LP version. On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. As Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures and beats. As with their breakthrough album Mount Matsu (GB 147CD, 2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified -- Yatta! lifting it to an ecstatic next level. The result? An album that reveals a band whose groove just keeps getting deeper. Certainly, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing. From the beginning, YĪN YĪN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving -- an impulse that reaches its peak on Yatta! One major influence is the sound of Italo Disco -- the spacey brand of disco music that arose in Italy in the late 1970s. "It has something of a mystique," says Berkers. "All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created." Across the album, YĪN YĪN specialize in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination. If there's a general direction of travel in YĪN YĪN's expeditions, it's towards the east, with Asian influences coming through loud and clear. It's a fascination that has suffused YĪN YĪN's sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic '60s and '70s guitar music from Southeast Asia. Adopting Eastern tunings has imparted an unusual feel to YĪN YĪN's music and challenged them as songwriters, and Yatta! is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it.

Triple LP version. The legacy of wipE′out″ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn't just revolutionize the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground. Decades later, the game's impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out″'s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack. This is why Lapsus decided to go deeper into the slipstream and build the second volume you're now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn't fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga -- wipE′out″ HD and wipE′out″ Pure -- plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise. Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE's pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum and bass vanguard. Expect the DNA you remember -- accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft's hull, and at times even echoes of classic hardstyle -- now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. For the faithful -- crate-digging ravers, speed-run obsessives, and design nerds -- this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out″ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside. A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis "Blackbeard" Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond. His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more. cLOUD mUsIc features eight new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilized by anyone interested in having music for incidentals, films, TV and advertising etc. cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. Thrilling disco-flecked opener "Rebel Funk" comes bustling out the gate with deeply soulful, driving funk rhythms, a ponderous thumping bass combining brilliantly with a full band and chanting choral vocals. Spirited, joyful and dynamic, it's a true treat from the reggae maestro. The lush, deeply danceable "Raw Soul" combines funk and soul via bass, drums, electric guitar, sax and trumpet. The chilled, serene "Callaloo" presents a sunny, calypso-style reggae with dub rhythms, with steel drums and keyboards providing the sweet melody of deep bass and percussive rhythms. "Too Funky To Be True" is just that: slow bass and brass-led funk with melodies from strings and organ. It's sleazy, warm and refined. To close out the side, "Wind Up, Dub Down" is bright and breezy dub reggae with a bouncy rhythm and reflective, contented feel. The B-Side features jaw-dropping dubbed-out, strung-out, spaced-out versions of each of the first five tracks. The vinyl features artwork utilizing a unique photo by Dennis himself. Meticulously mastered and cut by both Simon Francis and Cicely Balston respectively, cLOUD mUsIc has been pressed to the highest possible quality at Record Industry in Holland.

2026 restock, 2nd edition. As featured in Now Jazz Now: 100 Essential Free Jazz & Improvisation Recordings (1960-80). "Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since. We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers. This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it." --Matt Earley, Executive Producer. The musicians of Black Unity Trio are paid at least 70% of the profits from this release by Gotta Groove Records, Inc.

270 pages. Soft-cover, fully illustrated. 196 x 268mm. Edited by Eva Prinz. Preface by Neneh Cherry. Afterword by Joe McPhee. New York, NY, USA -- musicians Mats Gustafsson, Neneh Cherry, Joe McPhee, and Thurston Moore, along with music writer Byron Coley, have contributed to an illustrated collector's guide to records -- replete with 270 pages of beatific album art, labels, sleeve notes and collector musings on their life-long obsessions of record collecting, with a distinct focus on the recorded history of free jazz and free improvisation. Compiling personal archives of their selections of recordings which could be contenders within a list defined by a parameter of 100 of the most essential releases presented in chronological order, acknowledging the music to be preternaturally noncompetitive, non-hierarchical, and of equal value, Now Jazz Now is a book for all adventurous music lovers, whether ravenous record collectors, avant-garde jazz enthusiasts, students of radical culture, or simply curiosity seekers in wonder to this music's illustrious history and lineage. The gleanings of Cherry, Coley, Gustafsson, McPhee and Moore will enlighten, delight, amuse, and bemuse all who follow their streams of consciousness, knowledge, perception, and, most importantly, unbridled respect and regard for a genre of music dedicated to the dignity of practicing freedom.

LP version. Yellow/black splatter color vinyl. Gatefold sleeve. Sumrrá asks: "Can we free ourselves from prejudice, cultural and personal. How can we liberate ourselves from the bias and self-sabotage that we got from our ancestors, our environment, our society and our cultural background." REVOLUTI8N explores seven themes in the band's eighth album. Sumrrá express their thoughts through music and tone poems. They seek to trigger an inner Revoluti8n, to spark it. They are shooting an arrow towards the direction they believe the world collectively must look today. After 25 years and hundreds of concerts around the world, Sumrrá continues to look into the future. Pianist Manuel Gutierrez, double bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido perform with a maturity and freshness of ideas that has made their devoted fan base continue to grow. Smart, dynamic and emotional music from Galiza, Spain. Having already released seven albums, REVOLUTI8N, is their eighth.

2026 restock. One of King Tubby's finest works, originally released in 1974. Recorded at Tubby's famous 18 Drummly Ave. studio in Kingston during dub's early development period.

Live in Padova 1977, unreleased. This album is a historical document in several respects: echo of a creative season in its early, vigorous blossoming. It serves as a testament to the initial opening of the emerging Italian free music scene to Northern European experiences, which had already been in communication for years. The collaboration between Evan Parker and Andrea Centazzo had begun a few months before this concert held in Padova on December 12, 1977. In July, Parker came to Italy, specifically to Tuscany, for a series of concerts, including a duo performance with Derek Bailey in Pisa. Then he joined Centazzo, who had organized a seminar with him (likely the first of its kind in Italy) in San Marcello Pistoiese. At that time, Centazzo lived and worked in the countryside between Pistoia and Montecatini. On that occasion, Centazzo recalls recording studio material, which, along with material collected during the concert in San Marcello, became the album Duets 71977 (2016). Shortly after, the duo temporarily expanded into a trio with Alvin Curran, who recorded Real Time (ICTUSRE 010LP). By then, the Centro d'Arte had existed for more than thirty years as an association connected to the University, presenting seasons with a very open and research-oriented profile. In 1973, the Centro d'Arte started an autonomous jazz series, favoring contemporary and avant-garde artists such as the Art Ensemble of Chicago, Sam Rivers, Anthony Braxton, and musicians from the emerging European free jazz scene. The Centazzo/Parker duo was indeed one of the most experimental episodes presented by the Centro d'Arte in those years. The musical material heard on this album does not correspond to the entire concert but is a selection that emphasizes some particularly intense long sequences. It is worth remembering that about twenty minutes into the actual concert, some voices from the audience began to howl and even mock what they were listening to. Parker expressed his irritation through the music, but also with words in which he ironically described himself as a gladiator in the arena. In this portion of the concert, which is not included in the album, spoiled as it is by annoying distortions, you can hear him addressing the audience: "Bring back bullfighting, Bring back bullfighting... whoa... Bullfighting on ice!" and later shouting, "Bring on the lions!" In 2000, Stefano Bassanese converted the tape into a digital file (44100 Hz/16 bit) in his home studio. This forms the basis of the current restoration process, conducted at Outside Inside Studio by Matt Bordin, who is also responsible for editing and mastering.

2026 repress; LP version. What two great producers other than Lee Perry and Bunny Lee would be best suited for a Dub Soundclash? Both producers were integral at the birth of dub music and would share many rhythms and sessions -- their musical paths would cross all through their careers. It was in fact Bunny Lee's rhythm that provided the back drop to Lee Perry's "Shocks Of Mighty" cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry's position at WIRL Records. Yes, two producers whose paths always seemed to cross as it does with this release. Jamaican Recordings have selected some of Lee Perry's rhythms, the first half of this set, against some Bunny Lee rhythm on the second half. You can hear the distinctive sound of Lee Perry's Black Ark studio with his echoplex giving his trademark whirling sound against Bunny Lee's rhythms cut at many different studios. The winner of the Soundclash? That is up to you the listener... But in this dub session there is no loser...

2026 restock. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton

"Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something -- half-formed memories, thoughts caught in midair -- in some of the most abstract, searching music he has released. Just like 1977, 1979 surveys a synth-heavy array of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues. Like its predecessor, the new album's atmospheric cast sets it apart from much of the work Paradinas has released as µ-Ziq on Planet Mu. It's not strictly an ambient record, but it's close, as close as this famously mutable artist ever comes to inhabiting a particular genre. Paradinas' inspiration for the record began on visits to the Spanish cities of Ávila and Majadahona, where his family hails from. That might account for the sense that there are spirits flitting through this music, presences you can intuit if not quite grasp. But 1979 is also a record to meet on your own terms, and to find your own meanings in. It's a stunning record, every track a world unto itself: the mysterious contours of "Majadahonda at Dawn"; the playful melodic fillips of "Clari"; the airy melancholy of "Galletas"; the full-scale breakbeat abandon (yes, you read that right) of "Houzz 14," the rarest of dancefloor detours for Balmat. There are echoes of classic braindance and isolationist ambient and golden-age IDM; there are easter eggs and recurring themes and hidden symmetries. Despite what the title might suggest, it's less a trip back in time than a portal to another universe, a destination for(to?) which only Mike Paradinas knows the exact coordinates." --Philip Sherburne

LP version. "As the meteoric rise of reggae began to captivate listeners around the globe in the 1970s, innovative artist Augustus Pablo emerged as vital creative force pushing the genre forward. An important figure in the Jamaican music scene during this remarkable era, Pablo was not only a skilled musician but an influential producer who shaped the sound of countless classic recordings. While his instrumental work and legendary dubs remain essential, Pablo was also responsible for iconic vocal tracks from a wide range of local talent, many of which were released on his own label Rockers. Now, Nature Sounds presents Rockers United!, a collection of classic and rare vocal selections from the Rockers archives, all produced by Augustus Pablo. Deeply rooted in hypnotic, bass-heavy instrumentation, the album features remastered audio transferred from the original master tapes, with vocals by Jacob Miller, Delroy Williams, Hugh Mundell, Tetrak, Junior Delgado, Earl Sixteen, Spliffy Dan and more."

LP version. The highly anticipated debut album from Amsterdam-based Indonesian psych-folk ensemble Nusantara Beat has finally arrived. Having built a rapidly rising reputation through captivating live performances and a string of acclaimed 7" singles (Bongo Joe Records), this self-titled album powerfully extends an already potent musical vision. A mesmerizing collection of eleven original tracks, Nusantara Beat delves deep into the group's Indonesian ancestral roots, and thrillingly weaves together hypnotic folk melodies, vintage Indo-pop, pulsating psychedelic grooves and contemporary sonic textures. Nusantara Beat grew out of Amsterdam's vibrant music scene, with several of its members previously playing in Dutch groups including EUT, Jungle by Night and the Turkish psych ensemble Altin Gün. But it was the allure of exploring Indonesian sounds that cemented their alliance. Released in 2023, "Djanger" is a beloved song describing the movements of a Balinese dancer. "Kota Bandung," also released in 2023, is a 1970s classic describing the capital city of West Java. And 2024's "Mang Becak" is another '70s pop track based around a conversation between a woman and a becak (bicycle rickshaw) driver, delivered in Sundanese, the local language of West Java. Across these three singles, Nusantara Beat paid heartfelt tribute to the tradition of "Sunda Pop" -- the Indonesian pop sensation that, from the 1960s onwards, blended traditional Sundanese music with contemporary pop sounds such as psychedelia, surf music and funk. Nusantara Beat have staked out a daring place in modern music, paying homage to the tradition of Sunda Pop, while reinvigorating it for the 21st century with pristine production techniques, modern synthesizers and deep grooves. Now, with their self-titled debut album, Nusantara Beat have gone one step further, writing, recording and producing eleven scintillating original songs that have their roots deep in tradition while stretching out into bold new worlds. The ethereal mood of the traditional Javanese and Balinese gamelan percussion ensemble can be heard to striking effect, underpinning the heavy twang of a surf guitar and whooshing synth sirens. And, throughout the album, samples of Balinese gamelan instruments add extra depth, along with the sounds of traditional instruments such as the kecapi zither, the kendang drum and Balinese gongs. Most of the lyrics -- written in English and translated into Indonesian -- deal with the complexities of modern love, with a bittersweet pop sensibility perfectly suited to Megan's gorgeously delicate vocal style. Atmospheric, mesmerizing and timeless, it's a perfect example of the magic Nusantara Beat weave. Nusantara Beat is the sound of an utterly unique musical collective, forging new ground with a breathtaking freshness and a seductive sense of folk history that echoes through the decades.

Pablo Yglesias -- AKA DJ Bongohea -- compiles for Grosso Recordings an amazing series with classic tunes from Caribbean music that became great successes of "Salsa." Featuring Arsenio Rodríguez Y Su Conjunto, Orquesta Cosmopolita, Tito Puente Y Su Conjunto, Orquesta América del '55, Conjunto Jóvenes Del Cayo, Tito Rodríguez and His Orchestra, Cheo Marquetti Y Su Conjunto, Arsenio Rodríguez Y Su Conjunto, Silvestre Méndez, Conjunto Casino, La Gloria Matancera, Beny Moré Y Su Orquesta, Estrellas De Chocolate, and Chappottín Y Sus Estrellas.

"This is the fourth volume in our series on the Roots of Salsa. The main criterion was to pick tracks that sounded adequate for today's DJs to play at a gig or were sufficiently interesting (or enough of a surprise to fans of the later version) to merit inclusion. The other measuring stick was that they needed to come from the old-school, before the more modern era (from 1962 on) and all of its recording innovations and marketing strategies. For now, listen to these dozen gems and then go back to their more familiar cousins from recent times and compare and contrast, and we're sure you'll be enlightened and entertained." --Pablo E. Yglesias, aka DJBongohead

A deeply moving debut: Mahku by Manizeh Rimer -- founder of London's Love Supreme Projects -- is a spiritual jazz album that bridges generations, cultures, and time. Co-produced by ganavya (Daughter of a Temple) and LEITER co-founder Felix Grimm, it was recorded at Berlin's Funkhaus with a stellar cast: Grammy-nominated Jai Uttal, bassists Doug Weiss and Ben Hazleton, harpist Miriam Adefris, pianist Jay Verma, and Manizeh's daughter Mahku Rimer. The eight tracks -- including a touching reinterpretation of Fleetwood Mac's "Landslide" -- are musical prayers blending Zoroastrian, Buddhist, Hindu, and Tibetan traditions. "Mahku" means "eclipse" -- a symbol of unity and transformation. It's also the name of Manizeh's grandmother, whose spiritual legacy lives on through this music.

2026 repress; double LP version. Initially released in 2006, Revep is the third collaboration album between Alva Noto and Ryuichi Sakamoto and the third installment of V.I.R.U.S.'s five album series. Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by three new compositions titled "City Radieuse", "Veru 1", and "Veru 2". "City Radieuse" was composed for the 2012 short cinematic essay titled "Cité Radieuse" and part of Carsten Nicolai's "future past perfect" series. The video shot at le Corbusier's Unité D'Habitation in Nantes (called "cité radieuse") takes the viewer through the modular system and design applied to the residential buildings. The film's narrative unfolds through a sequence of images tracking the apartments' indoor space and details, and points to the different benchmarks of standardized production as they correlate to their environment and its inhabitants. The album's original recordings resulted from musical exchanges that began with Vrioon (NOTON 051CD/LP) and revolved around a collaborative arrangement of Sakamoto's classic Merry Christmas Mr. Lawrence, the theme music to the 1983 movie starring David Bowie, Takeshi Kitano, and Ryuichi Sakamoto himself. In Revep, the piano takes the lead while the padded bass and pitched electronic frequencies mark sudden change. Deeply evocative and effortlessly colliding worlds of analog beauty and digital mastery, this album is considered another indispensable record from the duo's ongoing collaboration.

Originally released in 1972, Toni Tornado's self-titled debut is a landmark in Brazilian soul and funk -- a gritty, groovy record that helped define the sound of the Black Rio movement. Blending deep soul, psychedelic funk, and bold orchestration, this album channels the revolutionary energy of James Brown with the tropical swagger of Rio's streets. From the urgent rhythms of "Torniente" to the undeniable strut of "Mané Beleza" and "Tornado," Toni's music pulses with a fierce sense of pride and liberation. It's the sound of a new cultural identity taking shape -- where African-American soul met Afro-Brazilian reality. Often compared to the legendary Tim Maia, Tornado brought his own explosive edge to Brazil's growing soul scene. By the 1970s, other Brazilian musicians, such as Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben, and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. Toni Tornado's voice carries grit and passion, his grooves hit hard, and his message is crystal clear -- Black is beautiful, and the funk is real. Back on vinyl for a new generation, this reissue is more than a collector's gem -- it's a time capsule from an era when music moved bodies and minds. Essential listening for fans of vintage soul, global funk, and revolutionary sounds. Reissue on 180g vinyl.

The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in previous volumes, this fourth instalment in the series Cumbia Cumbia Cumbia!!! comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Featuring Carlos Haayen Y Su Combo, Bovea Y Sus Vallenatos, Álvaro Cárdenas Y Su Conjunto, Carlos Román Y Sus Estrellas, Luis Enrique Martínez Y Su Conjunto, Pello Torres Y Sus Diablos Del Ritmo, Banda 20 De Julio De Repelón, Andrés Landero Y Su Conjunto, Cumbia Mochila, Combo Maravilla, A.M. Camacho Y Cano, Eliceo García Y El Conjunto Palma Africana, Wasamaye African Rock, Conjunto Maravilla De Palo Alto, Manuel Villanueva Y Su Orquesta, Manuel Caraballo Y Su Conjunto, Pedro Salcedo Y Su Combo, Los Tiburones, Cumbia Bolivariana, Los Curramberos De Guayabal, Juan Polo Valencia, Lucho Better Y Su Orquesta, Florentino Montero Y Su Conjunto, Joe Montes Y Su Orquesta, Tere García Con Ramón Ropaín Y El Trío Fantasía, Los Indios Selectos Con Alberto Pacheco Y Su Acordeón, Rufo Garrido Y Su Orquesta, and Mincho Anaya Y Su Combo Moderno.

"Hard to believe a record like this didn't exist until now: a compilation of the classic first five 7"s (recorded between 1979 and 1982) of none other than the king of scum punk, the infamous GG Allin. Starting with the two 7"s recorded with The Jabbers, and continuing with the amazing triad of 'Gimme Some Head,' 'No Rules' and 'Public Animal N§.1,' this record is filled to the rims with nihilistic, hate fueled and surprisingly catchy punk rock hits. Includes a fold out poster."

The spirit of KPM, DeWolfe, and I Marc 4 distilled in a lockup garage in Leeds. The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express (Theme From The Watcher). Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series: The Library Archive. Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the '60s & '70s, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound. The fierce Brass of "Whack, Slap & Blow" and "Kaye Okay" could both be a Keith Mansfield cut, acting as a theme tune to a glamorous Saturday night TV show circa 1972. "Duck Strut" is a cheeky slice of bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. "The Needle Nose," "Midnight Heist" and "Wiretap" are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. "Wigged Out" channels the wonky organ weirdness of Italian library legends I Marc 4 while "Nuclear Wind I & II" use Moog and Mellotron as electronic counterpoint to ethereal voices. "Siren's Sea's" acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer "Planet Nine" traverses the cosmos.

In the heart of 1990s Morocco, Cheb Nacer brought a new breeze to the popular music scene. Born in Oujda, he grew up surrounded by raï, staïfi and chaâbi before moving to Casablanca, where he blended these roots with the electronic sounds filling cabarets and clubs. Inspired by the international clips broadcast on 2M and RTM, he reimagined European hits in darija, creating a hybrid, dance-driven sound. "Olé Olé Olé" became a national hit, carried by bright synths and playful energy -- far from the sentimental pop dominating the airwaves. Between 1993 and 2006, he released a string of tapes, shows and hits, defining his unique style: spontaneous, raw and festive techno-raï born in studios, living rooms and wedding halls. Cheb Nacer embodied an era when the lines between cabaret and club blurred, when music circulated freely and reinvented itself without rules. Decades later, his songs still echo as the soundtrack of a generation tuned into global waves -- free, curious, and proud to dance their own way.

After more than a decade of touring, collaborations, and sonic explorations, Peruvian guitarist and improviser Jorge Espinal presents Bombos y Cencerros, his first solo album, released through Buh Records. Based in Buenos Aires since 2007, Espinal has been part of projects such as Ricarda Cometa and Calato, where he developed a musical approach in which body and instrument function as a single rhythmic unit. The idea for the album took shape after a 16-date European tour in 2023. Back in Buenos Aires, Espinal entered Estudio Belcebú to record, in a single session, a series of pieces that condense years of practice. Here listeners hear him playing, all at once: prepared electric guitar, bass drum, cowbell, pedals, and laptop. He triggers samples, builds loops, freezes sounds. The guitar becomes a source of rhythm rather than harmony. The title Bombos y Cencerros refers to two essential elements of popular Latin American percussion. These are instruments that set the pulse, that lead the way in parties, processions, and street celebrations. In the context of the album, they also serve as a statement of intent: rhythm as a point of departure. Espinal takes this foundation and transports it to a territory where noise, repetition, and accident coexist. Bombos y Cencerros is released through Buh Records in a limited vinyl edition. The album was mixed and mastered by Genosidra, and the cover art is by Japanese artist Hideyuki Katsumata, a frequent collaborator of Espinal since his work in Ricarda Cometa.

LP version. Blue Note/Schema/Far Out Recordings artist shares a new compilation of golden age Italian library music. Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79. The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries. Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals -- making them virtually invisible to the general public for decades. At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies. The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco -- meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"Companion volume to Off The Bone. Single A&B sides from releases 1985-2003, Pressed on 200gm vinyl and housed in rather cool 3D sleeve (no glasses)."

During the sixties, especially the second half, Bobby Marín was an up-and-coming young Nuyorican who was responsible, along with his brother Richard, for producing, writing, or coordinating recordings by Louie Ramírez, Machito, The Nitty Gritty, Willie Rosario, Joe Cuba, Johnny Zamot, Kako, and Azuquita, Charlie Palmieri, and others. Many of these artists were caught up in the ongoing boogaloo movement. So, it was not a surprise when Ismael Maisonave -- an unsung hero of Latin music and owner of Mary Lou Records -- approached Bobby with the idea of reissuing a Raphie Martínez album as a budget LP under a different name, resulting in La Cucaracha Brass. The songs selected for this compilation represent a point in time when the world was getting ready for an incipient monster called salsa, which would take over for years to come. The LP includes descargas, guaguancós, guarachas, as well as the declining boogaloo. It is a collection of recordings by different artists and was named Cucaracha Brass because at that time the group Tijuana Brass was very popular. Most of the songs were taken (six out of eight, presumably) from the Raphie Martínez and the National Combo LP Cool Man (Mary Lou 1002). However, there are noticeable differences between the two albums. "Latin Power" is an explosive instrumental guaracha and descarga, where the trumpet, congas, and timbales deliver powerful solos. "Takin' Over" -- an instrumental boogaloo -- appears as "We Are Taking Over" on Raphie Martínez's album (with a faster tempo and featuring a background voice). "Hey Mama," a boogaloo sung by Bobby Marín, is titled "Do It All Over" on Martínez's recording, featuring a different singer, different lyrics, and a different tempo. As well as the edited versions of tracks taken from Martínez's album, this album comprises songs taken from other Mary Lou Records releases such as Quique Rosa y La Sabrosa Orchestra (Mary Lou 1020).

LP version. The leader of the internationally acclaimed Wojtek Mazolewski Quintet reveals a more intimate, personal side in his solo project. Solo, the new album from Wojtek Mazolewski, offers a chamber-like, cinematic and deeply atmospheric listening experience. One might expect a solo album to become an opportunity for virtuosic displays, yet Mazolewski takes a different path -- presenting the double bass as a melodic instrument, played with remarkable sensitivity and tenderness, revealing the richness and depth of its sound. Solo is a surprising record. Despite its subtle arrangements: harp, flute, percussion, gentle electronics, and whispered vocals, the music captivates from the very first notes. Modern in spirit, it occasionally surprises with a gentle, dance-infused pulse. Mazolewski creates space for focus and reflection without falling into new-age clichés. The album's sound quality is also noteworthy, crafted by producers Wojtek Mazolewski and Wojtek Urbanski, (Polish platinum producer and film composer) and mastered by Grammy-winning engineer Ben Rawlins. Episodic but essential contributions from the exceptional harpist Marysia Osu also deserve mention. For years, Mazolewski has been a respected figure on the international stage. His Quintet's album Polka was one of DownBeat's favorite albums of the year. He has been a frequent guest on Gilles Peterson's BBC Show and performed a memorable Bronswood Session there. Mazolewski's creative reach extends beyond WMQ and his solo output, including his experimental Tryp Tych Trio project with Tamar Osborn and Sarathy Korwar, as well as collaborations with artists such as Pete Wareham, Tomasz Stańko, Urszula Dudziak, John Zorn, Tim Berne, and Dennis González.

2026 restock. All tracks are exclusive to this release (not a compilation of material from the albums on the cover). Tracks: "Ghetto Version," "Ya Man Version," "Tubby's Version," "Pain Dub," "Cowboy Dubbing," "D'Rude Dubber," "Moving Version Dub," "Hardest Dub," "This Ah The Best," "King Edwards Dub," "Maria's Head Dub," "Homing Version," "Bless 'I' Dub" and "Crabbit Version."

Limited 2026 restock; LP version. "Prior to co-founding the Incredible String Band, Clive Palmer had already made a name for himself as a versatile instrumentalist from his teenage years busking around London. Just after the first ISB album was released, he would quit the band and seemingly vanished from the scene, traveling around Europe, India and Afghanistan. He resurfaced with his banjo a few years later under the guise of COB, Clive's Original Band, with instrumentalists and songwriting partners Mick Bennett and John Bidwell. Guitarist Ralph McTell agreed to produce the project as a labor of love, and with the newly coined trio they created what is considered to be one of the most beautiful acid folk albums ever to come out of the British Isles. McTell kept the production organic, with most of the vocals and rhythm tracks recorded live. Experimental in nature, Spirit of Love is a highly original album that embodies the spirit of UK folk amidst reality at the time. Bootlegged several times, this is the first official vinyl reissue of this eternal classic."

"In the mid-to-late '90s, Southern hip-hop was bubbling up in Atlanta with Outkast, Rap-A-Lot out of Houston, Three 6 Mafia out of Memphis, and Master P's No Limit out of New Orleans. By the early 2000s, Southern Hip-Hop was overtaking East Coast and West Coast acts with national radio and video play. The Chopped and Screwed style made popular by Houston's DJ Screw's mixtapes was also spreading nationwide. In 2005, another H-Town indie label, Swishahouse, was blowing up with a deal they had inked with Warner Music Group's resurrected Asylum label. Founded by Michael '5000' Watts and OG Ron C, Swishahouse released the single 'Still Tippin' on The Day Hell Broke Loose 2 compilation. The single, which featured Mike Jones, Paul Wall, and Slim Thug, would be added to Mike Jones' debut album Who is Mike Jones? leading to the first platinum album under Swishahouse and would set the stage for Paul Wall's major label debut. After releasing several albums and mixtapes with fellow H-Town rapper Chamillionaire, Paul Wall signed a deal with Atlantic/Asylum/Swishahouse and released the gold-certified single 'Sittin Sideways' in the summer of 2005. The People's Champ, featuring Paul Wall's famous platinum and diamond grillz on the cover, was released on September 13, 2005, debuting at #1 on the Billboard Charts. The album is an ode to the laid-back Houston culture of hustling, cars, sippin' on purple drank while listening to Chopped and Screwed music. The album had the internet goin' nuts with features from Texas contemporaries Mike Jones, Big Pokey, Bun B, as well as southern rap stars Three 6 Mafia, T.I., and Lil Wayne. The album spawned another gold single from the Kanye West-produced track 'Drive Slow' and would push sales to Platinum status."

"L.A.-based soul singer Leela James started out singing backup vocals on hip-hop albums in the late '90s and early 2000s. In 2004, she recorded the song 'No Tears' on Pete Rock's Soul Survivor 2, shortly after she signed a deal with Warner Bros Records and released her debut album A Change is Gonna Come, named after her cover of the Sam Cooke song. A true soul singer, with a voice comparable to Mavis Staples and Betty Wright, Leela enlisted Commissioner Gordon to oversee production, which included tracks by Kanye West, Raphael Saadiq, Wyclef Jean, and Chucky Thompson. The lead single, 'Music,' is an ode to the soul singers of yesterday, with a hip-hop feel. She performs a soulful R&B cover of No Doubt's 'Don't Speak' and alternates between funky uplifting tracks like 'Good Time' and 'Soul Food' with downtempo, soulful ballads like 'When You Love Somebody' and 'My Joy.' Leela James departed from Warner after the release of her debut and went on to release seven more studio albums. It's been twenty years since A Change is Gonna Come was released in June of 2005, and Get On Down now presents this underrated gem for the first time on vinyl. The album is pressed on 'Golden Pearl' colored vinyl and packaged in a gatefold jacket, limited to 1000 copies. It's been a long time coming, but this is a must-have for neo-soul and R&B music lovers."

2025 repress. Lilith present a reissue of Os Mutantes' self-titled debut, originally released in 1968. With the release of their debut LP in 1968, Os Mutantes cracked the already red hot Tropicalia scene wide open. Fusing traditional Brazilian music, psychedelia, rock, and a good dose of pure experimentation, they quickly became giants both in Brazil and in the outer fringes of pop music, where they have managed to reign supreme for the past four decades. Not an easy task in such a crowded arena. Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Tom Zé, and Os Mutantes? What do these people put in their drinking water? The band went on to release several more albums, but this one was their magnum opus. Obi "bookmark" Japanese style; 180 gram vinyl; Includes CD.

Rufige Kru return with Alpha Omega Remixes, featuring four heavyweight re-imaginings of their recent jungle/drum and bass belters. One of the most revered names in breakbeat science, Rufige Kru rewired the dancefloor for the first time back in 1992 with hardcore classics such as "Darkrider," "Beachdrifta," and "Terminator," key moments in the evolution of drum n bass. Alpha Omega Remixes takes the project's tracks to a new-level, with fresh reworks from Metalheadz residents Phase, Seba & Paradox, Special Request, and Rufige Kru's very own Submotive. Each remix twists the raw intensity and deep atmospherics of the originals into something darker, harder, and sharper. Black vinyl, printed 3 mm spine sleeve, black polylined inner sleeve, and marketing sticker.

Romanian avant-garde composer, Nicolae Brînduş (1935-2023), studied piano and composition at the National University of Music in Bucharest. From 1969 to 1980 he attended the Summer Courses for New Music in Darmstadt and later he also worked at the IRCAM in Paris and GMEB in Bourges. His compositions have been performed worldwide. This album, originally released on Electrecord's RCM (Romanian Contemporary Music) series in 1986, provides a selection of works which belong to his cycle PHTORA (1968-1972). The cycle comprises five pieces which are five degrees of structuring collective improvisation, leaning towards the spectralist tradition. It's probably the most eccentric record in the whole RCM series, offering a mesmerizing collage of organized cacophony, as a massive but subtly layered whirlwind of abstract orchestral improvisations, Romanian picturesque folklore and free jazz with extensive use of tape manipulation and reverberation. This reissue comes with the beautiful original sleeve artwork by Ana Golici who designed many sleeves for Electrecord.

Limited repress. The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.

2025 repress. LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.