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Recent Best Sellers
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9798993404004
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270 pages. Soft-cover, fully illustrated. 196 x 268mm. Edited by Eva Prinz. Preface by Neneh Cherry. Afterword by Joe McPhee. New York, NY, USA -- musicians Mats Gustafsson, Neneh Cherry, Joe McPhee, and Thurston Moore, along with music writer Byron Coley, have contributed to an illustrated collector's guide to records -- replete with 270 pages of beatific album art, labels, sleeve notes and collector musings on their life-long obsessions of record collecting, with a distinct focus on the recorded history of free jazz and free improvisation. Compiling personal archives of their selections of recordings which could be contenders within a list defined by a parameter of 100 of the most essential releases presented in chronological order, acknowledging the music to be preternaturally noncompetitive, non-hierarchical, and of equal value, Now Jazz Now is a book for all adventurous music lovers, whether ravenous record collectors, avant-garde jazz enthusiasts, students of radical culture, or simply curiosity seekers in wonder to this music's illustrious history and lineage. The gleanings of Cherry, Coley, Gustafsson, McPhee and Moore will enlighten, delight, amuse, and bemuse all who follow their streams of consciousness, knowledge, perception, and, most importantly, unbridled respect and regard for a genre of music dedicated to the dignity of practicing freedom. All copies of first printing distributed by Forced Exposure in the USA will have an exclusive bookplate signed by Thurston Moore, Byron Coley and Mats Gustafsson; edition of 999.
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BB 497LP
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LP version. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.
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LP
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AKENAT 006LP
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Volume 2 of this series focused on the amazing sonic treasures Bollywood music has to offer. This second volume is centered on the incredible instrumental gems that populate Hindi cinema soundtracks. 14 tracks of pure Bollywood instrumental genius to continue the dive into the mind-blowing world of Hindi cinema music. Covering a time span of three decades, this compilation mixes well-known names with lesser-known talents from the endlessly thrilling vaults of Hindi movie soundtracks and throws a couple of delicious covers for a truly unforgettable sonic experience. Includes liner notes. Featuring Charanjit Singh, R.D. Burman, Sapan & Jagmohan, Raghunath Seth, Chic Chocolate, S. D. Burman, Van Shipley, Kalyanji Anandji, O.P. Nayyar, Govind Naresh, Usha Khanna, S. Hazarasingh, Babla & His Orchestra, and Laxmikant-Pyarelal.
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SR 574CD
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DVD is NTSC format, region-free. Never released before. In 2009, the Triton venue (near Paris, France) was sold out to celebrate the 35th anniversary of Univers Zéro, an iconic band of the Rock In Opposition movement. These two exceptional concerts highlighted a radical and unique style of music, at the crossroads of new music and chamber rock, skillfully blending acoustic and electric instruments, as heard on the cult album Ceux du Dehors. Around Daniel Denis (drums, composition), Michel Berckmans (oboe, bassoon), and Andy Kirk (keyboards and guitar), three historical figures of the group, complemented by four other talented musicians, offered an intense multimedia show, intertwining a condensed version of key pieces from the repertoire with more recent compositions. These concerts were part of a key phase in which the band offered one of its most-accomplished line-ups, taking the opportunity to establish its sound and image. The line-up had undergone a few changes since its reformation in 2004, with Pierre Chevalier (from the band Présent) and a new bassist joining the ensemble. This highlight has now resulted in the release of a live CD/DVD, a precious testimony to the band's artistic resurgence and stage energy.
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LP
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WWSLP 112LP
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LP version. Wewantsounds presents the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan's leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan's music scene during the decade. Compiled by Nick Luscombe -- who previously curated Tokyo Dreaming for the label -- the set marks the first time Hitomi's music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny's work and its role in the evolution of Japanese funk and groove culture. Hitomi "Penny" Tohyama was one of the few female singers to fully embrace Japan's burgeoning funk and boogie movement of the 1980s. Born in Okinawa in 1957 and raised partly in California, she developed a cosmopolitan outlook that would shape her music. At a time when the country's pop scene was shifting toward slick, funk-oriented productions, Penny crafted a distinctive style that fused boogie, disco, and funk with her confident, soulful delivery. Her albums for Nippon Columbia recorded in the '80s capture this vibrant moment, combining sophisticated studio craft with the pulse of Tokyo's nightlife. The selection includes cult classics such as "Sexy Robot," "Love is the Competition," and "Instant Polaroid," with lesser-known gems such as "Exotic Yokogao" and "I Love You Shika Omoitsukanai." Together they showcase the singer's versatility, moving effortlessly between syncopated upbeat floorfillers and chilled mid-tempo grooves. While her music earned recognition at home, these releases were never widely available outside Japan and slowly became prized finds among DJs and collectors. Tokyo Funk Diva presents highlights from this catalogue for the first time in an international release. Compiled by broadcaster and tastemaker Nick Luscombe, the selection has been newly remastered and comes with Luscombe's liner notes, retracing Penny's career and her role in the evolution of Japanese boogie and disco. As he writes in the liner notes, "It's this deep musical craftsmanship -- both in the songwriting and performances -- that gives Penny Tohyama's work its lasting power. Her music feels as fresh and relevant today as it did when it was first released." With its mix of sharp production, irresistible rhythms, and Penny's unmistakable presence, Tokyo Funk Diva serves both as a long overdue introduction to one of Japan's original funk queens.
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SE 4617X-LP
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2025 restock. "The album was produced by the band themselves, and issued in two different stereo mixes. The more widely distributed mix is the one done by MGM/Verve staff engineer Val Valentin. The other mix was done by Lou Reed, boosting his vocals and guitar solos, while reducing the level of other instruments. This version was dubbed the 'Closet Mix' by Sterling Morrison, because it sounded to him as if it had been recorded in a closet. The most dramatic difference is that the two versions use entirely different performances of 'Some Kinda Love', both taken from the same recording sessions."
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AKENAT 002LP
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2025 repress. Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and Latin music, to rock-and-roll, rhythm-and-blues, surf, psychedelia, soul, and many more) the few pre 75 Cambodian recordings that survived -- most of them were destroyed -- are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years. Gathered on Cambodian Nuggets are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made. Features Ros Serey Sothea, Yol Aularong, Pan Ron, Tet Somnang & Meas Samon, Houy Meas & Dara Chom Chan, Choun Malai, Sinn Sisamouth, Liev Tuk, Thra Kha Band, Yol Aularong & Liev Tuk, Eng Nary, and Baksey Cham Krong + Mol Kamach. Edition of 500.
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LP
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HJR 088LP
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Gospel melts into soul in this dazzling collection of sides originally released by the Chess subsidiary label Checker. Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel -- thumping bass and pounding drums, bluesy guitar and horns -- and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house; Morris Jennings, drummer on Curtis' "Superfly" and Terry Callier's "What Color Is Love." Louis Satterfield from The Pharaohs and Earth Wind & Fire. Ramsey Lewis' guitarist Byron Gregory; Phil Upchurch; Laura Lee; a protege of Willie Dixon; engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. Focused on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires' "Groovin' With Jesus," working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle's title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks' achingly timely choral call-to-arms, "Stand Up America, Don't Be Afraid"; the East St Louis Gospelettes' heart-stopping, fathoms-deep rendition of Bobby Bland's "I'll Take Care Of You." A beautiful gatefold sleeve; a full-color booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill. Also featuring The Meditation Singers, Charlie Brown, Martha Bass, The Williams Singers, The Faithful Wonders, The Salem Travelers, Power And Light Choral Ensemble, The Masonic Wonders, The Majestic Choir & The Soul Stirrers, The Jordan Singers, Lucy Rodgers, The Kindly Shepherds, The Inspirational Singers, The Bells Of Joy, and Stevie Hawkins.
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MR 491LP
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European edition with exclusive Ed Colver photo-poster, width 60 cm x height 30 cm. Few records from the American punk underground have echoed as far and wide -- or as enduringly -- as the Adolescents' self-titled debut, first released by Frontier Records in 1981. Known to fans simply as "The Blue Album," this landmark release captured the raw pulse of Southern California's teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk's first wave. Formed in Fullerton, California, Adolescents brought together members of earlier OC punk outfits like Social Distortion and Agent Orange, fusing their varied influences into something uniquely their own. With songs like "Amoeba," "Kids of the Black Hole," and "No Way," the album offered more than just speed and volume -- it spoke directly to suburban alienation, youthful frustration, and the search for identity in a world that felt increasingly hostile and conformist. This new edition offers longtime listeners and new fans alike a chance to revisit -- or discover -- an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, Adolescents remains a vital listen, as relevant today as it was over four decades ago. It's an album that didn't just reflect its moment -- it shaped what punk could be: loud, smart, emotional, and unflinchingly real. Reissued with care and respect for its original spirit, "The Blue Album" stands not only as a milestone in punk history, but as a testament to the enduring power of youth in revolt.
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CD
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FFL 101CD
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On "Cold Sweat," James Brown famously called to "give the drummer some." In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson's PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle. Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet's Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground. Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal's development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label. "We couldn't get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris," Jamal recalled in a Cadence interview with Ken Weiss. "Within a few weeks, I had a few articles and I did a record date. It didn't make me feel good about America." That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu's The Complete PALM Recordings, 1973-1974. Jamal's record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes's wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal's last word there were "The Creator has a master plan/drum dance to the motherland." "Give the vibes some" could be added to this programmatic statement.
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CD
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SR 559CD
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Uzed is the fourth album by Belgian band Univers Zero. It was released three years after Ceux du Dehors, due to a change in line-up and a new repertoire, although the EP Crawling Wind had been released in the meantime. The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in "Célesta (For Chantal)," and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. With Dirk Descheemaeker on clarinet and soprano saxophone and the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. Uzed is entirely composed and arranged by Daniel Denis. The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out Uzed, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024. Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
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LP
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GUESS 273LP
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Psychedelic rock holy grail. Hailing from Tel Aviv, the Churchills blended Anglo-American psychedelia with Middle Eastern motifs. The band was in fact a cosmopolitan collective: vocalist Stan Solomon was Canadian, guitarist Robb Huxley came from England, while the rest of the group -- Haim Romano on guitar and mandolin, Michael 'Miki' Gavrielov on bass, and Ami Trebich on drums -- were all from Israel. Released in 1969, Churchills can be considered the first truly psychedelic rock album produced and released in Israel during the 1960s. At a time when Israeli music was dominated by folk and pop, the Churchills' English-language, fuzz-drenched, mind-bending sound and studio experimentation was wildly ahead of its time. Impossible to find in its original form, Guerssen presents a new vinyl reissue of such legendary album, sourced from the original master tapes. Includes eight-page insert with detailed liner notes by Mike Stax with input by original member Robb Huxley and rare photos.
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WWSLP 105LP
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LP version. Wewantsounds presents the release of Akiko Yano's cult 1979 album 7 O'Clock in Tokyo, recorded live in September 1978 at a pivotal moment in Japanese music history, just as Yellow Magic Orchestra was about to take the world by storm (Yano would tour the world with the group in 1979). Featuring a very funky Yano performance accompanied by Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi, plus Tatsuro Yamashita and Minako Yoshida, the album is presented outside Japan for the first time, with remastered audio, original artwork, and a four-page insert including new liner notes by Paul Bowler. Akiko Yano holds a unique place in Japan's musical history. Emerging in the mid-'70s while still in her early 20s, she quickly gained attention for her inventive songwriting, versatile singing, playful melodies, and genre-blending mix of pop, jazz, funk, and experimental sounds. Her influence has since reached far beyond Japan, earning her a devoted international following that includes Mac DeMarco, Clairo, and Jessy Lanza. By the late '70s, she had become closely connected with the members of Yellow Magic Orchestra, joining them on their first international tour in 1979. 7 O'Clock in Tokyo, captured live in September 1978, features Yano with a band including the three musicians performing a concert to support her third studio album, To-Ki-Me-Ki, just as YMO was preparing to take the world stage with their debut album. This performance offers a compelling snapshot of a pivotal moment in Japanese pop, when musical boundaries were being explored and new sounds were emerging. The concert highlights Yano's distinctive blend of Japanese pop and funk, with a superb rendition of "To-Ki-Me-Ki's" title track and "Katarun Kararan" from the same album, plus "Satchan," a playful piece performed with Yano accompanying herself on acoustic piano. The album closes with "Walk on the Way of Life," an eight-minute funky finale that brings the musicians together in a groovy performance, underlining both their versatility and the energy of the show.
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2LP
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INCIENSO 029LP
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An intimate, mesmerizing record about loss and change, sorry i thought you were someone else is K-LONE's most personal album to date and his debut release on Incienso. Made after his father's passing, the album became a place of escape and reflection. It's a warm, hypnotic space to drift within.
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LP
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VAMPI 336LP
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Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, Onda Esotérica. Recorded at New Orleans' Marigny Studios, the album deepens their signature psychedelic cumbia amazónica sound with exotic textures, vintage organ swells, and inventive reinterpretations of classics such as "Cumbia Arabe." As KUTX puts it, "Listening to Money Chicha feels a bit like taking a hit of acid, downing a couple shots of Tequila, and hopping a plane to 1960s Peru -- it's the kind of music that rewires your brain, awakens your spirit animal, and takes you places you've never been." Add in some South Texas swagger and bruising Latin funk, and Onda Esotérica emerges as the band's most adventurous and transportive work to date -- a kaleidoscopic journey equal parts ritual and revelation.
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LP
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WRWTFWW 109LP
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WRWTFWW Records presents the limited-edition vinyl reissue of Natural Sonic, the groundbreaking 1990 environmental percussion album by Japanese composer and performer Yoshiaki Ochi. Long a hidden gem of the kankyō ongaku movement, Natural Sonic finally returns in its full analog glory, housed in a heavyweight sleeve with obi and carefully remastered from the original archives of Wacoal Art Center/Spiral's visionary NEWSIC label. Originally released only in Japan at the dawn of the 1990s, Natural Sonic is a mesmerizing exploration of earthly sound and rhythm -- a sonic tapestry woven from wood, water, and stone, and skin. Ochi, who at the time was the in-house composer and performer for world-renowned designer Issey Miyake, created a series of elemental pieces that blur the line between avant-garde percussion, ritual music, and environmental sound art. The result is both deeply physical and profoundly meditative -- an album that breathes with nature itself. Echoing the organic minimalism of Midori Takada's Through the Looking Glass and the ecological grandeur of Geinoh Yamashirogumi's Ecophony Gaia, Ochi's compositions open portals into primal landscapes, evoking forests, rivers, and stones in flux. Part of NEWSIC's celebrated experimental catalog -- alongside Yoshio Ojima's Une Collection des Chaînons, Motohiko Hamase's #Notes of Forestry, and Satsuki Shibano's Rendez-Vous -- Natural Sonic now finds new life for contemporary listeners seeking sound that feels both timeless and vital. A singular album of resonance and restraint, Natural Sonic is a treasure from the golden age of Japanese environmental music, finally available again over three decades later.
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BB 493LP
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LP version. So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.
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FTR 812LP
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"46 years after I first heard Stare Kits on a cassette, they finally have an LP. About time! This NYC quartet's name often comes up in discussions of the No Wave era, which make sense. The members -- Angela Jaeger, Amy Rigby, Michael McMahon, and Bob Gurevics -- were all fans of the scene, and involved with various aspects of TR3, one of No Wave's pre-eminent showcases. UT played their first gig opening for Stare Kits. Rick Brown (Blinding Headache, Information, etc.) played guest sax with them. Julia Gorton used Amy as a photo model almost as often as she used Lydia Lunch, and so on. But despite such connections they were not a No Wave band. Stare Kits's music certainly use instrumental elements in line with No Wave's ethos, but these're part of a much larger mix. The band's basic approach is much rockier and punkier. Bob's guitar parts are more in the tradition of Quine and Reed than they are Lydian, the McMahon/Rigby's rhythm section is more primitive than martial, and Angela's vocals are goddamn melodic. Closer musical comparisons might be made to a various aspects of UK bands from Penetration to Wire to Deaf School to X-Ray Spex. There's a soupçon of a '79 UK DIY rattle to some of the tunes as well. But there is an ineffable something lurking in their collective soul that keeps Stare Kits's instrumental sound grounded in the NYC art-punk/street-rock continuum. Angela's vocals may resemble Penelope Houston's at moments but there's not much overt political content in Stare Kits's lyrics. An eclectic mix of elements? Yeah, and it sounds fucking great. The saga of Stare Kits was laid out pretty well in Angela's excellent book, I Feel Famous (Hat & Beard Press 2025) and was also part of Amy McMahon's equally dandy Girl to City (Southern Domestic 2019). Now's your chance to hear what their hubbub was all about." --Byron Coley, 2025
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MTE 083LP
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Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS). After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo's #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside. One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band's more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams' love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow. Speaking to the history & the inspirations behind the album, Abrams offers: "We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school." Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon." The core NIS ensemble heard on Perseverance Flow always address Abrams' writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams' invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time. Refracting the band's signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once -- "energetically nutritious" (October 2025 Issue 500 The Wire) supernatural information society.
"Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears" (Abrams).
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2LP
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LMS 1725594
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Double LP version. 2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.
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2LP
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LMS 1725595
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Double LP version. Yellow and magenta color vinyl. 2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.
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LP
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KOM 503LP
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LP version. For the 26th time, the most consistent of all ambient compilations, in a constant flux of static change, is released on Kompakt. Joining good friends from the early days and reliable confidants are some new additions to the non-hierarchical charts of contemplative rapture culture. Leading the way is Micå, a Japanese electronic musician whose chiseled, graceful musical style has made it onto the new collection with two pieces. Also making his debut is Richard Ojijo, a seasoned sound engineer known, among other things, for his long-standing collaboration with the artist Marcel Odenbach and the Cologne-based label Magazine. Oskø aka Max Hytrek, a multi-talented newcomer to Kompakt and the music scene, debuts with his rapturously ecstatic piece "Ar Vag." He's followed by Sebastian Mullaert, appearing for the second time -- this time teamed up with Sebastian Lilja aka Hush Forever. After his surprise return after a 20 year hiatus, Kompakt are delighted that Tetsuo Sakae aka Pass Into Silence is back again this year with one of his distinctive sound gems. As are Dirk Leyers (Closer Musik) and Mikkel Metal. "Erlösung" (Redemption) is the title of Segensklang's closing track. A kind of ambient bolero into infinity. Or at least until next year... And what would Pop Ambient be without the iconic, artistic cover design of Veronika Unland, who once again, in her unmistakable way, says through the digital flower: The eye always listens. Also featuring Ümit Han, Würden & Schäfer, Luis Reich, Morgen Wurde, Tetsuroh Konishi, Thore Pfeiffer/Niko Tzoukmanis, Joachim Spieth, and Blank Gloss.
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LP
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GUESS 278LP
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50th Anniversary edition of the legendary Eduardo Bort album, the crown jewel of Spanish hard-prog and psychedelic hard-rock from the '70s. Recorded between 1973 and 1974 and released in 1975 as part of Movieplay's legendary Gong series, Eduardo Bort's debut stands as one of the most visionary and legendary works in the birth of Spanish progressive rock. Conceived in Valencia after years of performing across Europe and enduring several failed recording attempts, Bort set out to create, without compromise or commercial restraint, an album that fused fantastic literature, instrumental virtuosity, and sonic experimentation. Inspired by the dreamlike worlds of H. P. Lovecraft and Lord Dunsany, the Valencian musician composed a conceptual suite based on the imaginary river Yann, weaving together passages of pure prog-rock, psychedelia, hard-rock, and cosmic poetry. He surrounded himself with an exceptional band -- José Soriano, Marino Hernández, Vicente Alcañiz, and Fony -- with whom he recorded the complex demos that would eventually shape the album. The sessions at Audiofilm Studios in Madrid, featuring dazzling production and a technical arsenal previously unheard of in Spain (Mellotron, Moog, Hammond organ, Rhodes piano), resulted in a sound so advanced that no local label knew what to do with it. Even EMI UK, deeply impressed by the recording, offered to release it internationally -- but the project was never finalized. Eventually, the album appeared quietly in 1975 through Movieplay, though over time it has come to be recognized worldwide as an absolute masterpiece of progressive and psychedelic rock. Featuring original artwork in gatefold sleeve. Sourced from the original masters. Includes insert with detailed liner notes (Spanish only) and photos.
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LP
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CT 115LP
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2025 repress. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".
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2CD
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LMS 1725592
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2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. Double CD version includes 6-page, 4/4 digisleeve with 3 wallets, as well as 12-page booklet and marketing sticker. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.
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NA 6105LP
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2025 repress. "Pressed on opaque orange vinyl. This landmark recording from Now-Again's comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-, Afro-rock ensemble WITCH, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect -- restored and remastered from the original master tapes. WITCH's musical arc is contained to a five-year span and, in retrospect, is a logical one. The band's third album, Lazy Bones!!, is the band's masterpiece -- a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk."
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ACOLOUR 053LP
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Going back to sleep... is a lovingly gathered suite of windswept, heart-bursting contemporary DIY indie-pop and folk including new songs by Carla dal Forno, The Reds, Pinks and Purples, Lewsberg-related duo The Hobknobs and Rat Columns, next to luminaries and newcomers Daily Toll, Who Cares?, The Lewers, The Sprigs, Drunk Elk, I Can I Can't, The Gabys, and Chateau. A beautiful contemporary companion of I Won't Have To Think About You (2017). Focused on Australian artists predominantly recording and performing in intimate spaces, the compilation's sentiment extends to likeminded artists around the world. A feeling of introspection that seems impossible to achieve when recording for anyone but yourself. A trip through the wonderfully diverse international pop underground, or more simply, a group of music makers performing on A Colourful Storm's imaginary stage.
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2LP
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PP 010LP
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"Four live versions of 'Eyes Of The World' pulled from wonderful quality audience tapes: 6/8/74, 2/3/78, 6/9/76, and 5/13/83. Hand screen printed psychedelic sleeves. Super limited press of 200 copies."
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LP
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OUTS 047LP
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Milton Nascimento's immaculate melodies and harmonies resound in full tone and color throughout this magnificent 1980 TV performance. A marvelous set of songs performed with masterful sensitivity by Nascimento on vocals and acoustic guitar along with one of his historical partners, the great pianist, arranger Wagner Tiso on piano and organ.
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LP
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VAMPI 329LP
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Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic "Unwind Yourself," a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s -- alongside iconic names like Lyn Collins and Vicki Anderson -- Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like "You Got to Have a Job" and the endlessly sampled "Unwind Yourself" have only grown in stature over the decades. Her album, It's My Thing, dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself -- who also contributed to most of the songwriting -- the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of "It's My Thing" -- a bold response to the Isley Brothers' "It's Your Thing" -- Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with "If You Love Me," a soul-soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like "Unwind Yourself." Decades later, It's My Thing continues to inspire, sampled by producers and treasured by collectors -- a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.
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LP
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VAMPI 160LP
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2025 repress; LP version. Includes "Todo en La Vida", the track featured in the Netflix Narcos series, "an ode to patience propelled by a yearning riff that wouldn't have been out of place in a Gainsbourg perv-jam").
The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medellín which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medellín. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogotá, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.
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MR 492LP
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Just as the hippie era came to an end in America, a second '60s began. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music "heavy," because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-'70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, "Watch Out," was the anthem of the counterculture. Following previous collaborations with Now-Again Records, Munster are thrilled to reissue now Wells Fargo's Watch Out!, a curated collection of songs intertwining rock and funk with Zimbabwean folkloric melodies, taken from the band 45s discography, never available outside of Zimbabwe at the time the singles were originally released.
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VAMPI 318LP
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Repressed. Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes "Ele E Ela," as sampled on Jay-Z's "Thank You," as well as some of his most popular songs like "Freio Aerodinamico" and "Os Grilos," swinging between sophistication and groove. Remastered from the original tapes and pressed on 180g vinyl, this release is part of Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. Marcos Valle was originally released in 1970 and features a dynamic musical backing from some of Brazil's most gifted players.
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CD
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WHYT 083GREY-CD
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Grey CD version. New York-based artist James K returns with Friend. This album is full of electric pop anthems that blends ear-worming melodies with peak-time breaks, buzzing powerpunk guitars and a classic rave pulse, with K's signature enchanting vocals playfully spitting emotion. It's a hallucinatory pleasure, tearing through your body and mind. "Play" rushes with a rebellion of friends -- an electro fever daydream waking up everywhere you go. Hot off extensive tours worldwide, playing the likes of Pitchfork Festival, Dekmantel, iii Points, and Mutek, following in the footsteps of her last two critically acclaimed singles Friend comes on AD 93. RIYL: Cocteau Twins, Yves Tumor, Prodigy, Oklou, Grimes. Also available on black (WHYT 083LP) and transparent vinyl (WHYT 083TR-LP).
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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+CD
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LR 340LP
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2025 repress. Originally released in 1969, this album is one of the most significant in Brazilian musical history, spearheading the musical Tropicalia revolution lead by Brazilian legends Caetano Veloso and Gilberto Gil, not to mention Gal Costa and mutant rockers Os Mutantes. Not only were the artists experimenting with the music, they were also making a very strong political statement that spoke out very harshly against the military regime in Brazil at the time. This album helped land Veloso and Gil a brief stint in jail and eventually in political exile in the UK. Includes bonus CD of the album.
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LP
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ATA 018LP
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2025 repress; originally released in 2020. The Sorcerers began working on a new album during the winter of 2018 and it was during the writing sessions for this album that the concept for the LP began to take shape. The name for the album was taken from the title of a National Geographic article read by bassist Neil Innes and was used as the starting point for the entire concept. The library music scene of the '60s and '70s has always been an intrinsic part of the sound of ATA Records and so it made perfect sense to envisage the album as a soundtrack, given the cinematic quality of The Sorcerers music. Each track was written with a particular scene in mind and the music was then shaped in the studio to best reflect the essence of that scene. Drums, bass and percussion provide the solid foundation onto which flutes, bass clarinets, xylophones, and vibraphones add the atmospheric and melodic counterpoint, deftly weaving between one another to conjure up images of the unforgiving environment of the dense jungle, unknown eyes watching the protagonists of the imagined film as they make their way towards their ultimate goal, their pursuit by unseen assailants, the arcane mysticism of undiscovered cargo cultists and the ancient ruins of long passed civilizations.
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CD
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BB 497CD
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By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening. Also available on black vinyl (BB 497LP) and clear vinyl (BB 497LTD-LP).
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LP
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WWSLP 113LP
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Wewantsounds collaborates with cult musician Yusuf Mumin of the Black Unity Trio to unveil previously unreleased music from his personal archive. Following 2024's acclaimed Black Artist Group release, this new instalment continues to unearth hidden treasures from the Great Black Music tradition. Although the exact recording dates remain unknown, the music here is a powerful blend of serene spiritual jazz and fiery sonic intensity. All tracks have been remastered for vinyl by Colorsound Studio and the release also includes a two-page insert featuring new liner notes by Mumin and Pierre Crépon. In 1968, Yusuf Mumin was the blistering alto saxophone voice of the Black Unity Trio, who recorded the cult privately pressed album Al-Fatihah, one of the most sought-after albums in the genre. After extensive but unsuccessful searches for additional material by the group, Journey to the Ancient finally offers more unheard music from Yusuf Mumin. The album presented here draws from a selection of recordings preserved in Mumin's private collection, revealing previously unheard layers of his experimental vision. Mumin performs under both his own name and, when multitracking revelatory double bass parts, the pseudonym Dan Nuby. Born Joseph W. Phillips in 1944, Mumin became a key figure in Cleveland's radical free jazz underground of the 1960s. Deeply influenced by spiritual and esoteric traditions, Mumin was originally drawn to "outside" playing by the sonic explorations of Yusef Lateef. Shortly after Albert Ayler's U.S. recording debut with trumpeter Norman Howard, Howard and Mumin were co-leading a group in Cleveland. Mumin's legacy was cemented through his collaborations with Abdul Wadud and Hasan Shahid as the Black Unity Trio. The release includes a two-page insert featuring interview-based liner notes by Mumin and Crépon, offering fresh insight into the great history of the Cleveland scene. Journey to the Ancient continues Wewantsounds' mission to unearth the hidden treasures of such visionary jazz musicians, and it's an honor to finally present Yusuf Mumin's cutting-edge work for the first time after it remained unheard in the vault for decades.
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SR 559LP
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LP version. Uzed is the fourth album by Belgian band Univers Zero. It was released three years after Ceux du Dehors, due to a change in line-up and a new repertoire, although the EP Crawling Wind had been released in the meantime. The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in "Célesta (For Chantal)," and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. With Dirk Descheemaeker on clarinet and soprano saxophone and the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. Uzed is entirely composed and arranged by Daniel Denis. The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out Uzed, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024. Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
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CVSDLP 016LP
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Who was that masked man? This question is on many lips having seen and heard the Defiant Jazz episode of the hit TV show Severance, the one in which the show's protagonists are allowed a company dance party, accompanied by a light show and increasingly wild, funky, saxophone-driven music. The masked man? None other than Joe McPhee, Poughkeepsie, New York's best kept secret, one of the great figures of contemporary improvised music. A living legend looming large, you might say. And now a presence in households around the globe. This "taster" is more than a "best of" record. Defiant Jazz includes "Shakey Jake," the dance party track, a funky upsetter from 1970 that shimmies and rolls at the same time it builds and explodes. The vinyl-only compilation then moves across time, touching on another early track, the spiritual jazz classic "Astral Spirits," from the 1972 CJR LP Trinity and a 1983 version of the Sonny Rollins tune "Oleo" from the hat Hut LP of the same name, with psychedelic guitar outbursts courtesy of Raymond Boni. The second side opens with "I See You Baby Shakin' That Ass," a self-proclaimed "throwdown" with McPhee as emcee and flamethrowing saxophonist, fronting two bands, Cato Salsa Experience and The Thing. A dance floor jack-in-the-box for anyone unlucky enough not to have heard it yet. The program concludes with a sensitive tenor/drum duet between McPhee and Paal Nilssen-Love. The cover features previously unpublished vintage photos of McPhee. If you already know Mr. McPhee's music, this compilation is designed to fulfill, and if you're new to him, it will thrill and chill. Win-win.
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BEWITH 194LP
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140gr vinyl. A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It's one of Be With's favorite ever LPs and it's a complete honor to be giving it the reissue treatment. Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favorite "Step Out Of My Dream." The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King, and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train. The album kicks off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire. Side B is perfection. It kicks off with the NTS favorite "Love Rescue," a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP. Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic. The breezy "It's Too Late" is a perfect slow jam before this remarkable set is rounded out with the sickest proto-acid synth-drizzled jam, "Stimulation"; a perfect slab of '80s funk and a strutting vocoder-laced funk workout. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland.
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12"
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RS 075EP
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Two jewels in the crown of the soulful electronic music scene in NYC unite for a spellbinding EP on Rhythm Section International. Full Circle is a brand-new body of work from Musclecars & Toribio. These are not merely tracks -- these are three movements making up a concerto -- with a dub thrown in for good measure! This is a delicate tour de force, delivered with such raw emotion and vulnerability it allows the instrumentation takes a back seat -- just a gentle groove, swelling strings and some unresolved chords are all that's required to transform listeners to the main character of this story.
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LP
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VAMPI 317LP
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Repressed. Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. Garra was originally released in 1971 and brought listeners Valle's classics such as "Com Mais De 30," "O Cafona," "Vinte E Seis Anos De Vida Normal," and the rare groove classic "Wanda Vidal." Remastered from the original tapes and pressed on 180g vinyl, this release is part of Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. Garra maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences.
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LP
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NA 6103LP
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2025 repress. Opaque red vinyl version. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."
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LP
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VAMPI 327LP
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A samba funk essential. This debut album from Jorge Ben's iconic backing band blends Brazilian rhythms, soulful vocals, and American funk energy into one unforgettable groove. Includes the hit single "Coqueiro Verde" along with standout tracks like "Meu País," 'Aleluia, Aleluia," and "O Canto da Ema." A timeless gem for fans of Brazilian soul, vintage funk, or global grooves. First time official reissue. Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role -- they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music. Formed in São Paulo's iconic Jogral nightclub, Trio Mocotó -- featuring Fritz Escovão, Joãozinho Parahyba, and Nereu Gargalo -- began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era. In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, Muita Zorra! (São Coisas Que Glorificam a Sensibilidade Atual). The record made an immediate impact, climbing the charts with the infectious single "Coqueiro Verde" and marking the start of a prolific period in the group's career. Muita Zorra! is a dazzling blend of styles -- mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio's vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat. This album isn't just a snapshot of a musical moment -- it's a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, Muita Zorra! is once again available and ready to take its well-deserved place in your collection.
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LP
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BT 137LP
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Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell's singular take on synthetic abstraction emerged from Sheffield's electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record's wonderfully academic subtitle explains, listeners are presented here with two sides of "algorithmic and improvised music for computer and piano," exemplifying both players' insatiable search for new (and sometimes uncomfortable) playing situations. The performance begins with Fell's electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell's electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas' playing combines extreme dissonance with a deep lyrical sense. Fell's work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas' probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell's percussion develops into angular pan-pipe-like feedback and waves of glissandi. With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music's development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.
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2LP
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JB 004LP
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Restocked; double LP version. Gatefold with 4-page booklet. Includes obi and printed inner sleeves. Second album by Brazil's upcoming star, Liniker. A seamless blend of pop, samba, jazz, R&B, and house. Featuring Lulu Santos, Pabllo Vittar, Tropkillaz, Melly, Priscila Senna, Baianasystem, Amaro Freitas, and Anavitória. Born in Araraquara/São Paulo, Liniker is a multitalented artist -- singer, songwriter, music producer, and actress -- whose passion for the arts began in childhood. Influenced by her mother and uncles, who were active in samba rock circles, Liniker's early musical experiences planted the seeds for her future career. Today she is one of the most exciting Brazilian artists. In 2022, she won the Best Brazilian Album category at the Latin Grammy Awards with Indigo Borboleta Anil. In 2023, Liniker became immortalized by the Brazilian Academy of Culture, taking the seat once held by Elza Soares, the eternal Brazilian singer. Liniker's sophomore album CAJU has quickly become a classic in Brazilian popular music. The album's 14 tracks -- some extending beyond seven minutes -- demonstrate Liniker's commitment to artistic expression over commercial constraints. Liniker showcases versatility and artistic growth through a seamless blend of pop, samba, jazz, R&B, and house. Songs like "Veludo Marrom," "Tudo," and "Ao Teu Lado" shine for their musical complexity and emotional depth. Its success led to multiple wins at 2024 Multishow Brazilian Music Awards, including Artist and Album of the Year.
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LP
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GUESS 282LP
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Among the many forgotten bands of the late '60s, few shine as brightly (and unjustly overlooked) as Singapore's own October Cherries. From Singapore to Belgium to Abbey Road, The October Cherries reinvented themselves again and again -- Truck, Col. Truck, Jade & Pepper -- leaving behind a trail of dazzling Beatlesque pop-psych. Col. Truck's One Fine Day was released in the UK in 1976 and it's the perfect companion to the Truck's Surprise! Surprise! and October Cherries' Dreamseller albums. The October Cherries (Jay Shotam, Peter Díaz, Richard Khan, and Benny Siow plus the "fifth" member Balram "Bal" Shotam), became hometown heroes in late-'60s Singapore and Malaysia, crafting a shimmering brand of Beatlesque psychedelic pop that rivaled their UK contemporaries. After government censorship and piracy stifled their career at home, the band relocated to Belgium, releasing the Pepperish gem Dreamseller in 1972. When guitarist Peter Diaz departed to join famous Belgian band The Pebbles, Jay and Bal responded with a bold studio experiment: Truck's 1974 album Surprise! Surprise! -- a reimagined, synth-enhanced reincarnation of their earlier work, bursting with fuzz guitars, Moog flourishes, and melodic charm. What began as "revenge" became their most adventurous and collectible release. Soon after, the Balram brothers relocated to London and issued Col. Truck's One Fine Day (mixed at Abbey Road and mastered at Pye Studios), another gem blending the melodic warmth of Dreamseller with a leaner production. These projects together form one of the most fascinating hidden chapters in Asian psychedelic pop history. Long overlooked outside Southeast Asia, the October Cherries and their Truck offshoots are finally being rediscovered -- a kaleidoscopic bridge between Beatles-inspired pop and early '70s studio experimentation. Remastered sound. Includes insert with liner notes and download card. RIYL: Beatles, Bee Ges, Tin Tin, Aerovons, Badfinger, Fading Yellow Comps.
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7"
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VAMPI 45116EP
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Manny Corchado should be a household name for all boogaloo fans. His classic track "Pow-Wow" is one of the most sought-after singles among collectors and DJs -- not just for its A-side, but also for the absolute dance floor bomb hidden on its B-side: "Chicken and Booze." This instrumental recording features an irresistible rhythm section that could practically serve as the definition of the boogaloo genre itself. On the B-side of this single comes another version of the same song -- this time re-titled "Aguardiente y Pollo" in Spanish -- performed by Nelson y sus Estrellas. The tropical and salsa orchestra, founded in Venezuela by pianist, composer, and bandleader Nelson González Rojas, keeps the same punch and dance-driven focus as Corchado's version, but adds more melodic and sophisticated arrangements.
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