Roberto y su Nuevo Montuno recorded their first album, El Nuevo Montuno Llegó (1970), when Roberto Berríos was just 22 years old. This was also the debut release on Haddock's own Uniart label. Berríos remembers that they did the recording in two sessions, splitting it up into four tracks per visit. The engineer was the famed Pedro "Pedrito" Henríquez, who recorded El Gran Combo, Roberto Roena and many others. The band had a mix of tasty, powerful originals, from Tony Cintrón's title track that announced the band had arrived, "El Nuevo Montuno Llegó," to Quique Dávila's mournful "Triste Arrabal." Then there was the hit Santería themed tune, "Llamé a Changó," which was a song that Quique Dávila brought to the band, but had been originally composed by Carlos Pinto, though Quique was given the credit. Dávila also composed "Me Queda Un Guaguancó," which is Roberto's favorite song on the record (as well as a fan favorite), with Papo sounding like his friend Héctor Lavoe, and Quique Dávila's proud manifesto declaring that Puerto Rico now had its own son montuno, "Oye Tu Son, Borinquen," featuring the pianist's tasty but brief solo. The cover versions came from the group's earliest period when most of their repertoire consisted of renditions of beloved but lesser known tunes, and include Louie Ramírez's "Balancéate" (a favorite of Roberto's from Ray Barretto's songbook), Bobby Valentín's "Monina y Ramón" (recorded during his stint with Willie Rosario), and a bolero indelibly sung by Cheo Feliciano when he was with the Joe Cuba Sextet, "Dichoso," written by Joe Cuba's talented pianist, Nick Jiménez. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from El Combo Moderno, Freddie Miranda, who at that time was with Roberto Roena's Apollo Sound. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals. El Nuevo Montuno Llegó has become a legendary salsa dura classic from Puerto Rico and Vampisoul are thrilled to present this first legitimately licensed and remastered vinyl reissue. It includes detailed liner notes that reveal the untold story of the band and their debut album, and rare photos.

Wewantsounds presents for the first time on vinyl Brion Gysin's cult recordings, produced by Ramuntcho Matta in the '80s and early '90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin's legendary light art device into a mesmerizing audio experience, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. The recordings on Dreamachine reflect Brion Gysin's fascination with altered perception. Matta had returned to Paris after a late-1970s stay in New York following the death of his brother, Gordon Matta-Clark, and had already produced Gysin's album Junk and the single "Kick" featuring Don Cherry. At the center is the title track "Dreamachine" a hypnotic 32-minute piece built on minimalist repetition, echoing the stroboscopic effects of Gysin's iconic light sculpture. Slowly evolving grooves create a trance-like state, drawing on Afrobeat in the lineage of Fela Kuti and the laid-back, cyclical guitar patterns of King Sunny Adé's juju music. Conceived as a sonic extension of the eponymous visual device, invented by Gysin with Ian Sommerville, Dreamachine reshapes the listener's sense of time and perception. The record also includes "The Door," a striking collaboration featuring the legendary saxophonist Steve Lacy, adding further depth to the avant-garde jazz elements of Gysin's world. This vinyl features remastered audio and an insert with a striking photo of Gysin and Burroughs in front of the Dreamachine, shot by French photographer François Lagarde, alongside liner notes by Jason Weiss situating the recordings in historical and artistic context.

LP version. Wewantsounds presents the first vinyl reissue of Disappointment-Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto's first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto's early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta. Ryuichi Sakamoto is widely recognized as one of the most important artists of his generation. At the time of Disappointment-Hateruma, he was still a student at the Tokyo National University of Fine Arts and Music and active in Shinjuku's experimental music circles. He was busy contributing to Transonic Magazine, performing with the multimedia group Gakushudan, and working with musicians pushing the boundaries of jazz, free improvisation, and contemporary composition. On his side, revered Japanese percussionist Toshi Tsuchitori, who had recently returned from New York, brought influences from Milford Graves' approach to drumming, including African rhythms, ritualized performance, and a holistic approach that combined music, movement, and philosophy. Sakamoto and Tsuchitori had previously played together in Gakushudan, but neither considered those early encounters definitive. This recording captures one of the rare moments when Sakamoto's exploratory piano work met Tsuchitori's distinct rhythmic language in a studio setting. The album, originally released in 1976 on producer Yukio Kojima's highly influential ALM Records imprint, is structured across four tracks, with the first, "綾 (Aya)," filling the entirety of Side 1 on the LP, while Side 2 contains three shorter pieces, each exploring different combinations of instruments and sound sources. The recordings employ a wide array of textures, from prepared piano, bells, marimba, and gongs to EMS synthesizer and voice. Together, the tracks create hypnotic, ethereal soundscapes and rich sonic textures that highlight the interplay between Sakamoto's experimental piano work and Tsuchitori's percussive expertise. Remastered by renowned sound engineer Heba Kadry, this new edition highlights the detail, range, and clarity of the original album, making the ultra-rare Disappointment-Hateruma available worldwide for the first time. It stands as a key early document of Sakamoto's work and situates the recordings within the broader context of his formative years and Tokyo's mid-1970s cutting-edge music scene.

Wewantsounds reissues Music By Lee Mason, the cult classic from the Chappell Recorded Music Library, originally released in the UK in 1971. Credited to Lee Mason & His Orchestra, the album is in fact the work of renowned British composer and arranger Pete Moore -- best known for producing the iconic "Asteroid" theme in 1968 for the Pearl & Dean cinema advertising company. One of the funkiest library albums of its era, blending cinematic tension, funky grooves, and jazzy undertones, Music By Lee Mason features the track "Shady Blues," famously sampled by Madlib. Newly remastered and featuring liner notes by Kevin Le Gendre, this long-overdue reissue brings a lost classic back to vinyl for the first time since 1971. Recorded at the dawn of the prolific '70s UK library music boom, Music By Lee Mason was part of the successful Chappell Recorded Music series -- produced for television, film, and advertising professionals. Working under the "Lee Mason" alias, Pete Moore used the format to explore a wide palette of sounds: funky rhythm sections, fat horns, bumping bass lines, and catchy melodies that reveal both sophistication and swing. Across its eleven tracks, the album moves seamlessly between funky grooves, jazzy arrangements, and cinematic moods. "Shady Blues" in particular has become a cult favorite among crate-diggers, its slow-burning groove later sampled by Madlib for the Lootpack track "Answers" featuring Quasimoto, giving the piece new life in the spheres of hip-hop and digging culture. A prolific composer and orchestrator for television, radio, and film, Pete Moore (1924-2013) worked with the likes of Peggy Lee, Fred Astaire, and Connie Francis, bridging the worlds of orchestral scoring and modern jazz-pop arrangement. Alongside his celebrated commercial work, his contributions to the Chappell Music catalogue exemplify the depth and craft of British library composition during the 1960s and '70s. This reissue of Music By Lee Mason has been newly remastered and features exclusive liner notes by Kevin Le Gendre, who provides fresh insight into Moore's enduring influence of his music. With its sophisticated arrangements, catchy grooves, and unmistakable sense of mood, Music By Lee Mason stands as one of the defining statements of the British library era which Wewantsounds is delighted to reissue for the first time since 1971.

LP version. Wewantsounds continues its Yoshiko Sai reissue program with the release of Mikkou, the Japanese singer-songwriter's second album released in 1976 on Black Records. The album, produced by ace arranger Isamu Haruna, keeps the same formula as Mangekyou (WWSCD 096CD/ WWSLP 096LP, 2025) with Yoshiko Sai's beautiful songs and dreamy vocals over cool funky arrangements, this time featuring legendary guitarist Masayoshi Takanaka. This is the first time Mikkou is widely available outside of Japan, with remastered audio, original artwork and a four-page insert including new liner notes by Hashim Kotaro Bharoocha who interviewed Yoshiko Sai for this special occasion. Yoshiko Sai holds a singular place in Japanese music history. Since her 1975 debut Mangekyou, the Japanese singer-songwriter has captivated listeners with her ethereal voice, poetic lyrics, and enigmatic presence, earning a devoted cult following that endures decades later. Mikkou represents a bold broadening of her artistic palette, drawing inspiration from the Silk Road and the rich cultural heritage of her native Nara. Sai's compositions on Mikkou explore themes of femininity, freedom, and the passage of generations. Tracks such as "Kaasama no Uta" ("Mother's Song") and "Tenshi no Youni" ("Like an Angel") blend blues, jazz, and folk sensibilities with evocative instrumentation including tabla, sitar, and dulcimer, reflecting the album's Silk Road influences. The title track, "Mikkou" ("Secret Passage"), captures the sense of a hidden journey -- both literal and imaginative -- mirroring the adventurous spirit threaded throughout the record. Sai also created the album's artwork, inspired by her reflections on historical Persian travelers and the interconnected flow of cultures along the Silk Road. As Sai remarked in conversation with Hashim Kotaro Bharoocha about the title track, "That idea of sneaking off somewhere felt exactly right for the mood at the time -- it was like approaching everything in life as if you were stowing away along every path." This Wewantsounds release marks the first time Mikkou is available outside Japan, offering a rare glimpse into the fragile, dreamlike universe of Yoshiko Sai.

Monterrey musician Hernando Rocha managed to record his debut LP in 1970 after spending time living in the United States, where he absorbed the latest waves of psychedelic rock. Reinventing himself as Ernan Roch, La Onda Pesada was finally released a year later, credited to Ernan Roch with Las Voces Frescas. Three elements really stood out on the record: Ernan's strong, expressive vocals; the guitars, ranging from powerful fuzz driven riffs to calm, reflective passages close to the folk sound of Simon & Garfunkel; and the high poetic level of the lyrics. The album included songs written during his year in the U.S.: "Sittin on a Side of the Ocean," "Give Me a Piece (She Doesn't Care)," and "The Train," which opened Side A. The songs reflect the existential angst of a 16-year-old -- Ernan's age when he wrote them. For instance, "The Train," with its powerful guitar intro, might suggest the anticipation of love, but it's actually not about romance at all: it deals with suicide and a dialogue with death, portrayed as a woman dressed in black waiting at the end of the station. The life-and death theme continues in "Sittin on a Side of the Ocean," which speaks of a loveless world filled with hate, erupting into a striking riff by guitarist Miguel Cárdenas. These tracks were joined on Side A by "I Found All," "I Can't," and "Round Round." Side B featured "Gonna Make I," "A Life of Love," "Cause of Love," "All Right/It's Gonna Take Me Time," and "Give Me a Peace," for a total of ten songs. The quality of the material is even more impressive when you realize Rocha was only 17 years old when he recorded it. When the album came out, with its bluesy, psychedelic sound and Hendrix-inspired guitar work, it seemed destined for commercial success -- but several factors stood in the way. One was the growing censorship of Mexican rock after Avándaro; another was the new government's view of rock as "cultural imperialism." The record went largely unnoticed throughout the '70s and '80s, but with the rise of online marketplaces in the early 2000s, it was rediscovered by international collectors, who hailed it as a hidden gem and praised its production. Munster now reissues it with liner notes and newly remastered sound.

Tim Maia's self-titled 1973 album is one of those records that hits you from the very first groove and doesn't let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim's self-titled albums -- and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers. If you're new to Tim Maia, here's the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before "fusion" was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own -- gritty, passionate, and full of groove. He didn't just introduce soul to Brazil; he made it Brazilian. On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment "Réu Confesso" opens the album, you know you're in for something special -- smooth, funky, and heartfelt in all the right ways. The bittersweet "Gostava Tanto de Você" remains one of his most beloved classics, while "O Balanço" bursts with Brazilian flavor that practically dares you not to move. And with tracks like "Do Your Thing, Behave Yourself" and "Over Again," Tim shows just how naturally the soul idiom fit him, even when he switched to English. This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It's a front-to-back winner -- one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves. If you're a longtime fan, it's a reminder of why Tim Maia is legendary. If you're discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing. Reissue on 180g vinyl.

LP version. sMiLes, the eleventh album by Canadian-Haitian musician Jowee Omicil, stands out as a vibrant manifesto of freedom and authenticity. Fearless and boundless, the album celebrates self-expression, the beauty of imperfection, and the courage to trust the music. Through eleven tracks and a bonus track featuring multi-award-winning singer Dominique Fils-Aimé, Jowee unfolds a uniquely rich soundscape. The album navigates between the legacy of Abbey Lincoln and the resonances of Miles Davis, Wayne Shorter, and Roy Hargrove, while asserting a deeply personal identity. Between Cap-Haïtien and 52nd Street in New York, between voodoo drums and cosmic vibrations, sMiLes illustrates the approach of an artist in constant search of innovation, faithful to his essence and his creative freedom. Also featuring Ludovic Louis, Mawuena Kodjovi, Malika Zarra, and Jonathan Jurion.

Restocked. R.I.P. Eliane Radigue (January 24, 1932 ? February 23, 2026). 1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.

2026 repress. Black Editions present the first ever vinyl edition of Tokyo Flashback, the legendary 1991 compilation that defined the Tokyo psychedelic movement and first brought it to the outside world. Tokyo Flashback is one of the most iconic compilations in the history of underground music. Originally released by Japan's P.S.F. Records, Tokyo Flashback defined the breathtakingly unique and previously obscured musical movement that had been developing in Japan since the late 1970s. The compilation features some of the earliest released recordings by Keiji Haino, High Rise, Masaki Batoh's Ghost, White Heaven, Fushitsusha, Kousokuya, and Marble Sheep. It captures the excitement and energy of a Tokyo awash in Technicolor and deep blacks; the music echoing krautrock, psychedelic freak-outs, garage, and no wave. At the same time it reveals astonishing, totally idiosyncratic expansions of rock music. In time, Tokyo Flashback expanded to a synonymous nine volume series that, over the following two decades, unveiled Japan's ever evolving soundscapes to the rest of the world. Tokyo Flashback is a defining statement of late 20th century Japanese psychedelic music and an essential primer to the world of P.S.F. All tracks are exclusive, this edition features the first time translation of the original liner notes. Black Editions' deluxe edition is entirely re-mastered and marks the first release of Tokyo Flashback outside of Japan and it's first ever vinyl issue. Also features Verzerk. Newly created artwork and design expanding on the original by Rob Carmichael at SEEN Sudio; Housed in custom printed deluxe Stoughton gatefold jacket and slipcase, including full color printed inner sleeves and inserts with soft touch and spot UV gloss finishes; Remastered and cut by Pete Lyman at Infrasonic Sound; Pressed to high quality vinyl at RTI.

The historical importance, influence, and stature of the Schlippenbach Trio was cemented long ago. Formed in 1970 by German pianist Alexander von Schlippenbach in the early days of European free jazz, the group also featured British saxophonist Evan Parker and German drummer Paul Lovens, and soon formed the core of the mighty Globe Unity Orchestra from that point on. As heard on its 1972 debut for FMP Pakistani Pomade -- reissued by Cien Fuegos back in 2015 -- its foundational music helped establish the group's feverish free improvisation as a dominant thread in the history of European free jazz. The intellectual and artistic curiosity of the group's members, to say nothing of their paradigm-shifting technique and collective sensibility, changed the course of free improv forever. Schlippenbach Trio soon snapped back into its working methodology on its follow up album, Physics, in 1993, which further elevates the singularity of Elf Bagatellen. The album captured a different side of the trio and helped inform the modern classical tilt in European improvised music. Cien Fuegos now reissues this undeniable classic, making it available on vinyl for the first time ever.

Corbett vs. Dempsey and De Plattenbakkerij collaborate on A Gentle Reminder, the new long-playing vinyl record album by These Things Happen. A transatlantic quartet featuring three Chicagoans and a pianist from Holland, These Things Happen have, with a slight personnel shift (switching bassists from Joshua Abrams to Jason Roebke), remained in existence since for more than a decade. This is the band's second release, following a recording made in 2016 (released by Astral Spirits in 2022), and it continues their dedication to the music of Misha Mengelberg and Thelonious Monk, as well as original material by Hoogland and Jackson. The sound is lean, self-aware, at times humorous, and its generosity suggests the common wellspring of ideas shared by Amsterdam's instant composition scene and the creative music community in the Windy City.

2026 restock. On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colors and paints). On double-LP vinyl for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek's home studio in Berlin at the time. The farben project has its roots in Jelinek's love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music's most extravagant stock phrases about various states of love. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall, you hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of color, are dissolved into details and abstractions. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking, and speculation. Gatefold sleeve; includes download code.

2026 restock. Double-LP version, black vinyl in gatefold sleeve -- on vinyl for the first time, in a revelatory new remaster by Jim O'Rourke. In 2016, Finnish label frozen reeds published the première release of Julius Eastman's Femenine, for chamber ensemble. Laying unheard for decades prior, the release documented a 1974 performance by the S.E.M. Ensemble with the composer himself on piano. Lauded in Pitchfork (awarded "Best New Music"), The New Yorker, and The New York Times, the first release of Femenine served as the catalyst that propelled Eastman's music into the mainstream. Articles on Eastman's music and its immediate disruptive impact on the classical canon began to appear in every major news organ in the English-speaking world and beyond. His music began to be programmed in major concerts and festivals, several of these entirely themed around his life and work. New recordings sprang up from a fresh generation of musicians engaging with his ideas and interpreting them for a modern audience hungry to hear more. But the raw, emotionally cascading spirit of the original performance continues to inspire listeners. Joyous, insistent, and immersive, Femenine bathes the listener in surges of tonal color from intertwining winds, piano, violin, pitched percussion, synthesizer, and -- uniquely -- the composer's own invention of mechanized sleigh bells, which provide the 72-minute piece with its characteristic pulse. Femenine was recorded live by Steve Cellum -- co-producer of Arthur Russell's World of Echo -- and the new vinyl reissue has been remastered from the original high-definition tape transfer by Jim O'Rourke at his Steamroom studio in the Japanese mountains. Illuminating sleeve notes are provided by composer and author Mary Jane Leach, key figure of the Eastman revival and co-editor of the Gay Guerrilla collection of essays on his life and music. Gatefold. "Eastman's stated aim with Femenine was to please listeners, saying of the piece that 'the end sounds like the angels opening up heaven . . . should we say euphoria?" --Mary Jane Leach

Born at the turning point between apartheid and democratic South Africa, the Xitsonga bubblegum-disco duo Chibuku embodies the energy of a time of change, as Nelson Mandela was released from prison and kwaito began to emerge. Although they did not achieve the fame of figures such as Paul Ndlovu or Penny Penny, their only album Maxambe (1992) is now considered a precious time capsule, a raw disco treasure rediscovered by lovers of forgotten music. Behind the project is Dr Joe Shirimani, a guitarist, singer, composer and producer of genius from Tzaneen and Soshanguve, recognized as one of the major architects of South African disco and bubblegum. Long overlooked, Maxambe nevertheless bears witness to an era and a social perspective: migration ("Lekomfere"), debt and economics ("Xikweleti"), and family relationships ("Mhamazala"). The music is festive in appearance, but deeply rooted in the reality of its time. Released on Tusk/Diamond Music, an iconic label of the 1980s and 1990s bought out by Gallo Record Company, Chibuku is now emerging as a diamond rediscovered from the archives of South African disco. Its name, borrowed from a millet beer popular in several southern African countries, sums up the spirit of the group: popular, sincere and deeply rooted in local culture.

LP version. 180gram black vinyl. "In 1983, in Canada, Vasconcelos came into contact with a group of young musicians from Québec City, who combined their association with the avant-garde with a visceral love for Africa and the suggestions of the Far East. Denis Hébert, the leader of the group, was a pianist and organist who frequented jazz but who had also been exposed to the influence of the American minimalist current. The saxophonist, flautist and bass clarinetist Maurice Bouchard, who would become Québec's most famous jazz musician, enriched his jazz with hypnotic elements drawn from African music and Eastern spirituality. Pierre Tanguay, for his part, had an eclectic personality and his interests ranged from avant-garde to ancient music up to stage music for theater and ballet. In 1983, the four musicians, under the guidance of Hébert, gave life to the 'Mara' project and took advantage of Naná Vasconcelos' availability to take part in it. The entire album encompasses the musicians' various experiences and is pervaded by an ancestral sense of spirituality and mystery, immersed in an ocean of rhythm with one shore in Brazil and the other in Africa. As often happens in projects based on improvisation, 'Mara' was a unique and unrepeatable episode born from the positive interaction of five musicians who, before resuming their respective paths, left us a tangible sign of their creative streak."

LP version. Opaque red color vinyl. "more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."

This double LP of instrumental Hindustani, Carnatic and folk 78rpm shellac records from India comes with a full color 12-page insert of gramophone record ephemera, shops, labels, manufacturing details and graphics. The LPs feature over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, sitar, vina and more. Artists include Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered. The Indian classical instrumental tradition is one of incredible proficiency and expressiveness using instruments and techniques created over generations that seem to perfectly and uniquely compliment Indian culture, landscape and tradition. Sympathetic strings resonate inside sitars and sarangis to manifest shimmering reverberant spiritual spaces; horns, reeds and flutes extend the range, volume and melodic inventiveness of the voice; a mind-boggling array of elaborately turned percussion instruments allow for rhythms as complex or as simple as the flowing Ganges River. Classical music in India was perhaps at its height during the 78rpm period as the raj era was ending and the world was globalizing. 2LP gatefold with 12-page full color booklet insert. Produced by Robert Millis (Climax Golden Twins/Victrola Favorites) and features never reissued recordings and is the long-anticipated follow up to the Indian Talking Machine book/CD (Sublime Frequencies 099), which was also produced by Millis from his collection of 78rpm records and ephemera.

Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito's psychedelic cosmology, distinct from his better-known work with High Rise, Musica Transonic, and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there's only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo's longest-running, most mysterious outfits, Ohkami No Jikan's conceptualization -- as a psych outfit "that explores 'stasis' and 'motion,' both actively and philosophically" -- hints at the intensity of the music here. There's a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with arcing blasts of feedback, the group feels cosmically aligned with Nanjo's purity of vision. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990s. It released nearly 200 cassettes and CD-r's, all handmade in micro-editions and sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.

2026 restock. Originally released in 1979 on Dangerhouse Records. "Limited vinyl LP repressing. Pass the Dust I Think I'm Bowie was the only full-length wax put out on the short-lived but highly influential Dangerhouse Records in late '79 and it's full of short, sharp funky revue style tunes with some avant touches here and there, with Black Randy reminiscent of a punk rock David Peel. Numbers about sleeping in arcades, Idi Amin, narcs, laundromats and sperm banks plus anything else to do with the messed -up life he was living needles and too much alcohol. This great version of 'Shaft' has to be heard to get a full understanding of the workings of Randy's thought patterns. Dig the budget organ sound that fits right in with the overall sleazy grooves that his Metro Squad is laying down (it was made up of the cream of LA punks on sabbatical from their own combos such as the Eyes or Randoms) all played with a tight but loose abandon. (Black Randy & The Metro Squad appeared in 1981 satirical punk rock film Ladies and Gentlemen, The Fabulous Stains, performing 'I Slept in an Arcade'.) Black Randy is one of the lost voices of the punk revolution, though by no means is he any way near a punk in the accepted commercial sense. Black Randy (John Morris) died on November 11th, 1988. He still has no peers, amen to that."

"Sur Drone's debut LP, T.I.T.S. is a collaboration by renowned graphic artist Raymond Pettibon and avant-garde composer Daniel Adams. Together, they created an unusual musical album full of lowbrow grit and high-concept levity. Raymond supplied the graphics, wrote the lyrics, and performed as lead vocalist. Daniel wrote and produced the music, played guitar, and recorded it to 24-track analog tape. When indie legend Geza X first heard the results, he gasped 'This is dynamite!!' and immediately signed them to Geza X Records. He reeled in his longtime friend Lisa Fancher (head of illustrious Frontier Records) to co-release this high-profile project. Pettibon's Black Flag and Sonic Youth record covers are well known to any record buyer. A self-taught artist born in Tucson, Arizona, Raymond Pettibon emerged in the late 1970s on the California punk-rock scene, designing covers and flyers for SST Records (founded by his brother, Greg Ginn). He began self-publishing his drawings, which adopted the DIY aesthetic of comics, flyers, and fanzines. His name became synonymous with punk art. Today, Pettibon's modern art museum pieces draw from a wide range of sources, including literature, art history, popular culture, religion, politics, and even sports. The other half of Sür Drone is Daniel Adams, a multidisciplinary conceptual artist who composed soundtracks for Roger Corman and others. He's a composer, producer and film director based in Los Angeles, California. Adams' guitar work covers a broad range of sounds, from surf-styled electric guitar and drones to circuit-bent noise. As a songwriter, his music is a whimsical, rollicking party featuring many guest artists."

El Pulso del Acero: Shinkansen is Esplendor Geométrico's new album, featuring 16 powerful tracks that showcase the electric energy of this group, with a unique blend of trance-inducing industrial rhythms combined with collages of voices and noise. The raw power of their early work is also present here in some brilliant reconstructions of '80s tracks turning out very different from the originals. Songs such as "Auto Reverse" will be especially appreciated by the most avid fans of EG's early sound. Other tunes of futuristic industrial music closer to their previous album, Strepitus Rhythmicus, are also included. Ten tracks were recorded in 2025 in Tokyo, where Arturo Lanz (founding member of E.G.) currently resides. The other six were released, only on CD, in an ultra-limited edition shared with the group De Fabriek in 2023, long sold out, now finally on vinyl for the first time. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career for more than four decades hasn't had interruptions. They haven't stopped composing, releasing albums, or playing live. Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music.

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.

Experimental musician Greg Stasiw presents debut album of radiant, free-flowing electronics on Guesswork. Music for psychoactive exploration made over a four-year period, incorporating ambient, minimalism, intricate sound design and Japanese environmental music. Greg Stasiw is an experimental musician, visual artist and writer from New England, Northeastern USA. An itinerant polymath, Stasiw has spent time living, working and traveling in New York, Tokyo, Toronto, Paris, Boston, and Bratislava. As well as studying anthropology, animation and illustration, Stasiw has always had a close connection with music. With his debut album Guesswork, the aural and visual inspirations that underpin Stasiw's creative life intersect, in a pure, radiant soundworld of space, depth and immaculate clarity. Futuristic, pellucid soundscapes incorporating ambient, minimalism, intricate sound design, and Japanese environmental music are deftly arranged with evanescent chimes, serene tone float, suspended organ notes and curious sci-fi resonances. Like stepping into some space age meditation garden, if soundtracked by the likes of Hiroshi Yoshimura, Harold Budd, Norman McLaren, and Pauline Anna Strom, the thirteen tracks of Guesswork create an exceptional listening experience of wide-eyed wonder, sleek tranquility, gentle melancholy, and singular discovery. Initially inspired by a proposed collaboration with the visual artist Philippe Shewchenko, Stasiw was nevertheless compelled by Shewchenko's visuals. He continued dabbling with the sound pieces he had created for the shelved project, ultimately arriving at an unprecedented culmination. Opening with sonorous pulses of drone on "Signature," the album proceeds through the idyllic electronica of "Field" -- music for interplanetary flotation tanks -- and into the gorgeous sotto voce piano of "Plant." "Humidity" evokes verdant off-world wildlife with resonant percussive echoes and abundant bird song, while "Boutique" combines crystalline scales and enveloping ambient vapors. Like entering different zones in a strange new world, these tracks all seem to summon distinct environments; a slow-moving scene of underwater calm, a surreal wilderness, a fantastical garden, a playground, a sacred space. For Stasiw, Guesswork is the speculative outcome of his interest in how sound and space interrelate, as well as the result of channeling his inspirations. It represents a miraculously engaging, idiosyncratic soundworld from an accomplished (non-)musician, content to do guesswork; to see where it might lead and what wonders it might open up.

LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

LP version. David Zé's Mutudi Ua Ufolo/Viúva da Liberdade is a major milestone in Angolan music, intensely blending semba, rumba, and bolero, recorded at the height of the country's liberation struggle. Both soulful and political, the album resonates far beyond Luanda, carrying a universal spirit akin to that of Bob Marley. Originally released on CDA with Conjunto Merengue, it captures David Zé at his creative peak. Sung in Portuguese and local dialects, it combines rhythmic elegance with deep commitment, weaving links between Afro-Brazilian and Latin American traditions. After his assassination in 1977, the album was banned for several years, before being reborn as an essential work of resistance and beauty. In 2008, his legacy found a new echo when Damian Marley and Nas sampled "Undenge Uami" on Distant Relatives.

Double LP version. Daphni's fourth studio album Butterfly at first picks up where his last album, 2022's Cherry left off. Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single "Waiting So Long" (feat. Caribou). An unlikely duo -- in that both artists are the same man, Dan Snaith -- it is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong. Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like "Clap Your Hands" which picks up the energy of "Sad Piano House" and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile "Hang"'s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. "Lucky" is squirmy and elusively intoxicating, "Invention" skitters down meandering, inviting corridors, "Talk To Me" grumbles and broods in the murk, and "Miles Smiles" could roll on endlessly, so confident in its groove. Right from the inception of the Daphni alias, the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns.

Fully licensed, all tracks remastered. Earth Running, originally released in 1979 on the Tappa's Stars label, can be considered the Jamaican's toaster's maturity album. Lyrics here are rooted in the "ghetto life" as always. A work with an international flavor: On Side B, two convincing dance tracks, the anthemic funkfest "Freak" and "One More Chance," often championed by DJs in the following years. A work that explored new territories, a mandatory re-issue for all authentic reggae lovers.

Repress on yellow vinyl. After two pandemically conditioned "reaction" albums, a few non-album singles, and a compilation album, a downsized and sleek Motorpsycho is back where everyone knows and loves them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety and diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3-minute-something pop-rockers, to 20-minute-plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis.

2026 repress! West Virginia Snake Handler Revival "They Shall Take Up Serpents" marks the arrival of a landmark record, documenting the last, snake handling church in Appalachia. Featuring hillbilly rock guitars, trance-like rhythms, and howling vocals, this album was recorded 100% live and without overdubs by Grammy-award winning producer and author, Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Zomba Prison Project). The first release of American music ever by Sublime Frequencies, Brennan states, "As much as I've traveled around the globe to remote areas such as Comoros, the southeast Sahara or up-river in Suriname, few places have felt more foreign or 'exotic' than this part of Appalachia. The recording represents in many ways a companion and counterpoint -- the other side of the Deep South, so to speak -- to the music that was explored on the Parchman Prison Prayer albums. The Snake Handler album was an attempt to listen across that divide -- a divide that's never fully healed and continues to haunt and imperil the USA to this day." The recording took place during a two-plus hour Sunday service in the West Virginia mountains. Brennan states, "I'd sworn to stay far away from the snakes at the service, but instead they were waved in my face as they coiled in the preachers' hands, and I crouched down at the foot of the altar tending to the equipment. The pastor soon was bitten and blood splattered, pooling on the floor. The female parishioners hurriedly came to wipe up the mess, and it instantly became clear just what the rolls of paper towels stacked on the pulpit had been for. You can actually hear this moment transpire towards the end of the track 'Don't Worry It's Just a Snakebite (What Has Happened to This Generation?)'. The congregation leapt to its feet and a mini mosh-pit formed. The tag-team preachers huffed handkerchiefs soaked in strychnine, as they circled like aggro frontmen and an elderly worshiper held the flame of a candle to her throat, closing her eyes and swaying. The church PA blew out from the screams as a bonnet-wearing senior whacked away at a trap kit that dwarfed her. It was the most metal thing I'd ever seen, rendering Slayer mere kids play." The flock claim to be the first church that merged Rock and Roll with firebrand preaching -- that the music was stolen from them by Satan, that they are the originators. Given that snake handling ministries can be traced back to at least 1910, there might even be a faint something to the claim. The pastor's father and brother both died after being bitten by timber rattlesnakes, and the pastor himself suffered greatly from one a few years back -- his forearm swelling to twice its size and turning slime green. As a result, he fell unconscious and his forearm had to be sliced open from wrist to bicep to relieve the pressure. Nonetheless, Pastor Chris steadfastly claims that "Jesus is our anti-venom." "Some people think we're Devil worshippers, that we're a cult. But snake handling is only a small part of what we do." In the 1970s there were reportedly five-hundred snake churches throughout Appalachia, but now there is only one -- in West Virginia, the only state where serpent handling remains legal. It's estimated that in the past century more than one-hundred preachers have died from poisonous snakebites inflicted while leading these services. This includes the founder of the first snake handling flock, George Went Hensley, who was illiterate and once convicted of selling moonshine during the Prohibition era. His death was officially ruled a suicide due to his refusing medical treatment. The local county's population has dropped by more than 80% in the wake of the West Virginia coal industry's globalization gutting, and the area now leads the USA in drug-related deaths per capita while also being the poorest in the state. Within minutes of launching into trance-like states during the service featured on this album, both preachers became drenched in sweat. More than strict scripture, the preachers are gifted improvisers able to vent for hours at a time. Brennan states, "Pastor Chris joked, 'You definitely don't want to hear me sing.' But, in fact, he is a gifted vocalist with singular phrasing." Like so much of the most classic music ever made, it sounds as if it is emanating from the past and the future simultaneously -- some parallel universe where instead of discovering amphetamines, The Damned found God (or maybe both) and became born again. The vinyl edition includes a long 13-minute bonus track and features a four-page booklet sporting stunning photos of the congregation's rituals in action.

A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the moment and revealing a long-ranging, intricate approach to free improvisation. By its very nature any time a working ensemble, even one fully devoted to improvised music, is joined by another musician its modus operandi can't help by change. While no performance the trio of Chicago bass clarinetist, drummer Adam Shead, and St. Louis bassist Damon Smith has ever been quite the same, since forming in 2021 the trio had forged a tight bond and developed a highly effective approach informed by fundamental elements of jazz tradition and a fiery desire to create anew with every gathering. On the other hand, the art of improvisation has always thrived upon new input, novel challenges, and changing circumstances. This performance is a sterling multi-generational project that uses instant communication to bridge experiences. Crispell has always worked with a wide array of collaborators, regularly embracing partnerships with musicians decades younger than her. Like Crispell, the members of the trio have their unique influences and sweet spots, but the act of spontaneous creation bridges any such differences. In June of 2023 the musicians gathered for a studio session along with performances in Madison, Wisconsin, and subsequently, in Chicago, where the group recorded Live at the Hungry Brain. While spiraling horn, the studio session releases in 2024 leaned toward shorter excursions built around a small array of gambits and ideas, the remarkable live performances captured two long-form pieces where the ensemble had the space and time to spread out and dig in. The interactions spin in multiple directions, leading the trio to occasionally veer a bit closer to the deeply lyric post-Coltrane wanderlust Crispell thrives within, unspooling gorgeously dynamic streams of tender melody. The music is given fierce propulsion, with Smith and Shead generating churning, kinetic energy. In some ways it's Stein that binds everything together, his endlessly fluid playing retaining an equanimity through serenity and chaos.

Limited edition, heavy 350gsm sleeve with obi. We Release Jazz presents the limited vinyl edition of Obad's powerful new album Suspended, a vivid document of the Tehran ensemble's endlessly evolving sonic universe -- now available as a limited LP housed in a heavyweight sleeve with an obi strip and featuring original artwork by Iranian painter Sadra Baniasadi. Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran's pulse, Obad's music is kinetic and intuitive -- an ever-morphing dialogue between rhythm and texture, emotion and message. With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another. Sadra Baniasadi's striking cover painting mirrors the album's energy -- bold, dreamlike, charged with movement, and extending Obad's world into the visual realm. Suspended stands as a major statement from one of Iran's most compelling contemporary ensembles, marking Obad's first release on We Release Jazz and continuing the label's commitment to boundary-pushing music born from profound listening, place, and collective intuition.

2026 limited restock. For the exhibition "Flowers in 20th and 21st Century Art", Eiko Ishibashi and Jim O'Rourke had created the installation Lifetime of a Flower in which they set parameters but allowed the process itself to grow uncontrollably. Literally: in the garden of their Japanese house, they planted seeds and filmed the plant growing and thriving throughout the duration of the exhibition. Visitors were able to watch the stream in real time -- and they heard a composition in which Ishibashi and O'Rourke reflected the organic process in sound. The eponymous composition now available on LP, is an enigmatic and sophisticated layering of sounds, melodies and rhythms, noises from everyday life, all of which are repositories of associations, memories and expectations.

LP version. Cloud white color vinyl. "The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."

LP version. "Millions of Dead Cops is the first iconic, full-length classic record by M.D.C. This was first released in 1981 and quickly became an overnight sensation. Not only did M.D.C. deliver a record full of fast intense music, but this record would influence 1000's of hardcore/punk and bands of political nature to this day. The corruption of cops! Greed of corporations! Racism! The fact that not all people were the same, but so what -- that's OK! Are all addressed in this groundbreaking album. Many of these issues were quite taboo at the time and had not been addressed to this degree in punk before. Round it all off with this being fully restored and re mastered with the original mix. You have a definite must-have album!"