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viewing 1 To 15 of 15 items
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CD
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BV 001CD
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Joseph Omicil, Jr, a.k.a. Jowee Omicil, is a Haitian-Canadian jazz musician. He has worked in the past with artists such as Roy Hargrove, Pharoah Sanders, Tony Allen, Kenny Garrett, Jacob Desvarieux, Glen Ballard, Harold Faustin, and Michel Martell. He hosted Quincy Jones' 85th birthday celebration at Montreux Festival. He also starred in the Netflix series The Eddy, produced by Damien Chazelle, and Le temps d'aimer, directed by Katell Quillévéré (Cannes Festival 2023). The Bois-Caïman ceremony was Haiti's first major collective uprising against slavery. On his new album, SpiriTuaL HeaLinG: Bwa KaYimaN FreeDoM SuiTe, Jowee performs his ancestors' revolution in his own way. Jowee brought together all his inner tubes, soprano, alto, tenor, wood, clarinets, piccolo flute, cornet, that blows, that winds, that rumbles. This record is an incantation, a therapy, it cleanses the world by drawing on the fantasized memory of the Haitian revolution. There are "Freedom Suites" by Sonny Rollins, Max Roach, and others. Prayer music, music to break the chains in your head and on your wrists, music of black power and white magic. For Jowee, a kid from Montreal, son of a Haitian pastor, who sang Jesus in all the tones, and then Michael Jackson, and then 2Pac, who learned jazz from Ornette Coleman, the ceremony necessarily has the taste of free. This record is a healing hour-long improvisation.
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2LP
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BEWITH 056LP
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2026 repress. Be With Records present a reissue of Sweet And Nice, the vital debut album from Jamaica's undisputed first lady of song Marica Griffiths, originally released in 1974. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original's opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn't mess with magic. Marcia's version of "Here I Am (Come and Take Me)" has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It's followed by the sophisticated, rollicking wah-wah funk of "Everything I Own" and the slice of smooth lovers soul par excellence that is "Green Grasshopper" and her ace, lilting Neil Diamond cover "Play Me". The thundering, humid funk of "Children At Play" "sounds uncannily like a precursor of Massive Attack", as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody, and essential. Side two keeps the fire burning. "Sweet, Bitter Love" should leave you swooning, and is also one of the album's alternate titles. Curtis Mayfield's already-eternal "Gypsy Man" follows, recast as proto-lovers rock. "There's No Me Without You" is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia's heartbreaking delivery. And if this doesn't get you then surely the next track will: arguably the definitive version of Ewan MacColl's "The First Time Ever I Saw Your Face". "I Just Don't Want To Be Lonely" re-takes its rightful place at the end of the LP's second side... but Be With Records added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Amongst these 14 extra tracks you'll find the exquisite late-60s singles "Melody Life" and "Mark My Word" which, along with the sumptuous reading of "Band Of Gold". All material is remastered. 140 gram vinyl.
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12"
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BIKINI 003EP
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2026 repress, on translucent magenta vinyl. now on "A reissue of Bikini Kill's second EP, Yeah Yeah Yeah Yeah. Yeah Yeah Yeah Yeah was recorded in 1992 with Tim Green (Nation of Ulysses) at The Embassy - a group-house in Washington, D.C. - and was the first Bikini Kill release to feature the band's song, 'Rebel Girl.' Originally a split EP with the Brighton, UK-based band, Huggy Bear, the B-side now features seven previously unreleased Bikini Kill songs drawn from era-appropriate live shows and practice tapes. The artwork has also been updated to include archival photos and liner notes from the Bratmobile's Erin Smith, Comet Gain's David Feck, and the members of Bikini Kill. Bikini Kill was a feminist punk band based in Olympia, WA and Washington, D.C., forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early '90s via their political lyrics, zines, and confrontational live performances."
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2LP
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BE 001LP
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2026 repress. Black Editions present the first ever vinyl edition of Tokyo Flashback, the legendary 1991 compilation that defined the Tokyo psychedelic movement and first brought it to the outside world. Tokyo Flashback is one of the most iconic compilations in the history of underground music. Originally released by Japan's P.S.F. Records, Tokyo Flashback defined the breathtakingly unique and previously obscured musical movement that had been developing in Japan since the late 1970s. The compilation features some of the earliest released recordings by Keiji Haino, High Rise, Masaki Batoh's Ghost, White Heaven, Fushitsusha, Kousokuya, and Marble Sheep. It captures the excitement and energy of a Tokyo awash in Technicolor and deep blacks; the music echoing krautrock, psychedelic freak-outs, garage, and no wave. At the same time it reveals astonishing, totally idiosyncratic expansions of rock music. In time, Tokyo Flashback expanded to a synonymous nine volume series that, over the following two decades, unveiled Japan's ever evolving soundscapes to the rest of the world. Tokyo Flashback is a defining statement of late 20th century Japanese psychedelic music and an essential primer to the world of P.S.F. All tracks are exclusive, this edition features the first time translation of the original liner notes. Black Editions' deluxe edition is entirely re-mastered and marks the first release of Tokyo Flashback outside of Japan and it's first ever vinyl issue. Also features Verzerk. Newly created artwork and design expanding on the original by Rob Carmichael at SEEN Sudio; Housed in custom printed deluxe Stoughton gatefold jacket and slipcase, including full color printed inner sleeves and inserts with soft touch and spot UV gloss finishes; Remastered and cut by Pete Lyman at Infrasonic Sound; Pressed to high quality vinyl at RTI.
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2LP
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INCIENSO 027LP
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2026 repress. Six years after the release of the A Parade, In The Place I Sit, The Floating World (& All Its Pleasures) EP on anno Records, Brian Leeds, aka Huerco S., returns to the Loidis project with his debut album One Day on Incienso.
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LP
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IR 031LP
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2026 restock. 100% analog mastered from the original analog master tapes; mastered by Kevin Gray at CoHEARent Audio; ultra-quiet 180-gram vinyl pressed at Gotta Groove Records; beautiful old-style "tip-on" jacket printed by Stoughton. "What a time 1968 was for the burgeoning country rock scene! Gene Clark and Gram Parsons had introduced rock fans to some country flair with The Byrds' Sweetheart of the Rodeo. After Sweetheart, Parsons broke auspicious new ground with The International Submarine Band (just a year before he'd make The Flying Burrito Brothers' The Gilded Palace of Sin), while Gene Clark teamed with banjo genius Doug Dillard for this bluegrass classic, The Fantastic Expedition of Dillard & Clark. The picking virtuosity of Dillard, Bernie Leadon and others on this LP meshes beautifully with Gene Clark's soulful vocal presence and guitar. The repertoire is endlessly fun and engaging but punctuated with somewhat somber Clark offerings like 'She Darked the Sun' and 'Something's Wrong'. Country rock is familiar ground to Intervention fans, as we've already tackled greats from The Flying Burrito Bros., and Gene Clark's amazing solo effort White Light. This is the roots of the music that paved the way for the Eagles and countless others. The Fantastic Expedition of Dillard & Clark is Mastered Direct-to-DSD from the 1/4'' 15-ips Original Master Tapes by Kevin Gray at CoHEARent Audio. The tapes sound beautifully dynamic and alive, with tuneful bass, extended highs and three-dimensional imaging. The IR cut has better separation and punch than ANY previous version of this amazing record." "Fantastic Expedition of Dillard & Clark is one of the first, inarguable classics of country-rock ... a work rooted in tradition while reveling in freedom and new ideas and making the most of them all." --Mark Deming, AllMusic
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LP
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LTJC 012LP
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2026 restock. Le Tres Jazz Club present a reissue of Marion Brown's Le Temps Fou (Musique du film de Marcel Camus), originally released in 1969. Marion Brown, who moved to Europe two years earlier than 1969, and records, in the legendary Parisian studio Davout, the soundtrack of the movie by Marcel Camus entitled Le Temps Fou. The movie starred Nino Ferrer was out in 1970 under the title Un été sauvage. Fallen into oblivion, Le Temps Fou was printed in very few copies and is almost impossible to find in its original pressing. Personnel: Marion Brown - alto sax, bells; Gunter Hampel - vibes, bass clarinet, tree bells; Ambrose Jackson - trumpet cow bells, tambour; Barre Phillips - contra basse, castanetes, whistle; Steve McCall - drums, triangle, tambour; Alain Corneau - claves, cow bells.
As featured in Now Jazz Now: 100 Essential Free Jazz & Improvisation Recordings (1960-80)
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LP
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LTJC 014LP
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2026 restock; reissue, originally released in 1969. An iconic French free jazz record recorded at Pathé Marconi Studios. On June 27th, 1969, Michel Portal pushed the door of the Pathé Marconi studios. With him were drummers Jacques Thollot and Aldo Romano, bassist Jean-François Jenny-Clark, and pianist Joachim Kühn. They hadn't rehearsed anything, as if entering the studio to record an album without any plan was something normal. The musicians were obviously very used to playing with each other, as the five tracks on Our Meanings And Our Feelings seem to flow perfectly without any hint of improvisation. The zokra, an oriental clarinet that Michel Portal plays on "Walking Through The Land" and "Dear Old Morocco" brings a singular touch to this album. This singularity is transcended by Joachim Kühn's ability to easily go from the piano to the saxophone alto, from supporting to soloing, before playing the bells, then the tambourine, opening the soundscape. Our Meanings And Our Feelings may not be the first French free jazz record -- as it was preceded by the fantastic Free Jazz by François Tusques, released in 1965 and on which Michel Portal plays as well -- but it remains one of the most important. Its incredible outburst of sounds and melodies is completely free yet never turns into cacophony. 44 years after its release, it is still urgent to listen to Our Meanings And Our Feelings and what these five talented musicians had to say.
As featured in Now Jazz Now: 100 Essential Free Jazz & Improvisation Recordings (1960-80)
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2LP
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OP 031LP
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2026 repress. Pomegranates -- Nicolás Jaar's unofficial/alternative soundtrack to Sergei Parajanov's 1969 film The Color of Pomegranates -- was first released in 2015, and to highlight the 10-year anniversary Other People is reissuing the album on vinyl, with the first edition (a collaboration with the label Mana) having long been out of print. Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it's based, with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar's identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film's tracing of the coming of age of the young poet, Sayat-Nova. At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend's music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar's most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener. In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects.
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2LP
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PXC 032LP
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2026 restock. Reissue of a founding classic of the French Touch sound. Released in 1996, Super Discount is the debut album by Étienne de Crécy, one of the most influential figures on the electronic music scene and one of the most inspired producers. Over time, this record has become one of the pioneering records of the French Touch and a founding classic of electronic music, both in France and abroad. It was a critical and commercial success from the start, an icon of its time. Features Minos, AIR, EDC, La Chatte Rouge, Mr. Lean, Mooloodjee, Alex Gopher, and DJ Tall. Gatefold sleeve.
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LP
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SF 130LP
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2026 repress! West Virginia Snake Handler Revival "They Shall Take Up Serpents" marks the arrival of a landmark record, documenting the last, snake handling church in Appalachia. Featuring hillbilly rock guitars, trance-like rhythms, and howling vocals, this album was recorded 100% live and without overdubs by Grammy-award winning producer and author, Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Zomba Prison Project). The first release of American music ever by Sublime Frequencies, Brennan states, "As much as I've traveled around the globe to remote areas such as Comoros, the southeast Sahara or up-river in Suriname, few places have felt more foreign or 'exotic' than this part of Appalachia. The recording represents in many ways a companion and counterpoint -- the other side of the Deep South, so to speak -- to the music that was explored on the Parchman Prison Prayer albums. The Snake Handler album was an attempt to listen across that divide -- a divide that's never fully healed and continues to haunt and imperil the USA to this day." The recording took place during a two-plus hour Sunday service in the West Virginia mountains. Brennan states, "I'd sworn to stay far away from the snakes at the service, but instead they were waved in my face as they coiled in the preachers' hands, and I crouched down at the foot of the altar tending to the equipment. The pastor soon was bitten and blood splattered, pooling on the floor. The female parishioners hurriedly came to wipe up the mess, and it instantly became clear just what the rolls of paper towels stacked on the pulpit had been for. You can actually hear this moment transpire towards the end of the track 'Don't Worry It's Just a Snakebite (What Has Happened to This Generation?)'. The congregation leapt to its feet and a mini mosh-pit formed. The tag-team preachers huffed handkerchiefs soaked in strychnine, as they circled like aggro frontmen and an elderly worshiper held the flame of a candle to her throat, closing her eyes and swaying. The church PA blew out from the screams as a bonnet-wearing senior whacked away at a trap kit that dwarfed her. It was the most metal thing I'd ever seen, rendering Slayer mere kids play." The flock claim to be the first church that merged Rock and Roll with firebrand preaching -- that the music was stolen from them by Satan, that they are the originators. Given that snake handling ministries can be traced back to at least 1910, there might even be a faint something to the claim. The pastor's father and brother both died after being bitten by timber rattlesnakes, and the pastor himself suffered greatly from one a few years back -- his forearm swelling to twice its size and turning slime green. As a result, he fell unconscious and his forearm had to be sliced open from wrist to bicep to relieve the pressure. Nonetheless, Pastor Chris steadfastly claims that "Jesus is our anti-venom." "Some people think we're Devil worshippers, that we're a cult. But snake handling is only a small part of what we do." In the 1970s there were reportedly five-hundred snake churches throughout Appalachia, but now there is only one -- in West Virginia, the only state where serpent handling remains legal. It's estimated that in the past century more than one-hundred preachers have died from poisonous snakebites inflicted while leading these services. This includes the founder of the first snake handling flock, George Went Hensley, who was illiterate and once convicted of selling moonshine during the Prohibition era. His death was officially ruled a suicide due to his refusing medical treatment. The local county's population has dropped by more than 80% in the wake of the West Virginia coal industry's globalization gutting, and the area now leads the USA in drug-related deaths per capita while also being the poorest in the state. Within minutes of launching into trance-like states during the service featured on this album, both preachers became drenched in sweat. More than strict scripture, the preachers are gifted improvisers able to vent for hours at a time. Brennan states, "Pastor Chris joked, 'You definitely don't want to hear me sing.' But, in fact, he is a gifted vocalist with singular phrasing." Like so much of the most classic music ever made, it sounds as if it is emanating from the past and the future simultaneously -- some parallel universe where instead of discovering amphetamines, The Damned found God (or maybe both) and became born again. The vinyl edition includes a long 13-minute bonus track and features a four-page booklet sporting stunning photos of the congregation's rituals in action.
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LP
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THRILL 013LP
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2026 repress. "Tortoise's self-titled debut incorporates many musical styles and influences and combines them into one very distinct sound. So distinct that sometime after the release of this record they became recognized as the leaders of a new musical movement. Tortoise exploits the recording studio, in that they utilize the recording process as a compositional tool or 'sixth member,' thus creating a boundless parameter in which to create music. Recorded at Idful Studios by John McEntire."
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LP
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WWSLP 044LP
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2026 restock; Wewantsounds present a reissue of Ziad Rahbani's cult album, Bennesbeh Labokra...Chou? released in Lebanon only and mixing Arabic music with jazz, bossa nova, and other western influences. Curated by Lebanese-born music expert Mario Choueiry from Institut du Monde Arabe in Paris, the album is reissued on vinyl for the first time since 1978. When Ziad Rahbani released Bennesbeh Labokra... Chou? he was only 22 years old. He had started to make an impression on the Lebanese cultural scene a few years before, while still a teenager, composing and releasing albums under his own name. Born into an illustrious musical family -- his mother is the legendary Lebanese Diva Fairuz and his father, Assi Rahbani, was a renowned composer and part of one of the most famous Lebanese groups, The Rahbani Brothers -- Ziad quickly gained exposure as a gifted composer and producer. When his father fell ill in the mid '70s, he took over as Fairuz's producer which led to a fruitful collaboration starting with the 1979 album Wahdon. Highly influenced by other genres of music, Rahbani had started bringing modern western influences to traditional Arabic music. 1978 saw the release of two key albums by the young musician, the disco 12" Abu Ali which went on to become one of the most sought-after Arabic albums on the international DJ scene and Bennesbeh Labokra... Chou?. A soundtrack to Rahbani's eponymous play, the album gathers all the musical interludes heard during the play, a social diatribe about the Beirut society underlining the difficulties of living in the tense social and political climate of the Lebanese civil war. Written by and starring Rahbani, the play follows the everyday life and problems of a young couple running a cafe in the heart of Beirut. The play underlying Rahbani's leftist sensitivity was an immense success and the album was released the same year (the complete play was also released over three LPs). Bennesbeh Labokra... Chou? is a skillful blend of Arabic music and bossa nova, groove with funky beats, and jazz. It's interesting to hear an early version of "Al Bosta" which would grace Fairuz's 1979 album Wahdon in a faster, funkier version. With a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Rahbani also brings more complex arrangements to the album. Gatefold sleeve. Remastered audio. Two-page insert with a new introduction by Choueiry.
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LP + 7"
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WWSLP 071LP
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2026 limited restock; LP version, includes 7" with two extra tracks: "Replica" and "Ma Mère l'Oye." The first ever international release of Ryuichi Sakamoto's landmark 1984 album Ongaku Zukan, originally issued in Japan on his own School label in 1984. Remastered by Saidera Mastering in Tokyo. The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's Merry Christmas Mr. Lawrence, had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album Naughty Boys. Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, Ongaku Zukan ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. It was on his return to the studio the following year that the album truly began to take shape. Released in August 1984 the album Ongaku Zukan proved a huge success, providing Sakamoto with his first top five hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Featuring remastered audio with bonus tracks and new liner notes by Andy Beta. This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced.
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3CD
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XI 119CD
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Restocked. R.I.P. Eliane Radigue (January 24, 1932 ? February 23, 2026). 1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.
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