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viewing 1 To 12 of 12 items
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LP
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BB 027LP
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2026 repress; LP version. Bureau B reissues Wolfgang Riechmann's Wunderbar, originally released in 1978 by Sky Records and an absolute gem of German electronic music. This album, however, is beautiful and tragic in equal measure, as Riechmann became the random victim of a knife attack just three weeks before the LP went on sale. Wolfgang Riechmann's career as a musician went all the way back to 1969, which was roughly when he met Michael Rother (Neu!, Harmonia) and Wolfgang Flühr (Kraftwerk), who would be his colleagues in the Spirits Of Sound Group. Later on (1973 to 1976) he played with Phönix, before going on to record two albums with Streetmark, who enjoyed great popularity at the time. From November 1977 onwards, he devoted his full attention to the Wunderbar LP. On his first and, regrettably, last recording as a solo artist, Riechmann went eclectic. Distant echoes of the so-called Berlin School (Tangerine Dream, Klaus Schulze, and the like) can be detected on Wunderbar, as well as the clear influence of the so-called Düsseldorf School (Neu!, Kraftwerk, La Düsseldorf) -- not that Riechmann was attempting to copy their styles in any way. While contemporary influences need not be denied, Wunderbar hints at the direction he would take in terms of sound and composition, reflecting a powerful, independent musician's personality, one which would have caused quite a stir, had it been given the chance to unfold. This optimistic music is characterized by simple sequencers and drum patterns, with Riechmann adding his own individual layers of harmony. And then there are the melodies: simple, sometimes to the point of being simplistic, but never naive. Wunderbar is modern, electronic pop, perfectly and permanently frozen in time. Printed inner sleeve featuring rare photographs and liner notes by Asmus Tietchens, one of the original pioneers of electronic music.
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LP
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BB 332LP
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2026 restock; LP version. Sammlung (BB 236CD/LP, 2017) compiled by Stefan Schneider first introduced a selection of previously little-known exponents of 1980s Duesseldorf electronic tape music. A further remarkable example of the Duesseldorf underground tape output, 1986's Singende Drahte originally circulated in a minuscule edition among aficionados only is now finally available as a CD and vinyl re-edition. Deux Baleines Blanches was the name of Stefan Schneider's avant-pop-project who concurrently with his studies of photography at Duesseldorf's Kunstakademie had begun his musical explorations in the early 1980s, which also led him to cofound the bands Kreidler (1994) and To Rococo Rot (1995). Singende Drahte showcases some of his early work in the field. The somewhat sketchy and abstract character of these 14 tracks, "Draehte" (wires) is slightly reminiscent of the esthetics of contemporary labels like Les Disques du Crépuscule or early 4AD, yet they sound surprisingly modern even 30 years after they were first released.
"The music on this album has originally been recorded in an attempt to recreate an electric drone emanating from an overhead electric power line which I had noticed by chance on a humid day in May 1986 whilst on a bicycle tour across the rural outskirts of Düsseldorf. The surprising discovery of this static yet tender hum which filled the air was a completely overwhelming listening experience . . . The very next day I borrowed a recording device from a friend (it was a Sony Walkman if memory serves) and went back to the same spot right underneath the huge wires of the power line, eagerly anticipating the chance to record this particular hum, my future favorite album onto cassette tape. Yet weirdly, on this day the hum was nowhere to be heard . . . Back at home I took my guitar and my amp and tried to imitate what I could not record in the field. The more effort I put into these attempts the worse it got, however I was convinced . . . A couple of weeks later, however, I listened back to these sketches and was surprised that there was something quite uniquely intriguing within these recorded fragments. You simply had to disregard the original intention -- to imitate the sound of an electric hum. I chose to liberate myself from the constraints of the experiment and subsequently recorded my sketches on a 4-track cassette. The nished cassette was released in November 1986 in an edition of maybe 15 copies." --Stefan Schneider, October 2019
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CD
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STEP 004CD
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2026 restock; domestic reissue, originally released in 2004. " Vashti Bunyan's lone 1970 solo release features contributions from British folk royalty including members of Fairport Convention and preeminent producer Joe Boyd. Vashti was recently heard singing alongside Devendra Banhart on the title track of Rejoicing In The Hands. The songs were written over two summers and one winter of travelling. After a chance meeting that winter with Derroll Adams (noted Woody Guthrie era folksinger and banjo player) who told her not to 'hide her light under a bushel,' Vashti took the songs of her journey to Joe Boyd. A year later he recorded Just Another Diamond Day, inviting Robin Williamson of the Incredible String Band, and Dave Swarbrick and Simon Nicol (who also played on Nick Drake's records) from Fairport Convention to accompany Vashti on some tracks. The album was released late in 1970 to little attention. The music was abandoned by the singer in favor of further horse journeys and complete obscurity. However, over the years all the recordings have succeeded in finding their own way to the notice of music collectors. The master tape of the album lay in a London warehouse for thirty years before being unwisely taken across the city in an underground train and getting wet in a raging thunderstorm, but has survived almost intact. The four additional on this edition are from well traveled old vinyl, acetate demos, and home recorded tape." -- Paul Lambden.
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LP
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ESPDISK 1034LP
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2026 restock; LP version. 2013 reissue; originally released in 1966. The first North American release of the "electric newspaper," an archetypal '60s counterculture "happening" from August 6, 1966, this is also the first edition anywhere since the original vinyl to include the lengthy closing track, "Interview with Hairy." A legendary all-star cast of performers got together to make an anti-war collage of words and sounds that defies mere track listings -- one of the elements is "Silence" by Andy Warhol, which, contrary to at least one wrong-headed European reissue, is not actually a separate track (so don't write in complaining about its supposed absence). For some period of time, while the radio played and/or other performers did their things, Andy stood in the studio silently. Hey, it was the '60s. It's a concept, man. Track listing includes plastic clock radio; Steve Weber; The Velvet Underground; Gerard Malanga and Ingrid Superstar; Marion Brown, Scott Holt, and Ron Jackson; Allen Ginsberg and Peter Orlovsky; Tuli Kupferberg; Ishmael Reed; Andy Warhol; and Ken Weaver and Ed Sanders. RIYL: Revolution, The Fugs, owning EVERY Velvet Underground track.
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12"
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FREQ 001EP
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2026 repress. FREQ Records is the record label accompanying the manga FREQ, created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others. The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes. FREQ001, called Super Freq, is composed by none other than Machine Girl, known for their breakcore-inspired sonic adventures and highly energetic live shows.
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4LP BOX
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ITR 1977LP
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2026 restock. "One of the most revered, reviled and talked about records in all Australian music history, I'm Stranded by The Saints finally gets the vinyl box set treatment. A joint collaboration between In The Red, Universal Music Australia, and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of I'm Stranded features four vinyl LPs covering all the band's studio and live recordings from 1976 thru 1977 and includes: the iconic debut album remastered for vinyl for the first time in over forty years; A five-song live performance from Paddington Town Hall Sydney 3/4/1977, appearing on vinyl for the first time; A full live performance from the Hope & Anchor Front Row Festival, London November 1977, appearing on vinyl for the first time; All three tracks from the 1977 This Perfect Day 12-inch single and all four tracks from the 1977 1-2-3-4 double 7-inch single; The previously unreleased 1976 demo mix of the full I'm Stranded album. In addition to all that vinyl, the set also features a twenty-eight page 12"x12" photo essay of the band covering their origins from 1973 through the end of'77, an authorized band history, an 8"x10" 1976 promo photo, and a I'm Stranded sticker."
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LP
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IF 1100LP
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Repressed! LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.
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CD
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THRILL 210CD
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2026 restock. "Beacons Of Ancestorship is Tortoise's sixth full-length album, and their first release of new material since 2004's It's All Around You. A characteristic Tortoise album is one that traverses an encyclopedia of styles and reference points, a document of where musical intersections and dialogue are occurring at a given moment in time. Beacons Of Ancestorship is no different, with nods to techno, punk, electro, lo-fi noise, cut-up beats, heavily processed synths and mournful, elegiac dirges. We see these ideas working out in compositions like 'High Class Slim Came Floatin' In,' an eight-minute track which playfully references the world of ecstatic rave and dance culture with a curiously ambivalent, multi-part suite overlaid with robotic, machine-sounding melodies that stop and start in several different time signatures before the song's ultimate resolution; and again in 'Yinxianghechengqi,' which begins as a straightforward uptempo math-rocker before steadily accelerating into a wall of fuzzy atonal sqwonk. There are many moods, styles, and modes in the Tortoise songbook, of course -- often, in the course of a single composition. Consistent throughout, however, is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. (Think Robert Altman versus Robert Plant.) In the same sense that the string quartet and all small-ensemble chamber music can be thought of as an intelligent conversation among equals -- violins, viola, and cello taking turns, expressing opinions, joining voices and then coming apart, as also occurs in elevated discourse -- so, too, the calling card of a Tortoise song is the experience of a sound being worked out as a conversation among the individual and interrelated parts -- of an ensemble thinking collectively and in group dynamics through the expression of a multi-layered musical thought."
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LP
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THRILL 210LP
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2026 repress. "Beacons of Ancestorship is Tortoise's sixth full-length album released in June of 2009. Having sold through multiple vinyl pressings upon release it has been unavailable for a few years. We are happy to bring it back as part of our 20th anniversary. Pressed on high quality virgin vinyl and presented in an old-style tip-on gatefold jacket with artworked inner sleeve and MP3 download coupon."
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2LP
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TRESOR 027LP
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2026 repress; double LP version. 2019 remaster. Twenty-five years after its initial release, Tresor Records present a remastered reissue of Robert Hood's Internal Empire album, originally released in 1994. A master work, then and now, the ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact. Originally released in 1994, Internal Empire marked a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come. Remastered and re-cut.
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LP
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WWSLP 016LP
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2026 restock; LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.
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LP
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WWSLP 018LP
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2026 restock; LP version. Obi strip; Includes insert. Wewantsounds present a reissue of Akiko Yano's Iroha Ni Konpeitou, originally released in 1977. Another superb Akiko Yano album and one of her funkiest, highlighting her singing and songwriting talents. Iroha Ni Konpeitou is perhaps Akiko Yano's best-known album in the Western world not just because of its striking front cover -- a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin. A slick mix of Japanese pop and New York funk, the album was recorded in Tokyo except for the title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee, and Nicky Marrero. For the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar, to name just a few. Interestingly, two Hosono compositions are featured on the album: "Ai Ai Gasa" which he recorded on his 1973 landmark debut Hosono House and "Hourou" originally recorded in '75 by singer and musician Chu Kosaka, on the eponymous album Horo. Last but not least, Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, and Yamaha CP7C. Matsutake would soon become programmer in chief for Yellow Magic Orchestra, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction "KAWAJI", a short electro fantasy, or on such tracks as "Ai Ai Gasa" and "Kino Wa Mou" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song. "Iroha Ni Konpeitou" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography. Remastered sound. First release outside of Japan.
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