|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 19 of 19 items
|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ATA 018LP
|
2025 repress; originally released in 2020. The Sorcerers began working on a new album during the winter of 2018 and it was during the writing sessions for this album that the concept for the LP began to take shape. The name for the album was taken from the title of a National Geographic article read by bassist Neil Innes and was used as the starting point for the entire concept. The library music scene of the '60s and '70s has always been an intrinsic part of the sound of ATA Records and so it made perfect sense to envisage the album as a soundtrack, given the cinematic quality of The Sorcerers music. Each track was written with a particular scene in mind and the music was then shaped in the studio to best reflect the essence of that scene. Drums, bass and percussion provide the solid foundation onto which flutes, bass clarinets, xylophones, and vibraphones add the atmospheric and melodic counterpoint, deftly weaving between one another to conjure up images of the unforgiving environment of the dense jungle, unknown eyes watching the protagonists of the imagined film as they make their way towards their ultimate goal, their pursuit by unseen assailants, the arcane mysticism of undiscovered cargo cultists and the ancient ruins of long passed civilizations.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 194LP
|
140gr vinyl. A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It's one of Be With's favorite ever LPs and it's a complete honor to be giving it the reissue treatment. Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favorite "Step Out Of My Dream." The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King, and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train. The album kicks off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire. Side B is perfection. It kicks off with the NTS favorite "Love Rescue," a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP. Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic. The breezy "It's Too Late" is a perfect slow jam before this remarkable set is rounded out with the sickest proto-acid synth-drizzled jam, "Stimulation"; a perfect slab of '80s funk and a strutting vocoder-laced funk workout. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 493CD
|
So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating. Also available on black vinyl (BB 493LP) and blue vinyl (BB 493LTD-LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 497CD
|
By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening. Also available on black vinyl (BB 497LP) and clear vinyl (BB 497LTD-LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 497LP
|
LP version. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 497LTD-LP
|
LP version. Clear color vinyl. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BYG 312LP
|
2025 restock. 12th volume in the BYG Actuel series; 180 gram vinyl. "Super-session recorded in Paris on August 17, 1969. Alan Silva collected here many of the top free jazz players of the time, an incredible 11-piece ensemble featuring, among others, Grachan Moncur III, Archie Shepp, Anthony Braxton, Dave Burrell, Leroy Jenkins, and Malachi Favors. As a result, this is a very free record and a historical document of Pan-African high art music. Two tracks."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CONICROSE 002LP
|
Conic Rose's debut album has finally come to life on stage. After two years of playing it live, the music has grown, shifted, and deepened. This live album captures that process -- recorded in one night at Kantine Berghain, Berlin. A unique blend of jazz, indie and electronic elements -- the signature Conic Rose sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
6CD BOX
|
|
CVSD 126CD
|
For the first time, a release of select music performed at Chicago's Empty Bottle in the heyday of the creative music boom of the 1990s. From 1996-2005, writer and producer John Corbett and musician and composer Ken Vandermark teamed up to curate a series of concerts, the Empty Bottle Jazz & Improvised Music Series. Together with annual international festivals, the series comprised more than 500 performances over its nine-year span, which was lauded in the international press and helped focus attention on Chicago as a hotspot for improvised music. The majority of the music was dutifully documented by Malachi Ritscher, from whose archives The Bottle Tapes: Selections from the Empty Bottle Jazz & Improvised Music Series (1996-2005) is drawn. Over the course of six CDs, arranged in chronological sequence, the box set revels in the span of the music presented at the Bottle, from the hardest blown free jazz to microscopic free improvisation and other kinds of experimental music. The lineup incorporates nearly 100 international musicians, including Peter Brötzmann (who formed his Chicago Tentet at the Empty Bottle in 1997), Milford Graves (performing solo), a Bobby Bradford quartet with Fred Anderson, Hamid Drake and Wadada Leo Smith, Nicole Mitchell's Black Earth Ensemble, the Dutch bands Available Jelly and Clusone 3, Von Freeman in his only performance with Misha Mengelberg and Han Bennink, Jim O'Rourke duetting with Cor Fuhler, Mats Gustafsson and Thurston Moore in their first face-off, Chicago Underground Quartet, Steve Lacy/Roswell Rudd Quartet, and much more. The package comes with a lavishly illustrated 64-page book, loaded with never-published photos and vintage ephemera, including Dan Grzeca's beautiful posters, as well as an in-depth essay by Corbett, with play-by-play notes on the music. Also featuring Willie Pickens, Wilbur Campbell, Ron Dewar, Joshua Abrams, Robert Barry, Alexander Schlippenbach Trio, François Houle, In Zenith, Fred Anderson, Kent Kessler, Hamid Drake, Mars Williams, Misha Mengelberg, Aaly Trio, Dkv Trio, Irene Schweizer, Evan Parker, Ned Rothenberg, André Jaume, Floros Floridis, Peter Kowald, Günter Sommer, John Butcher, Kevin Drumm, Holz Für Europa, Joe Mcphee, Philipp Wachsmann, Daniele D'agaro Quartet, Erik Friedlander, and the Anthony Coleman Quartet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DAMGOOD 633LP
|
LP version. "'The undisputed kings of garage rock' (New York Times) are back once again! Two years on from their 2023 album Irregularis (The Great Hiatus), Thee Headcoats are back with a new record that ranks alongside the very best of their 1990s albums. Featuring 12 fab cuts (or ditties if you prefer) recorded at Ranscombe Studios in Rochester. The Sherlock Holmes Rhythm 'n' Beat Vernacular comes at the same time as Man-Trap, a brand-new album by Thee Headcoatees, which features the chaps on rhythm section duties."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FRO 31007LP
|
2025 restock; 2011 reissue. Originally released in 1982. "Only Theatre of Pain is the first studio album by the American rock band Christian Death, released on March 24, 1982, by the Frontier record label. It is considered by most critics to be the harbinger of the deathrock style of music, as well as being highly influential on the American gothic music scene."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FRO 31011LP
|
Restocked; 2021 repress. Originally released in 1983. "Suicidal Tendencies is the debut studio album by American hardcore punk band Suicidal Tendencies. The album was released on July 5, 1983, through Frontier Records with the catalog number FLP 011. It became one of the best-selling punk rock albums at the time and launched the band into its future success. Suicidal Tendencies has received positive reviews from music critics, and by 1993, the album had sold at least 400,000 copies. 'Institutionalized' was released as a single to promote the album."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HJR 025LP
|
2025 restock; originally released in 2006. The fourth volume in Honest Jon's Records' series celebrating the music of black London, staying for now with the first waves of modern immigration from Africa and the West Indies. After devoting a third installment to the accomplishments of the late Nigerian genius Ambrose Campbell, Honest Jon's resumes an open-house policy, suited to musicians whose lives and artistic ambitions carried them all over the world; calypso and kwela are back, and highlife and bebop, with a little rock 'n' roll, a "mambo Indio," a shango hymn, some Sun Ra-style cha-cha-cha. A lake in a Johannesburg zoo, a Chinese on the Harrow Road; astronauts and prostitutes, landlords, streetfighters and cricketers. The music and detailed notes are presented alongside rare artist photographs by Val Wilmer. Includes tracks by Ginger Folorunso Johnson, Young Tiger, Dorothy Masuka, Lord Kitchener, Cab Kaye, Shake Keane, Eric Hayden, Enoch & Christy Mensah, Victor Coker, Young Growler, The African Messengers, and Nat Atkins.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HJR 040LP
|
2025 restock; deluxe double LP version, in a beautiful gatefold sleeve. This is the fifth release in Honest Jon's series of albums exploring vintage recordings held in the EMI Hayes Archive. This album uncovers the dizzy beginnings of the golden age of African music zinging with the social and political ferment of the independence movement and anti-colonialism, after the Second World War and the daredevil origins of Congolese rumba -- the entire continent's most popular music in the '60s and '70s. The new music grew in concert with a burgeoning night life especially in the twin capitals of Leopoldville (today's Kinshasa) on the Belgian side, and Brazzaville on the French, where humming factories lured increasing numbers of rural Congolese with the offer of a steady, relatively well-paying job. The astonishing inventions of Europe and America also played an important role in the music's development. Traditional Congolese musicians began to master imported guitars and horns by mimicking what they heard. The jazz of Louis Armstrong and the ballads of European torch singers like Tino Rossi captured the imagination of the rapidly-expanding working class as well as the familiar-sounding music of Latin America. Local musicians swapped the Spanish of the originals for Congolese languages. In his version of "Peanut Vendor," included here, A.H. Depala replaces the seller's cry of "mani," or "peanut," with a lovelorn lament for a woman named "Moni." Depala went on to land a spot in the house-band of the prestigious Loningisa studio. Others failed to gain equivalent recognition, but their music was no less impressive. Listen to likembe (thumb-piano) player Boniface Koufidilia as he makes the transition from traditional to modern in the first few seconds of "Bino," which hits you with a vamping violin while he muses about death (including that of the popular Brazzaville musician Paul Kamba). Andre Denis and Albert Bongu both echo the sounds of palm-wine brought to the Belgian Congo by the coastmen. The sweet vocal harmonies of Vincent Kuli's track were learned, perhaps, in a mission church. Rene Mbu's nimble, likembe-like guitar plucking shines on "Boma Limbala," and is Laurent Lomande using a banjo as a backdrop to "Elisa?" Aren't those kazoos, buzzing along on Jean Mpia's "Tika?" It's as if the musicians, fired up by the times in their zeal for experimental self-expression, tossed into a bottle some new elements and some old, some near and some far, and then shook it hard, to see what would happen. With insert featuring rare photographs and notes by Gary Stewart, author of Rumba On The River. Sound restoration done at Abbey Road.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MDW 008CD
|
Cambridge's acclaimed psych-folk quintet Fuzzy Lights return with their fifth album Fen Creatures. Following on from 2021's critically lauded Burials the band have created their most conceptually focused work to date -- a mediation on environmental crises that uses the folklore and history of East Anglia as a lens to examine humanity's fractured relationship with the natural world. The album operates across multiple historical timelines, from Iron Age hill forts to medieval plague houses, from Byron's Romantic-era environmental warnings to the immediate threat of rising sea levels, creating a temporal tapestry that weaves ancient stories with contemporary concerns. Musically, the quintet, Rachel Watkins (vocals/violin), Xavier Watkins (guitar/electronics), Chris Rogers (guitar), Daniel Carney (bass), and Mark Blay (drums), have pushed deeper into experimental drone territories while maintaining the crystalline folk sensibilities that have become their signature. Lead track "Greenteeth" transforms the traditional cautionary tale of Jenny Greenteeth, the water spirit who lures children to their deaths. Elsewhere, "War Ditches" imagines the Iron Age dead of a Cambridge hill fort keeping watch over the land, their vigil ending as modern people lose connection with the earth. "The Promise" creates an imaginary encounter with the ghosts of Landbeach village across multiple eras, connecting the 1665 plague with our recent pandemic experience through shared narratives of community resilience and loss. Critics praised Burials as "way beyond folk and folk in essence all at once" (Backseat Mafia) and "folk-rock looking back squarely at the early 1970s" (Financial Times), and Fen Creatures promises to cement Fuzzy Lights' reputation as one of Britain's most vital contemporary folk acts. The album positions them firmly within the lineage of artists like Fairport Convention, Trees, and Comus who understood that engaging with tradition isn't nostalgic escapism, but a way of accessing older wisdoms about how to live in the world.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/BOOK
|
|
RM 4100CD
|
A note from Lawrence English: "Even without visiting a place, we often think we know it. It's a syndrome of the modern age. The world is right before us, on screen, summarized and sensorially curated into a particular vision that casts light across 'just so much' of an impression of a place and a time. In some ways, I realized this phenomenon most strongly when I visited Antarctica in the summer of 2010. In my mind's ear (and eye) certain features of that place were front and center -- imagined, as to be real. The stark color schematic, the full spectrum dynamics of life (and death), the distance from wider humanity and the uniqueness of climate formed a collaged pre-conception of the ice continent... The recordings here speak to the everyday of our incursions into Antarctica. They are not exceptional, or unique, in that they unfold across much of the continent's camps and bases moment to moment, depending on the season and location of course. What they do highlight is the confluence of environments, materials, climate, and life that all clamber together in these shifting plains of ice, rock, and water. While not exactly intentional, the way this work played out is largely in three chapters, the human, the land and the water. Each of these intersect and fall into one another of course, but they also exist with a sense of being discrete. Whilst the characters might be shared across these zones of entanglement, the stories they tell into are often unfolding in parallel, rather than in sequence... To me these recordings capture the duality of a place like Antarctica. They are a seasonal glimpse into the lived experience of the wildlife and humans that persist in this environment. They also reflect upon the objects and things that comprise this place. The recordings catch the uneasy murmurs of eroding ice plates, the trickling conversations of high summer streams, the clicking echolocations of Orcas, the barked disputes of territorial Antarctic Fur Seals, and the chirping of penguin chicks racing to shed their downy coats and find their way to the relative security of the ocean before the winter sets in. They also capture the feverish rush of researchers, military personal, and station workers as they prepare for the long, frigid months ahead during which time they are effectively disconnected from the remainder of the planet. These moments exist in urgency, the summer's sweet caress is fleeting and the winter knows no forgiveness."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROOTS 044LP
|
2025 repress. Holy grail of US roots reggae released in 1979. Old-style tip-on sleeve replicating the original sleeve. More Relation started in 1977 in New York as a backup band for reggae artists such as Melodians, Larry Marshall, Carlton Coffee, and Ken Booth. They released many now sought-after singles and one self-titled album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
ROOTS 052EP
|
2025 repress. Matthew (son of Winston McCanuff) was one of the rising stars in the reggae scene around the 2010s, when he got cold-blooded murdered in 2012. "Be Careful" appeared on his debut album with the same title. On the B-side comes the original version. Later on, an alternate version was recorded, which has a more "live" feel to it and also features a wicked dub.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SU 6206LP
|
Warehouse find, last copies. Originally released in 1968, is historically significant as the first rock LP in Czechoslovakia and is noted for its Mersey-sound, garage, and psychedelic rock influences, including the epic six-minute track "Psychiatrický prá?ek". "For the first time since 1968, you can feast your eyes on the original artwork of Olympic's debut album, adorned with illustrations by Jan Antonín Pacák, the band's percussionist. Excellent work was done in this respect by Vrkoslav and Zámostný from Olympic's fan club (the additional pressings were put into universal graphic covers, entirely devoid of the magic of the original title's artwork). The remastered sound corresponds to 2013 standards yet with regard to the original analogue patina. The (printed inner sleeve) presents interesting documents from the archives, including several previously unpublished photos."
|
viewing 1 To 19 of 19 items
Next >>
|
|