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LP
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ACOLOUR 008LP
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2024 repress. "You've got to listen to this band, you'll really like them, I know." A Colourful Storm presents the first-time vinyl issue of Blueboy's The Bank Of England, originally released in 1998. The group of Paul Stewart, Keith Girdler, Cath Close, Ian Gardner, and James Neville are Sarah Records royalty alongside The Field Mice, Heavenly, The Wake, and The Orchids, and this is the final recording from arguably the most beautiful, afflicted band of '90s indie-pop and DIY. One of the true treasures of modern pop music. Mastered from the original recording tapes with assistance from Sarah Records and Shinkansen Records' own Matt Haynes. Full color reverse-card LP sleeve with printed insert.
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ACOLOUR 013LP
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2024 repress. If Wishes Were Horses, Blueboy's first and now legendary album is finally reissued by Australian label A Colourful Storm. Presented for the first time on vinyl since its release in 1992, the recording by Keith Girdler, Gemma Townley, Paul Stewart, Lloyd Armstrong, and Mark Andes is immortalized in Sarah Records' history as an evergreen of indie-pop and modern DIY. "...the sort of feelings that rarely escape from the Sarah daydream factory" wrote NME at the time. This long-overdue reissue is presented with the original artwork faithfully restored by Sarah Records' own Matt Haynes. Full-color reverse-card sleeve with printed insert and lyrics sheet.
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ACOLOUR 014LP
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2024 repress. A Colourful Storm's reissue project of Blueboy's Sarah Records albums culminates with Unisex, arguably the finest moment of the trio of Keith Girdler, Paul Stewart, and Gemma Townley. A bona fide indie-pop classic. The first vinyl issue since 1994, the album has gained an immense cult following in all corners of the world and stands as an almost forgotten pinnacle of pop songwriting. "I just want to kiss you in new places, to savour the joy of living, liking you..." Full-color reverse card sleeve with printed lyric sheet designed by Matt Haynes.
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ACRSLP 1644LP
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"Sam Cooke was amongst the most influential singers and songwriters in the early years of soul. His unique vocals and pioneering contribution to the genre has led him to be known as 'The King Of Soul.' Starting off his career as lead singer for The Soul Stirrers in 1951, Cooke went on to have a hugely successful solo career, achieving 30 US Top 40 hits from 1957 up until his untimely death in 1964. This release celebrates Cooke's incredible output with 18 of his best-selling and most influential tracks cut between 1957 and 1962. Every release reached at least No.10 in either the R&B, Hot 100 or UK charts. Starting with his first major breakthrough 'You Send Me,' it naturally includes other smashes 'Cupid,' 'Chain Gang,' 'Another Saturday Night,' 'Wonderful World,' 'Only Sixteen,' and of course, the timeless 'Twistin' The Night Away.' Appreciation of Sam Cooke's work and influence has continued to grow over the decades as music fans come to realize his resonance in pop, soul and R&B. This collection serves as a fitting tribute to Cooke's lasting genius, originality and his remarkable contribution to music."
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ACRSLP 1650LP
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"Mary Wells was undoubtedly the first true female soul superstar. Not only did she bring glitz, glamour and a glorious voice to Motown, she broke down the barrier between the pop and R&B worlds. Her unerring desire for freedom in the industry paved the way for the likes of Marvin Gaye and Stevie Wonder to pursue their dreams without restraint. She was a young lady of many firsts -- she was the first female solo artist on Motown to have a top 40 pop hit, a top 10 R&B entry, an R&B No.1 and be nominated for a grammy. Starting her budding career at the age of 17 with designs on being a songwriter for her idol Jackie Wilson, she approached Motown owner Berry Gordy Jr with her song 'Bye, Bye, Baby.' Hearing her voice, he signed the songstress on the spot and the rest, as they say, is history. She went on to have a successful, albeit short, relationship with Motown scoring hits with 'Bye, Bye, Baby,' 'I Don't Want To Take A Chance,' 'You Beat Me To The Punch,' 'The One Who Really Loves You,' and 'Two Lovers.' Working closely with Smokey Robinson, together they help define the sound the Motown label is known and loved for until she put her foot down over a royalties dispute and left. This collection features all her Motown singles alongside selected tracks from her two albums put out during these formative years."
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APR 125LP
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"Gambian kora virtuoso Dawda Jobarteh and Danish master drummer Stefan Pasborg join forces to release their exhilarating live album, Live In Turku. A captivating fusion of traditional West African sounds and contemporary improvisation. Jobarteh was born and raised in Brikama, Gambia into a musical legacy -- his uncle and grandfather before him are recognized as great masters of the kora. He toured worldwide with the famous Pierre Dørge & New Jungle Orchestra and release five albums under his own name to rave reviews from leading magazines such as Songlines. Stefan Pasborg, godson and protege of famous Danish drummer Alex Riel, is a world class drummer with a deep understanding of African music few western musicians possess, evidenced by his many collaborations with the likes of Morocco's Majid Bekkas and their joint project Magic Spirit Quartet, as well as Danish trio Ibrahim Electric. A follow-up to their landmark 2016 release DUO, at the heart of Live In Turku lies a deep connection between two extraordinary musicians. Jobarteh brings his soul-stirring melodies and innovative approach to the traditional instrument -- going electric and drawing from the explosive energy of Jimi Hendrix in jangling improvisations soaked in psychedelic futurism. Meanwhile, Pasborg, renowned for his dynamic drumming style and eclectic musical palette sits somewhere between Art Blakey, Mitch Mitchell, and John Bonham, providing a rhythmic foundation that propels the music to new heights. The album's repertoire spans a diverse range of influences, from traditional West African rhythms to contemporary jazz and beyond. Tracks such as 'Togo,' first recorded in 1979 by a band of Ornette Coleman alumni, pay homage to the azz's origins in African music, while originals like 'Communication of a Kind' showcase the duo's improvisational prowess and boundless creativity."
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2CD
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VISTA 015CD
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Mirror Phase concludes a trilogy of minimal ambient albums in Jonas Munk's own name. These eight compositions, based on guitar and synthesizer loops, marks a return to the warmer sounds Munk is often associated with. Sonic structures that slowly and gradually evolves and changes, like cloud formations in the sky. The title track "Mirror Phase" is Munk's most expansive drone opus so far. It's a carefully arranged piece where sounds that oscillates with the same interval, but at different phases, are continuously added, hence creating shifting patterns throughout the track's nearly 18-minute duration. Elsewhere, in "Transition," multi-layered guitars create the sonic equivalent of waves gently splashing on the shore. "At a Distance" creates a haunting, and hypnotic, soundscape by using slightly out-of-tune analog synthesizers, summoning the transcendent krautrock of Popol Vuh. "Rise," as well as the closing track "Return to Nowhere," recall the glistening sounds of his Manual releases. Mirror Phase might just be Munk's ambient oeuvre reaching its zenith. RIYL: Fripp & Eno, William Basinski, Christopher Willits, Stars of the Lid. CD comes with Munk's previous album Altered Light, vinyl is limited to 300 copies on milky clear vinyl.
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LP + BOOK
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BEWITH 170LP
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Housed together in a stunning slipcase with a matte laminate soft touch finish and a UV spot varnish on the beloved logo, Be With proudly present the Be With 10 Years record and book package. Record contains ten exclusive never-before-on-vinyl tracks from ten Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress! Be With Records reaching ten years feels like a landmark worth celebrating. The label presents Joyride (the record) and Labour Of Love (the book) in one beautiful slipcase. This book and record package was conceived as an opportunity to praise, shine a light on and above all else show gratitude to all the artists Be With has worked so closely with over the last ten years. But not just the artists -- all of the amazing people who form part of the wider Be With family. Without question, this package represents the most exciting, daunting and rewarding thing that the label has ever put together. The record: Joyride. Ten tracks for ten years of Be With from ten artists. As a happily "all over the place" label, the music, accordingly, had to be varied in vibe and style. Featuring Thomas Almqvist, Lewis Taylor, Mic Murphy, 52nd Street, Coastlines, Maston, Kenny Dickenson, The Autumn Defense, Stimulator Jones, and Andre Cymone. The book: Labour Of Love. Created in conjunction with the editor and design team behind Disco Pogo, Labour Of Love is Be With's first ever book and serves as a brilliantly rich and varied document of Be With's first 10 years. It surveys the entire catalogue with the artwork for every single release faithfully reproduced in full color accompanied by Rob's inimitable reviews. The book contains fresh, exclusive interviews with Ned Doheny, Leon Ware, Lewis Taylor, Tommy Guerrero, Wally Badarou, Steve Moore, Pete Fowler, Kimiko Kasai, Tony Henry (52nd Street), The Autumn Defense, Coastlines, and The Mighty Soulmates. There's also fantastic contributions from a whole host of well-regarded fans of the label, including Gilles Peterson, Trevor Jackson, Efficient Space on Steve Hiett, Bill Brewster, Balearic Mike, and Lou Hayter. It explores the development of the Be With logo and also take an insider's look at the journey of a typical Be With record.
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LP+CD
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BEC 5543703
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2024 restock, reduced price. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. Heroes To Zeros is the third and final studio album by The Beta Band released in 2004. It was mixed by famed producer Nigel Godrich and rose to number 18 in the UK charts. LP version; printed inner sleeve, includes CD.
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2LP
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DAMGOOD 611LP
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"A compilation of Billy Childish-related groups to celebrate the release of the brand-new book - To Ease My Troubled Mind: The Authorised Unauthorised History of Billy Childish, written by Ted Kessler."
"My name is William Ivy Loveday, aka Steve Hamper, aka Guy Hamper, aka Jack Ketch, aka Billy Childish. I was born on the Medway, Kent, where I still live. I left school in 1976 when I was 16. Because I have no qualifications I was turned down by art school so went to work in Chatham dockyard as an apprentice stonemason. I later managed to get onto a painting course at St. Martin's School of Art on the basis of my paintings. Me, Bruce, big Russ, and little Russ formed The Pop Rivets in 1977 and made our first recordings. Our inspiration was punk rock, TV21 and The Swinging Blue Jeans. I learned to play guitar then in 1979 I worked for four weeks at Oakwood Mental Hospital as a ward porter, then me, Mick and Bertie formed The Milkshakes. Our inspiration was Link Wray, the Beatles Live at the Star Club LP, the track 'Gotta Get the First Plane Home' by The Kinks and our hatred of new romanticism. Then I was expelled from St. Martin's School of Art for writing what was described as 'the worst type of toilet wall humor.' I beat my father up on his release from prison for drug smuggling. We never paid ourselves in The Milkshakes and put all the money back into making our own records. I kept the money in a bank account under the name of Kurt Schwitters. I lived on the dole for 12 years." --Billy Childish
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DC 114LP
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2024 repress. "Back in 1997, David Pajo was a little over a half decade removed from the future sensation known as Slint, who released two albums over the course of a three-year existence; the second album came out when they band were already defunct. During the next five years, Pajo played with Palace Brothers, King Kong, Tortoise, The For Carnation, and Stereolab. All during that period, the idea of his own music was slowly simmering, building flavor like a good rage. When it broke, it was a 1996 7" single on Palace records, attributed to 'M' with no further edification -- but upon hearing it, there could be no doubt that this fucker was of the Slint lineage. So David jumped up to Drag City with a full length album, this time to be released under the name Aerial M. Two years after that, he came back with an album called Live From a Shark Cage, this time to be credited to Papa M, and Aerial M was heard of no more, until the 2024 release of their late-'90s Peel sesh. And now the album that started to continue it all is pressed anew on vinyl. Dig Aerial M."
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ET 938-04LP
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The Feedbackorchester (Feedback Orchestra/FBO) consists of eight electric guitarists who play exclusively feedback on their instruments. Situated at the intersection of rock music and sound art, the group was founded in Berlin in 1999 and has since been performing mainly in unusual locations with unique acoustic or architectural features, such as churches, stairwells, water reservoirs, ruins, barns, etc. After a number of self-released CD-Rs, this is their first vinyl album. The orchestra is always arranged in a circle to ensure the closest possible contact between the players, while the audience is free to move around and listen from different positions. The music has been described as meditative on the one hand, while at the same time showing an impressive physical presence, often drawing comparisons to forces of nature. It is a constantly flowing stream of vibrations, frictions, and of rising and falling walls of sound in which tones and harmonies constantly attract, break, and find each other again. In recent years, the FBO has settled on a permanent cast of members who have been making music in various bands and projects for decades. This LP was recorded in a Berlin church, the Zwingli-Kirche, on August 27, 2020, and features the players Herman Herrmann, Günter Schickert, Kerl Fieser, Zeppy Haus, Giles Schumm, Hendrik Kröz, Dirk Dresselhaus, and Ansgar Wilken. Edition of 300 in full-color sleeve with photos from the location and the performance.
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ET 938-05LP
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After the orchestral piece KlangWerk 11 in 2022 (ET 933-04LP), Edition Telemark presents the second LP from Berlin-based composer Erhard Grosskopf (b. 1934), featuring his two string quartets nos. 3 and 4 in previously unreleased recordings by the renowned Pellegrini Quartet, and pressed on multi-colored quadratic mirage vinyl. Like all of his seminal pieces, these quartets -- written after one another in 1998 -- exhibit Grosskopf's principle of composing in a space instead of on a timescale, thereby eschewing the development of a dramaturgy and instead trying to make the listener forget a sense of time passing. He utilizes so-called sound processes: layers of differing lengths that are looped and stacked according to mathematical principles, resulting in circling harmonic constellations that come to an end only when their end points coincide. Despite being meticulously planned out, the actual musical phenomena that establish themselves with this method seem unpredictable to the listener. String quartet no. 3 (op. 50) uses seven such layers mapped to the four instruments, resulting in a length of about 30 minutes. String quartet no. 4 (op. 51) on the other hand consists of 12 short pieces (five quartets, three trios, and four duos) that use a simpler algorithm, allowing the listener to observe the process in close detail. Both quartets were performed by the Pellegrini Quartet (Antonio Pellegrini, Thomas Hofer, Fabio Marano, Helmut Menzler) at the UltraSchall Festival in Berlin in 2007 and 2003, respectively. This particular recording of quartet no. 3 is unreleased, while quartet no. 4 has never been released before at all. The LP is pressed on bespoke blue and crystal quadratic mirage vinyl, optically mirroring the sound process layers. Full-color sleeve with artwork by Julia Antonia and liner notes by Matthias R. Entreß. Includes a postcard with the sleeve artwork.
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2LP
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MTE 076-77LP
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2024 repress! "Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet, is at last here. Recorded live at ETA (referencing David Foster Wallace), a bar in LA's Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depthful & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan's Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle. While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group -- just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It's tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras -- dub & Dilla, primary source psychedelia, ambient & drone -- suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, 'we sound like the Byrds' (to certain ears, the Clarence White-era Byrds, who really stretched it). A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they've established in Parker's -- The New Breed -- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker's beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers -- as distinctive a sonic signature as we have in contemporary acoustic drumming -- bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom. For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker's unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker's music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power. On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together." --Michael Ehlers & Zac Brenner Pressed on premium audiophile-quality 140 gram vinyl at Fidelity Record Pressing from Kevin Gray/Cohearent Audio lacquers. Mastered by Joe Lizzi, Triple Point Records, Queens, NY.
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FTR 785LP
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Plastic Crimewave Syndicate returns with one collective foot in overdriven space-biker scuzz rock, but the other bigfoot kicking upward into new galaxies of synth punk, no-prog, and freek funk. Yes, the new PCWS LP, Tales From the Golden Skull, GROOVES -- but from the perspective of the Japan n' Kraut/Eurorock undergrounds, coated in some nasty Windy City grime. Aided by the Chicago Cosmonaut Couriers Crew, ala famed renaissance man Mac Blackout (synths/horns/electronics), Przemyslaw Krys Drazek (trumpet) of longtime zone-jammers Drazek Fuscaldo/Mako Sica, Will MacLean on Moog keytar, plus the oldest-school synthlord Bil Vermette, who's been modulating since the '70s. Tales From the Golden Skull is a near-concept LP that looks back at fallen friends and collaborators, and then into the unwritten golden future (as PCW himself hit the golden 50). The sonic journey dips into dark textural valleys, and chugging riffs rising to the fiery heavens, as the thundering-but-subtle rhythm section of Jose "Beast but Best" Bernal and Rob "Dead Feathers" Rodak know when to crash and when to burn (one). Sir PCW lays down his trademark big muff-blastage and echo-cries, to channel the despair and feral bark of the mighty Vega/Hammill/Iggy/Dickie P/Haino/Mojo-Risin/Mizutani, but also knows when to shut up for some layered instrumental Embryo/Harvester/Fausty trance rock and dabbed/dubbed out "not-quite-shoegazin" calmness in the eye of the Ur-storm. This might be the most expansive, detailed yet furious PCWS LP yet, recorded at Rec Room studios with Eric Block. So strap the headphones on and absorb the tales of this spaced ritual-rock opus.
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GREL 119LP
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"Sylford Walker's heart-stopping '70s roots anthems records for Glen Brown are rightfully regarded as holy relics of reggae. The Lamb's Bread album gathers up these classic sides (formerly reissued on the Blood & Fire label) and once again makes them available for the roots disciples. Mixed by King Tubby at King Tubby's this fully re-mastered package also includes Welton Irie's top-ranking 'Ghettoman Corner' set, the pairing gives the listener both a sung and deejayed version of these classic Glen Brown produced roots rhythms ('Slaving,' 'Glen Brown at Cross Roads,' 'Cleanliness Is Holiness')."
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VPGS 7114LP
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"Produced by Bobby Digital, Black Woman & Child is rightfully regarded as the essential reggae album release of the '90s. Released by Greensleeves in 1997 Black Woman & Child, Sizzla's breakthrough album release, lead to a nomination for International Reggae Artist of The Year and secured his place as the star of the '90s. Fully loaded with hit singles over era defining riddim re-licks including 'Make It Secure' (on Drum Song), 'One Away' (Satta Massagana), 'Give Them The Ride' (Lecturer) plus the anthemic title track 'Black Woman & Child'. Also included are two safe-cracking combinations with Capleton on 'Babylon A Use Dem Brain' and Edi Fitzroy on 'Princess Black'. One of the most important and successful artists in reggae history, Black Woman & Child remains an essential album almost three decades later."
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CD
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GUESS 076CD
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Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground, but possessing a strongly unique disposition. Recorded in 1970 but never released at the time, featuring future members of Roky Erickson's backing band Bleib Alien/The Aliens. Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson's first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi/horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found. The definitive Amethyst line-up, with Hugh Patton on drums and Mike Waugh on bass, played at venues like the I.L. Club, a historical landmark of Austin blues and psychedelic music. It was through Mike Waugh's friendship with Elevators drummer John Ike Walton that Billy Miller and the band hooked up with the local label/studio Sonobeat, who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller's strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller's house on Castle Hill. Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. It wasn't until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label, followed by a new edition on German label World In Sound in 2008, now out of print. For this new edition, Guerssen has tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes with vintage styled artwork by psychedelic illustrator Callum Rooney. Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration/remastering by audiophile engineer Ezra Lesser.
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GUESS 247LP
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With their roots traced in two legendary '60s garage bands, The Outcasts and The Stoics, Homer were without doubt one the best psychedelic/hard-rock outfits coming out from Texas. Grown in U.S.A was their only album, released as a private pressing in 1970. Rural psychedelic rock with early prog hints fueled by stunning lead/dual guitar, melodic vocals and occasional mellotron. Featuring original artwork in hard cardboard sleeve plus OBI, with newly sourced and remastered sound. Includes insert with liner notes and photos.
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GUESS 253LP
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US psych holy grail from 1969. Killer Doorsy organ and fuzzed-out guitars, including all-time psychedelic classics like "Colors," "Workshop," and "Mind Machine." Transplanted from Portland to the Sunset Strip, Hunger played at all the hip places, rubbing shoulders with bands like Hour Glass (pre-Allman Brothers), the Doors, and Steppenwolf. In 1969 they released Strictly from Hunger for the small Public label. Highly sought after, Guerssen is proud to present a straight reissue of such collectable album. Featuring original artwork in hard cardboard sleeve plus OBI, with remastered sound and insert with liner notes and rare photos by Clark Faville.
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HAB 010LP
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2024 repress; LP version. "Issam Hajali is most known as the singer and composer of the Lebanese band Ferkat Al Ard. While they recorded 3 albums only their classic 'Oghneya' saw a vinyl release and is highly sought after in the Lebanese record collector scene (A copy changed hands in Beirut this year for 5000 USD). Before the band came together, he recorded this debut album in Paris in 1977. This rare album fuses jazz and folk with Arabic and Iranian influences into unique beauty. It was only released in a limited run of 75 cassette tapes and is now officially licensed and reissued by Berlin based Habibi Funk Records."
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HAB 013LP
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2024 repress; LP version. "We're super happy to announce our 13th release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It's an incredible unique mix of rock'n'roll, funk, surf, traditional Sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we're happy they will now be widely available. 'Argos Farfish' which was featured on our last comp amassed close to 400,000 plays already. Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for 'Al Ahram Weekly': '[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.' Referring to its sonic appearance, Sudanese jazz hasn't too much in common with the western idea of jazz. Sharhabil's sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So, it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years: 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the king of Jazz, literally, since in he won a competition over other artists for that title."
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CD
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HPS 318CD
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Brand new live album for the Californian super band featuring Brant Bjork, Nick Oliveri, and Ryan Güt. An incredible album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon. Album cover and art by Mirko Gastow.
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2LP
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HPS 318LP
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Double LP version. Brand new live album for the Californian super band featuring Brant Bjork, Nick Oliveri, and Ryan Güt. An incredible album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon. Album cover and art by Mirko Gastow. Also available on CD (HPS 318CD), Magenta Vinyl (HPS 318LTD-LP), and Red/Yellow/Blue Vinyl (HPS 318ULTRA-LP).
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2LP
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HPS 318LTD-LP
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Double LP version. Magenta color vinyl. Brand new live album for the Californian super band featuring Brant Bjork, Nick Oliveri, and Ryan Güt. An incredible album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon. Album cover and art by Mirko Gastow. Also available on CD (HPS 318CD), Black Vinyl (HPS 318LP), and Red/Yellow/Blue Vinyl (HPS 318ULTRA-LP).
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