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LP
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12XU 133LP
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2026 restock. "There is something really special about music based on drones. Whether it's the vocals of Pandit Pran Nath, the ARP 2500 of Eliane Radigue, or the nearly-blown amps of Sunn O))), by changing the listener's focus on details to one that favors flow, drones are uniquely capable of transporting our brains far far away. The debut LP, Repeater, by this loudly droning Austin septet is a goddamn splendid example of how the process works. Using the motto, 'Maximal Repetition Minimal Deviation,' Water Damage create glowing fields of post-rock lava that pretty much suck you right in and boil you alive. Water Damage, while technically a septet, actually operate in various configurations, with the proviso there should always be two drummers and two bass players on hand. They prefer if each of their sonic ideas takes up a whole reel of tape, and once they start they don't look back. Everything proceeds towards an imaginary end point that is only achieved when the tape starts flapping. What a way to run a railroad! But the folks in the band are all vets of various projects -- Spray Paint, USA/Mexico, Marriage, Black Eyes, Thor & Friends, among others -- so let's assume they know what they're doing. And why not? They sound fucking great. Their approach to the form is less front-loaded than most of their peers, and the surface of their sound is sometimes ruffled by aural events of an un-dronelike nature. But the main gush is usually a blend of harmonic tones and textures pointing towards a goal that is just out of ear-shot, just over the next bluff, and perhaps forever just beyond our reach. So remember to drink plenty of liquid while you spin this fine album. Nobody wants you to parch." --Byron Coley
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ACTLP 8042LP
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"With Circadia, their ACT debut, Mammal Hands open a bold new chapter: deepening their rhythmic language, expanding their sonic palette and reaffirming their place among the UK's most boundary-defying instrumental artists. Drawing on jazz, contemporary classical, electronica, folk and minimalism, the trio pushes their immersive, atmospheric sound further than ever before. The arrival of drummer Rob Turner (founding member of GoGo Penguin) brings heightened rhythmic focus, expanded electronic textures and a fresh kinetic energy. The result is music that feels both unmistakably their own and thrillingly renewed. Circadia is an album about transformation: about cycles, endings, and beginnings. Its title gestures toward rhythms that exist beyond the purely musical: the patterns of life, breath, light and darkness. Across the record, the trio balances intricate, hypnotic grooves with cinematic expansiveness, emotional depth and an openness that invites listeners into a vivid, evolving landscape."
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AGIT 044LP
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"2026 vinyl repress of Dion Lunadon's (of A Place To Bury Strangers/The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. 'With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music.' Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock and roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm -- a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar."
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BB 030LP
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2026 restock of Bureau B's 2009 reissue. LP version. Originally released in 1978 on Sky Records, After The Heat was the second collaborative release by Brian Eno with Dieter Moebius and Hans-Joachim Roedelius (Cluster). Produced once again by Conny Plank, After The Heat is a suite of micro-managed organic and electronic instrumentation that features recited and sung vocals by Eno on 3 tracks. As Asmus Tietchens writes in the liner notes: "Cluster & Eno can, with the benefit of hindsight and without overstating its case, be seen as the first ambient album to have been produced in Germany. The second LP, After The Heat, is, however, a completely different story. Whilst Cluster & Eno bears the hallmark of a Cluster composition guided by Eno's ambient concept, After The Heat is more of an Eno album bearing stylistic characteristics of Cluster music." Sweet, slow-moving and airy, with a modern classical/prog appeal.
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BB 330LP
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2026 restock; LP version. Bureau B present a reissue of Heldon's 6 - Interface, originally released in 1977. A brilliant moment occurs right at the end of Heldon's sixth album, Interface. The album's final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly 19 minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. "We were finishing the track, the tape was rolling, and I started to play a normal boogie or whatever," remembers Heldon leader Richard Pinhas. "I think it was a good idea to keep it. It just came naturally, at the end." This event acts as a reminder of just how far rock n' roll had been transformed since its earliest incarnations. This blueprint had been jolted and nudged down all kinds of unexpected avenues after players like Chuck Berry and Bill Haley first found fame. The genre had branched out into every manner of mutated form. It had given rise to misshapen clones and had shifted into unrecognizable shapes, like a beautiful alien creature from one of the science fiction tales that were fondly admired by so many experimental rock musicians, Pinhas included. Heldon, surely, represented one of rock n' roll's most distant relatives; an innovative fusion of avant-garde rock sounds and synthesizer pulsations. At the same time, Interface's unexpected ending also tells us that such music, however improvisatory or fused with electronic elements, will forever have its roots in those early rock n' roll records that are responsible for so many varieties of aural exploration. Thanks to the increased presence of drummer François Auger and synth/Moog man Patrick Gauthier, Pinhas's project had solidified into a harder and heavier unit. Around the time of the album's release, the musician and composer Jean-Philippe Goude told Pinhas that because of its merging of synthesizer sounds with "real" instrumentation. Despite its often warm and near-funky feel, Interface has been cited as an influence on key industrial and noise musicians including Wolf Eyes and Merzbow.
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CD
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PLEXUS 004CD
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Circuitry presents the reissue of House Without A View, the out-of-print second album by singer-songwriter Lande Hekt. With a new album Lucky Now released on Tapete, Lande's contemporary twist on the classic C86 indie sound -- with a queer feminist punk identity lyrically explicit throughout -- is drawing in an ever-growing audience of devotees, such is the consistent quality of her songwriting, and the personality within. The opening track of the album is "Half With You" which "is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long," says Lande. "Cut My Hair" is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. "It's also about how easy it is to not talk to people when you're struggling, which is something I did for a long time," admits Lande. The title track of "House Without a View" deals with childhood trauma and how events of our formative years "affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don't) with life and relationships," says Lande. Although there's darkness and sadness within the record, there's also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. "Lola" was written about Lande's cat shortly after she came to live with her and her girlfriend. "She's the first pet I've ever had and I wasn't quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behavior."
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DE 357CD
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"Pure Motorised Instinct drives over to Dark Entries with At Last I'm Leaving the Earth, an LP of industrial-tinged ambient and new age. When legendary industrial outfit Nagamatzu went dormant in 1991, band member Stephen Jarvis moved forward with Pure Motorised Instinct, a name he pulled from a line in George Romero's Dawn of the Dead. Throughout two cassette albums -- 1991's Between Intimacy and Elsewhere, and 1993's Everything Is True -- Jarvis pushed the Nagamatzu spirit in new directions. At Last I'm Leaving the Earth collects nine tracks from this era, which are appearing on vinyl for the first time, along with three additional tracks. The material here sits between the brooding and the optimistic, the claustrophobic and the soporific. Jarvis's digital synths are pushed so far into tape-scuffed terrain that they talk and squawk analog-like, scurrying with vibrant curiosity. The late-night vibes peak on pieces like 'Vincent V,' with its reverb-drenched digital drum machines, or 'Geek,' which taps into a wide-eyed proto-vaporwave zone. At Last I'm Leaving the Earth is Black Lodge ambient for the empty set."
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LP
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ESPDISK 1026LP
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2026 repress. ESP-Disk present a vinyl reissue of Henry Grimes Trio's The Call, originally released in 1966. It has occasionally been assumed that Henry Grimes got this December 28, 1965 recording date as a reward for his long service in the avant-garde of jazz. Having already honed his musical conception with a varied range of players, from Benny Goodman and Arnett Cobb to Lee Morgan, Gerry Mulligan, and Sonny Rollins to McCoy Tyner, Steve Lacy, Albert Ayler -- including Spirits Rejoice (ESPDISK 1020CD/LP)--, Don Cherry, and Cecil Taylor (to name just a few), the service was certainly there, but he got this gig fully on his merits. For The Call, Grimes teamed with highly original clarinetist Perry Robinson (as label owner Bernard Stollman has noted, "a virtuoso who merits far wider recognition...and this recording reflects both of their contributions, in equal measure") and stalwart drummer/ESP-Disk' regular Tom Price. As a bassist, Grimes's melodic style is well up to the task of being co-equal voice with a horn, resulting in a thoughtful and texturally rewarding LP with a level of quality far above the rote sideman session cliché, and far away from equally clichéd ideas of unrelentingly full-bore free jazz. It offers the sound of three excellent musicians listening to each other and responding superbly. The Juilliard-trained Grimes appeared on six other ESP LPs besides those already mentioned. He retired at some point after the last of them, 1967's Marzette Watts LP, and went so far off the scene that it was rumored that he had died. Happily, that was not the case, and he reemerged in 2003, moved back to New York, and returned to his prolific ways until illness slowed him down and then took him from us earlier this year (2020). Standard weight vinyl featuring original artwork.
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ESPDISK 3026LP
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2026 repress. Legendary Sun Ra bassist (Ronnie Boykins 1935-1980) stepped out on his own for his first and only release as a leader on The Will Come, Is Now. He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins's solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this particular era of jazz history. In septet format, Boykins's six originals create a variety of moods and textures that not only evoke the music of Sun Ra but also reflect Boykins's own sensibilities as an artist. Original pressings, made just before ESP-Disk' went on hiatus for forty years and thus less common that other ESP LPs, often go for upwards of $150. 180 gram vinyl features original artwork.
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ESPDISK 5112CD
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After paying his dues with bluesmen Albert King and Bobby "Blue" Bland and jazzman Jaki Byard, Michael Marcus had his first album released in 1991, when he was 39. He's been prolific since then, co-leading Cosmosamatics with Sonny Simmons, SaxEmble with Frank Lowe and James Carter, Blue Reality Quartet with Joe McPhee, Warren Smith, and Jay Rosen, and Duology with Ted Daniel as well as Marcus's many albums as sole leader. Marcus had his debut on ESP with Abstractions in Lime Caverns in 2022. As Cisco Bradley writes in his liner notes, "One of the unique features of this record is Marcus's use of the tarogato. This woodwind instrument is better known for its roots in Hungarian music. The tarogato has a crisp, pure sound that allows for the precision and sensual beauty of these pieces that will leave the listener in a state of euphoria as Marcus ascends the mountains and glides across the vast valleys of these sonic landscapes." Bradley writes of the other players, "Williams, who has worked with David Murray, Cassandra Wilson, Dewey Redman, and Olu Dara in addition to making several albums of his own for Muse and elsewhere, is especially crucial in bringing to life the funky Monk concepts in these tunes. Mednard, who in recent years has established himself through associations with Guillermo Klein, Arthur Kell, Brandee Younger and others, meshes well with Rodriguez (whose credits include Alvin Batiste and Dafnis Prieto) to create tight rhythms from which these compositions and arrangements spring forth."
"Marcus joins the ranks of such visionary jazz clarinetists as Don Byron, John Carter, Jimmy Giuffre, and Perry Robinson." --All About Jazz
"Marcus writes some of the finest tunes on the avant-garde scene." --Time Out New York
"Michael Marcus is a passionate player and a fluent composer of themes that inspire improvisers." --Bob Blumenthal, Boston Globe
"He plays on that Dolphy-esque knife between inside and outside that makes for joyous listening." --Ben Watson, The Wire
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FARO 190LP
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2026 repress. LP version. Far Out Recordings present a reissue of Azymuth's Outubro, originally released in 1980. Following on from their seminal album Light As A Feather (1979), Outubro ("October") began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members's performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully coloring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics. The album hosts a wonderful mix of tempos and styles, from Alex Malheiros's earth-shaking slap-bass on "Dear Limmertz", which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece "Un Amigo", while Ivan "Mamao" Conti's signature swing on "Maracana" exemplifies the root of Azymuth's "samba doidoi" ("crazy samba") philosophy. The two cover versions on the album consist of the title track, which was originally penned by Milton Nascimento, and Chick Corea's "500 Miles High", both of which magically re-imagine the originals and further demonstrate the immense virtuosity of this cult recording. This reissue was mixed and mastered from the original tapes.
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LP
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FARO 211LP
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2026 restock. 180 gram vinyl; includes download code. The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros, a horn section including Valle's go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you'd expect from the Brazilian titan. Updating Marcos Valle's seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle's late-seventies and early-eighties output. But lyrically the new album is more closely reminiscent of Valle's progressive early '70s releases. Heralding love, tolerance, and living in the present, while satirizing political corruption, Sempre recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985. The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit "Olha Quem Tá Chegando" and the infinitely classy "Vou Amanhã Saber", to the nine-minute synth heavy instrumental funk stepper "Odisséia", which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss by London based producer Daniel Maunick. More moments of boogie delight come in the form of "Minha Roma" and the sunshine anthem title-track. Translating as "Ever", Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle's astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the '60s, writing the world famous bossa standard "Summer Samba (So Nice)" for his sophomore album Samba 68. After a brief stint in the States, Valle returned to Brazil, and the early '70s saw the release of four ground-breaking Valle albums. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento's backing band Som Imaginaro, the prog-rock band O Terco, and jazz funk legends Azymuth. Returning back to the US in '75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn, and Leon Ware, before returning to Brazil once more. Since the mid-nineties, Valle has been experiencing a renaissance with Far Out Recordings. Sempre is his fifth album for the label, following 2010's critically acclaimed Estatica (FARO 153CD).
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FARO 255LP
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Repressed; LP version. Hidden away amidst the bustle of Rio de Janeiro's Catete neighborhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighborhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento's new album VILA, a collaborative project with a sixteen-piece orchestra led by trombonist and arranger Vittor Santos. Recorded between Rio de Janeiro and Los Angeles, VILA is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos' breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation. Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira, and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino. Vittor Santos is an arranger and trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.
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FTR 820LP
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Since 2003, Philadelphia-based improv ensemble Kohoutek -- founded and directed by percussionist Scott Verrastro -- has forged a dynamic, visceral range of sound, consisting of textural drone, atmospheric rock, abstract harsh noise freak-outs, clattering percussion, guitar heroics and alien electronics, all congealing to form a multihued psychedelic extravaganza. Inspired by such varied musical entities as Can, Amon Duul 2, Trad Gras Och Stenar, Dead C, Sun City Girls, Hawkwind, This Heat, Sun Ra, Art Ensemble of Chicago, and King Crimson, they inhabit a world of murky terrain where drone, musique concrete, and noise coalesce with cosmic folk, where doom and sludge metal merge with fiery jazzoid polyrhythms. All Kohoutek performances are rituals channeling untapped energy transmogrified through pure expression and response to the immediate environment. Akvoturo was recorded in April 2022 at Strange and New Sounds in Richmond VA with JK Kassalow (Cough/Caves Caverns), and unveils the band as a sextet featuring longtime core members Verrastro (Bitter Wish/Heavy Lidders/Henbane), bassist Craig Garrett, guitarists John Stanton (The Redeemers/Kuschty Rye Ergot), and Jeff Barsky (Insect Factory/Time Is Fire/Bed Maker) and electronics wizard John Simler (Cash Slave Clique). Kassalow augmented the ensemble with violin and analog electronics and edited and mixed the album with Verrastro. The unparalleled James Plotkin did the mastering. With Akvoturo, Kohoutek is delving into a more experimental form of their brand of US psych/space jams, a loose concept album sonically examining the consequential role that water has played in nascent civilizations, starting from our ancestral habitats. The title is in Esperanto, in theory a language as universal to humanity as water is to its diet, as well as an homage to the label ESP which is a substantial inspiration on the Kohoutek ethos, informed by revolutionary free jazz and outsider psychedelia. This release consists of four tracks. Side A starts out with "Pluvobaro," a combination of Eastern inspired components, including repetitive gamelan-esque marimba and other rhythmic work, with an insect-like drone. The side continues with "Inundo," a more traditional sounding American psych jammer. "Disfalo" starts side B, sparse and loose, like rain drops falling on various ephemera in a scrap yard, while the hum of machinery drones and squeals in the background. "Irigacio" returns to classic Kohoutek form, starting from a spacey/slide guitar based, mid-tempo head- nodding jam. It eventually builds into an ecstatic and faster single-note (almost surf) melodic guitar journey, before finally returning to the slow-head-nod tempo from the start of the song.
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FTR 824LP
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"On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead's tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that's also yielded the Heavy Lidders an infamous sub-cult of concert tapers that you're already sick of hearing about. A lot of other things are better over on that timeline, too. But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, 'heavy' in the Lidderverse being far from a monolithic musical idea. There's heavy like the album-opening 'From Loch Raven to Fells Point,' one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there's heavy, too, like 'Calliope Walker' and 'Tightroping,' featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years. But then there's also heavy like the cover photo of Alexander's late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander's life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine. Convened in 2019 on Alexander's relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist's music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you'll have to keep digging for the rest. And while it's not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander's many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of 'Reservoir Drop' into 'The Summer Song,' floating into a duo between Alexander's guitar and Carter's voice." --Jesse Jarnow
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FTR 830LP
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Joseph Allred is a Tennessee-based guitarist, singer, multi-instrumental composer, and visual artist with deep roots in the Upper Cumberland region of Tennessee and Kentucky. Their guitar playing draws from diverse musical styles including Appalachian folk, bluegrass, blues, flamenco, and classical guitar, as well as from folk iconoclasts John Fahey and Robbie Basho, figures of the 20th century avant-garde like Albert Ayler, Derek Bailey, and Henry Flynt, and the musical traditions of India, Iran, and the Arab world.
"The impetus for this album came while I was sitting in a cave near my house, ruminating on very old things. The title has to do with my own interest in history and rootedness, but it also acknowledges a futility. The pursuit of the 'old gods' often involves an obsession with simplicity and purity that only resolves through the construction of dishonest fantasies and a correlated denial of complexity. Perhaps the 'old gods' only start to become apparent when we know ourselves in relation not only to the vast and ancient cave networks in the mountains, not only to the data gathered from the lives and deaths of stars light years away, but also to the near-incomprehensible complexity of the dirt's microbiome, the constant marching of life and death under our feet at every moment which will eventually consume our bodies just as our sun's death throes will consume the earth. Though the starting point of this album was a rumination, the pieces contained here are less meditations than they were opportunities for me to empty myself of myself. It's only in these moments that I begin to feel I know anything at all." --Joseph Allred
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FRVR 002CD
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Gold disc CD housed in a digi-pack. Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Striking the sweet spot between sampledelic downtempo and Earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humor. Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing, newly mastered from the original mixdowns. Also available as a limited edition, 4LP edition (FRVR 002LTD-LP) including bonus tracks plus an exclusive print of Catherine Brennand's watercolor painting that graces the front of the album. All editions also feature liner notes by veteran music journalist John McCready.
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3LP
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FRVR 002LP
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Triple LP version. Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Striking the sweet spot between sampledelic downtempo and Earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humor. Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing, newly mastered from the original mixdowns. Also available as a limited edition, 4LP edition including bonus tracks plus an exclusive print of Catherine Brennand's watercolor painting that graces the front of the album. All editions also feature liner notes by veteran music journalist John McCready.
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CD
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FF 001X-CD
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Broadly speaking, the music of Stella Kola could be labeled psychedelic folk, although the term feels limited and pedestrian when one encounters the elegant majesty of the work itself. While drinking from the same well as Shirley Collins, Fairport Convention, C.O.B., Pentangle, Anne Briggs, Bridget St. John, and the like, not for a second does it play as a retro exercise. The music wears its influences comfortably, swimming in the atmosphere of its forebearers without feeling beholden to stylistic conceits or overt reference. If you're looking for flashy hipsterism, you've stumbled into the wrong tavern. It's a dream band, impossible to place, arising from somewhere beyond the individuals responsible. Stella Kola is an entity larger than all that. A small tear in the fabric of time allowing some light from The Land of Timelessness to come dancing through. RIYL: Bridget St. John, Slapp Happy, Broadcast, C.O.B., Julie Tippetts, Myriam Gendron, Tia Blake, Julee Cruise, Blossom Dearie, Vashti Bunyan, Kevin Ayers and the Whole World.
"Robert Thomas is known for raising a wide variety of rackets inside the Sunburned Hand of the Man multi-verse. He has also shown himself to be a dab prog hand with Dalthom, his duo with Gary War. But this project -- Stella Kola -- a duet with the great Beverly Ketch (Bunwinkies, Jow Jow, Weeping Bong Band) has a sneaky genteel vibe that is new for him. Bev and Rob wrote all the material together, having decided to collaborate in the early days of the Plague. Things came together at their own pace, with lots of friends enlisted to help. These include P.G. Six, Jeremy Pisani, Wednesday Knudsen, Willie Lane, Jen Gelineau, Gary War and others. But the shape of the material was determined by the prime movers, and possesses a shocking amount of charm and beauty. Admittedly, this is often the case with Bev's endeavors, but Rob was able to get a new flow going that compliments her calm. And the results are boss. I was a bit surprised how 'pro' the arrangements are -- strings, horns and keys are employed as though this was a big budget slab. But it manages to create a certain whiff of left field early '70s major label albums that sailed under the radar. And that is a beautiful bed in which to rest. Let Stella Kola cradle your heavy head for a bit. You'll be glad you did." -Byron Coley, December 2022
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LP
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FCW 001LP
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The inaugural release for Nairobi label From Cool Waters is a feverish amalgam of traditional Kenyan currents and moody, minimalist electronics. Emerging from the confluence of three special talents -- Nairobi-based Nyege Nyege collaborator and experimental drummer Sven Kacirek, esteemed 83-year-old folk artist Ogoya Nengo and dodo singer/songwriter and luthier Olith Ratego -- Palagoma channels an electroacoustic synergy unlike anything you've ever heard before. The artists have collaborated in various guises before; German-born Kacirek co-produced and recorded Nengo's 2014 captivating debut LP for Honest Jon's, Rang'ala, while Ratego and Kacirek formed the duo Odd Okoddo in 2018, performing at Uganda's influential Nyege Nyege Festival in 2019 and 2023 and at events all over the world.
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MAG
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EAT 022BK
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"Volume 22 of Robert Pollard's collage work, 237 pages in full color."
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12"
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GRED 144EP
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"First time repress of the Greensleeves 12" classic from 1984 -- two roots anthems back to back! Michael Palmer's 'I'm Still Dancing' receives a deep and heavy extended workout on the A. Another Greensleeves big value double-sider with Robert French's message missile 'No War' making up the flip. Both sides mixed by Peter Chemist at channel one in a 12" murder style. Original Roots Radics drum and bass from reggae's golden age. Both sides expertly produced by Jah Thomas."
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LP
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VPGS 7125LP
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"Showcase is one of the high-quality albums released by the legendary singer Barry Brown. This long player from 1980 was realized by King Tubby's master student Prince Jammy and impresses with an 'Extended Version -- Vocal & Dub Style.'"
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12"
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VPGS 7137EP
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"Rare early '80s 12-inch single mix of a track first found on Black Sounds Of Freedom. This version is a new drum track for a thick, rub-a-dub on the album cut. Features extended Prince Jammy Dub Treatment."
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CD
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GREEN 001CD
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After years of fronting some of rock's most iconic acts, Erik Grönwall returns with a solo album titled Bad Bones. Known worldwide for his powerhouse vocals and commanding stage presence, Erik has made his mark as the frontman of Skid Row, H.E.A.T, and, more recently, touring across Europe and Japan (and recording a UFO anniversary album) providing lead vocals for guitar legend Michael Schenker. With Bad Bones, he now turns the focus fully inward, delivering a raw and honest statement that marks a bold new chapter in his career. "Bad Bones" single sets the tone for an album that is fearless, personal, and uncompromising. The album is built entirely on original material and represents a return to songwriting at its core -- honest, powerful, and deeply personal. Alongside his work on stage and in the studio, Erik has built an enormously successful YouTube channel, amassing millions of views and a global audience drawn to his powerful interpretations and authenticity. With Bad Bones, that same raw connection now fuels his own original voice. Also available on black vinyl (GREEN 001LP) and red splatter color vinyl (GREEN 001S-LP).
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