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viewing 1 To 25 of 53 items
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LP
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VP 4201LP
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2026 repress. Originally released in 1977. "Among the most important full-length album works from one of reggae's greatest singers, Mr. Isaacs shows the great Gregory Isaacs in the prime of his career in 1976. Better known for his love songs, Isaacs was equally adept at cultural themes. The tracks 'Set The Captives Free' and 'Slave Master' are among the most popular in his catalog, the latter immortalized on film in the movie Rockers. The track 'Storm' became an early dancehall favorite, its rhythm track reimagined no fewer than 75 times over the last 40 years. Isaacs' love of rocksteady shines in his cover of the Silvertones' 'Smile,' and his soulful side comes through on a cover of The Temptations' 'Get Ready.' The breadth of material on Mr. Isaacs is the hallmark of a reggae classic."
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ACRSLP 1673LP
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Delayed... "Duke Ellington was one of the most important and influential figures in the entire history of jazz, as pianist, bandleader, composer and innovator, his career spanned the evolution from the early days of electric recording. However, while critics and commentators focus on his over-arching significance as a giant of the medium, it's easy to forget that he was a genius at composing tune and songs for the medium of the three-minute, 78rpm single, and during the first three decades of his career before rock 'n' roll changed the pop landscape irrevocably, he had more than 70 records that were credited as chart hits. The Duke himself preferred not to have his work referred to as 'jazz' but liked people to see it as he himself saw it, as being 'beyond category,' simply 'American music.' In a career lasting six decades, he attracted the very best musicians to his orchestras, and gifted to the world many of the jazz standards we know and love today This LP brings together some of his most iconic compositions, including timeless classics such as the Billboard R&B No.1 'Don't Get Around Much Anymore,' alongside stalwarts of the jazz canon 'Mood Indigo,' 'Sophisticated Lady,' 'Solitude,' 'Caravan,' 'Take The 'A' Train,' and 'It Don't Mean A Thing (If You Ain't Got That Swing).' It's a fantastic insight into his most successful output during a primary era of his career, and a great showcase for the artistry which made the Duke such a revered and iconic personality."
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2LP
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BEWITH 131LP
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2026 restock. The Tony Williams Lifetime's Emergency! is a furious, stunning, seminal album. In 1969, it's explosive sound divided critics in both jazz and rock but is now rightly regarded as groundbreaking. A musical statement so bold and irreverent that it was revolutionary. With Emergency!, provocative percussionist Tony Williams unified the most vital sounds of the era and galvanized the creation of jazz fusion. A sprawling double-LP that shattered the boundaries between jazz and rock, it forged fresh frontiers by unleashing dense, courageous and fantastically mysterious music. The group was founded by Tony Williams, a member of Miles Davis's radical 1960s quintet, out of his desire to fuse the influences of modern jazz and rock music. To effectively meld the scorching bop of Coltrane with the raging rock of Hendrix. Like all the very best records, Emergency! takes multiple listens for your brain and body to decipher everything going on, to truly process and appreciate the details that our senses are throwing at us. It's a mesmerizing, rough sound yet the intuitive interplay of all three musicians is super-tight. The tunes are strung out and jamming but retain a tight rhythmic focus. The incendiary title track immediately presents jazz-rock's chaotic birth. After Williams's ominous snare-roll signals the brewing storm, the snarling band blasts its way through the gate in truly breathtaking fashion, fuzzed-up wahed-out guitar riffs vying for prominence with gnarled, insistent organ. Thrillingly, Williams manages to both acrobatically crash over every element of his drum kit while keeping the whole groove undeniably funky. "Beyond Games" is a gloriously volatile freeform, featuring Williams' bugged-out vocals, whilst the 12-minute "Where" is another deep, wild jam. With the buoyant "Vashkar", we begin to experience jazz-rock's many angles; imaginative melodics, taut dynamics and as torrent of searing heat. Perhaps the most economical track on Emergency!, it's the most instant. The laconic "Via the Spectrum Road", a brilliant pop-psych tune, was sampled by Showbiz & AG on their classic debut LP. It oscillates between a tranquil funk groove and strutting improv interludes. The pyrotechnic jam "Spectrum" wakes things up again with pure, molten jazz lava and crazy soloing from all involved. A breathtaking, kaleidoscopic 13-minute cycle through ferocious noise, "Sangria For Three" is a sublimely frenetic detonation of distilled (acid) jazz rock. Closer "Something Spiritual" finishes this jaw-dropping set with a driving, unrelenting heavy guitar and organ freakout, backed high in the mix by Williams's untamed funk before unsettled dissonance rides you out. Mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios.
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LP
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BELA 009-1002LP
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Electrifying heavy sessions recorded in 1997 featuring the classic Mainliner + Musica Transonic lineup of Nanjo Asahito (High Rise), Kawabata Makoto (Acid Mother) and Yoshida Tatsuya (Ruins) driving into new divergently fried terrain(s). Here, Nanjo and co. are on a quest to find new directions, and while the sessions were for an abandoned Mainliner album, a good portion of Solid Static hews more closely to the moment-to-moment deconstructions of Musica Transonic. The propulsive ten-minute opening title track is a lost gem in the canon of Japanese psychedelia and rock and roll -- beginning with one of Mainliner's bludgeoning motor-psycho riffs, it veers off into auratic space, Kawabata's snake-charming guitar weaving around Nanjo's buzz-fire bass and Yoshida's multi-limbed drumming. Musica Transonic's improvised and jazz-informed take on psychedelic rock is writ across the distended rhythms and arcing bass and guitar lines that scrawl across "Prosecutor" and "Topsy Turvy," or the slurry of distorted tone that rolls through "Rot Way." Available for the first time on LP or any physical form aside from a clutch of CDR's sold at a few live dates in the late '90s. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve.
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BSR 003LP
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2026 restock; originally released in 1976. "The reputation of members of the AACM (Association for the Advancement of Creative Musicians), of which Abrams is a founding member, has long been one of adventurous, dangerous, and difficult music. But in fact, much of the music created out of this organization shows enormous appreciation of the blues and earlier jazz forms. Sightsong is a splendid case in point. The album opens with four duets (two dedicated to Chicago legends Wilbur Ware and Johnny Griffin) which have a swing, a groove, and a delicacy that no fan of 'straight-ahead' jazz could ignore. Favors, always one of the great underrated bassists in the music, provides a thick, soulful pulse and solos with huge imagination while Abrams always stays within the song's parameters which provide ample room for his creativity. As fine as these more 'traditional' numbers are, the standout piece is perhaps Favors' solo feature, the wonderfully titled 'Way Way Way Down Yonder.' Opening with what sounds like the riffled pages of a book, Favors then states the deep, bluesy theme with strutting authority and proceeds through one of the richest investigations of the string bass the listener is ever likely to hear. Sightsong is one of Abrams's finest recordings and is also perhaps the best showcase for Malachi Favors' talents outside of his seminal work with the Art Ensemble of Chicago."
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CF 033LP
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2026 restock. Trost Records presents the latest release in its ongoing cooperation with Berlin's legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York's free jazz revolution during the 1960s. Berlin Concert was recorded live in the titular city in January of 1975 with a quartet featuring pianist Takashi Kako, bassist Kent Carter, drummer Oliver Johnson, and percussionist Lamont Hampton. It was released on the SAJ sub label in 1977. It deftly captures the full diapason of Howard's fiery art. Fueled by the propulsive swing of the great Oliver Johnson, bassist Kent Carter -- both Americans who spent many years living and working in Europe, including long stints with Steve Lacy -- and percussionist Lamont Hampton, Berlin Concert nonchalantly toggles between modal workouts, where Japanese pianist Takashi Kako invokes the ironclad drive of McCoy Tyner, and the needling fury of "New York Subway," summoning the all-out fury of the '60s New Thing. This album reinforces the scalding passion of Howard's playing, while simultaneously highlighting a stylistic depth and lyrical grace that's often overlooked in his music. Howard, who suffered a fatal cerebral hemorrhage in 2010, at age 67, has been duly celebrated for his work in the 1960s, but the return of this gem makes it plain he had plenty more to say. Recorded live by Jost Gebers on January 30th and 31st,1975 at the Quartier Latin in Berlin. Cover design by Wolf Walt. Photograph by Roberto Masotti. Produced by Jost Gebers. Originally released and published on FMP in 1977.
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CS 34396CLP
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2026 restock; reissue -- originally released in 1976. Color vinyl, 180 gram. "Water Babies is a compilation album by American jazz trumpeter Miles Davis. It compiled music Davis recorded in studio sessions with his quintet in 1967 and 1968, including outtakes from his 1968 album Nefertiti and recordings that foreshadowed his direction on In a Silent Way (1969), while covering styles such as jazz fusion and post-bop. Water Babies was released by Columbia Records in 1976 after Davis had (temporarily) retired." Personnel: Miles Davis, Trumpet; Wayne Shorter, Soprano Saxophone; Herbie Hancock, Piano; Ron Carter, Bass; Tony Williams, Drums; Chick Corea, Electric Piano; Dave Holland, Bass; Teo Macero, Producer
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DC 977LP
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"Tommy Peltier's Echo Park, compiled of unheard tapes from the early/mid 1970s, brings listeners into contact with a long-extinct creature -- equal parts slinky hipster, universal soldier of the heart and snuggly loverman -- the light-rockin' tinseltown troubadour, the likes of which hasn't been served around Hollywood since 1979! Tommy's somewhere in the tuneful tradition of Rupert Holmes, Stephen Bishop, Andrew Gold, David Batteau and of course, Captain Fantastic and the Thin White Duke. His soulful songs and high-pitched vocals are paired with the requisite chopsy, jazz-enriched LA players, entrancing the ear with grooves and performances both tasty and sweet. Mixed and mastered with great zest by Jim O'Rourke, Echo Park is an encompassing trip through a whole other time and place. A trumpet player since childhood, Tommy felt no need for pop music; he'd come of age during the west coast jazz explosion of the 1950s, hearing Gerry Mulligan and Chet Baker's legendary performances at The Haig Club, just a mile west of MacArthur Park. Inspired by the departures of the Ornette Coleman Quartet, he founded The Jazz Corps in 1963, gigging all around town, including a residency at Hermosa Beach's also-legendary Lighthouse. In '68, he met aspiring singer/songwriter Judee Sill. He found her energy amazing, as she played bass in a group he was sitting in with, and it quickly became clear -- he and Judee were in tune! When Tommy picked up the guitar and started writing songs, she was there with help and encouragement. As the '70s dawned, Tommy was turning 35, but he was also turning the page, like so many others, to find something amazing there on the other side. Amazing music things flow freely up and down the tracklist of Echo Park. Inspired by Yes, Supertramp, ELO, Queen, Bowie, The Beatles and others, Tommy developed and honed his new music throughout the '70s. A handful of the cuts here were recorded between 1970 and '73, just a mile from Echo Park Lake, at an unassuming rear house set back in the hills. Other tracks were recorded at sessions in Hollywood in 1975 and '76, at now-obscure studios like Music Grinder and Heritage. Tommy's first pop band, Jasmine, appear on 'Here Today'. Tommy has continued to play music, releasing new stuff with Plastic Theatre Art Band in 1996, and a number of releases under his own name, most recently in 2011."
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LP
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ENJ 91411LP
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"'Left Alone' is the legendary theme that Mal Waldron composed for Billie Holiday, for whom he was the last pianist. With Archie Shepp, another admirer of the singer and, like him, a great lover of duets, Waldron revisits some of the tunes associated with this unique voice. Modesty and emotion are present, and while the shadow of the great Billie hovers over this session, it is not the painful and tortured image that listeners often associate with her, but a benevolent figure who communicates to the saxophonist and the pianist an expressive force, a sweetness and a fullness of sound that go straight to the heart, and make a place for themselves there for a long time, right next to the most intimate emotions. Remarkable."
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2LP
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FAITBACK 001LP
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2026 repress. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).
"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press
"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM
"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM
"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire
"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork
"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME
"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ
"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ
"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
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2LP
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FARO 082X-LP
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2026 repress; double LP version. Originally released in 2003, Marcos Valle's Contrasts combined early noughties production techniques with his trademark Brazilian songwriting brilliance. The album quickly became one of Valle's most in-demand, with tracks like the triumphant "Parabéns" (which was sampled by Childish Gambino, covered by Tom Misch and remixed by Misa Negra) and bossa beach classic "Agua de Coco," both becoming firm fan favorites. Produced by Roc Hunter, and executive produced by Joe Davis, with musicians including Robertinho Silva (percussion), Alex Malheiros (bass), and Marcos' wife Patricia Alvi (vocals), Contrasts encapsulated Valle's ever evolving musical vision, bringing together samba, baião, bossa pop, broken beat, house, trip-hop and more, on one era-defining record. After 22 years, Contrasts is finally set for a double LP vinyl and CD reissue, with the original mix of "Valeu" and "My Nightingale" making it onto the vinyl edition for the first time. Remastered by Stuart Hawkes at Metropolis Studios.
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LP
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FARO 194LP
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2026 restock. LP version. 180 gram vinyl. Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks Azymuth, have recreated the energy of those spellbinding seventies sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players. From the disco-carnival title track to sunny jazz-funk head-nodder "Orange Clouds", through to the deep-space samba "Corumbá", Azymuth have drawn upon five decades of consummate craftsmanship which, coupled with their endless desire for experimentation and improvisation, has resulted in a ten-track journey encapsulating the full spectrum of Azymuth's brilliantly colored expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes! Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis.
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CD
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HPS 361CD
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Also available on black vinyl (HPS 361LP), green vinyl (HPS 361LTD-LP), and striped vinyl (HPS 361ULTRA-LP). "The Grotesque Within is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti -- where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness -- it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation -- with the bizarre, the dissonant, and the disturbingly familiar. This is not just an album. It's a descent into the uncanny that already surrounds us." --Oreyeon
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LP
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HPS 361LP
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LP version. "The Grotesque Within is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti -- where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness -- it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation -- with the bizarre, the dissonant, and the disturbingly familiar. This is not just an album. It's a descent into the uncanny that already surrounds us." --Oreyeon
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HPS 361LTD-LP
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LP version. Green color vinyl. "The Grotesque Within is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti -- where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness -- it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation -- with the bizarre, the dissonant, and the disturbingly familiar. This is not just an album. It's a descent into the uncanny that already surrounds us." --Oreyeon
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HPS 361ULTRA-LP
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LP version. Yellow/green/red striped vinyl. "The Grotesque Within is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti -- where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness -- it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation -- with the bizarre, the dissonant, and the disturbingly familiar. This is not just an album. It's a descent into the uncanny that already surrounds us." --Oreyeon
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CD
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HPS 376CD
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"I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted -- everything that feels stable and permanent -- is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy -- a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could." --Weedpecker. Also available on black vinyl (HPS 376CD), magenta vinyl (HPS 376LTD-LP), and blue/red color vinyl (HPS 376ULTRA-LP).
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HPS 376LP
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LP version. "I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted -- everything that feels stable and permanent -- is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy -- a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could." --Weedpecker.
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HPS 376LTD-LP
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LP version. Magenta color vinyl. "I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted -- everything that feels stable and permanent -- is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy -- a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could." --Weedpecker.
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HPS 376ULTRA-LP
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LP version. Blue/red color vinyl. "I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted -- everything that feels stable and permanent -- is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy -- a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could." --Weedpecker.
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HPS 377LP
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LP version. Repress of Weedpecker's sophomore album. "Across its rather considerable span, II demonstrates there's still room for growth in the realm of post-Colour Haze heavy psych, and more than the debut, Weedpecker leave an individual impression here in songs like 'Reality Fades' and the peaceful, patient closer, 'Already Gone,' tapping into Elder-style riffing on 'Flowering Dimensions' as they did the first time out, but elsewhere taking on a similar low-key mindset that drove Sungrazer's second LP toward such expansive jamming. They can be quite heavy at times!" -- JJ Koczan.
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HPS 377LTD-LP
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LP version. Yellow color vinyl version. Repress of Weedpecker's sophomore album. "Across its rather considerable span, II demonstrates there's still room for growth in the realm of post-Colour Haze heavy psych, and more than the debut, Weedpecker leave an individual impression here in songs like 'Reality Fades' and the peaceful, patient closer, 'Already Gone,' tapping into Elder-style riffing on 'Flowering Dimensions' as they did the first time out, but elsewhere taking on a similar low-key mindset that drove Sungrazer's second LP toward such expansive jamming. They can be quite heavy at times!" -- JJ Koczan.
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HPS 378CD
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The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death. Also available on black vinyl (HPS 378LP), green vinyl (HPS 378LTD-LP), and green/black splatter color vinyl (HPS 378ULTRA-LP).
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HPS 380CD
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With dark moon above, the candles are lit, and from the depths rises Ritual Arcana. A three-piece sonic force featuring the high priestess SharLee LuckyFree on bass and vocals (formerly of Moth), the legendary godfather of doom Scott WINO Weinrich on guitar (The Obsessed, Saint Vitus, Spirit Caravan), and the pirate timekeeper Oakley Munson on drums (The Black Lips). Ancient gates of destiny open by virtue of key, sword, and feather, as Ritual Arcana unleashes their debut album on Heavy Psych Sounds. Also available on black vinyl (HPS 380LP), purple vinyl (HPS380LTD-LP), and yellow/red/black splatter color vinyl (HPS 380ULTRA-LP).
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LP
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HPS 380LP
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LP version. With dark moon above, the candles are lit, and from the depths rises Ritual Arcana. A three-piece sonic force featuring the high priestess SharLee LuckyFree on bass and vocals (formerly of Moth), the legendary godfather of doom Scott WINO Weinrich on guitar (The Obsessed, Saint Vitus, Spirit Caravan), and the pirate timekeeper Oakley Munson on drums (The Black Lips). Ancient gates of destiny open by virtue of key, sword, and feather, as Ritual Arcana unleashes their debut album on Heavy Psych Sounds.
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