Million Year Picnic on Ralph Records in the United States, the label which was home to The Residents. This covers album was introduced by Friendly Rich, a Canadian music composer and musician from Brampton, Ontario. Amongst many other things, Rich composed background music for three seasons of MTV's The Tom Green Show. He also founded the Brampton Indie Arts Festival, an annual event which promotes underground artists such as Nash the Slash, The Nihilist Spasm Band or Ron Sexsmith."
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2LP
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KK 2258003LP
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2026 restock; double LP version. Poly-lined inner sleeves; gatefold. 180 gram, black double vinyl. The original analog master tapes were transferred with higher resolution and remastered with great care. Remastered by Dieter Dierks and Dennis Flüchter. Walter Wegmüller (1937-2020) was a Swiss-Jenish artist who grew up in difficult circumstances in Bern. After training in Basel, Bern, Paris, and London, he began his artistic career. In addition to painting and sculptural works, Walter Wegmüller occupied himself with the entire spectrum of art. He gained widespread international attention, especially from 1974 onwards, with the publication of his Zigeuner Tarot. He was successful at countless exhibitions in Europe and overseas and was repeatedly awarded prizes and distinctions. However, he never forgot his origins as a Verding child and "Rome child from the Kalderasch tribe." In 1973, he released the album Tarot with an all-star band. Successful musicians such as Klaus Schulze, Manuel Göttsching, Harald Grosskopf, Dieter Dierks, Hartmut Enke, Jürgen Dollase, and Walter Westrupp played in the band. It remained Walter Wegmüller's only foray into the world of music. The album was last released on vinyl in 1976, the CD in 2000. This version here is the first remaster ever.
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LP
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LIFE 058LP
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2026 repress. Outstanding and limited compilation of Turkish jazz-funk rarities. The release explores what happened when Western music styles such as modal jazz, bossa nova, fusion, and funk met Arabic folk music, tone scales and rhythm structures in the late sixties and seventies in Turkey and Egypt. Features Emin Findikoğlu, Mustafa Ökzent ve Orkestrasi, Erkut Taçkin, Fikret Kizilok, Erkin Koray, Aksu Orkestrasi, Ferdi Özbeğen, Erol Pekcan, Okay Temiz, Erol Pekcan Orkestrasi, and Durul Gence 10.
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LP
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MR 386LP
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2026 restock. Songbook #7 is the new volume of Mattin's Songbook series, one of the most interesting works in the current experimental, improv and noise field. Songbook #7 features Farahnaz Hatam, Colin Hacklander, Lucio Capece, Moor Mother, Cathleen Schuster, and Marcel Dickhage and was recorded in November 2017 at Digging the Global South Festival in Cologne, while Europe was (still is) slowly going down. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation emerges a strange record: a disintegrated manifesto exploring the truth of disagreement. Exactly 100 years ago Europe was really crumbling. However, there was a proposition for a collective future in process. This songbook takes two moments as historical inspiration in order to rethink the present: The first seven months of 1917 in revolutionary Russia, and the figure of Germaine Berton (pictured on the cover), the anarchist who in 1923 was accused of murdering Marius Plateau, director of the far-right organization French Action League. In a time of war and fascism, those were two very different answers: a collective attempt at social transformation and a desperate lonely gesture. Neither response really managed to succeed to overthrow capitalism but they had a motivation and a clear way to act, something that seems to be lacking right now. If previous songbooks dealt with the tension between improvisation and song structure, between an emphasis on the production of the moment and having a conceptual framework, here the tension is produced by conflating the present with the past, and in doing so the tension between communism and anarchism is also explored. Songbook #7 digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future, and the shortcomings of democracy in a capitalist system. If one wants some musical references you can imagine one of those collaborations between Red Crayola and Art And Language if it was produced by Roberta Settels, or if Rabit was asked to do a remix of Nono's La Fabbrica Illuminata, taking into account the Altoforno di Cornigliano factory's demolition in 2005. This great line-up tries to think the present through the lenses of radical historical moments and in doing so it achieves music both arcane and futuristic.
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LP
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MVLP 013LP
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"1977 sci-fi drive in cult classic Laserblast original motion picture soundtrack LP. Directed by Charles Band, score composed by Richard Band and Joel Goldsmith. This is the first-ever original film score by two veterans in the sci-fi film and TV genre: Band later became known for such works as Metalstorm, Re-Animator, Pit And The Pendulum, Ghoulies, Puppet Master as well as television episodes of Stargate Sg-1 and Buffy The Vampire Slayer. Joel Goldsmith, son of legendary maestro Jerry, later went on to score films such as Kull The Conquerer, Watchers, and Vamperella. Joel also handled the regular scoring chores for such TV series as The Untouchables, Stargate Sg-1 and Stargate: Atlantis. For Laserblast, Richard and Joel employed innovative electronic techniques which pre-dated the use of MIDI and other digital mediums. Also included are several '70s rock and roll style source cues which have also been tracked in another cult horror favorite, The House On Sorority Row."
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LP
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NOTON 073LP
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Alva Noto's Wave Weave - Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai. The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan. At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques. Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills. LP is featured on picture disc vinyl. Includes premium gatefold sleeve with die-cut window and special finishing. Also includes an insert booklet (multiple panels/pages) presented in a cover sleeve with a satin ribbon detail.
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CD
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PRO 068
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"Achingly beautiful neo-classical, ethereal, darkwave classic with long deep tones, intense vocals and rich string arrangements. Mesmerizing and melancholy. Thirty years since its release, 'Remnants' is the timeless work of poets of the broken spirit; it explores the contours of the human soul in a flawless alchemical fusion of sad and majestic heartbreaking beauty. The 77-minute album is Black Tape's crowning achievement: exquisite and stunning. Wrapped in the emotions of betrayal and salvation, searching for the deeper fragments of a truer reality -- somewhere between sadness and hope -- Sam's words and harmonies weave a soft, opaque veil over a world where feeling is foremost, emotions on the surface, the heart laid bare. Intense vocals from Oscar and angelic vocals from Lucian grace the rich cello and violin arrangements of Vicki and Mera; together with Sam's electronics they reveal a deeply contemplative and passionate world lavishly illustrated with layers of liquid harmonics."
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LP
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EZRDR 116LP
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2026 repress. LP version. "'Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.' To hear Randy Holden describe the audience's reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. 'I wanted to do something that hadn't been done before,' Holden explains. 'I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That's what I was going for, way over the top.' And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It's incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility. Troubles with the album's release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn't seen a proper remaster and has yet to be available on digital platforms. 'The original mastering just destroyed the dynamics of it,' Holden says. 'They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.'"
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LP
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RBL 100LP
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"Released in 1987 and destined to become one of the most controversial and iconic films in European underground cinema, Jörg Buttgereit's Nekromantik is far more than a visual provocation: it is a radical, poetic, and deeply disturbing work in which image and sound merge into a singular emotional experience. The soundtrack by Daktari Lorenz/Hermann Kopp/John Boy Walton accompanies the film with a minimal and obsessive sonic landscape, suspended between piano melodies, decadent electronic ambient textures, and distorted childlike melodies. A deliberately alienating contrast that amplifies the film's sense of tragedy, loneliness, and morbid romanticism. This release is not merely a tribute to a cult film, but a celebration of music as a narrative force, capable of transforming horror into melancholy and transgression into a distorted form of romanticism. Limited Picture Disc. 450 copies plus three art inserts, expanded remastered edition."
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LP
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SPITTLE 031LP
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2026 repress, yellow vinyl. What exactly happened in the Italian underground/post punk scene of the '80s, is not entirely clear. Therefore, this collection of 13 incredible tunes helps track down the feeling and focuses on the blurry images of a period that was mixing influences from the UK/USA scenes with a more "national" approach to new music developments. The damage began in 1977 when a series of urban/suburban musical agitators, whether skilled or complete amateurs, decided to embrace instruments as weapons for a war against sonic stereotypes. Here's the result: a multiform sonic attack that marks the history of a movement that may have remained local in most cases but whose echo reflected the amazing creativity of a generation. Features Neon, Панков (Pankow), Le Masque, N.O.I.A., State Of Art, Jeunesse D'ivoire, Monuments, Rats, Fockewulf 190, Luc Orient, Illogico, 2+2=5, and La Maison.
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LP
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SV 137LP
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2026 restock. "Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to Superior Viaduct's knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver 'Rectomo' Powers, and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound. When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed -- nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world. Opener 'One Way Spit' could easily be mistaken for a lost KBD single -- from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On 'Tricia,' a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene. Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so. Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list."
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LP
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VAMPI 168LP
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2026 repress. "This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Joe Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at Nuyorican Poets Cafe in my neighborhood. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. The rhythm section was a band called TransLove Airways that I formed in 2002. To this core group I added pieces from a few other local bands: The Middle Initials, who are a great Temptations/Main Ingredient-style vocal group, and members of an incredible Latin band called Grupo Latin Vibe, who were responsible for almost all the percussion and the vibraphone solo on 'I'm The Fool Pt. 2'. There was also some fine trombone playing by Aaron Johnson of Antibalas and great flute work by Neal Sugarman and my cousin Sonny. Preparing for Call My Name, I listened to a lot of different records from the mid to late '70s. It has now been over ten years since the completion of this record, and so much has changed. The Call My Name sessions took place when Daptone had just moved to Bushwick, its now-famous current location. Gabe Roth was my first call whenever I had any recording to do. He was yet to become the legendary figure at the center of the Daptone/Truth & Soul universe. He was just a humble guy with an incredible talent and an impeccable ear who made authentic sounding records with inexpensive analog gear." -- Daniel Collás, producer of Call My Name
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LP
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VAMPI 320LP
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2026 repress; on 180g vinyl. In Everybody Loves the Sunshine (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach that defines his unique style. Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of '70s Black music. Summertime soul classic! This album not only solidified Ayers as a key figure in the world of jazz-funk but also marked a milestone in soul music and contemporary jazz. It features a sophisticated blend of irresistible grooves, smooth melodies, and a unique sound that has endured over the years, becoming a reference for multiple generations of musicians and listeners. By the mid-'70s, Ayers had already established his reputation with his band, Roy Ayers Ubiquity, and his distinctive use of the vibraphone, which became his personal trademark. However, with this album, Ayers ventured into a smoother, more accessible sound, partly in response to the rise of disco music and the growing interest in more experimental sounds within the music scene. Throughout its ten tracks, Ayers managed to create a sonic atmosphere that evoked both the warmth of summer and the sophistication of jazz from that era, set against a backdrop of modern soul. The production was carried out by Ayers himself, along with his producer and friend, David R. Williams, and features the wonderful sound of Phillip Woo's Fender Rhodes and the powerful energy of the rest of the band, achieving an unmistakable authenticity and freshness. Some of its most well-known songs include the title track, "Everybody Loves the Sunshine," "The Golden Rod," and "The Third Eye," which quickly became classics of jazz-funk and soul. This album is crucial in Roy Ayers' career, as it demonstrates his ability to remain relevant and creative in an ever-changing music industry.
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