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2LP
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BEC 5772110
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2026 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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LMS 1725862
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LP version. The Durutti Column's Vini Reilly album is available again to everyone. Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order). Many new champions cite the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis). Includes booklet.
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WWSLP 115LP
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LP version. Wewantsounds presents the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita -- the visionary behind the cult album First Light -- the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4-page booklet with a new introduction by Paul Bowler. The album serves as a vital precursor to Matsushita's own 1981 cult masterpiece First Light. Here, he and Nobuta lead the cream of Japanese session musicians. From the sun-drenched bossa nova rhythms of the Jobim classic "Wave" to a sophisticated rendition of Boz Scaggs' classic "Harbor Lights," finishing with the dreamy rhythms of "Endless Summer," the record is a masterclass in elegant funky arrangements and relaxed harmonies. As music journalist Paul Bowler writes in the liner notes for this release: "Summer-Time Love Song represents a fascinating bridge in Japanese pop history; a moment where the breezy aspirations of the '70s met the meticulous studio perfectionism that would soon take over the world." This deluxe edition features the original artwork, showcasing classic photography by the cult photographer Shinpei Asai -- famed for his iconic work on the Pacific album by Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. Newly remastered, this reissue finally makes one of the most coveted albums of the 70s Japanese scene accessible to Japanese music fans worldwide.
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7FFTCJQ190
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Includes four-page insert. "TCJQ together with Gary Peacock and Sunny Murray! This is THE sunken treasure. This is music I have only heard about. And yet, here it is. Unbelievable. Intact. Preserved. Beaming of energy and JOY! This is a sensational find. My favorite Danes exploding together with my favorite double bass player all time. Gary Peacock. The engine. The power engine. I can hardly breathe when he plays, and when he starts soloing and creating beautiful duo bass action with his colleague Steffen Andersen in this very first recording of 'Predetermination,' 10 minutes in -- my heart expands, and the world suddenly looks and sounds entirely different. Add Sunny Murray on top of it all? The master of unreal flow and accents. Sunny was a beast to deal with at the time. But what he adds to the music is pure poetry. No other drummer did anything even close to this back in the mid-'60s. To have Steinmetz and Beckerlee playing alongside Peacock and Murray in 1964 is as good as it gets. The absolute point-zero of free jazz, Spiritual Unity, was just released. It changed everything. This is the mother of it all. The birth. You would think Steinmetz and Beckerlee would have had a little anxiety joining the American duo. There is nothing of uncertainty or vague playing here. This is for real. Right-on-take-no-prisoners-do-not-look-back. Added to the A-side of this mythical recording with creative Danes and the rhythm section of Spiritual Unity is a little improvised miniature. 'In the Name of Beauty.' The title very accurately describes what is going on. TCJQ creating pure communal beauty. Steinmetz, Beckerlee and Andersen getting very real! Dig the harmonics of the last note. The B-side´s 'Spontaneity,' 'Action' and 'Collusion' are just wild. Raw. And utterly beautiful. The group is doing real sharing on a level unheard of before. While listening through this music numerous times and trying to write something simultaneously of intellectual or emotional content something happens? I lose the sense of time. The emerging free jazz scene of Denmark of the early '60s, is something spectacular and WILD. Years before the other Scandinavian countries even got a grip of the new jazz, the Danes were doing it already. Fueled by very important guest visits by Cecil Taylor, Sunny Murray and Albert Ayler at both clubs and radio or TV appearances. Those were the times when public service actually noticed new developments in art, music and literature." Mats Gustafsson, April 2026
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CT 085LP
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2026 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
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JMAN 150LP
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LP version. Jazzman's latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes and marimba. Features Diane Reeves (vocals) and Adele Sebastian (flute)! "Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune." These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life. It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming. Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood. As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP My Kind of Music was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label. Kelly remains humble and proud of his debut album to this day. "I was still a beginner" he says, "These masters walked in, smiling, and gave me something worth gold."
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LMS 1725760
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Deluxe LP version. Coke-bottle green vinyl. Renascent marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart. Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on "Agonistes" and Lucas Elliot on CD bonus track "All they See is Fire"). Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), Renascent is a timely and vital rebirth for The Durutti Column. Artwork by long-time collaborators 8vo.
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2LP
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FAITBACK 001LP
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2026 repress. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).
"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press
"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM
"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM
"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire
"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork
"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME
"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ
"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ
"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
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BB 507LP
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LP version. With Sowas von Egal Vol 3, the Hamburg-based Damaged Goods DJ team continues its compilation series on Bureau B, once again turning its attention to the underground scenes of Germany, Austria, and Switzerland in the early 1980s. The selected tracks originate from a period in which, alongside the commercial Neue Deutsche Welle (NDW), a number of innovative and often more abrasive bands and artists operated outside the mainstream. They combined influences from new wave, synthwave, post-punk, and the avant-garde with German lyrics -- and occasionally other languages -- releasing their music in very small editions on indie labels or entirely DIY. As a result, many of these records are now rare and highly sought after. The tracks emerged in a cultural climate strongly shaped by the rupture brought about by punk. Five years after the second installment, the search for hard-to-find artists and rights holders began again. Thanks to the cohesion and supportive network within the scene, it has once more been possible to assemble a carefully curated and lovingly compiled selection. As with the first two volumes, part three follows an approach closely aligned with the DJ repertoire of the Damaged Goods nights. The focus is on captivating, danceable, and catchy tracks. Songs that often reveal their full impact on first listen in a club setting. The aim is to make forgotten or hard-to-access pieces audible and available again. The artwork is once again by Biljana Tomic, drawing on an industrial-apocalyptic sensibility and referencing the iconic facades of Horten department stores, evoking a visual aesthetic of the 1980s. The sound has once again been carefully remastered by Tom Morgenstern. Sowas von Egal Vol 3 seamlessly continues the series and presents itself as a lovingly curated snapshot of a highly productive yet often overlooked phase in German, Austrian, and Swiss pop history. Featuring Guyer's Connection, Starter, Bergtraum, Die Shadocks, Isolierband, Bizarre Leidenschaft, Ziggy & Eno, André Szigethy, Zero Zero, JaJaJa, Ti-Tho, Vorgruppe, X-Beliebig, Trick 17, Die Egozentrischen 2, and Tommi Stumpff.
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6FFCND186
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To the best of anyone's knowledge this performance by John Tchicai and Cadentia Nova Danica was the first ever jazz- or improvisation-type concert held at London's hallowed recital room Wigmore Hall. 1968 was a year of Denmark's extensive cultural program in Britain, which included a poorly attended CND concert, not recorded, on 2nd October at Manchester's Free Trade Hall. That this was to be the sole concert by Tchicai -- of New York Contemporary Five, New York Art Quartet, Coltrane's Ascension fame -- was stupefyingly ridiculous so Anthony Barnett set about trying to organize a London concert. He traipsed the capital in search of an available venue without luck until, with no thought of a positive outcome, he entered Wigmore Hall. To his astonishment, with few questions asked, they said yes. Following that, there was the matter of work permits. Barnett visited the relevant office and they too said yes, probably because of the involvement of The Royal Danish Embassy and the Danish Cultural Ministry with the Manchester concert. Danmarks Radio asked the BBC to record the concert on its behalf. The arrangement was that Barnett would receive a small fee and a complete set of the tapes. Afterwards, it turned out that the BBC had edited the tapes down to what it sent to Danmarks Radio, as broadcast and now heard here for the first time since. Sadly, and quite true to form, the BBC had wiped the rest. And it was a struggle for Anthony Barnett to get back the tape that did remain. Possibly it shows how difficult things can be when one acts independently. Featuring Cadentia Nova Danica at the absolute peak of their powers; furious, rich and dense, moving between freeform improvisation and African touchstones before erupting into incandescent free improvisation. Includes an insert with the reproduction of both Wigmore Hall and Manchester's Free Trade Hall original press releases. Liner notes by Anthony Barnett.
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DIS 012LP
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2026 repress on crystal red transparent vinyl. Pressed with a fluorescent orange (Pantone 805) cover. "Twelve songs by Minor Threat. Tracks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the 'In My Eyes' 7". Recorded and mixed at Inner Ear Studios in Arlington, VA. Tracks 1-10 recorded in April of 1981 and mixed by Don Zientara and MT. Tracks 11-14 recorded in August 1981 and mixed by Don and MT. Originally released June 1, 1984."
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WRWTFWW 017LP
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2025 repress. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).
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LP
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VAMPI 322LP
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Step into the golden era of soul-jazz with the long-awaited vinyl reissue of Vibrations by Roy Ayers Ubiquity -- a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers' sound at its peak. Originally released in 1976, Vibrations stands as a cornerstone in Ayers' catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide. Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the "Godfather of Neo Soul," Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and Vibrations is one of its purest expressions. The album flows effortlessly between moods: from the jazz-inflected elegance of "Searching" to the irresistible funk pulse of "The Memory," the dancefloor-ready "One Sweet Love to Remember," and the laid-back, atmospheric title track "Vibrations." Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment. Beyond its original impact, Vibrations has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture. After almost two decades out of print, Vampisoul present this much-needed vinyl reissue of an essential album in Roy Ayers' career. Whether you're discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.
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LP
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LIFE 066LP
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Originally released in 1972, The Voice Of The Eagle is one of the most bizarre experiments in Robbie Basho's prime. Featuring Indian mridangam player Ramnad Raghavan, the album epitomizes Basho fascination for eastern-tinged arrangements. This is also a vocal album -- his singing, which John Fahey described as "strangely compelling," came straight from the heart and soul with no regard for restraint, phrasing or timing. Basho never had mass recognition when he was alive and was almost forgotten for years as Fahey, Leo Kottke and his contemporaries carved their legends.
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AKU 1057LP
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Repressed!Ak'chamel, The Givers of Illness plunged into truly deranged extremes to summon the decayed, otherworldly essence captured on Spiritually Unemployed, embracing unhinged and esoteric methods during the tracking process. Recorded in a makeshift adobe studio amid liminal border-zone ruins. Nocturnal treks along forgotten stretches near the U.S.-Mexico line, through derelict border outposts and sun-bleached vehicle husks, yielded unique recording opportunities: Ak'chamel dragged tape decks like sacrificial talismans, to capture gravel crunch, distant javalina fights, and unintentional EVP-like anomalies. Harvesting the psychic weight of migration, abandonment, and geopolitical limbo. A half-broken oud, double-reed pipes, a battered hurdy-gurdy, and self-built spike fiddles were "tortured" pre-recording; strings detuned to unstable microtonal chaos, reeds soaked in questionable desert-sourced liquids, and instruments were kept outdoors to absorb ambient dew, dust, and wild temperature swings, ensuring every take carried an unpredictable, haunted instability. Vintage cassette decks and reel-to-reel units were powered through erratic, low-voltage setups (literally dying generators) which introduced random voltage drops, speed fluctuations, and ghostly dropouts mid-take -- turning tracking into unpredictable spirit interventions. Fresh analog takes were dubbed onto tapes previously buried in arid soil throughout the hot day, then exhumed and played back while layering new overdubs; creating a palimpsest of temporal erosion where past decay bleeds into present performance. Live performances were blasted through overloaded, malfunctioning analog chains (cranked cassette walkmans, battered spring reverbs filled with gravel, warped echo units), then physically "mauled" by running the tape through sandpaper-wrapped capstans or crushing segments underfoot before resplicing -- resulting in tracks that feel compressed, twisted, and ruptured. Thus the desert claims its due: instruments tortured into prophecy, tapes interred and exhumed in chapels of malfunction. Spiritually Unemployed is the resulting artifact -- a sonic border autopsy where enlightenment arrives not as a sealed doctrine but as an open infested wound.
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2LP
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VAMPI 298LP
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2026 repress. A selection of 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, MedellÃn, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. After digging deep into the overwhelming archive of Discos Fuentes in the previous volume, this second instalment in the series Cumbia Cumbia Cumbia!!! comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Legally established on July 1, 1950, Zeida (later Codiscos) was one of the companies that consolidated MedellÃn as the epicenter of the Colombian recording industry in the central decade of the last century. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Featuring Los Hermanos Martelo, Los Trotamundos, Antonio León Y Su Conjunto, AntolÃn Y Su Combo Orense, Francisco Zapata, Crescencio Salcedo, Sonidos De Gamero, Los Teen Agers, Miguel Villalba Y Su Conjunto, Calixto Ochoa, Alfredo Gutiérrez Y Los Caporales Del Magdalena, El Michi Y Su Combo Bravo, Los Graduados, Gabriel Mesa, Adolfo Pacheco Y Su Conjunto, El Conjunto Miramar, El Combo Cienaguero, La Sonora Universitaria, Orquesta De Marcial Marchena, Rita Fernández, Jaime Llano González, Los Arko, Aniceto Molina Y Su Conjunto, Los Bobby Soxers, Catalino Y Su Combo Negro, La Cumbia Moderna De Soledad, Alejandro Bernal, and Grupo La Droga.
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2LP
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BORNBAD 051LP
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2026 repress. French indie-rock band La Femme is a conundrum -- an episodic band with various faces. La Femme was born during the X years in Biarritz, France, when Sasha and Marlon started composing music on their guitars and recording it onto Garage Band. Together they ride surfboards, pianos and synthesizers as they explore various styles from '60s yé-yé French pop to California surf music. Marlon moved to Paris, and there he met Sam, who played bass. Together, they formed SOS Mademoiselle along with Olivier Peynot, and played vintage French rock, as Sasha was practicing his scales in reverb surf band Les Redoutables. Sasha then joined his friends in Paris, where they discovered French cold wave and synth pop, Marie et les Garçons being one of their favorites. They polished a style that could be described as one of the following: surf-wave, bizarre-wave, strange-wave, weird-witch-wave, silly mental-wave or psycho-tropical Berlin. Joined in 2010 by drummer Noé and female singer Clémence. La Femme formed its first live roster in a few days and took shape that same year with its first anthem, "Sur la planche," a song that was made to be hummed and whistled while riding a surfboard. Later on, La Femme released their second EP, Paris 2012. Soon joined by fancy rhythm drummer Nunez Ritter von Merguez aka La Sauterelle and singer Clara Luciani, as well as a whole roster of female singers, they now present their debut album Psycho Tropical Berlin where rock, pop, rococo Bauhaus, as well as influences from Kraftwerk and Elli & Jacno conjoin just to please you. Printed innersleeves.
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Book
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9780993351426
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304 pages. Hardcover. Omniverse - Sun Ra by Hartmut Geerken and Chris Trent. Expanded and revised hardback third edition. Published by Art Yard. Over thirty years after its first publication, Art Yard present the revised third edition of Hartmut Geerken's Omniverse - Sun Ra, a definitive hitch-hiker's guide to the Sun Ra galaxy. This new revised edition features a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra. Includes hundreds of images of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and colored LP sleeves. Bound in French fold cover, metallic foil blocking on blue Faimei cloth hardback. Comprehensive pictorial and annotated discography, including chronological discography and alphabetical record title, composition, personnel and record label indexes. Also features jackets and label indexes and hundreds of photographs of Sun Ra and His Arkestra in New York 1966 and Germany 1979 by Val Wilmer and Hartmut Geerken from Heliopolis Cairo Egypt 1971 an updated discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra. With essays, photo documents by Hartmut Geerken, Val Wilmer, Amiri Baraka, Robert L. Campbell, Chris Cutler, Gabi Geist, Salah Ragab, Sigrid Hauff, and Karl Heinz Kessler.
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BORNBAD 125BWLP
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Color vinyl version. Ever since the late 1950s bossa-nova revolution, Brazil's influence on French music has been undeniable. Pierre Barouh, Georges Moustaki, and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languor of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba. With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic Tchic: French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France. A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre's pioneers. In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes, and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on "The Girl From Ipanema". The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound. Bossa nova arrived in Paris through the classic "guitar-voice" channel. But France loved jazz and Paris had already welcomed its American contributors. Features Les Masques, Isabelle Aubret, Christianne Legrand, Jean Constantin, Billy Nencioli & Baden Powell, Marpessa Dawn, Jean-Pierre Sabar, Sophia Loren, Isabelle, Sylvia Fels, Frank Gérard, Ann Sorel, Charles Level, Andrea Parisy, Audrey Arno, Aldo Frank, Clarinha, Hit Parade des Enfants, Jean-Pierre Lang, Magalie Noël, and Françoise Legrand. CD version includes 24-page booklet with liner notes in French and English. Double-LP version includes printed undersleeve with liner notes in French and English; also includes download code.
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LP
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AKU 1001LP
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2026 repress; LP version. As the first entry in its catalog, French label Akuphone presents a reissue of Lily Chao's Chinese Folk Songs, originally released by Four Seas Records in 1968. This edition includes four previously unheard titles and exclusive liner notes containing Lily Chao's biography and lyric translations. Chao Xiao-Jun aka Lily Chao was born in Taiwan in 1948, while mainland China was rapidly undergoing major changes immediately following the end of the Chinese Civil War. After experiencing hard times in her girlhood, she ventured out into singing quite unwillingly. Indeed, at age 19, Lily Chao was compelled to give up her studies to support her family and start a career as a singer, after passing an audition at the Taipei Cabaret in Taiwan. The cabaret industry was in full swing at the time, offering destinations for popular entertainment, and Lily Chao's efforts to launch her singing career immediately attracted producers' attention. Her appearances at the Taipei Cabaret as part of its shows, which combined music in Mandarin, poetry, drama, magic, and other fine arts, soon earned her a reputation. Despite the immediate success that her numerous stage performances and appearances on the national television channel won her, Lily Chao led a chaotic and painful private life. As she smiled very little and tended to appear distant, the audience dubbed her the "Ice Queen," a nickname that she would keep for the rest of her career. This barely-concealed melancholy can be felt throughout Chinese Folk Songs, as well as in her very particular way of singing, which is both jerky and perfectly fluid. The album stands halfway between Mandarin folk songs and rock singing inspired by The Shadows, all surf guitar and garage sounds recorded with pinpoint precision and enhanced by saxophone and organ touches, while Lily Chao's intoxicating vibratos bring a pinch of soul to the music. An outstanding achievement of timeless pop music from the 1960s.
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6CD BOX
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SNS 028CD
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For more than thirty years, Kevin Drumm has developed a unique sonic language situated at the intersection of drone, electronics, improvisation and sound abstraction. Continuously evolving, his work has become one of the most distinctive voices in contemporary experimental music. Comprising more than six hours of music, The Mild Temper presents an extensive collection of pieces built from gradual transformations, micro-acoustic events and frequency-based structures characteristic of Drumm's practice. Across six discs, the music explores varying states of density, resonance and spatiality, reflecting a sustained interest in the physical properties of sound and their perception over extended durations. The title, The Mild Temper, suggests a quiet force rather than an overt gesture. Sonic materials often appear restrained, held in a delicate balance between stasis and motion. Small shifts gradually alter the acoustic landscape as layers of frequencies emerge, recede and recombine throughout the listening experience. Avoiding narrative and dramatic development, these works offer immersion in highly detailed sonic environments where every element contributes to the construction of a deeply absorbing listening space. Attention to texture, depth and duration forms the connective thread throughout the collection. With The Mild Temper, Kevin Drumm continues his exploration of sound as an autonomous phenomenon, presenting a body of work of remarkable coherence that reflects both the singularity and maturity of his artistic practice. Mastering by Jim O'Rourke.
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LMS 1725876
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The Durutti Column's Vini Reilly album is available again to everyone. Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order). Many new champions cite the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis). Includes booklet.
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WE 019LP
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2026 repress! The long-overdue revival of Bim Sherman's catalog begins here. These essential recordings are widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica's most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series not only preserves his legacy but also offers listeners the chance to experience the depth and timeless resonance of Sherman's work in its full glory. Bim Sherman -- born Jarret Lloyd Vincent, in Westmoreland, Jamaica -- holds a unique place in reggae history. Emerging in the mid-'70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations. The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman's artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman's various tracks into spectral presences that drift in and out of the mix. The arrangement and production -- minimal yet profoundly textured -- captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae's most otherworldly and visionary figures.
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CT 3995LP
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2026 restock of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).
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2LP+CD
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BEC 5161064
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2025 repress, with CD format included. Justice, the French duo formed by Gaspard Augé and Xavier de Rosnay -- the band of a whole generation. When the two friends were still bright students in graphic design, in 2003 they made Justice a place to experiment a hybrid genre between music and image, which blends pop and electronic borders, and showcases the talents of two fascinating, passionate pop culture craftsmen, bored with hierarchy. They met Pedro Winter, who had just founded his label Ed Banger Records -- he immediately signs them after listening to "We Are Your Friends," which, with its joyful and vitamin-enriched electro beats combined with exhilarating voices, became the hymn of a whole generation and one of the most important tracks of the year 2000, celebrating a reconciliation of pop music and the dancefloor. It was awarded an MTV Video Award in 2007, bringing about the famous live TV appearance with Kanye West outraged that his million-dollar clip was outclassed by a home-made bomb. (Once the misunderstanding was cleared up, Justice, Ed Banger and So_Me became a constant source of inspiration for Kanye and his superstar rapper colleagues. Kanye even employed So-Me as director for the video for his hit song "Good Life"), Jay Z will use "D.A.N.C.E" for his next album. From now on, the duo's ascent was constant and then lightning struck: remixes for N.E.R.D., Britney Spears, Franz Ferdinand, U2, Daft Punk, Lenny Kravitz and an EP in 2006 (Waters Of Nazareth) defining the "Justice sound," this famous ultra-powerful compression of pop and baroque melodies, both dark and threatening; lightning and animative; and above all, the famous Justice image, the cross from which an earlier version figures on the first EP. 2007 was the explosion that would turn the duo into the emblem of a whole generation: their first album, anticipated like the Messiah, swept everything away as an epic soundtrack and was more than a magnificent synthesis of our time. 800,000 sales worldwide and 4 years later, the album is considered a mainstay of the 2000s -- one of the few who bridged the gap from the Pitchfork world to MTV without losing its credibility. Housed in a mindfuckingly deluxe gatefold sleeve.
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LP
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GUESS 288LP
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One of the most sought-after albums from the US Xian rock scene, originally released in 1971. Hard psychedelic rock with male/female vocals and loud fuzz-wah guitar, imagine a mix between the Stooges and Jefferson Airplane. Sourced from the original master tapes. Original artwork in hard cardboard sleeve. Includes insert with liner notes and photos.
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2LP
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EMEGO 322LP
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Pon is Tujiko Noriko's sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance. Noriko's palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023's Crépuscule this is an epic work, released as a 2LP by Editions Mego. The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure. Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface -- strange voices emerge on "Boku Wa Obaka." "Knife of Yonder" is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent. "Kikoeru Pon" is brimming with childlike wonder -- a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus. There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Pon feels like a colorful photo album, documenting Noriko's inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen. The emotional range of Noriko's latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.
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FFL 097LP
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Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Comes in heavyweight 180gr LP. 425gm brown board outer sleeve with four-page portfolio. At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. Funny Funky Rib Crib is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre -- notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal -- this one is an homage to James Brown and Sammy Davis, enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), and Joseph Traindl (trombone). Funny Funky Rib Crib's cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of "Just Test," "Dogtown," or "Rib Crib" -- the two versions of which display leader Lancaster's art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, "Work And Pray" and "Loving Kindness" are meditative tracks where listeners can lay back and relax before asking for more.
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LP
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BB 490LP
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LP version. Recorded in June 1978 during a sweltering Paris summer, Ose's Adonia captures a rare alignment of intellect, imagination and emerging technology. At just 26, Hervé Picart was living three parallel lives: scholar of rhetoric and ancient languages, journalist for the French music press (notably Best), and guitarist /bassist in progressive garage bands. Drawn increasingly away from British prog toward keyboards and synthesizers, he began envisioning a more spatial music situated somewhere between Pink Floyd, Tangerine Dream, and Kraftwerk. That triangulation would define Adonia. Ose itself was conceived as a variable-geometry project devoted to concept albums, with narrative and composition as guiding forces. Picart imagined a platform that could accommodate shifting collaborators and literary or interplanetary themes. For Adonia, the collaboration formed close to home. Through his journalism he had befriended Richard Pinhas of Heldon, a fellow academic and near neighbor in Paris' Latin Quarter. Their shared philosophical and musical affinities created a natural bond. Picart invited Pinhas not simply as a guest but as a key creative partner, overseeing electronic arrangements and contributing guitar and synthesizer work. Heldon drummer François Auger completed the trio, valued for his remarkable ability to play tightly against sequencers without losing fluidity. Arriving with detailed demo tapes, Picart had mapped much of the material in advance, yet the studio remained a site of invention. Sessions took place at night in Barclay's large studio on Avenue Hoche, by day home to a grand orchestra, prompting moments of astonishment when classical musicians encountered the trio's imposing array of synthesizers, including the Moog 55 modular system. Recorded in a week and mixed in three days: a focused, pre-digital intensity emblematic of the era. Conceptually, Adonia fuses ancient myth and speculative fiction. Over time, the album attained cult status, its sonic freshness undimmed. Standing at the crossroads of Berlin School electronics, progressive rock and early synth-pop, Adonia refracts these currents through a distinctly French sensibility and Pinhas' singular presence. Nearly half a century on, its fusion of myth and modernity remains vivid, a testament to a fertile moment whose echoes continue to resonate.
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BB 447CD
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Released in 1974, Zuckerzeit marks a clear turning point in Cluster's work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo's earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster's catalogue, capturing a pivotal moment of transition and refinement. In 1974, Cluster entered the sugar era. Many a thing had changed for band members Moebius and Roedelius since Cluster II: They had moved from boisterous Berlin to this calm rural village, they had founded the band Harmonia, had set up their own studio and had bought new equipment. As a result of this and many other things, new impulses were noticeably spurring the evolution of their music. The album Zuckerzeit ("sugar era") launched a revolution for Cluster. Strictly speaking, Zuckerzeit is not really an album by Cluster. More precisely, the LP contains two mini solo albums by Moebius and Roedelius. Those who were familiar with the stylistic peculiarities of the two musicians could easily relate the solo pieces to either one of them. As Roedelius and Moebius had not yet released any solo works by the time, it was actually not possible to draw up any comparisons yet. Zuckerzeit is light and cheerful, freed from the Germanic gravity and the mystic incense fumes that were so fashionable at the time. Cluster managed to keep both feet on the ground without becoming plain or even sterile. The friendliness of the music is clearly due to the two personalities of Roedelius and Moebius; its down-to-earth character possibly comes from Michael Rother, the album's coproducer. When comparing Zuckerzeit to the works of other electronic combos produced at the same time, it is first of all the shortness of the tracks that seems most striking. The fact that Cluster worked in such a calm and collected way, that they concentrated on their musical ideas instead of losing themselves in long-windedness -- all this taken together gave way to the creation of electronic miniatures that sounded as extraordinary in the 1970s as they still do today.
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LP
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CMR 010LP
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LP version. "East Two comprises previously unreleased tracks from one of Sun Ra's most productive periods: 1972-73. Those two hectic years saw Sun Ra recording numerous albums, staging concerts, teaching at Berkeley, acting in and composing the score for a full-length movie, embarking on a multi-album (though ill-fated) major label deal, and touring the U.S. and Europe. The title track, 'East Two,' is one of two pieces on this album originating at a two-day October 1972 session at Chicago's Streeterville Studios. It's an ominous, sprawling processional, and the only known recording of this moody work. Arkestra baritone saxophonist Pat Patrick played electric bass on this session, which also featured Ra's typically idiosyncratic synth, along with fine solos from Kwame Hadi (trumpet) and Arkestra mainstay John Gilmore (tenor sax). The other track is an alternate version of 'Rocket #9' where Ra's voice is scarcely heard in the ensemble vocals in favor of the Space Ethnic Voices. Additional material is taken from 1973 Variety Studios sessions in NYC including 'In Tomorrow's Realm,' where veteran Arkestra bassist Ronnie Boykins provided the anchor with his bass line forming its vital rhythmic framework. This would be the final year Boykins worked regularly with Ra and this track is a fitting tribute to his role in the band, demonstrating how essential he was to Sun Ra's sound."
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LP
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WWSLP 017LP
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2026 repress; LP version. Includes download card and original four-page insert with lyrics and line-up. Wewantsounds continues their Akiko Yano reissue program with the release of Japanese Girl, her landmark debut album from 1976. Backed by Little Feat with Lowell George and by top Japanese musicians (including Haruomi Hosono), Japanese Girl is one of the most important Japanese albums of the '70s, mixing pop, rock, and Japanese folk together with Little Feat's superb classic sound. After a marriage with musician/producer Makoto Yano and the birth of her son (Fuuta), Yano and her team resumed the recording of the album and decided to pitch Little Feat for a collaboration as she loved the group. Against all odds they said yes and Yano left Tokyo for Los Angeles in March 1976 to record a full side with them. The legend has it they found it so difficult to keep up with Yano's compositions they returned some of their fee. The session was nevertheless stunning and Lowell George even compared Yano to Stevie Wonder. The Little Feat blend of New Orleans groove matched Yano's melodies perfectly, as witnessed on "Funamachi-Uta Part ". Originally a traditional song from The Nebuta Festival in her hometown of Aomori, the Little Feat version is a formidable slow-funk workout not dissimilar to their classic, "Spanish Moon", serving Yano's beautiful vocals and sense of groove to perfection. The whole side is a match made in heaven, showcasing the classic Little Feat line up at their funkiest with Yano's unique Japanese twist. The Japanese side on the album gives a great snapshot of the Tokyo music scene of the '70s with many musicians gravitating around Haruomi Hosono and also several musicians from Japanese band, The Moonriders. Recorded at the legendary Onkyo Haus studio in Tokyo, the sessions mix singer-songwriter sensitivity and pop with traditional Japanese sounds and instruments like the shinobue transverse flute, the koto string instrument, or the Tsuzumi hand drum as played on "Hekoriputaa" by the legendary percussionist Kisaku Katada who was appointed Living National Treasure by the Japanese state in 1999; together they create a beautiful east-meets-west mix masterfully driven by Yano's creativity and unique talent. First international release. Remastered sound.
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WWSLP 027LP
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2026 repress. Following the success of the special Record Store Day Abu Ali edition (WWSLP 021LP), Wewantsounds are reissuing a standard version of Ziad Rahbani's mythical disco 12" which was originally issued in Lebanon in 1978. This reissue on black vinyl features the original artwork, with remastered audio. Wewantsounds is to announce the first-ever official vinyl reissue of Ziad Rahbani's mythical Lebanese Disco 12" Abu Ali, originally issued in Lebanon in 1978 on his label Zida Records. A highly collectible album, it will get reissued by Wewantsounds with its original artwork, remastered by Colorsound Studio in Paris. Ziad Rahbani is a cultural icon in Lebanon. The musician, pianist, and producer is also a renowned playwright and a political activist, one of the most important exponent of the Lebanese left-wing counterculture to emerge from the '70s. Coming out of an illustrious artistic dynasty (his father is the famous composer and musician Assi Rahbani, member of group The Rahbani Brothers and his mother is the legendary Middle East Diva, Fairuz), Ziad Rahbani started his music career during his late teens, composing music for his mother. Rahbani quickly spread his wings further. He started producing his own music co-founding the label Zida in 1978 at age 22 in the process and started releasing records under his own name. Among these was Abu Ali recorded in Greece at the EMI Studios in Athens with a full orchestra -- there he also recorded his mother's 1979 album Wahdon (WWSLP 022LP) -- and released it as a limited run EP for the Lebanese market. Legend has it that the album was only pressed at 500 unit hence its rarity. The result is a fabulous New York-meets-Beirut disco ecstasy, developing over two 13-minute tracks and one of the most collectible albums on the international dance and disco scene.
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CD
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TROST 267CD
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Chinese multi-instrumental Lao Dan, a rising star of free jazz with a deep background in traditional music from his homeland, debuts a blistering new quartet recording featuring three of the most important figures from the Chicago scene -- percussionist Michael Zerang, bassist Joshua Abrams, and pianist Mabel Kwan. Over the last decade or so the Chinese multi-instrumentalist Lao Dan has emerged as one of the most hard-driven, skilled, and versatile figures of the improvised music community. While his earliest work found him exploring new, improvisational terrain with the dizi, a traditional Chinese bamboo flute used in many regional musical approaches, his lyric delicacy on that device has been countered by his ferocious energy and searing tone on the tenor saxophone. He first surfaced on the global scene in 2019 with Live at Willimantic Records, a fiery live date recorded a year earlier in Connecticut with stalwart Western Massachusetts free jazz figures Randall Colbourne and Paul Flaherty, along with double bassist Damon Smith. Dan's restless spirit has led him to travel the planet, building new connections, collaborating with many different musicians. Dan's dual interest in folkloric traditions and free jazz led to an interest in the duo work of Chicago percussionists Michael Zerang and Hamid Drake, whom he first heard on recordings as members of the Peter Brötzmann Chicago Tentet. In the spring of 2024 he arranged for a trip to play in Chicago, and while Drake wasn't in town, he performed with a variety of local figures, including a sterling quartet with Zerang, double bassist Joshua Abrams -- leader of Natural Information Society -- and pianist Mabel Kwan, a rising star whose improvisational brilliance has complemented her deep roots in contemporary music. Trost Records is proud to present Lao Dan's Klotski, a searing recording of that live quartet performance at Elastic Arts where the opening tenor cries on "Green Tongue" can't help but evoke the spirit of Peter Brötzmann's galvanic opening blasts, but the music that follows belongs to this agile quartet alone. While Dan's fire-breathing extremes lead the way through a rumbling, shape-shifting thicket on the opening piece, his crystalline tone, peerless technique and melodic gifts on flute distinguish the rollicking "Wandering Donkey." Throughout the set the music toggles between such polarities, fed by the versatility of the quartet members who reveal an almost instant rapport and keen listening abilities, particularly the nubby sonic fabrics woven behind Dan's blowing by Abrams and Kwan.
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2LP
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BORNBAD 086LP
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2026 repress. French pop connoisseurs La Femme present Mystère. La Femme have made a huge mark on modern Paris's cultural landscape, with the two sides of the city - the glamour and the grit - ingrained in their music. Since the release of their debut album, Psycho Tropical Berlin (BORNBAD 051LP, 2013), their rise has only gained momentum with fans including directors Jacques Audiard and Romain Gavras to legends Jean Michel Jarre and Hedi Slimane. Returning with a more psychedelic sound and guest vocalists that slice through the starkest of electro beats, Mystère sees La Femme celebrating their wonderful city. From the chattering tête-à -tête heard on "Conversations Nocturnes" to the throbbing disco beat of "SSD", a direct reference to the pulsing nightlife hotspot and multi-cultural district Strasbourg Saint Denis where the band is based. Mystère's true intrigue however, lies in La Femme's enigmatic questioning of falling in and out of love. A compendium of short stories describing loves and losses, each song breaks down language barriers through an inventive and astute knack for melody. The elation of a passionate encounter is captured on the ricocheting electronics of "Tatiana", the melancholic acoustic guitar echoes in "Le Vide Est Ton Nouveau Prenom" and the sorrow of a war-torn couple in "Psyzook". Whether delicate or drenched in dirty disco, the impact of Clémence, Marlon and Sacha's gothic mantras mixed with the guest vocal talent of Clara Luciani, Jane Peynot, Naomi Greene, Mathilde Marlière, Angela Hureau, Battista Acquaviva and Sarah Ben Abdallah is perhaps where La Femme's true meaning can be found. Sacha on his band's all-inclusive philosophy: "We don't like the idea of having a leader or a chief: everyone brings to the band what they can and want." Recorded between a castle in Brittany and a Paris basement before being finished up with Sonny Diperri (Animal Collective) in LA, Mystère once again sees backgrounds blurred and worlds collide. The band's chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it's layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons's disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band's new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.
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2CD
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LMS 1725733
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Originally released in 1990 by Happy Mondays, this album captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as "Step On" and "Kinky Afro," the record became both a commercial breakthrough and a cultural snapshot of a generation fueled by dance culture and Northern nightlife. More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronicartists alike. This 2026 reissue of Pills 'n' Thrills and Bellyaches is presented in multiple formats, and marks the first major reissue campaign for one of the defining records of the late-'80s/early-'90s British club and indie crossover era. Available as: 5LP Boxset (LMS 1725740), which includes 64-page hardback bound book with brand new essays from James Brown and Central Station, previously unseen photos and more, plus a Slipmat and folded tour poster. Includes the remaster album, remixes, rarities, the Baby Bighead Bootleg live album from 1991 restored; 4CD Boxset (LMS 1725734), which includes 60-page booklet with brand new essays from James Brown and Central Station, as well as previously unseen photos and more. Includes the remaster album, remixes, rarities, the Baby Bighead Bootleg live album from 1991 restored; 2CD version (LMS 1725733) , featuring the remasted album plus 12 remixes; red color LP version (LMS 1725739), featuring the remastered album; black LP version (LMS 1725740), featuring remastered album. All Audio fully remastered on all formats.
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LP
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RM 4273LP
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A note from David Grubbs: "Somewhere in the Wind is the third record that Loren Connors and I have made together. Of the three, it's the first that consists exclusively of electric guitar duos and it's the first that was recorded live. To me it feels very much like a live record; this music happened in crowded rooms in Brooklyn on two dates in 2025 and there's an urgency to connect with others and a pleasure in doing so that can be heard on both of these tracks. On the first of our duo records (Arborvitae, 2003) I primarily play piano, and on the second (Evening Air, 2024) we switch off on piano and guitar. Both of those albums bespeak the privacy of the recording studio, where time is suspended and one can explore the quietest of sounds. By contrast, Somewhere in the Wind is the noisiest, most raucous and most free of our duo records. It's the sound of us taking it to the stage. I became a fan of Loren's playing from the moment that I first heard it, after happening upon a beat-up copy of In Pittsburgh circa 1992 in a used bin in the Dr. Wax record store in Chicago where my then-bandmate Bundy K. Brown worked. Everyone has taken a chance on a record because it looked interesting and wouldn't set you back too much. In that regard In Pittsburgh was the find of a lifetime. I had just switched from playing in a postpunk power trio (Bastro) to making mostly drummerless respect-your-neighbors music (Gastr del Sol), and Loren's pacing and touch and his lovely, unaffected compositions had me from the first listen. Not long after that, Jim O'Rourke and I reissued In Pittsburgh on our Dexter's Cigar label, and I fondly remember first meeting Loren in New York's Grand Central Station -- so glamorous for this country mouse -- and taking the train upstate with him where he shared a bill with Gastr del Sol. During soundcheck, Jim, Loren, and I played together for a bit and Loren's approach to the instrument was something that one could instantly sink into, the kind of situation where there are no mistakes. I still feel that when we play together."
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Book
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9798218849962
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200 pages. "Eternal Rhythm: Conversations & Travelations with Don Cherry and Graeme Ewens offers an intimate, free-flowing portrait of a legendary improviser and musical visionary. Drawn from priceless cassette-taped interviews gathered since 1979, the book is woven together by writer Graeme Ewens -- a confidant, travel companion, and close friend of Don Cherry. Through Ewens' vivid storytelling and Cherry's own reflections, Eternal Rhythm traces a life lived in constant motion -- artistically, spiritually, and geographically. The result is an unfiltered insight into the evolution and working life of a musician globally recognized as one of the most unique, innovative voices to emerge from the '60s free-jazz movement. It's a rich exploration of creativity without borders, capturing the essence of Cherry's expansive global musical journey. Printed in black and white and color.
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CD
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GREEN 001CD
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After years of fronting some of rock's most iconic acts, Erik Grönwall returns with a solo album titled Bad Bones. Known worldwide for his powerhouse vocals and commanding stage presence, Erik has made his mark as the frontman of Skid Row, H.E.A.T, and, more recently, touring across Europe and Japan (and recording a UFO anniversary album) providing lead vocals for guitar legend Michael Schenker. With Bad Bones, he now turns the focus fully inward, delivering a raw and honest statement that marks a bold new chapter in his career. "Bad Bones" single sets the tone for an album that is fearless, personal, and uncompromising. The album is built entirely on original material and represents a return to songwriting at its core -- honest, powerful, and deeply personal. Alongside his work on stage and in the studio, Erik has built an enormously successful YouTube channel, amassing millions of views and a global audience drawn to his powerful interpretations and authenticity. With Bad Bones, that same raw connection now fuels his own original voice. Also available on black vinyl (GREEN 001LP) and red splatter color vinyl (GREEN 001S-LP).
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CD
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TROST 249CD
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The debut recording from the generation spanning duo of Japanese legend Otomo Yoshihide, toggling between guitar and turntables, and rising saxophonist Kei Matsumaru, a native of Papua New Guinea, who moved to Tokyo after studying jazz at the Berkelee College of Music in Boston, where he's become a close collaborator of Eiko Ishibashi in addition to leading his own genre-defying solo projects. Both musicians casually ignore lines between jazz, experimental music, and noise, fashioning a bracing set of improvisations marked by visceral timbres, quicksilver gestural exchanges, and charged interactivity. Recorded live at Shinjuku PIT INN, Tokyo, Japan, April 13, 2024. Mixed by Otomo Yhoshihide, mastered by Lasse Marhaug. Photos by Kaoru Ashiwa. Artwork by Lasse Marhaug.
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LP
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GUESS 262LP
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Pioneering compilation/concept album from 1968 featuring key psychedelic bands from San Francisco. A real fest of fuzzed-out psychedelia , garage and folk-rock. Conceived by legendary (and controversial) producer Matthew Katz, Fifth Pipe Dream Volume I is a groundbreaking psychedelic album from 1968 that blurs the line between compilation and concept record. Featuring a rotating cast of Katz's San Francisco Sound artists, it encapsulates the creativity and experimental spirit of the Bay Area at its lysergic peak. Rather than a traditional various-artists compilation, Fifth Pipe Dream was designed as a unified listening experience -- multiple bands contributing to a single, flowing psychedelic journey. At a time when this format was virtually unheard of, Katz assembled a genre-defying release that still feels ahead of its time. The album brings together key underground acts from the late '60s psychedelic scene from San Francisco. The album moves seamlessly across styles while maintaining a cohesive, trippy atmosphere. Released in November 1968 under Katz's San Francisco Sound imprint, the album reflects both the creative explosion -- and the business controversies -- of the era. Katz famously controlled band names and recordings, leading to miscredited tracks and ongoing legal disputes with artists like Moby Grape and Jefferson Airplane. Despite (or because of) this, Fifth Pipe Dream stands as a fascinating snapshot of a scene in flux -- where artistic ambition, experimentation, and industry tensions collided. Though no follow-up volume ever appeared, Fifth Pipe Dream remains a cult cornerstone of the original San Francisco psychedelic era. Carefully remastered sound. Original artwork in gatefold sleeve. Four-panel color insert with detailed liner notes and photos/memorabilia. Featuring It's A Beautiful Day, San Francisco Sound House Band, Tripsichord Music Box, West Coast Natural Gas, and Black Swan.
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CD
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NOMORE 010CD
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Last copies, reduced price of this 2001 release. Soul Folks is a live date from 1998, a celebration of Frank Lowe's lyrical side. The group explodes with raw beauty and emotion. There is a sweet soul that enraptures you upon listening as the music swings -- hard. Featuring Bertha Hope (piano), Jack Walrath (trumpet), Steve Neil (bass) and Ralph Peterson (drums).
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LP
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MR 329LP
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2026 repress! LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton
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2CD BOX
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LMS 1725575
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Limited 2026 restock. Alongside Joy Division, The Durutti Column were amongst the first artists to be released by Factory Records. Their debut album, produced by Martin Hannett, showcased the filigree guitar work of Vini Reilly, awash with reverb and early experiments with synthesizers. It would be a first album of a five-decade career, in which The Durutti Column would quietly emerge as one of the most influential acts from the Manchester scene and beyond. To celebrate the album's 45th anniversary, London Records revisits the album with new editions, with audio sourced and remastered from the original tapes, with vinyl cut at half speed. 2CD version includes original album, bonus tracks, home and studio demos, and early live tracks (33 tracks total). Features two home demos exclusive to this format. Housed in a special hardback tall storybook edition (dimensions 147mm (w) x 196mm (h)). Includes 48p page booklet, restored 1985 "cassette edition" artwork with textured "tall book" sleeve, and the exact textured card for the outer sleeve has been accurately sourced. Features three essays by The Durutti Column/Factory Records expert James Nice, Primal Scream's Bobby Gillespie and MOJO editor Ian Harrison.
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LP
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ESPDISK 3026LP
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2026 repress. Legendary Sun Ra bassist (Ronnie Boykins 1935-1980) stepped out on his own for his first and only release as a leader on The Will Come, Is Now. He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins's solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins's six originals create a variety of moods and textures that not only evoke the music of Sun Ra but also reflect Boykins's own sensibilities as an artist. Original pressings, made just before ESP-Disk' went on hiatus for forty years and thus less common that other ESP LPs, often go for upwards of $150. 180 gram vinyl features original artwork.
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LP
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WWSLP 096LP
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2026 repress; LP version. Wewantsounds presents the release of one of Japan's most coveted albums of the '70s, Mangekyou by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal-clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time Mangekyou is available outside of Japan, featuring remastered audio, original artwork and a four-page insert including new liner notes by Paul Bowler. Yoshiko Sai holds a unique status in the Japanese music landscape. The Japanese singer songwriter made a strong impression with her blend of ethereal melodies, poetic lyrics and crystalline singing. A private, almost enigmatic artist, Sai only made four highly praised albums during the '70s and all but retired from the music industry in 1979, which adds to the mystic surrounding her persona. Only thanks to the persistence of Japanese guitarist Jojo Hiroshige from the noise group Hijokaidan did she come out of retirement to record new material in the 2000s. She was originally noticed by key record labels and swiftly signed to Black Records/Teichiku. This led to the recording of Mangekyou ("Kaleidoscope"), in the Spring of 1975. While she penned all the material for Mangekyou, the arrangements were assigned to Ace producer Yuji Ohno, one of the top arrangers in Tokyo at the time. Ohno helped craft the album's superb funk sound and also played keyboards. The album displays Sai's unique craftmanship when it comes to songwriting and alternates between mid and up-tempo songs such as "Yoru No Sei" (Night Spirit) and "Fuyu No Chikadou" (Winter Underpass) and more atmospheric ballads such as "Tsubaki Wa Ochita Kaya" (Did The Camellia Fall?) or "Yukionna" (Snow Woman). It's worth noting Ohno blended his rich arrangements with elements of Japanese traditional music, with the use of such instruments as the Shakuhachi (bamboo flute), Tsuzumi (hand drum), and Biwa (wooden lute), giving the music its unique twist. All in all, listening to Mangekyou is a unique experience and it's easy to see why the album and Yoshiko Sai garnered such a cult following over the years.
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LP
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EB 129RED-LP
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Red color vinyl. After falling out with Sir Coxsone, the legendary head of the Kingston label Studio One, Lee Perry first founded his own band and then, in 1973, set up his own studio in his backyard. What was born out of necessity developed into a unique success story. With both the Upsetters and the Black Ark, Perry made music history -- most notably with the 1976 release of the album Super Ape, on which he made the genre of dub bubble and boil from the mixing desk in previously unheard ways. For Perry, the studio is like a living organism. Whether he truly experiences it that way or simply lets too much ganja go up in smoke, for Perry the equipment is organic, empathetic, and intelligent. The catch is that the results sound exactly like that as well. Long before sampling was invented, he layered tracks of deep basslines, echoes, and reverb with various self-recorded sound sequences -- often played in reverse -- on top of, into, and beneath each other. In other words, Perry was the first producer who made the music instead of the band. Among other things, this earned him the title "Salvador Dali of Dub."
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LP
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BB 502LP
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LP version. When Conal was released in 1981 on the Norwegian independent label Uniton Records with an initial run of 4,000 LPs, Schnitzler had already long been known beyond the borders of the Federal Republic of Germany and was now appreciated worldwide as a media artist and musician. In addition to the many cassette and LP editions he released himself, international labels were now increasingly releasing his music. In the same year as Conal, for example, the album Control was released on the American label DYS, followed in 1986 by Concert in the USA and Consequenz 2 in Spain. Schnitzler worked tirelessly and his total work of art, including his music, was becoming increasingly multifaceted. Conal is a good example of this development.
"The two tracks, each around 21 minutes long ('N1' and 'N2'), are not cast from the same mold, but consist of several parts blended together, which are not noted as such in the credits. This sequence creates the character of a narrative divided into several chapters, which, however, does not offer the listener a concrete plot. Schnitzler was not a storyteller. When he divides long pieces into clearly distinguishable sections, as he does here in Conal, it is in order to create a kind of panoramic view of his current work phase in condensed form. The complexity of the individual sections and the extraordinarily skillful and technically flawless crossfades and layering suggest that Conal was once again produced in Peter Baumann's studio. Although the good relationship between the two musicians never led to a musical collaboration, Baumann repeatedly made his extremely well-equipped Paragon Studio available to Schnitzler. It is also conceivable that Baumann and his brilliant sound engineer Will Roper provided useful technical suggestions for the realization of Schnitzler's music. Conal is one of those albums that, when it was released in the early 1980s, astonished Schnitzler listeners in a positive way: Schnitzler had once again dared to take an artistic step forward. It is hard to comprehend that this restless, uncompromising artist released one high-caliber album after another in relatively quick succession. For he was not only a musician, but also a media artist, performer and author of art theory texts. Fortunately, Conal is one of the treasures from his catalogue of works, and I have already asked elsewhere: How many other treasures are waiting to be rediscovered. The grand mosaic that is Schnitzler still has gaps, even when the contours are clearly visible." --Asmus Tietchens, 2025
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LP
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GUESS 277LP
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Writing On The Wall were a legendary Scottish underground psych/prog band whose explosive live reputation rivaled the early UK heavyweights of the late '60s/early '70s. From Edinburgh soul rebels to theatrical psychedelic warriors, they were signed to the Middle Earth label, releasing their sole album, The Power Of The Picts, in 1969. Sadly, despite critical praise, major live popularity and opportunities to break internationally, the band's career became trapped in management disputes, failed label deals and bad luck, leaving much of their finest material unreleased for decades. This compilation gathers some of that material: their killer non-LP "Lucifer Corpus / Child On A Crossing" 45; early psych stuff including the rare Jury acetate; the 7-minute Mellotron-fueled "Buffalo" and rare TV broadcast recordings. Comes in hard cardboard period sleeve. Includes insert with track-by track annotations by original member Jimmy Hush and rare photos.
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LP
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HZR 236LP
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"A true Ohio outsider legend in every sense, Tommy Jay along with his producer/co-hort Mike Rep were recording like crazy in the mid-1970s. Here is an unreleased 1974 studio album with another book of classics intertwined within, and if you've been following Tommy's hypnotic trajectory with Mike Rep, True Believers, and the Harrisburg Players over the years, it's another long-awaited reward for your faith in this underground system you're invested in. Pure Ohio Gold as they say, and as a recently unearthed recording, it is presented it for the first time anywhere, solidifying Tommy Jay's pillar-like influence in the sick and twisted Harrisburg underground. Forever underrated, Tommy shines hard here for the singer-songwriter era, keeping that creeping 'punk edge' just under the surface for extra tension, even in 1974. In another world Tommy Jay would be as well-known as Skip Spence or Ron House, but his star still rises, albeit slowly and surely. Much like a companion LP to The Grim-O-Comix Sequence and his essential Tall Tales of Trauma LP, Short Sagas of Sorrow fills yet another void with its deep lo-fi goodness that has no problem hitting all of your unprotected sweet spots."
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