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viewing 1 To 25 of 33 items
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LP
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BB 009LP
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2026 repress. "Green vinyl pressing. Received an 8.8 Best New Reissue rating from Pitchfork. Blackball Records presents the 20th anniversary edition of Jawbreaker's Bivouac. Originally released in 1992, this groundbreaking album has been remastered by John Golden from the original tapes, and the increased sampling rate boosts some of the bottom end and mid-range. The vinyl version is available for the first time in years; the CD and download versions include the songs from the Chesterfield King 12-inch as well as two bonus tracks from the original studio session. The reissue also features restored original artwork, and all formats include additional band photos from the time of recording. 'Shield Your Eyes,' 'Parabola,' 'Chesterfield King' and 'Bivouac' remained set list staples throughout Jawbreaker's run. The album wound up on a lot of fanzine top ten lists and Rolling Stone listed it as one of the 'Ten Most Influential Emo Albums of All Time.'"
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BB 074LP
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2026 restock. LP version on 180 gram vinyl. The Bureau B label reissues You's Time Code, first released in 1983 on Rock City Records. As synthesizers grew more popular from the mid-'70s onwards, an increasing number of groups swapped the classic instruments of a rock band for sequencers and synthesizers. Pioneers (and paragons) of this electronically-created music included, of course, Tangerine Dream, Klaus Schulze, Manuel Göttsching et al, who represent the "Berliner Schule" (in contrast to the Düsseldorfer Schule which developed around Kraftwerk and company). A hitherto less celebrated, yet outstanding exponent of the Berliner Schule was the Krefeld combo YOU (Udo Hanten, Albin Meskes). Their debut album Electric Day immediately launched YOU into the elite echelon of Germany's electronic music scene. It would take four years for them to deliver their sophomore LP, entitled Time Code. If Electric Day was characterized by Harald Grosskopf's pulsating drums and Uli Weber's solo guitar, Time Code emerged as an altogether more electronic affair, with both Grosskopf and Weber having left the project. Reduced to a duo, YOU largely remained faithful to their style, but expanded upon it. Time Code displays more range and variation than its predecessor. Downtempo and faster numbers alternate and sugar-sweet melodies are followed by expanses of ominously dark or crystal-clear synthesizers. Hanten and Meskes' new sound was further refined by the use of drum computers and the omission of guitar. The album perfectly illustrates the transition of electronic music from the 1970s to the 1980s. Sequencer patterns owe much to the legacy of the Berlin School (Berliner Schule), while the synthesizer and drum computer sounds heralded the advent of the new decade. The level of interest and excitement was particularly high in Italy, where songs from the album featured heavily on the radio. Listeners were clearly impressed by "Live Line," which has resurfaced in various techno productions over the past 20 years, either as a cover (by Diolac Duvai, for example), or as "Elektro Message" (by Gigi D'Agostino).
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BB 112LP
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2026 restock; LP version. Comes on 180 gram vinyl and includes download card for the album. The official Konrad Schnitzler discography lists Eruption, released in 1971, under the title Schwarz, as the first Schnitzler album. In actual fact, Eruption is the third and final LP by the group Kluster, following Klopfzeichen (BB 110CD/LP) and Zwei Osterei (BB 111CD/LP). The line-up printed on the labels leaves no room for doubt. Unlike the two previous albums, Eruption was not issued by the Schwann Verlag, but by the band on its own, hence the task of financing the record fell to the participants. Roedelius and Moebius, however, were either unable or unwilling to get involved in this risky business. Without further ado, Schnitzler decided to cover the cost of pressing up 200 LPs which he would bring out under his own name. This historical "error" has now been corrected: Eruption is a Kluster album. Seen alongside Klopfzeichen and Zwei Osterei, Eruption is a different beast altogether. The total absence of lyrics, to begin with; the music is music, nothing more. The listener revels in a pure symphony of sound, its dramatic artistry holding his attention until the very end. And that is the second major difference to the first two LPs. Whereas their furious intensity sounded almost brutally improvised, Eruption appears clearly structured throughout, musical freedoms notwithstanding. Kluster take their time in developing spontaneous ideas here, they get loud and then, for lengthier periods, go quiet, suggesting at times a sense of absolute emptiness, followed by outbreaks of dark anger. The possibilities opened up by live electronics were thrillingly exploited to the limit. And yet there is undeniably a method in the music. In the course of their many live concerts, Kluster had learned to use instruments and electronics constructively, reaching the zenith of their musical powers of expression on Eruption. Kluster disbanded after Eruption. The album is a revealing document of a band striving to stretch the musical spectrum during the early 1970s, and indeed, how capable they were of doing so. Moebius and Roedelius went on working together as Cluster, and Conrad Schnitzler (now with a C) began developing his own vision of electronic music, a project he continued assiduously until his death (2011). Still, all three had their roots in Kluster -- incredibly powerful roots. And Kluster have never ceased to be hugely fertile ground. May their creative inspiration never run dry.
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BB 138LP
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2026 restock; LP version, on 180 gram vinyl. Tired of quarreling endlessly with his imperious brother Klaus, Thomas Dinger quit the production of Viva, the second La Düsseldorf album, and promptly set off for the south of France. Frustrated and far away from home, his mind turned to the possibility of a solo album. An album devoted to his own musical ideas, free from domineering voices telling him what to do. Presenting his own vision in the context of a La Düsseldorf LP would have been difficult at the best of times. "I wanted to create something by myself, to make something just for me and nobody else," the third member of the band Hans Lampe recalls him saying -- hence the album title Für mich. He recorded the album in La Düsseldorf's studio in 1981, with Hans Lampe on board as co-producer and engineer. The six instrumental pieces, melancholic and elegiac in character, featured layers of synthesizer sounds, closer to the music of Wolfgang Riechmann or Michael Rother than that of La Düsseldorf. (The pulsating 4/4 beat associated with Klaus Dinger can be heard just the once. Two tracks are actually written in a 3/4 signature). The nearest points of reference in the La Düsseldorf canon might be the more measured "Rheinita" and "Silver Cloud." In the studio, Dinger and Lampe allowed themselves plenty of time to experiment. As Thomas wished, his brother Klaus stayed away from the recording and mixing sessions. Hans Lampe described the creative process thus: "There was a large balcony to the rear of Thomas' apartment, looking onto a vast, overgrown courtyard. A little park, a verdant oasis in the big city. We sat here often, listening to music, working on the LP and musing on life. Thomas and I complemented each other marvelously, bouncing ideas off each other. Our understanding was so great, the mood was so deep and heartfelt, we thoroughly enjoyed working together." Which is how the album sounds: simultaneously conveying a sense of somber depth and unfettered lightness, even playfulness.
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CD
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CSR 274CD
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2026 reprint. Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019. CD version comes in six-panel digipak; the track "The Doctrine Of Eternal Ice" appears on CD only.
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LP
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DMOO 073LP
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2026 repress. Etta James' first for Chess, 1961's At Last! was a stunning comeback album, with hits "All I Could Do Was Cry," "Trust In Me," and the title track bringing her to both the pop and R&B charts in the USA. The varied approach brought out the best in James, tackling Willie Dixon's "I Just Want To Make Love To You" as competently as her takes of "Stormy Weather" and "A Sunday Kind Of Love," and there are stirring originals co-written by Harvey Fuqua in "It's A Crying Shame," "If I Can't Have You," and "My Heart Cries." She's clearly at the top of the peak throughout this beautiful record, which is easily one of her very best.
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DMOO 087LP
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2026 repress. A true icon of jazz, Billie Holiday (1915-1959) redefined vocal artistry with her raw emotion and unmistakable phrasing. Discovered by producer John Hammond in 1933, she recorded with Benny Goodman before rising to fame alongside jazz greats. Her haunting voice and timeless classics, like "Strange Fruit," captured both beauty and pain. Though personal struggles and addiction took their toll, her influence remains immeasurable. Arrested for heroin possession on her deathbed, she left behind a legacy that still resonates through generations.
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LP
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DMOO 092LP
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2026 repress. Jorge Ben's 1963 debut, Samba Esquema Novo, introduced his infectious blend of bossa nova and samba, propelled by the timeless "Mas Que Nada" and "Chove Chuva." While his later sound leaned more into rock and Afro-Brazilian rhythms, this album bursts with swirling melodies, rich harmonies, and big-band energy, all anchored by Ben's distinctive, minor-key guitar work. A vibrant, era-defining classic.
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3LP BOX
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DC 390LP
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2026 repress on vinyl; Deluxe 3LP box version with an 8-page, large-format lyric booklet and printed innersleeves. "Joanna Newsom releases her first album since late 2006's Ys, making up for lost time with a disc for 2008, one for 2009 and one for today. Featuring Ryan Francesconi and Neal Morgan from Joanna's Ys Street Band, Have One On Me is an extravagantly packaged collection of fantastic new Joanna Newsom songs -- her most colorful record to date."
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12"
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DROID 722EP
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2026 repress. The overexcited young men at the Droid factory up the beats per minute and channel the spirit of other sensible chaps a la John Belushi, River Phoenix, and John "I chose the best exit" Entwhistle on Idjut Boys' latest audio laboratory assault. Less terminal, with careful use, perhaps, than a fat fully loaded speedball, they hope man and beast find some musical justice or bemusement in the latest hoedown on offer. Idjut Boys have various takes at various tempos, so bar mitzvah's, weddings and indeed acid house events should be covered for those game enough to get on the Droid bucking bronco.
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LP
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GREYFADE 006LP
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Limited 2026 restock. The sophomore release from vocalist Theo Bleckmann and electronic musician and producer Joseph Branciforte, LP2 is a follow-up, companion piece, and elegant evolution of the shared musical language first developed on the duo's debut, 2019's LP1. Branciforte and Bleckmann return with a meticulously crafted album of even greater scope and complexity, further dissolving the boundaries between improvisation and composition, live performance and studio production, human and machine-generated sound. The first sound one hears when putting the needle down on LP2 -- a granular skein embroidered with the barest silhouette of a melody -- is a moment typical of the collaboration between Theo Bleckmann and Joseph Branciforte: one is never quite sure where the human ends and the operations of machines begin. The album, in its concentrated 42 minutes, proves that the palpable sonic chemistry heard on Bleckmann and Branciforte's debut was no fluke. The duo has built on LP1's successes -- alloying Bleckmann's otherworldly vocals with Branciforte's extended electronic palette and obsessively detailed production -- but they have also broken new ground in both textural invention and compositional scope. Whereas LP1 was recorded spontaneously -- with no premeditation and minimal post-production -- the sessions for LP2 proceeded somewhat differently. The pair also allowed themselves the use of studio overdubbing, occasionally adding additional instrumentation to their improvisations after the fact. One hears fleeting moments throughout the album when the dream logic of free improvisation and the premeditated nature of orchestration converge: a vibraphone doubling a meandering vocal line, or a stack of voices outlining an intricate chord progression. These moments reveal the duo's willingness to experiment with structure and form, while maintaining the spontaneity that made their first album so compelling. LP1 and LP2 also serve as fitting bookends to the Greyfade label's inaugural series of releases.
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LP
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GUESS 236LP
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2026 restock. Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition. Recorded in 1970 but never released at the time, featuring future members of Roky Erickson's backing band Bleib Alien/The Aliens. Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson's first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi/horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found. It was through Mike Waugh's friendship with Elevators drummer John Ike Walton that Billy Miller and the band hooked up with the local label/studio Sonobeat, who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller's strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller's house on Castle Hill (west Austin). Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. It wasn't until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print. For this new edition, Guerssen tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney. Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration/remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.
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2LP
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IMPREC 373LP
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2026 restock. "Deluxe double LP. Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning 'maybe' In Italian, is a series of three double LP releases Cortini recorded for Important to release in 2013. 'All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc.) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment.'"
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LP
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KRANK 059LP
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2026 repress. "The first vinyl release in the U.S. for this, the fifth SotL album, originally released by Sub Rosa in 1999 and then reissued by Kranky in the fall of 2002. A pivotal album in their career, this marked the first time the duo completely stepped away from the more abstract sound pieces of earlier albums and engaged with the more symphonic and compositional approach that has become the forte of their more recent recordings."
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LP
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KRANK 176LP
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2026 repress; LP version. "The third full-length release for Portland, Oregon-based Liz Harris. Harris might have achieved a significant fan base thanks to the whispering, near-ambient vocal crusades of her debut album Way Their Crept and its follow-up Wide, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects. Dragging A Dead Deer Up A Hill marks a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else. It is an album steeped in the world of dream-pop and far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs. Using delicate song structures which are at once both familiar and somehow alien, her vocals cry out hauntingly over stripped-down guitar lines and looped environmental recordings. These are the future soundtracks to love, despair and ultimately, hope." "This remarkable album is actually what I personally always wanted 4AD records to sound like, only they never quite delivered the hazy pleasures their beautiful sleeve art promised." --Pitchfork (8.2)
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2LP
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KRANK 221LP
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2026 repress; double LP version. "Canadian composer Scott Morgan's 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay. It's a deeply fitting analog for Morgan's own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space. The name Equivalents referred to Stieglitz's notion of the photographs as being equivalent to his 'philosophical or emotional states of mind;' the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor. The entirety of the record was created specifically for the album with the exception of 'Equivalent 7,' which began as a dance score for frequent collaborator Vanessa Goodman. The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid. Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018."
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LP
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KRANK 224LP
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2026 repress. "Out-of-print LPs from the critically acclaimed electronic experimental singer/songwriter. Unavailable since 2012.'This sound / synapse transposition is as haunting as it is beautiful -- surely Grouper's best.' --Tiny Mix Tapes. 'If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.' --The Quietus. 'This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.' --Pitchfork. 'Harris finds a way to dive deeper in simple and unassuming ways.' --NPR."
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LP
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MIG 741LP
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2026 restock. "When the band Agitation Free came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free - soon relegated to the not so flattering category of 'krautrock' - made musical forays into areas that few of their fellow German musicians had ever penetrated."
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LP
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MR 410LP
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2026 restock. "As a luxurious aperitif for the future release of the Elements album (including its extra sauces), Munster Records bring us Macbeth, the staggering soundtrack by the English band Third Era Band for a Roman Polanski's film, recorded and produced in 1971. A magical invitation urging the listener to dive into unsuspected regions of boldness, unpredictability, and an intimate abstract-folkster-experimentalism. According to the founding member Glenn Sweeney, 'the music was called alchemical because it was produced by repetition.' However, mind it, such repetition doesn't follow the same musical structures of, let's say, Terry Riley, Steve Reich or Philip Glass due to its indefinite nature of internal-twisted and tormented passages of a peculiar poetic enchantment. The band, formed in Canterbury, started in 1967 playing an oriental hypnotic-free-form-folk. Signed to the prosperous cult label Harvest, they debuted in 1969 with Alchemy, an instrumental jazzy-psych improvisational album. A fully formed masterpiece came in 1970 on the already aforementioned self-titled opus, also known as Elements. For Macbeth, their third one, just the main chief Glenn Sweeney (assorted percussion) and Richard Coff (viola and violin) remained from the original four-piece line-up. It was recorded when half of the quartet -- Richard Coff (viola and violin) and Ursula Smith (cello) -- had already departed, and they were about to record a third album entitled The Dragon Wakes . . . Aside from a few sessions, this album was never completed. The themes presented on the film were composed in an improvised manner while watching black and white excerpts of the oeuvre. The music, recorded in six weeks at George Martin's Air Studios, in July 1971, has the same unconventional and quite unique dimension as the film itself. It is an auteur music for an auteur film . . . There is an arty-medieval atmosphere overall, and it's folkishly ludic in tracks like 'Overture', 'Iverness', 'Court Dance' and 'Fleance', where the experimental interjections function as colorful devices. 'Fleance' -- with the guest singer Keith Chegwin -- is a scintillating highlight. The poetic assaults of concrete music are present in themes like 'The Beach', 'Ambush', 'Prophesies', as if every drumming fractures, singing seagulls or sharp whistles where conducting us to waves of fear into the unknown. There are other lost beauties in its official 44 minutes like the minimal oboe melody of 'Lady Macbeth' floating as a centipede of dreams or the lyrical guitar chords of 'The Banquet' punctuating a climax of sheer mystery..." --Fernando Naporano
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5LP BOX
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NOTON 050LP
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Limited 2026 repress!; 5LP box set version. 2.955 kg - Size: 33 × 32 × 5 cm. NOTON presents this box set of Alva Noto & Ryuichi Sakamoto's V.I.R.U.S. Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S. series in 2002. After more than a decade from the release of the collection's final installment with Summvs in 2011, NOTON reissued all the five albums between May and November 2022. With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002), Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered. Remastered in collaboration with Calyx Mastering, the recordings of "Vrioon," "Insen," "Revep," "Utp_," and "Summvs" are made available under the title "reMASTER," accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.
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LP
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OSR 115LP
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2026 restock. The perfect marriage between psychedelia, pop and experimental sounds. This unique album by Bill Holt, first released in 1974, sounded way ahead of its time and became an international cult classic in the following decades. A perfect example of what was called "Head Music" at the time, Dreamies consists of two large suits full of Lennon-esque vocals, sound collages, early electronics and proto-sampling. Featuring remastered sound and original artwork in hard cardboard sleeve. Includes reproduction of the rare original insert and extra insert with liner notes by Klemen Breznikar (It's Psychedelic Baby) and photos.
"One of the top 50 Out There Albums Of All Time" --Mojo
"The overall effect is something like a primordial Olivia Tremor Control, and easily as wild and unfettered as anything the Residents were doing in the '70s. Dreamies has its obvious and acknowledged influences -- the Beatles and John Cage chief among them -- but it's also clearly the work of an untutored auteur dissecting his own mind in the basement on reel-to-reel." --Joe Tangari, Pitchfork
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12"
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PAMPA 024EP
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2026 repress. DJ Koze's 2013 opus Amygdala (PAMPA 007CD/LP) has continued to bewitch all who encounter it since its release, with classic songwriting at its core, house in its heart, and veins coursing with psychedelic color. "XTC" begins in the same spirit as album standout "La Duquesa," before sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. "Knee on Belly" recalls Koze at his most tongue-in-cheek and overt; bright and bold, it features cut-up horns of all shapes and sizes, and a swollen, thrumming bassline that brings this floor-filler to life.
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12"
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PAMPA 032EP
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2026 repress. Emitting his first material for Pampa, it's &ME. "In Your Eyes" showcases a rather pensive mood. It's just a few bars for the compound of kickdrum, tuned hi-hat tambourine, and shimmering background noise until the first chords of an improvised piano-piece are tenderly laid upon the beat. In comparison, "As Above So Below" is adding a fair amount of emphasis. It unfolds in a dry and dense sounding beat-architecture that's suspense-packed with shaker sounds and sub textual field recordings. Most certainly, a slip-proof ground for this tune's centerpiece, a scale-riding synth bass sparking an almost anthemic trigger for floor-ecstasy.
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LP
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PP 1005LP
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Restocked; LP version. "At daybreak, as sunlight travels through the atmosphere and begins to reach Earth's surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises -- especially after clear, calm nights -- relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up. Daybreak is Sven Wunder's fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder's now distinctive artistry, Daybreak is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings -- supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path."
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LP
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VP 99017LP
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Warehouse find, last copies. "In the mid sixties beat groups got quite popular in the Netherlands. The Motions, Golden Earrings, Outsiders and Q65 manifested themselves in the footsteps of The Beatles, Rolling Stones and Pretty Things. In 1966 a new top band entered the scene, this time from Delft. After the hit singles 'Early in the Morning' and 'Believe What You Say,' songs written by Shocking Blue-guitarist Robbie van Leeuwen, in November 1968 the Tee-Set went into the GTB studio to record an album with all new songs. Stimulated by Harry Knipschild, manager Theo Kuppens and singer Peter Tetteroo, with a voice reminiscent of Stevie Winwood, decided to build Dave Van Ronk's 'Dont Leave Me Here' into the party song 'Dont You Leave.' The reactions to the album were phenomenal. The trendy Hitweek wrote: 'The Tee-Set album is, in one word, fantastic. With a sound that is solid like a brick house. This is the Nederlanger [Dutch LP] of the year! We do not get enthusiastic very fast, but this album is incredibly good. The Dutch Beat is on a roll.' 'Don't You Leave' became the Tee-Sets first top 10 hit. The album was also a great success. Unique in that time: Emotion was also released in Italy. Tee-Set continued. 'Ma Belle Amie' became a worldwide hit, and even landed in the U.S. Top 5. 'She Likes Weeds' was a number one in the Netherlands. The fantastic first album Emotion has now been remastered from the original master tapes for the first time. It sounds better than ever and is available with the original artwork. Enjoy the breakthrough of the Tee-Set." Original album & artwork from December 1966. Limited edition 300 copies; 180 grams vinyl housed in a 350 gram carton sleeve.
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