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Recent Best Sellers
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LP + 7"
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WWSLP 094LP
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LP version. Includes bonus 7". Wewantsounds continues its extensive Meiko Kaji reissue program -- in partnership with Teichiku Records and Kaji herself -- with the release of Yadokari, her third album from 1973. This marks the first time the album has been reissued on vinyl, featuring its original artwork and newly remastered audio. Renowned for her iconic 1970s films (Lady Snowblood, the Stray Cat Rock series) and admired by Quentin Tarantino, Meiko Kaji also released a string of outstanding albums on Teichiku, blending Japanese pop with cinematic grooves. Yadokari is reissued here with its original deluxe gatefold sleeve and OBI plus a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. As a special bonus, this edition includes an EP single featuring "Shura No Hana," famously featured on the Kill Bill soundtrack. Kaji was one of Japan's most iconic exploitation film actresses of the early 1970s. Beyond acting, she was invited by film studios to perform theme songs for many of her films leading to revered music career. Between 1972 and 1974, she recorded five albums for Teichiku, which have since become highly sought after. Yadokari ("hermit crab"), released in 1973, was Kaji's third album for the label. Like its predecessors Gincho Wataridori and Hajiki Uta, it offers a rich mix of kayōkyoku (Japanese pop), traditional enka, psychedelic rock, and cinematic '70s funk. The album includes two tracks, "Hagure Bushi" and "Kiba no Ballad," from the cult 1973 TV series Sengoku Rock Hagure Kiba, in which Kaji starred. "Hagure Bushi" stands out as one of the album's funkiest tracks. Like "Kiba no Ballad," it was composed and arranged by the legendary producer Yuji Ohno (best known for his work on Lupin the III). The album as a whole is a superb blend of atmospheric songs, from the haunting, slow-burning title track "Yadokari" to "Ah," which features groovy guitar licks, harmonica, and sleek string arrangements, evoking a subtle Morricone influence. To complete this reissue, Wewantsounds has included the rare 1973 7" EP "Shura No Hana/Hō Yare Ho" as a bonus. Only released as a single, "Shura No Hana" (Flower of Carnage") is a cult classic, famously featured on Quentin Tarantino's Kill Bill Vol. 2 soundtrack. A key release in Meiko Kaji's 1972 - 1974 Teichiku Records catalog, Yadokari is a testament to her singular talent as a singer.
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LP
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WWSLP 110LP
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Wewantsounds reissues another Warda classic from the '70s, Wemalo, originally recorded in 1975 by the legendary Arabic Diva who has been sampled by Jay-Z and J Dilla. The album blends traditional Arabic music with 1970s grooves, showcasing Warda's distinct vocal style. She is accompanied by a full-sized orchestra, updating the classy traditional sound with modern instruments (electric guitar, organ). Wemalo was penned by composer Baligh Hamdi. This reissue features newly remastered audio, original cassette artwork and a two-page insert with a new introduction by Mario Choueiry from the Institut du Monde Arabe. Warda is widely regarded as one of the greatest divas of the Arab world with Oum Kalthoum and Fairuz. Born in the suburbs of Paris to an Algerian father and a Lebanese mother, she was discovered at the age of 11 by Ahmed Hachlaf, the head of A&R at Pathé Marconi in Paris specializing in Arabic music. She refined her singing skills at her father's cabaret in the Latin Quarter, Le Tam-Tam, and soon gained recognition in Arabic music circles. While in Lebanon, Warda was spotted by an Egyptian film producer who brought her to Cairo, where she began recording and acting in films. However, in the early 1960s, Warda stepped away from the music scene after marrying and settling in Algeria, dedicating herself to family life for nearly a decade. It wasn't until 1972, when Algerian President Houari Boumediene invited her to sing for the 10th anniversary of the country's independence, that she had an epiphany. She divorced and returned to Egypt, marking the beginning of a remarkable comeback. Wemalo ("So What") was recorded live in 1975, during the peak of her career. Partnering with her new husband, renowned composer Baligh Hamdi, she created a series of albums filled with lengthy, hypnotic compositions that showcased her commanding voice and ability to captivate audiences. Merging traditional Arabic music with modern instrumentation -- including electric guitar and organ (likely played by Hany Mehanna) -- the album unfolds into several mesmerizing sections, highlighting Warda's superb singing. Wemalo is one of her most rhythmically dynamic LPs, and remains highly regarded by collectors and Arabic music enthusiasts.
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LP
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WRJ 001LP
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2025 repress; New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LP/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. LP version is mastered at half speed; 140 gram vinyl with sticker.
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LP
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WRJ 002LP
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2025 repress. "Regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.
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LP
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VAMPI 324LP
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The Rhythm Machine is now available again to the musical public, legitimately reissued in its original packaging. Offering up brilliant soul, haunting ballads and high-energy mid-'70s funk, this tasty medley is served best in its entirety. Virtually impossible to find in its original edition, it is now reissued once again thanks to a collaboration with Now Again. Pressed on 180g vinyl. Indianapolis' legendary Rhythm Machine is one of the rare funk bands that transitioned between eras of funk's history seamlessly, creating awesome funk sides for a host of independent labels between the years of 1968 and 1976. Born out of cult Indy funk band The Highlighters' ashes, the Rhythm Machine was founded in the early '70s by bass player James Boone and guitarist James Brantley. Their self-titled and only LP, originally released in 1976, is a wild, super-groovy ride with tight band energy and a bunch of unexpected twists that keep things interesting from start to finish. At first, you might catch some Earth, Wind & Fire vibes -- deep basslines, funky beats, and killer horn sections -- but dig a little deeper and you'll find something a little looser, a little cooler. There's a smooth, jazzy undercurrent running through a lot of these tracks that gives the whole thing a fresh, off-the-beaten-path feel. Some songs drift into a dreamy, almost spacey zone -- think cosmic funk with a romantic twist. The production is silky, almost liquid-like, letting the guitars shimmer and the keys float. And when the soprano sax kicks in? Pure magic. It adds just the right bite to take the tracks up a notch. Perfect for late-night grooves, chill sessions, or anyone hunting for that hidden gem funk record with serious soul.
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LP
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ABERRANT 009LP
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Volume 2 of the absolutely infamous (and highly sought after) Cult Sounds compilation, comprised of music done by fringe religious cults around the world. Oh, boy! Volume 2 of Cult Sounds is here, so it's time for another bad trip through the music produced by weird, extreme cults all over the world. From hypnotic Manson Family recordings to the catchy '80s pop manufactured by The Family, to jazz, psych jams, country music or plain out-there musical experimentation, this second volume gets as weird, dark and mesmerizing as its predecessor, amazing. Featuring Zendik Farm Orgaztra, Church Universal and Triumphant, Gabriel of Sedona's Bright & Morning Star Choir, Otto Muehl, The Lyman Family, Lisa Kindred, Aun Shinrykio, Joe Pass, Dr Malachi Z. York, Unification Church, and Unarius.
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LP
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WHYT 105LP
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LP version. Biosphere's album The Way Of Time takes loose inspiration from Elizabeth Madox Roberts' novel The Time Of Man, sampling Joan Lorring's voice from the 1951 radio play adaptation of the novel. Biosphere's signature ambient loops, soothing arctic synths and melodies combine with Lorring's sweet, wistful and deep-south wonderings to create a record that is both deeply human and searching.
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LP
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LTR 049LP
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Nils Frahm presents the follow up to Day, the collection of solo piano music he released in 2024. Night, which contains five new tracks, will be released on vinyl as well as via all digital platforms. A CD version, Night & Day (LTR 050CD), including all eleven tracks from both Day and Night, will also be made available. These follow Frahm's latest live album, Paris. Frahm recorded the pieces on Night on the Klavins M450 piano, installed in his studio at the renowned Funkhaus complex in Berlin. It was built by German-Latvian piano maker David Klavins for the first Piano Day in 2015, a celebration that will mark its 10th anniversary. At 4.5 meters tall and weighing over a ton, the model was the largest upright piano in the world at the time. The record is a reminder that, though he's since become celebrated for the complex, intricately arranged approach of his most commercially successful, multi-instrumental albums, Frahm first made his name with similarly meditative piano compositions on albums like 2009's The Bells, 2011's Felt, and 2012's Screws. Night, like Day, confirms that Frahm remains a prolific master of affecting simplicity, tenderness and romance, and as capable as ever of unforgettable, epigrammatic succinctness.
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2LP
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BANG 171LP
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Havilah from The Drones is finally on vinyl since its first edition in 2008 on ATP. A great gem of swampy garage blues, largely unknown to the public, now rescued to take its rightful place. One of the last albums from this great band, which a few years later would give birth to the brilliant Tropical Fuck Storm, led by Fiona and Gareth. Bang! Records now presents the double vinyl reissue of Havilah, the fourth studio album by The Drones, originally released in 2008. A cult classic in Australian alternative rock, now returning in a limited analog edition, perfect for experiencing the raw intensity and unique energy of this essential band. An album born from isolation and introspection. Recorded in a remote sub-alpine forest cabin in Victoria, Australia, Havilah was created in total seclusion from the outside world. Without conventional electricity -- only diesel generators and sheer determination -- The Drones crafted an album deeply connected to the rugged landscape surrounding them. That untamed energy seeps into every note, giving the record an unfiltered, visceral quality that few albums can match. In Havilah, the band, led by Gareth Liddiard, expands its sonic scope, blending punk blues, noise rock, dark folk, and garage rock with raw emotional intensity. Liddiard's exceptional lyrical craft shines throughout the album, exploring mystery, doom, and existential struggles in songs that weave between allegory and stark reality. A must-have vinyl reissue. Celebrated both in Australia and internationally, Havilah was nominated for the 2008 J Award for Album of the Year and later recognized in 2011 as one of the 100 greatest Australian albums of all time.
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LP
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BB 406X-LP
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LP version. Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's "One Hundred Records That Set The World On Fire" list. Cluster II is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.
"The question as to whether Cluster II has to be considered part of serious music or rather of popular music seems as obsolete today as it was back in 1972. Interestingly enough, however, the album was among the first ones to leave people in confusion when trying to tell what musical category it belonged to. As opposed to now where there is a large transitional area situated somewhere in between the two poles and made up by all sorts of electro-acoustic music, serious and popular music were still categories strictly set apart at the beginning of the seventies. Moebius and Roedelius, however, simply did not care about categorizing their music, thus contributing to the trend towards abandoning the categories altogether. When listening to Cluster II today, fifty years after it was recorded, the album's historic significance becomes as clear as never before. A lot has already been written about Cluster's historic impact. Let me just underline in this context that it was not least this album that opened up doors through which generations of electro-acoustic musicians were yet to step." --Asmus Tietchens
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2CD
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LCD 4011CD
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Laetitia Sonami was born in France, where she studied with Eliane Radigue. She moved to the United States to study electronic music, first with Joel Chadabe at SUNY Albany, then at Mills College where she was mentored by Robert Ashley and David Behrman. Laetitia Sonami is not only a gifted composer/designer of electronic music, but a compelling presence on stage. This collection of early works covers a period when Sonami transitioned from live mixing with cassettes, homemade analog synths and objects in the early eighties, to working with MIDI, MAX software and "off the shelf" synths and samplers. At the same time, she begins a long collaboration with Melody Sumner Carnahan, using her dramatic texts to evoke characters and behaviors to inhabit musically and visually. All but two of the works on this release utilize Sumner Carnahan's stories, and all but one use Sonami's famous invention, the lady's glove, an arm-length tailored glove fitted with movement sensors allowing the perform to fluidly control digital sound parameters and processing, as well as motors, lights and video playback. Sonami has since moved on to works for another of her inventions, the Spring Spyre, which applies Machine Learning to real time audio synthesis.
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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
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CT 119LP
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2025 restock; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."
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LP
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WWSLP 104LP
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Wewantsounds continues its Algerian music reissue program with the release of Les Abranis' coveted 1983 LP, Album No. 1. Originally recorded in Paris and privately pressed by the group, the album is now being reissued for the first time. Curated by Cheb Gero, who compiled the Sweet Rebels Rai set for Wewantsounds, Album No. 1 is a masterful blend of Kabyle grooves, funk, and hints of reggae. Also known as Id Ed Was, the album is reissued with its original artwork, remastered audio by Colorsound Studio in Paris, and a two-page insert with new liner notes (in French and English) by journalist Rabah Mezouane. The Kabyle group Les Abranis from Algeria has become one of the most sought-after bands on the global beat scene over the years. Founded in France in the late 1960s by two young Algerian Kabyle workers, Shamy El Vaz and Karim Abdenour, Les Abranis rose to prominence in the 1970s with their innovative sound, blending traditional Kabyle music with funk, rock, and psychedelic influences. Their lyrics, often sung in Kabyle, celebrate Amazigh identity and culture, making them a major influence on the North African music scene and beyond. Despite facing opposition from the country's authorities -- who viewed them as a societal threat due to their use of the Kabyle language instead of Arabic -- their popularity continued to grow. Throughout the 1970s, they released several albums, including the highly sought-after Les Abranis 1977, issued on the Paris-based Algerian label Disques Bordj El Phen. In 1983, the group entered Acousti Studio in Paris to record Album No. 1, featuring legendary French drummer André 'Dédé' Ceccarelli -- who played with artists ranging from Serge Gainsbourg to France Gall, as well as on numerous library music sessions with Janko Nilovic, Teddy Lasry, and Jacky Giordano -- alongside Tony Bonfils on bass. Album No. 1 showcases a superb range of sounds, from the reggae-infused cult track "Avehri" to the funk-driven "Achethkhi," and the irresistibly groovy instrumental "Thadoukli." Album No. 1 was originally self-released in 1983 and distributed exclusively within the Kabyle and Algerian communities in France and the Maghreb. Over time, it has become a sought-after LP among fans of Arabic music, as it was never reissued -- until now.
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LP
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WWSLP 036LP
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2025 repress. Following the reissue last year of Fairuz's classic 1979 album Wahdon (WWSLP 022LP), Wewantsounds pursue their exploration of great Lebanese music with the first vinyl reissue of Fairuz's highly sought-after LP Maarifti Feek, originally released in 1987. Recorded in Beirut around 1983-84, the album features the diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the '50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the '70s, Fairuz was at a turning point both professionally and personally. Her husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professional partnership. Enter Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright, and producer who had cut his teeth writing a handful of Fairuz's song -- including her 1973 hit "Sa'alouni El Nas" -- at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album Wahdon, broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12" Abu Ali (WWSLP 027LP) which became a sought-after disco classic in its own right. The association between the two continued with a second album, Maarifti Feek ("Our Encounter"), recorded between 1983 and '84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the Brazilian flavor of "Version 1" via the synth funk of "Ouverture 83" and its follow-up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the Lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the '80s and explains why Maarifti Feek is such a sought-after album. Remastered from the original tapes.
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LP
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VAMPI 326LP
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This elusive and lesser-known 1966 collector's gem by Óscar Agudello y el Combo Moderno called Pa' mi muñeca is an album devoted to recreating the strength of a musical genre that's been the soundtrack of Colombian life for decades and represents a milestone on the route cumbia had taken by 1966, when it was originally released on Discos Fuentes. It's exactly the kind of music that lights up a tambó or a fandango circle on carnival night. First time reissue. Includes liner notes by genre expert Don Alirio. 180g vinyl. It is a rarity where the artist took an unexpected musical turn and performed several porros, paseaitos, gaitas, and cumbias, evoking the swaying motion and rolling waves of Colombia's Caribbean sound. It resonates with the echoes of a romantic minstrel laced with an unexpected richness of nuance, a hallmark of the cumbia sound. A dozen tracks, none of them new, but suffused with a consciousness that can be understood within the context of their time and with the personality of the artist bold enough to bring them to life. "Madre cumbia" opens the album with a festive, nostalgic mood, infused with the simple beauty and the electrifying beat of the tropics that immediately makes you want to get up and dance. It's a fantastic example of how to perform a song with passion and make the listener fall instantly in love with an album. "Pa' mi muñeca," the title track, is a fast-paced paseaito that explores new paths that took a shortcut to the dance halls. A showstopper on the dance floor. "Está como mango" is a porro-cumbia that charms with a rich tapestry of compliments, the calling card of many old-school tropical songs. "Cumbia de recuerdo," "Cumbia suave," "Cumbia de Santa Marta," are back-to-back cumbias. This is an album devoted to recreating the strength of a musical genre that's been the soundtrack of Colombian life for decades. It's a record dedicated to capturing good times, filled with simple dreams, steeped in joyful energy, and shining with the uninhibited flair, or better said, the quality of the sixties.
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LP
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VIA 011LP
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Meet Motherfuckers JMB & Co! J is for Jim, M is for Marc, B is for Brian. The trio's first full-length is a rocket of rhythm and atmosphere that fearlessly treks into vast sonic spaces. Drumbeats spread into constellations, bass pumps air into the sky, drones flare into clouds. Thick grooves drift in and out of focus, but there's always a central force to cling to as all the vapor-trails shoot past. Decades of musical archaeology lurk behind this rainbow-hued swirl of psych, drone, improvisation, and ritual. Brian Weitz (hurdy gurdy) has spent 25 years crafting sound as Geologist in the ground-breaking quartet Animal Collective. Jim Thomson (drums) has been in scores of bands, from helping found Richmond art-metal legends GWAR, to jamming instrumentals in SST alums Alter-Natives (a fitting forebear to JMB's vocal-less jaunts), to driving the spirited dance-punk of Time Is Fire. Marc Minsker (bass, guitar, harmonium) has made music since the early '90s, initially in Third Eye Lounge (who backed legendary improviser Eugene Chadbourne), and later in myriad partnerships around the mid-Atlantic region. The trio came together via old-fashioned community, in the always-fertile ground of the DC/Maryland/Virginia experimental scene. Recordings for Music Excitement Action Beauty took place in Tonal Park studios during a single afternoon, with "lights lowered and incense and candles lit," as Thomson describes. Weitz edited the resulting material after a three-month break, trimming down improvisations and reworking cut-out sections into seamless transitions. Music Excitement Action Beauty features seven cascading tracks that blend like ice cream flavors overfilling a cone. Throughout Music Excitement Action Beauty, there's a communal vibe -- not just from the friends-through-friends connections of JMB, but also the larger environments they've moved in for years. There's a "Co." at the end of their name for a reason, as if Music Excitement Action Beauty was made by three on behalf of many more. "Every group I've played with was usually organically formed and informed by the community and friendships in some ways," says Thomson. "I was very attracted to playing with Marc and Brian because of the promise of repetition, drone, and psychedelia, and it delivered in spades."
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PALTO 007LP
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2025 restock; LP version. "Originally released in 1982, Kakashi is another high water mark in the 80s Japanese underground. This album, which has gathered cult status in recent years, is the project of musical visionary Yasuaki Shimizu, and considered to be a highlight of his solo career. Shimizu was the bandleader of Mariah, who also saw their album Utakata No Hibi reissued by Palto Flats in 2015. Kakashi offers a similar blend of saxophone experimentations, jazz fusion and ambient dub excursions."
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JB 003LP
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Abaeté, a vocal trio from Bahia, made a remarkable debut with masterfully crafted jazz-funk sambas, at a time when Bahian musicians were true masters of the genre. There's virtually no information about the band, apart from the music itself, which seems to be limited to two releases: a single and that much-loved 1977 self- titled album, now a cult classic. A collection of killer tunes, funky samba, synthesizer sounds and free rhythms with a North Brazilian flavor. The band also wrote songs for Clara Nunes and Elza Soares in the '70s. Mixed by Waldir Lombardo Pinheiro.
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ST 008LP
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Vinyl reissue of the legendary soundtrack to Forbidden Planet by Bebe and Louis Barron, an absolute milestone for electronic music, and the first entirely electronic score for a feature film. Recorded in 1956 by Bebe and Louis Barron, the soundtrack to the cult film Forbidden Planet is without a doubt one of the most suggestive and astounding examples of early electronica, bringing the extraterrestrial experience of the movie to new levels with the help of the stunning sounds created by the couple through of a myriad of vintage artifacts, including loop FX and amazing modular synths. Includes a foldout insert with a Bebe Barron interview. An absolute masterpiece of the genre, bringing proto electronica, sci-fi and abstract music together for an unforgettable aural experience.
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9781953691224
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Paperbound, 407 pages. "Edited by Lawrence Kumpf, Charles Curtis. Text by Éliane Radigue, Dagmar Schwerk, Daniel Sillman, Anthony Vine. A detailed look at the elusive work of a French pioneer of musique concrète and electroacoustic composition. This volume is an exploration of the early electronic work of French composer Éliane Radigue (born 1932), whose radical approach to feedback, analog synthesis and composition on tape has long evaded straightforward interpretation. Combining key texts, newly translated primary documents, in-depth interviews and commissioned essays, this compendium probes her idiosyncratic compositional practice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification and the very experience of listenership. Chief among these entries is an in-depth overview by cellist Charles Curtis examining the composer's earliest experiments in feedback techniques and analog synthesis, her eventual turn to works for unamplified instruments and live performers, and her unique aesthetic of time and presence. Detailed conversations provide crucial windows into her working methods at different points in her career. Sketches for unrealized work, contemporary reviews, programs and ephemera are collected together for the first time. The anthology concludes with a roundtable discussion working out the knotty paradoxes of Radigue's continued 'ethos of resistance.'"
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LP
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TR 584LP
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LP version. Picture one of the greatest living singer-songwriters in a kitchen. He is on holidays, he's just had a swim. His wife is out on the beach, and he finds himself faced with a bowl of irresistible strawberries. They're meant to be shared, of course, but their taste is "out of the ordinary," so he just can't help himself. Minutes later all of the delicious fruit are gone, but there's the germ of a song as the phrase "Someone ate all the strawberries" has just popped into Robert Forster's mind, sounding "so weird, but normal". Thankfully, he has taken his guitar with him. As the story goes, his wife Karin Bäumler not only forgave her husband, she actually joined him on a duet of what was to become the title song to his ninth solo album. Robert Forster has perfected the art of being outré in a least ostentatious way, from his time in the Go-Betweens to his solo career, now spanning almost three decades, interrupted only by the old band's reformation in 2000 which ended with his songwriting partner Grant McLennan's untimely death in 2006. Strawberries follows a recent spate of deluxe reissues of four of his older solo albums as well as the third and final volume of the career-spanning series of G Stands For Go-Betweens boxsets with a much awaited helping of new material. Next to admittedly bigger names such as Bob Dylan or Nick Cave, Robert Forster is the rare case of an artist with a celebrated past whose current work evokes genuine interest among a faithful fan base. As a straight-up personal song, "Strawberries" is a bit of a red herring in the context of this new album that, unusually for Forster, deals almost exclusively in observational character studies or, as the author would have it, "story songs". Louis Forster, by the way, also makes an impressive appearance on lyrical lead guitar in "Such a Shame." As his slapback echo vocals tuck into a rockabilly vibe, you can hear Forster enjoying the company of his Swedish backing band: producer Peter Morén (of Peter, Björn and John fame) on guitar, Jonas Thorell on bass, and Magnus Olsson on drums, crucially augmented by Lina Langendorf on various woodwind instruments and Anna Åhman on keys. The album's monumental closing track "Diamonds" starts off as a cross between Lou Reed and Buffalo Springfield, then takes off via Astral Weeks into an (almost) Albert Ayler direction, with Lina Langendorf given free rein on the tenor sax and Forster himself relinquishing his trademark understatement for some unexpected outbursts of falsetto.
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LP
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SF 126LP
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Limited repress. Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted -- ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations -- which last between three and seven days -- cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a four-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.
Featuring Mamehy, Drick, Befila, Behaja, Mahafaly Mihisa, Meny & Ando, Rebona, and Mirasoa & Mahapoteke.
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LP
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NP 054LP
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A meeting of great minds recorded live at the Improtech Festival in Uzeste in summer 2023. Two avant-garde and improvisation titans offer a new chapter in the infinite quest for freedom and absolute beauty. "Innocence" and "Insouciance" are sharp and stinging live improvisations by longtime comrades, Parker and Foussat. Elegant, subtle and complex, these pieces immediately rise to the status of eternal documents by these giants. "WIRElessfor Anthony Wood" is a solo tenor piece by Parker recorded during The Actual Festival at the London ICA in August 1981 and named in homage to the late Anthony Wood, founder of both The Wire Magazine and The Actual Festival. It is followed and echoed by "SLAUGHTreturn," a contemporaneous assembly piece by Foussat from the original Abattage solo VCS3session in late 1980.
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LP
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COSMR 039LP
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Under the influence of The Beatles, the Group Sound Movement swept Japan in the mid '60s. This compilation collects some of the finest cuts made by several of the leading band of the time. Featuring The Mops, The Golden Cups, The Spiders, The Beavers, The Carnabeats, D'Swooners, and The Jaguars.
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LP
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BB 463LP
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LP version. After more than 40 years, Silberstreif's EP Ich suche dein Gesicht, first released on Sky Records in 1983, is available again. Rather unusual for Sky's catalogue, the duo played flawless synth-pop with German-language lyrics. This EP sank into obscurity in the 1980s flood of hyper-commercial German New Wave releases. The band later became an insider tip and the EP a sought-after collector's item. The re-issue is accompanied by four previously unreleased bonus tracks.
"Overdue, a re-issue of this great, rare EP from 1983. While that year, the major labels were finally exploiting everything commercially that even rudimentarily fitted the NDW (Neue Deutsche Welle -- German New Wave) buzzword, we can now look back and realize that there were still countless creative bands, projects and artists in the musical underground. The release by Silberstreif shows like no other that the focus of the German 1980s underground was not only on odd and experimental sounds, but also on poppy and melodic ones. Listening to these hopeful, almost innocent synth melodies paired with dark lyrics circling around obsessive male protagonists, one can't help but imagine how this band re-asserted its artistic freedom by leaning into the musical tropes of sell-out and commercialization -- with a subtle subversive middle finger. The duo play fantastic and timeless synth-pop which is still relevant today and still gets crowds dancing in trendy clubs between songs by Human League and Grauzone. Like I said, this re-issue is long overdue!" --Marco Floess
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LP
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WHYT 084LP
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Going belly up, guess it's always a possibility. Following the release of their latest acclaimed record You Never End (Pitchfork, The Quietus, RA) Moin follow up with their latest EP, Belly Up.
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CD
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WHYT 105CD
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Biosphere's album The Way Of Time takes loose inspiration from Elizabeth Madox Roberts' novel The Time Of Man, sampling Joan Lorring's voice from the 1951 radio play adaptation of the novel. Biosphere's signature ambient loops, soothing arctic synths and melodies combine with Lorring's sweet, wistful and deep-south wonderings to create a record that is both deeply human and searching.
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2LP
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OP 048LP
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2025 repress. Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
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LP
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COSMR 040LP
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Under the influence of The Beatles, the Group Sound Movement swept Japan in the mid '60s. This compilation collects some of the finest cuts made by several of the leading band of the time. Featuring The Mops, The Golden Cups, The Spiders, The Outcast, The Savage, The Jaguars, The Sharp Hawks, The Sharp Five, and The Voltage.
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LP
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JBH 110LP
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Limited black vinyl. 600 copies only. Unreleased electronic/jazz/madness from two titans of jazz and experimentation: John Surman and Karin Krog. John Surman writes: "Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica. Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious and I guess the funding never came through. The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled La Marche Des Machines and Les Nuits Électriques. These were clearly intended to act as inspiration for the project. After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home! For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment? The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor."
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LP
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BALMAT 016LP
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When you're running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing Balmat has released so far. Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. This album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill. This stylistic turn is thanks in large part to Vitiello's choice of collaborators. Active since the early 1980s, Rowe -- a violinist, guitarist, and producer/engineer -- has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally. Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown. A few more surprises along the way: Reanimator's Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls "resonant dustpan;" and none other than Animal Collective's Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy. An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together.
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LP
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MGART 904LP
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2025 repress. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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LP
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ZAP 7581LP
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"There is no doubt that Teenage Perversity & Ships in the Night, although a bootleg, is Patti Smith's best live album. Patti Smith released some good albums, but any serious fan of hers will tell you that she performed most of her material better live. There are a number of fine Patti Smith bootlegs, but this one -- taken from a January 1976 show at the Roxy in Los Angeles, with near-perfect fidelity -- is both her best and her best-known. Besides incendiary versions of several songs from her first few LPs, it features covers of 'Louie Louie,' 'My Generation' (with John Cale guesting), and The Velvet Underground's 'We're Gonna Have a Good Time Together' and 'Pale Blue Eyes,' as well as entertaining between-song raps and even a brief cameo by Iggy Pop. It's no exaggeration to claim that this may be her best album, and one of the best '70s punk/new wave albums of all."
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LP
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CT 805LP
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2025 restock. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.
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CD
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FARO 251CD
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In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band's alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honors the profound legacy of their departed founders. Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band's musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums. Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra's" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s -- a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound. The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth's two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel's credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel's father, British jazz-funk royalty Jean Paul "Bluey" Maunick, of Incognito, to play guitar on a new version of Azymuth's eighties classic "Last Summer In Rio," in tribute to the song's composer, José Roberto Bertrami. Equally, "Samba Pro Mamao" is a new composition dedicated to Azymuth's beloved original drummer, Ivan "Mamão" Conti. Also available on black vinyl (FARO 251LP), red vinyl (FARO 251RED-LP), and blue vinyl (FARO 251BLUE-LP).
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LP
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SOR 004LP
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Among one of the most sought-after English dub albums, Black Jade's Contempo is still somewhat of a mystery. Definitely ahead of its time, their deeper dub style was very sophisticated indeed. The material was originally recorded between 1975-76 and then collected in their self-produced debut. The vinyl first appearance was at the Notting Hill Carnival in the summer of 1976, where the band -- apparently -- was freely distributing it on the streets.
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CT 085LP
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2025 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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CD
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BB 406CD
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Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded ten regular studio albums between 1971 and 2009. Their debut album (Cluster 71) was in Wire Magazine's "One Hundred Records That Set The World On Fire" list. Cluster II is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.
"The question as to whether Cluster II has to be considered part of serious music or rather of popular music seems as obsolete today as it was back in 1972. Interestingly enough, however, the album was among the first ones to leave people in confusion when trying to tell what musical category it belonged to. As opposed to now where there is a large transitional area situated somewhere in between the two poles and made up by all sorts of electro-acoustic music, serious and popular music were still categories strictly set apart at the beginning of the seventies. Moebius and Roedelius, however, simply did not care about categorizing their music, thus contributing to the trend towards abandoning the categories altogether. When listening to Cluster II today, fifty years after it was recorded, the album's historic significance becomes as clear as never before. A lot has already been written about Cluster's historic impact. Let me just underline in this context that it was not least this album that opened up doors through which generations of electro-acoustic musicians were yet to step." --Asmus Tietchens
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GFR 009LP
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2025 restock. Manic fuzzed out instrumentals, mind blowing high-energy rock´n`roll, mysterious exotica, and more in this wild compilation of ass-kicking biker movie soundtracks. 14 gems taken from 14 greasy biker movies filmed between 1966 and 1971. An eye-opening collection of mostly forgotten treasures. Get ready for a wild ride with this compilation gathering a bunch of amazing '60s/early '70s biker movie soundtracks. Starting with the classic that defined the whole genre (Davie Allan & the Arrow´s "Blues Theme") this record is, of course, drenched in delicious fuzz madness, but it doesn´t stop there: from the mind-blowing high-energy bust that is "Changes" by the East-West Pipeline, to none other than the king of exotica, Les Baxter, this is a fascinating and roaring trip filled to the top with gasoline fueled hits! Featuring Mike Curb, The Man-Eaters, The Sidewalk Sounds, Simon Stokes And The Nighthawks, Jeff Simmons, Eddie And The Stompers, Lenny Stack, Harley Hatcher, The Sunrays, The Other Side, and Stu Phillips.
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DMOO 086LP
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The brilliant My Point of View was Herbie Hancock's second album for Blue Note, a 1963 session featuring an all-star lineup: Donald Byrd, Hank Mobley, Grachan Moncur III, Grant Green, Chuck Israels, and a young Tony Williams. Each track radiates a deeply engaging musicality, showcasing Hancock's masterful arranging skills. With standout compositions like "King Cobra" and "A Tribute to Someone," this is a timeless classic -- an essential reissue not to be missed.
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FAITICHE 038LP
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New Environments & Rhythm Studies finds Andrew Pekler returning to the humid zones he explored on previous albums such as Sounds From Phantom Islands and Tristes Tropiques. Split between longer immersive compositions and shorter glimpse-like sketches, these 12 tracks feature new juxtapositions of Pekler's familiar palette of synthetic field recordings, warm, undulating electronic textures, shifting percussion patterns and serene melodies. As with much of his recent work, Pekler's compositions here are structured around the beguiling effect of synthetic and non-synthetic sounds mirroring, mimicking and modulating one another. The teeming atmospheres within tracks such as "Globestructures," "Cymbals In The Mist," or "Globestructures: Option II" are, despite their seemingly anthropogenic nature, entirely synthetic. Elsewhere, the lopsided grooves of "Cumbia Para Los Grillos" or "Fabulation For K" are derived from recordings of crickets and other insects which Pekler loops and uses to trigger electronic percussion -- producing a pleasantly skewed rhythmic base for the fragments of melody which are layered on top. The six "Rhythm Studies" also follow the same principle -- a playful interweaving of the organic and synthetic. New Environments & Rhythm Studies is a further attempt to re-describe past tropes which laid claims to authentically represent music and sound from beyond the Western world (exotica, ethnomusicology, field recording) as undertakings of the imaginary. Written and produced by Andrew Pekler, mastered by Giuseppe Ielasi, artwork by Morgan Cuinet, graphic design by Dmytro Nikolaienko.
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2LP
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LMS 5521916
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2025 restock; double LP version. 180 gram vinyl; two printed inner sleeves. Celebrating 25 years since its release, Time Was Gigantic... When We Were Kids, the seminal 1998 album by The Durutti Column. The band and lead member Vini Reilly were one of the first signings to Antony Wilson's Factory Records, and Time Was Gigantic... was the final Factory Records release for The Durutti Column and the last release for the label before it closed. The new edition features extensive liner notes by Factory Records and band expert James Nice, and the original artwork has been revisited by the original designers 8VO (Mark Holt and Hamish Muir). The band (and in particular the guitar playing of Vini) has developed a cult following over the past 40 years with fans of the band including Brian Eno, John Frusciante (who called Vini "the best guitarist in the world", The Avalanches, The Chromatics, Johnny Marr, and John Cooper Clarke, to name a few. Remastered; includes five bonus tracks: "It's Your Life, Babe", "Kiss of Def", "In the City", "New Order Tribute", "Drinking Song (version)". Double LP version marks the album's first vinyl release.
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MR 483LP
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Gusano mecánico has become a coveted collector's item, highly valued by music lovers worldwide. It has been included in 5001 Record Collector Dreams by Hans Pokora, receiving the highest rarity rating and hailed as a musical masterpiece. It was released in 1974 by the legendary Bolivian rock band Climax and was a big leap from their early recordings, where they paid tribute to their musical heroes. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country. Gusano mecánico explores themes such as the loss of personal essence and the vindication of indigenous peoples. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Álvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. They quite literally brought psychedelic and prog rock to Bolivia by carrying new, experimental vinyl records in their luggage, at a time when rock music (and music in general) had very limited exposure due to the scarcity of media resources. Their musical project reflected their influences and laid down the first traces of what would later be called heavy rock, a genre that never achieved widespread popularity in Bolivia. Climax embarked on a prog rock journey, exploring themes such as the loss of personal essence and the vindication of indigenous peoples. Their rebellious discourse opposed the mechanization of humankind brought about by past decades of industrial exploitation in which they resist being absorbed by the system. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country.
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LP
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WRWTFWW 052LP
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WRWTFWW Records presents Swiss cult band Grauzone's recording of their April 12th 1980 live show at Gaskessel in their hometown of Bern. The nine-track album, documenting the very beginnings of the group, is available as a limited-edition white vinyl LP in heavy 350gsm sleeve with special artwork by band member Stephan Eicher. Experience the early Grauzone days, live from Bern, with Martin Eicher on guitar and vocals, Christian G.T. Trüssel on bass, Marco Repetto on drums, Stephan Eicher on synth, and Claudine Chirac on saxophone. The performance is a true time capsule of the early '80s underground, showcasing the punk side of Grauzone with renditions of songs that were never officially released, as well as future fan-favorite "Moskau." A piece of Swiss music history, This limited release is a must have for all Grauzone fans and DIY archivists.
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LP
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VAMPI 315LP
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Na Rua, na Chuva, na Fazenda is a landmark 1975 album by Hyldon, a key figure in Brazilian soul music. The album captures the vibrant musical spirit of the 1970s and reflects the influence of the black power movement. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists like Azymuth. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics. Hyldon's debut release was one of the top-selling albums that year, capturing the vibrant musical spirit of the 1970s and reflecting the influence of the black power movement alongside artists like Tim Maia and Cassiano. The album, which features the iconic title track, is a celebration of love with timeless songs like "As Dores do Mundo," "Na Sombra de uma Árvore" and "Meu Patuá." Produced by Guti Carvalho with arrangements by Hyldon and Waldir Arouca Barros, the studio band included the talented musicians from Azymuth (José Roberto Bertrami, Alex Malheiros and Ivan Conti "Mamão"), making it a memorable piece of Brazilian musical history. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After being unavailable outside of Brazil for years, it's finally been reissued -- don't miss your chance to own this legendary piece of music history.
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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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CD
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LMS 1725439
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Following on from the success of the 2024 editions of The Age of Consent and the incredible viral activity for "Smalltown Boy," London Records follow up with Forbidden Fruit -- a remix compendium to The Age of Consent. Similarly to 1995's Hundreds and Thousands album, The Age of Consent has been re-interpolated to create a new remix album -- traversing Hi-NRG, house, Italo disco and more -- while working together as a cohesive listening experience. The LP features seven tracks for the first time on vinyl. Features five re-workings specifically commissioned for this project, alongside mixes by Superchumbo and The Knocks appearing on vinyl for the very first time. The CD includes 11 tracks, nine for the first time on CD, and an additional four tracks exclusive to the CD version, and longer extended versions of the newly commissioned mixes.
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LP
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LMS 1725440
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LP version. Following on from the success of the 2024 editions of The Age of Consent and the incredible viral activity for "Smalltown Boy," London Records follow up with Forbidden Fruit -- a remix compendium to The Age of Consent. Similarly to 1995's Hundreds and Thousands album, The Age of Consent has been re-interpolated to create a new remix album -- traversing Hi-NRG, house, Italo disco and more -- while working together as a cohesive listening experience. The LP features seven tracks for the first time on vinyl. Features five re-workings specifically commissioned for this project, alongside mixes by Superchumbo and The Knocks appearing on vinyl for the very first time.
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LP
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BB 478LP
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2025 repress; LP version. Agree to disagree: A selected Krautrock discography. Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope's "Krautrocksampler" to encyclopedic approaches like Alan and Stephen Freeman's "Crack in the Cosmic Egg", there are plenty of books to read and lists to discuss: Who's in, who isn't? The quarrels and disputes surrounding the terms "Krautrock" and "Kosmische Musik" are a testament to their enduring relevance and fascination. The book Krautrock Eruption by Wolfgang Seidel addresses some of those questions. In this book, you will find an annotated discography of fifty albums. Out of these fifty, Bureau B are presenting an even narrower selection of tracks from twelve albums on this compilation. Lists and compilation track listings inevitably see tracks missing and being left out. The list is meant to inspire repeated or further listening, to spark discussions and -- potentially -- to provoke new lists, perhaps your own! It's all part of the fun. Music is made for enjoyment in the first and for friendly debate in the second place, after all. Featuring Conrad Schnitzler, Eno Moebius Roedelius, Harald Grosskopf, Cluster, Moebius & Plank, Roedelius, Pyrolator, Riechmann, Kluster, Günter Schickert, and Asmus Tietchens.
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