|
Recent Best Sellers
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ZORN 091LP
|
Classic free jazz album reissued for the first time since the '70s. Old-style Gatefold LP, with liner notes by Ed Hazell. Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy. Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements. The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album's dynamic interplay, particularly between Mengelberg's dissonant piano clusters and Bennink's thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard's most unique and celebrated recordings, showcasing his visionary approach to jazz.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ZORN 084LP
|
Obscure and outstanding free jazz album reissued for the first time since its original release in 1969. Old-style gatefold LP, with liner notes by Ed Hazell. In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton's debut album, Nature's Consort, was a DIY effort in every sense -- recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period. Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present. Naughton's journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane's funeral, and move to New York to pursue jazz full-time. Nature's Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group's creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band's repertoire. Jazz critic Nat Hentoff praised the album for its "high-risk improvisation" and the musicians' ability to anticipate each other's moves. Though Nature's Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton's disciplined, improvisational approach to music.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
CVSD 115CD
|
It's a miracle that some records ever get made. Right in the middle of Ceausescu's ultra-repressive dictatorship, composer Iancu Dumitrescu managed to arrange for his first LP, a compilation of radical new music by Dumitrescu and three of his Romanian colleagues, all older than him: Ocavian Nemescu, Stefan Niculescu, and Corneliu Cezar. Dumitrescu was -- and remains -- one of the most iconoclastic figures in contemporary music. Often referred to as a spectralist (though he distances himself from the approach taken by the French spectralists) and self-described as an adherent of "acousmatic" music (though again he situates himself at a remove from the French electroacoustic composers) and highly influenced by deep studies in phenomenology, Dumitrescu's music often focuses intensely on one sonorous object, penetrating it until it is entirely blown open. He formed Ansamblul Hyperion, a chamber group featuring adventurous young musicians, in 1976. Four years later, against all odds, in a radio studio in Bucharest, they recorded this groundbreaking compilation for Electrecord, the state record company. The program starts with one of Dumitrescu's most important works, the breathtaking, string-centric "Movemur et Sumus" (1978), translated from the Latin as "move and exist." Nemescu's "Combinatii In Cercuri" (1965) was composed for the ensemble together with an electronic component that was added to the piece in 1980. Composed in 1979, Niculescu's "Sincronie" features Dumitrescu himself on piano, as well as conducting, as he does on all the works; written for an indeterminate number of performers between two and twelve (here featuring nine) it utilizes fixed elements in the score together with openly improvised elements, expanding from a core vibraphone part to encompass an almost ecstatic meditation on stasis and motion. Cezar's work "Rota" (1976) combines Romanian, Balkan, and other Eastern melodic resonances with electronics (some of them startlingly video-game-like) and preparations on various instruments, lending an ear to the natural sounds of wind, waves, and seagull calls. This historically charged document, released in 1981 in Romania and available for the most part only there, has never been reissued in any form. Gorgeously remastered from the original tapes, it appears here with its original cover design.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FTR 236LP
|
2024 repress! Gary Wilson's monumental 1977 LP reissued with the original cover art (care of Owen Maercks's well-loved copy), delicately laid out by Scott Allison. Which makes it, perhaps, the last copy you'll ever need. You Think You Really Know Me (also the title of Michael Wolk's 2005 documentary about Wilson) was Wilson's second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision -- a syncretic collision of romance, new wave cocktail jazz, heartbreak, disco porn-soundtrack music, and experimental tape manipulation. Home-recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck namechecked Wilson in 1996, which made a few new people scratch their heads. And the album was reissued in 2002. Rediscovery followed, and records, the documentary, and some odd live shows. Most of Wilson's moves are stamped with his unique aesthetic, and are also documented on other three recommended Feeding Tube LPs -- Lisa Wants to Talk to You (FTR 081LP), Forgotten Lovers (FTR 065LP), and Music for Piano (FTR 192LP). But as bodacious as these three albums are, the real root of Wilson's muse is most obvious on You Think You Really Know Me. It is the sound of a 23-year old oddball from upstate New York wrestling with his demons and actually winning. There's nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah!
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
1FFJT176
|
Alga Marghen/Formalibera present the first of a series of released documenting the work of Danish composer and multi-instrumentalist John Tchicai. This new LP features two previously unpublished recordings, "Beautiful United Harmony Happening" with Don Cherry and "Education Of An Amphibian" with Sahib Shihab. Tchicai returned to his native Denmark in July 1966 after spending a remarkable four years in New York City. In that short span, he helped redefine and expand the relationship between soloing, collective improvisation, and composition in small free jazz ensembles such as the New York Art Quartet, the New York Contemporary Five, and on albums such as New York Eye and Ear Control with Albert Ayler and John Coltrane's Ascension. It certainly counts as one of the most fertile periods in any artist's career. Yet when he returned to Europe, Tchicai turned his attention primarily (although not exclusively) to large ensemble music. The breakthroughs made in New York were not lost, but transferred to a large group context, opening up further avenues of exploration. "The Education of an Amphibian" by the John Tchicai Octet represents a first try at "Komponist Udøver Ensemble," or "Composing Improvisers Orchestra," an approach that further blurred boundaries between improvisation and composition. Recorded in October 1966, the piece presents Tchicai as composer and guiding presence; an organizer of sounds; and an explorer of a widening musical vocabulary drawn from contemporary classical and African influences. "Beautiful United Harmony Happening" is something different -- an opportunity to embrace new modes of interdisciplinary performance. From the beginning of his return to Denmark, Tchicai sought out not only musicians, but artists in all artforms and began to organize happenings. Although rarely noted, ideas linked to Fluxus, performance art, and happenings were a large influence of Tchicai's thinking at this time. All these related movements sought to blur or erase boundaries between media and set up juxtapositions between styles and artforms that disrupted received ideas of "high" and "low" art. Participation by non-artists introduced elements that challenged ideas about virtuosity and legitimate expression. Random elements were embraced, and non-Western music and concepts were welcome. This performance, heard here in an excerpt from the full two-hour performance, is very much in this vein. It is one of the last performances involving members of Cadentia Nova Danica, but they are only one component (and hardly the focus) of an ensemble that included a five-member chorus of disciples of the Swami Narayanananda (Tchicai lived at the yogi's ashram and had organized the choir himself), the Diane Black Dance Theatre, and trumpeter Don Cherry. Includes insert.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
IA 016-3LP
|
"This album contains the contents of The 13th Floor Elevators' recording sessions for Contact Records in early 1966. On January 3rd 1966, the band taped both sides of their debut 45 You're Gonna Miss Me/Tried To Hide, which Contact released on January 17th. That same month the (on the 27th) The Elevators were busted for possession of marijuana, and fearing that Texas' draconian drug laws could imperil the band's future, they felt the need to document their unique, garage-infused brand of early psychedelia as a means to document their very existence -- at the time, possession of marijuana could result in a prison sentence of 2-10 years. These recordings were, therefore, meant to be the band's debut LP, which Tommy Hall titled Headstone. The album was essentially split in two; Side 1 featured both sides of the debut 45 alongside teen-oriented covers, while Side 2 was made up of the band's early forays into psychedelia. The recordings are in mono, the sound quality a touch lo-fi, but the primal magic the band were able to conjure is already in evidence, especially on the albums second half - all of which would re-recorded for their debut LP proper The Psychedelic Sounds Of The 13th Floor Elevators later that same year. Aside from the debut 45, the remaining tracks on Side 1 would be left in the can, and would re-emerge (with overdubbed applause) on 1968's duplicitous Live album."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
COSMR 032LP
|
Sought-after compilation exploring the Group Sound movement that swept Japan in the mid-1960s. Under the influence of the Beatles, dozens of Japanese bands devoted themselves to exporting a wide genre that ranged from surf-rock, garage fuzz, psych and wild R&B. Featuring the influential The Mops, the Filipino band (relocated to Hong Kong) D'Swooners, The Golden Cups, The Beavers, The Carnabeats, The Spiders, The Voltage, The Bunnys, and The Spiders.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 309LP
|
This is one of Ray Pérez's most highly sought-after albums, not only for its strong salsa dura anthems and funky boogaloo numbers but also for its brave, quirky eclecticism and youthful, rebellious spirit, all of which are reflections of "El Loco" Ray's unique genius, making him a beloved figure in rare record collector circles everywhere. The original is not that easy to find today and carries a hefty price. Thankfully, it has been remastered from the original tapes, fully licensed, with the original artwork, preserving and presenting the legacy of this great Venezuelan music for today's generation. The late 1960s was a very busy time when Pérez was juggling several different studio bands: Los Dementes, Los Calvos and Los Kenya. The daring experiment Pérez created with Los Calvos laid the basis for Los Kenya, an actual working band that released six albums between 1968 and 1972. Despite being titled Los Kenya, Vol. 2 because it was the second released by Discomoda, the record actually represents Los Kenya's third album, and is perhaps the most mature, well-rounded venture in the lot. In February 1969, on Discomoda, came Los Kenya, Vol. 2 Focused on the upcoming carnival season, it was calculated to compete with rival bands Federico Y Su Combo Latino and Sexteto Juventud for the plethora of gigs offered at that time of year. The album, like all Ray Pérez releases of the time, is short and powerful, with five tracks per side, showcasing a variety of singers, genres, rhythms, influences and arrangements, making this one of his more eccentric and interesting efforts. 1960s California "sunshine pop" rock (often referred to as "surf" on Los Kenya records), guajiras, boogaloos, descargas and even Mexican mariachi corridos are all added to the pot of salsa cooked up by "El Loco Ray" and his band. The album has been rescued from obscurity and lovingly restored, remastered from the original tapes, fully licensed, with its original artwork intact, preserving and presenting the legacy of this great Venezuelan music for today's generation of global salsa dura fans.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VL 900082LP
|
2024 repress. Transa is the fourth album by Brazilian musician Caetano Veloso, released on 1972 by PolyGram. Like its predecessor, it was recorded while the artist was exiled in London, though he returned to Brazil shortly after completing it. Evocative, eclectic, intimate, and rhythmically complex, Transa contains everything that has made Caetano Veloso the most distinctive and, arguably, most important voice in modern Brazilian music. The record was cut in 1972, shortly after Veloso's return from political exile in England. Though the songs are not overtly political, they seem allegorical, celebratory, and plaintive at once, and point to a tension between the artist's expressive impulse and the strictures of his native country. This tension is further heightened by the presence of lyrics in both English and Portuguese. The beautiful, desperate "You Don't Know Me" may be the world's first bilingual bossa nova/folk-punk anthem of identity. The jazzy "Nine Out of Ten" gives way to the gear-shifting "Triste Bahia," which features webs of accelerating Brazilian percussion. A spare treatment of the classic samba "Mora Na Filosofia," the cosmic ditty "Neolithic Man," and the 12-bar "Nostalgia," (ending with the wise line "That's What Rock 'n Roll Is All About") close out the set. Transa is a jewel in Veloso's discography and a must for anyone interested in Brazilian pop -- or brilliant, original pop in general. 180 gram vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BLUME 022LP
|
Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding, Blume returns with the first ever vinyl release to attend to James Tenney's legendary Postal Pieces. This marks the first ever appearance of five of the suite's works -- "Maximusic, for Max Neuhaus" (1965), "Having Never Written a Note for Percussion, for John Bergamo" (1971), "FFor Percussion Perhaps, or... [Night], for Harold Budd" (1971), "Cellogram, for Joel Krosnick" (1971), and "Beast, for Buell Neidlinger" (1971) -- on vinyl, drawing upon recordings made in 2003, by the Amsterdam based ensemble, The Barton Workshop, under the direction of James Fulkerson. Among the most important and highly regarded efforts in Tenney's canon of compositions, as well as within the history of 20th Century music, these five pieces represent a crucial bridge between Fluxus-oriented conceptualism, minimalism, and the microtonal complexities that would emerge in their wakes. A student of composition under Carl Ruggles, John Cage, Harry Partch, and Edgard Varèse, as well as acoustics, information theory, and tape music composition under Lejaren Hiller, James Tenney carved a wide path within the contexts of experimental and avant-garde music during the second half of the 20th Century. A suite of eleven compositions, The Postal Pieces, stands among Tenney's well known and celebrated compositions, and illuminates the dualities embraced by the composer, notably his use of sound to develop consciousness in and of others, and his willingness to draw on elements and observations of everyday life; citing his strong dislike of writing letters as being the primary inspiration for their inception. The suite is composed around three themes: Tenney's concept of swell form (utilizing repetition and progressing through a structurally symmetrical arch), intonation, and the desire to produce "meditative perceptual states." A hugely important addition to Blume's ever-expanding efforts in context building and networks of creative practice, James Tenney's Post Pieces is issued in a highly limited vinyl edition of 300 copies, which includes an exact replica of the original postcard graphic scores, and features newly commissioned liner notes by Bradford Bailey.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
JMAN 145LP
|
Volume 8 of the Greasy Mike's series from Jazzman Records. Another 18 slices of rott and roll records from Weirdsville, USA. "'Ain't nobody here but us monsters!' I shouted out in desperation. 'Monsters? There are no monsters here!' came the reply out of the darkness, 'These are my children! My babies!' And with that the footsteps shuffled closer, closer. I could hear the shadowy figure breathing heavily. I could see the silhouette of his hunched figure lurching slowly towards the corner where I was crouching on the cold, sludgy floor. 'It's now or never' I told myself, and with that I leapt up and made a dash for the open door. All of a sudden the monsters in their cages began to howl and wail like death itself. The hairless, one-eyed monkey jumped and spat. The gorilla with twisted limbs began to thrash and tear at the iron bars that restrained him. The grotesque human head with the body of a dog let out a piercing, blood curdling scream, and its eyes bulged out of madness. But I had no time to be horrified, no time to be scared, and no time to stop and stare. I had to get outta there -- and fast. I moved quickly, but my feet struggled for grip on the slimy stone flagstones, which was covered everywhere in gooey blood and thick gunge. I slid and bounced haphazardly from cage to cage, hairy arms protruding and grabbing, gnashing teeth snapping and snarling, until I finally reached the dark, open doorway at the far end of the room. Turning my head back I yelled at the shadowy figure I'd left behind, 'It's witchcraft, you crack-brained crazy! You psychowhacko schizoid scumfreak!' And with that I disappeared through the void, and into the night." Featuring Los Vampiranos, Johnny Eager, Dick DeWayne Combo, Tommy Falcone & the Centuries, The Madmen, The Big Guys, Baron Daemon & the Vampires, The Phantom, Moe Koffman, Kenny & the Fiends, The Plaids, Dave Gray & the Graytones, Jerry Bryan, Mysterions, The Playboys, The Tomkos, The Phantoms Band, and The Bluenotes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRJ 009LTD-LP
|
2024 repress; LP version. 180 gram vinyl; Half speed mastered; Heavy sleev and obi. We Release Jazz announce the official reissue of Ryo Fukui's New York sessions with Lisle Atkinson and Leroy Williams, the aptly titled album Ryo Fukui in New York, sourced from the original masters. Recorded in February 1999 at Avatar Recording Studios in New York and inspired by Ryo Fukui's idol and mentor Barry Harris, the fourth album from the famed Sapporo pianist captures memorable sessions with seasoned American jazz musicians (and frequent Barry Harris collaborators) Lisle Arthur Atkinson on bass and Leroy Williams on drums. Ryo Fukui in New York is pure bop heaven, glowing with poetic takes on classics by Charlie Parker, George Gershwin, Duke Ellington, Jerome Kern, Cole Porter, and Bud Powell, plus a supreme remake of Fukui's very own Mellow Dream (WRJ 002CD/LP). It's expressive, soulful, and vibrating with a bouncing swing feel all the way through; every note falls exactly where it should, undeniable brilliance. Much like the other albums by the genius from Hokkaido, it's got that "special something", hard to grasp, hard to describe, but 100% felt. Skills and heart, the Ryo Fukui way. Following his New York adventures, Ryo Fukui headed back to Sapporo, and more precisely to his jazz club Slowboat, where his newly acquired experience inspired numerous jam sessions and a full dedication to perfecting his craft. He sadly passed away in 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still hap-pens to this day. Reissued in conjunction with 2016's A Letter from Slowboat (WRJ 008CD/LTD-LP), also available via We Release Jazz.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MGART 904LP
|
2025 repress. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
AWE 001LP
|
2024 repress. LP version. Currently based in Los Angeles, Laurel Halo has spent over a decade stepping into different towns and cities for a moment or more, to the point where everywhere almost became nowhere. Atlas, the debut release on her new imprint Awe, is an attempt to put that feeling to music. Using both electronic and acoustic instrumentation, Halo has created a potent set of sensual ambient jazz collages, comprised of orchestral clouds, shades of modal harmony, hidden sonic details, and detuned, hallucinatory textures. The music functions as a series of maps, for places real and imaginary, and for expressing the unsaid. The process of writing Atlas began back in 2020 when she reacquainted herself with the piano. She relished the piano's physical feedback, as well as its capacity to express emotion and lightness. And when the legendary Ina-GRM Studios in Paris invited her to take up a residency the following year in 2021, she spared no time to dub, stretch and manipulate some of the simple piano sketches she'd recorded over the prior months; these subtle piano recordings and electronic manipulations would go on to become the heart of Atlas. In the remainder of 2021 and 2022, with time spent between Berlin and London, Halo recorded additional guitar, violin and vibraphone, as well as acoustic instrumentation from friends and collaborators including saxophonist Bendik Giske, violinist James Underwood, cellist Lucy Railton, and vocalist Coby Sey. All of these sounds were shaped, melted, and re-composed into the arrangements, their acoustic origins rendered uncanny. In short, Atlas is road trip music for the subconscious. With repeated listens, it is a record that can leave a deep sensorial impression on the listener, akin to walking at dusk in a dark forest. Its humor and sharp focus would dispel any notions of sentimentality. Completely distinct from the rest of Halo's catalog, Atlas is an album that thrives in the quietest places, rejecting bombast and embracing awe. Fitting that it's the debut release on her new recording label, whose slogan parallels the mood and atmosphere of the album: Awe is something you feel when confronted with forces beyond your control: nature, the cosmos, chaos human error, hallucinations.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GUESS 243LP
|
Repressed! Debut album by Korean psychedelic fuzz masters and the perfect introduction to Sanullim's unique world. Formed in the early '70s by the three Kim brothers while they were still in University, Sanullim managed to release their first album in 1977 despite censorship, misunderstanding from their record company and rudimentary recording techniques problems. Fueled by piercing psychedelic fuzz guitars, Farfisa-styled garage organ, keyboards and sweet melodies, they created a very unique sound, unheard in Korea at the time. Includes some of their most iconic songs like "Already Now" and "Likely Late Summer" (famous for its inclusion on the Love, Peace & Poetry series). Featuring original artwork in hard cardboard sleeve and sourced from the original masters. Includes insert with liner notes by Hugh Dellar and rare photos/memorabilia.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 805LP
|
2023 repress. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GUESS 236LP
|
Restocked. 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.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
REPOSE 139LP
|
Limited edition pressing of 500 copies worldwide. All pressed on olive green vinyl, housed in a full color sleeve with leather effect laminate, with hype sticker and black polylined inner bag. Continuing Riot Season's quest to get all of the classic early AMT albums released on vinyl, the label turns to 2006's Starless And Bible Black Sabbath, and with the help of Makoto Kawabata's studio wizardry, it is possible. This latest instalment in the Acid Mothers Temple Vinyl Archives - First Time On Vinyl series has been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin. Here's what Brainwashed.com had to say upon its original CD-only release back in 2006: "The title track is the meat of the beast, beginning with a minute of booms and gongs reminiscent of a thunderstorm before launching into some slow, heavy Sabbath-esque riffs. Squealing guitar and synth effects accompany the vocals of bassist Tabata Mitsuru, whose voice captures some of the sound and feeling of Ozzy's more than it does the melody. The pace is slower than most AMT fare, but things speed up considerably around the eight-and-a-half-minute mark."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 307LP
|
In 1969, producer and boogaloo godfather Bobby Marin conceived this undeservedly obscure funky, psychedelic Latin soul gem. Released on Ralph Lew's short-lived Dorado label and engineered by Jon Fausty, Bobby was backed by a top-notch studio band that included Ricardo Marrero, Joey Pastrana, Bernard Purdie, Louie Ramirez, Orlando Marin, and Ozzie Torrens. Includes liner notes by genre expert Pablo Yglesias telling the story behind the music. Generally, when discussing the first wave of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers? One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the '60s and '70s. Saboreando: Pot Full Of Soul, is the album Bobby created in 1969 for his friend Ralph Lew's newly launched Dorado label. Fifty-five years later, Bobby confirms that he commemorated his humble Barrio beginnings playing stickball on West 107th Street and singing doo-wop while some kids played percussion on junkyard drums, by christening the band The 107th Street Stickball Team. The 107th Street Stickball Team was basically the same pool of friends as Ricardo Marrero's group, with the addition of Louie Ramirez playing piano and organ, Orlando Marin, Joey Pastrana and Ozzie Torrens on percussion, Mike Viñas handling the electric bass, and Butch Johnson and Danny Agosto on lead vocals for a few numbers. At that time, soul music was seen by the present Latin generation, indeed the youth market in general, as something that was different, that broke with tradition. The record, with Bobby singing several of the best tunes including "Mojo Shingaling" and "Rhythm and Soul," highlights an affinity or connection between African American and Cuban music in a convincing blend that was emblematic of the scene and allowed the young generation to feel they had a fresh kind of music all their own.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
2FFCND177
|
This revelatory album positions John Tchicai's large ensemble, Cadentia Nova Danica (CND), in the broad context of international new music activity. All previous releases by the group presented them as a free jazz unit. There were only three -- their self-titled release on Polydor (1968); Afrodisiaca (MPS, 1969); and Live at Jazzhus Montmartre (Storyville), recorded in 1967 but not released until 2016. They are all on jazz labels, so the bias is perhaps understandable. CND was a great free jazz group, to be sure. But the band and its leader were willing to experiment with a wide range of musical developments outside of jazz and incorporate them into their music. This LP encompasses a collaboration with classical composer Svend Erik Werner, an experiment with taped sound collage, and a remarkable sui generis composition by Tchicai. With the addition of this album to CND's discography, a broader and deeper portrait of the band's courageous spirit begins to emerge. Tchicai formed the group just after returning to his native Denmark in 1966 after four highly productive years in New York. Upon his return to Copenhagen, he immediately sought out musicians with whom he could form a band. He was soon working with an ensemble that included trumpeter Hugh Steinmetz and altoist Karsten Vogel. By late 1966, they became Cadentia Nova Danica (New Danish Cadence). They made their Danish debut at Café Montmartre and quickly developed a reputation as one of the most creative bands in Europe. They remained together until 1971, when Tchicai entered the ashram of Swami Narayanananda for an extended period of meditation during which he didn't publicly perform. The cryptically, if absurdly, titled "Mc Gub Gub, (I-VIII)" is a stunning example of the creative ways Tchicai used ostinatos to structure his compositions and provide a supporting trellis for improvisation. Recorded during a Danish Avantgarde Jazz concert that also included the Contemporary Jazz Quintet, the piece opens with the band loosely repeating a phrase. There's a constant interchange between composition and improvisation. The written passages also function as transitions between improvised sections, in one case setting up a piano solo whose fluidity contrasts starkly with the angular writing. "Ode to Skt. John" is contemporary in form and outlook but based on methods taken from Gregorian music. It also makes room for improvisation from members of Cadentia Nova Danica. Although vividly contrasting, the two modes of musicmaking speak to one another. The alto saxophone and trumpet duet has a songlike, vocal quality in keeping with the spirit, if not the form, of Gregorian music. "Pladepip," Tchicai's foray into musique concréte, another modern classical genre, is unlike anything else in Tchicai's recorded canon. Two full-band improvisations bookend a remarkable audio tape created by Tchicai. Includes insert.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BEWITH 094LP
|
2024 repress. Be With Records present a reissue of Jay Richford and Gary Stevan's Feelings, originally released in 1974. Since its original release on Italian label Carosello in 1974, Richford and Stevan's Feelings has been described as the greatest library record ever released more than once. It's a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres. As the story goes, these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn't use their real names on the original release for legal reasons. But Torossi himself later both clarified and confused the tale further by explaining that fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on Feelings. Infectiously funky, deliciously melodic and with impeccable, elegant production, Feelings record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso. The record's first side lifts off with "Flying High", soaring brilliant and shimmering with funk licks, menacing strings, and swaggering horns. The string-drenched cop-funk of "Going Home" raises the tempo with quick-fire bass lines and killer electric guitar. "Walking In The Dark" positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano, and more filthy wah-wah. "Fighting For Life" is another funk-fueled workout built around an effortlessly relentless drum track. The loping, open drum break that guides the much-loved "Feeling Tense" is filled out by heavy bass gloss, swirling strings, and ominous horns. "Running Fast" is a fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. "Loving Tenderly" envelops you in warm, velvety night-time vibes with easy listening horns and slinky strings. The pace picks up on the electrifying "Fearing Much" where strings dart around deep bass, buzzing guitars, and another funky drum break. The lush, melancholic "Being Friendly" is another easy beauty, all warm Rhodes and strings. The climactic "Having Fun" rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings, and triumphant horns. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and more make Feelings one of the finest instrumental soul LPs of the '70s, if not of all time. Remastered for vinyl by Simon Francis and cut by Pete Norman. Remastered from the original tapes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 084LP
|
2023 repress. 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.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
CTLP 1047LP
|
Here for the first time from Clock Tower Records is a collection of gems brought back from the '70s: Augustus Pablo's Yard Style Melodica Songs. All tracks produced by Brad Osbourne in the '70s, some of which were only released on 7". Featuring Robert Shakespeare and Aston "Family Man" Barret (bass), Earl "Chinna" Smith (guitar), Carlton Barret (drums), Augustus Pablo (organ, piano, and clarinet), Richard Hall (tenor sax), Bobby Ellis (trumpet), and Vincent Gordon (trombone). Produced by Brad Osborne. Includes poster.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MR 465LP
|
Décima VÃctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Despite commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Although included in Munster's past release MR 305 (2010) as part of a limited-edition boxset, this is the first time their second album Un Hombre Solo (1984) gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's ideas. Despite only being active for under three years, Décima VÃctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. In 1981, brothers Lars and Per Mertanen formed the instrumental band Clausula Tenebrosa. After a show they started talking about the possibility of rehearsing with Carlos, a friend at the time and ex-singer of the recently split Ejecutivos Agresivos. That's how the story of Décima VÃctima started, rehearsing with a drum machine in the cellar of the Mertanens' house in Madrid. Despite commercial success evaded them, their first LP (1982) was acclaimed by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. A second album would follow two years later. It was called Un Hombre Solo (1984) and was released on Grabaciones Accidentales (GASA). Unavailable for years and always in high demand, it now gets an official reissue in its original single LP format.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CF 034LP
|
Trost Records presents the latest release in its ongoing cooperation with Berlin's legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York's free jazz revolution during the 1960s. Schizophrenic Blues was a quartet date taped live in Berlin in May of 1977 with a quartet comprising Oliver Johnson, bassist Jean-Jacque Avenel, and trumpeter Itaru Oki. It was released on the SAJ sub label in 1978. It deftly captures the full diapason of Howard's fiery art. The piano-less quartet Schizophrenic Blues casts the music in a different light, with the great Japanese trumpeter Itaru Oki serving as a worthy frontline partner for Howard's livewire alto sax. Johnson is back in the rhythm section along with another Lacy disciple in the French bassist Jean-Jacques Avenel, who had already formed a strong musical bond, a mind meld readily apparent in grooves both ferociously energetic and contextually nimble. The leader reveals his curiosity by extending his repertoire to include an unexpected reading of "Bird of Beauty," a Stevie Wonder tune that released a few years earlier on Fulfillingness' First Finale, while the album concludes with a rousing, soulful rendition of the "Lift Every Voice and Sing," known fondly as the Black National Anthem. It reinforces the scalding passion of Howard's playing, while simultaneously highlighting a stylistic depth and lyrical grace that's often overlooked in his music. Howard, who suffered a fatal cerebral hemorrhage in 2010, at age 67, has been duly celebrated for his work in the 1960s, but the return of this gems makes it plain he had plenty more to say. Recorded live by Jost Gebers on May 21st and 22nd,1977 at the Quartier Latin in Berlin. Cover design by Dieter Hahne. Photographs by Dagmar Gebers. Produced by Jost Gebers. Originally released and published on FMP in 1978.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BORNBAD 039LP
|
2024 restock; Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CWR 005LP
|
"This one is a killer! Few bands will ever reach the intensity level of UK post punk gods Magazine, and there's no more overwhelming proof of that than this collection of the first three Peel Sessions the band recorded. The band's adventurous, uncompromising approach is in full swing here, with a selection of unbeatable hits, great sound, and the band's incredible musical prowess making this record an explosive collection."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CF 033LP
|
Trost Records presents the latest release in its ongoing cooperation with Berlin's legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York's free jazz revolution during the 1960s. Berlin Concert was recorded live in the titular city in January of 1975 with a quartet featuring pianist Takashi Kako, bassist Kent Carter, drummer Oliver Johnson, and percussionist Lamont Hampton. It was released on the SAJ sub label in 1977. It deftly captures the full diapason of Howard's fiery art. Fueled by the propulsive swing of the great Oliver Johnson, bassist Kent Carter -- both Americans who spent many years living and working in Europe, including long stints with Steve Lacy -- and percussionist Lamont Hampton, Berlin Concert nonchalantly toggles between modal workouts, where Japanese pianist Takashi Kako invokes the ironclad drive of McCoy Tyner, and the needling fury of "New York Subway," summoning the all-out fury of the '60s New Thing. This album reinforces the scalding passion of Howard's playing, while simultaneously highlighting a stylistic depth and lyrical grace that's often overlooked in his music. Howard, who suffered a fatal cerebral hemorrhage in 2010, at age 67, has been duly celebrated for his work in the 1960s, but the return of this gem makes it plain he had plenty more to say. Recorded live by Jost Gebers on January 30th and 31st,1975 at the Quartier Latin in Berlin. Cover design by Wolf Walt. Photograph by Roberto Masotti. Produced by Jost Gebers. Originally released and published on FMP in 1977.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 036LP
|
2024 restock. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BALMAT 013LP
|
"Music is my forever cove," writes Portland, Oregon's Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer's line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions, shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what is perceived as linear time -- like floodwaters seeking an exit, like streams running into the sea. Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR. Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland's approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he's collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA's Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
CVSD 112CD
|
Corbett vs. Dempsey presents And Yeah So (1981-1985), the first ever compilation by Splat! Emerging amid the primo froth of the British post-punk era, Splat!'s lineup included vocalist Dave Parsons, the mastermind behind Ron Johnson Records. The band released its only 7-inch single as the label's maiden record, going on to follow up with a 12-inch EP. These (plus one track on a compilation) were the sum total official output, but the band was active and made loads of fantastic, high-octane, often hilarious and off-kilter recordings, the best of which are collected here, together with their full discography, and made available on CD for the first time. Nineteen tracks that give truth to the title "Jugular Blowjob," a heavy heap of blessed mess that kicks the whole comp off. Dave Parsons tells the full Splat! story: "Splat! were four, sometimes five, misfits from a small town halfway between Nottingham and Derby in the middle of England. Influenced by the likes of the Pop Group, PiL, The Fall, and the Birthday Party but also by all the punk stuff that they had experienced when they were fifteen years old or so. The band played mainly in the local area and got a good reputation for messy live shows that often ended in blood and tears (and some sweat). The band was around in 1982 -- after some pre-incarnations in 1980 and 1981 -- Paul Walker, drums (17 years old), Dave Parsons, voice (19 years old), John Allsopp, guitar (19 years old), Mark Grebby (bass, 20 years old) was the main lineup. A single was recorded at Cargo Studios. The first Splat! single did okay -- it sold most of its pressing of 1000 -- there was an interview in Sounds and John Peel played it a couple of times and plans went ahead for the second release. The 12" EP (RON2) came out in 1984 and did much the same. Soon after that the band split up, with some recorded but unreleased material (some of which is here for the first time in physical form). Dave continued Ron Johnson and the label had considerable artistic/critical success from 1984 to 1988 with Big Flame, A Witness, Stump, the Shrubs, MacKenzies, The Ex, etc. gaining the label a reputation for angular post-Beefheartian guitar noise-pop.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GUESS 259LP
|
West Coast psychedelia/bluesy acid-rock by this true hippie band led by the legendary Merrell Fankhauser (Fapardokly, HMS Bounty) and genius guitar player Jeff Cotton (Captain Beefheart Magic Band). This is their classic and sought after first album from 1971. Remastered sound with original artwork in hard cardboard silver foil sleeve like the original. Includes insert with lyrics, photos and extensive liner notes by Patrick Lundborg.
"The mix of bluesy urban LA exhaust fume vibes and tribal desert mystique is as archetypal an early 1970s SoCal trip as you can find. With strong songwriting and a pro-level recording, the album is given a clear musical identity via the excellent slide guitar, harmony vocals, and occasional sax." --Patrick Lundborg (Acid Archives)
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
AA 025LP
|
2024 restock. Reissue of this 1981 release, featuring arrangements from Charles Reid played by Sly Dunbar (drums), Robbie Shakespeare (bass guitar), Melodice Gladdy (piano), and others.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
OP 048LP
|
2024 restock. Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
LIFE 052LP
|
The collaborative album 5 Na Bossa was originally released in 1965 on Philips Brazil and featured some of the top player of the genre. If you are into the sound of Nara Leão, Edu Lobo, and Tamba Trio, this is a magical encounter, bringing together Nara's soft voice, Edu's battering guitar and Tamba's swinging vocals. Featuring classic compositions like "Reza" and "Zambi," this album is a must have for any fans of the Latin jazz legacy. The set was recorded live at the Paramount Theater in Sao Paulo.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GUESS 258LP
|
HMS Bounty was Merrell Fankauser's project after Fapardokly. Things! was originally released in 1968 and it's one of the key albums from the Los Angeles psychedelic scene. Amazing songwriting, incredible guitar work with tasty fuzz, occasional sitar, refreshing vocal harmonies. Remastered sound with original artwork in hard cardboard sleeve. Includes insert with liner notes and photos.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DMOO 081LP
|
Clear color vinyl. Recorded September 20, 1963, at the Monterey Jazz Festival, this set featured Miles Davis's new quintet, with George Coleman, Herbie Hancock, Ron Carter, and Tony Williams. This group, minus Coleman and with the addition of Wayne Shorter, would soon go on to make some of the most highly regarded jazz LPs of all time. This smoking set features a wonderful rendition of "So What," among others. Essential live jazz classic.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 3995LP
|
2018 repress of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRWTFWW 017LP
|
2024 repress. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CORTIZONA 028LP
|
LP with insert with extended liner notes and download code including extra bonus track "Movements of The Mind." For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled Nebulizer. From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately Nebulizer will be a soul-searching journey, soaking you deep into an unknown and very personal musical world. Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart, and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders, of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE. Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity. A devotional séance channeling unknown powers proving music is a healing force of the universe. Nebulizer is an elevating meditation on humanity's estrangement of nature. Interstellar sonic stardust from a mind-blowing collective that will leave you flabbergasted. Be prepared and hear it to believe it. For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BEWITH 168LP
|
Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business. As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop," released by his group, K.I.D. But 1975's Music To Varnish Owls By is where it all began. It's packed with incredibly soulful, soothing music that -- despite being utilized a few times by Knxwledge -- remains still largely un-mined. So, beat-makers, get cracking. Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton, Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
TES 178LP
|
On this album, Smegma was: WhateverWoman (Amy, Amazon Bambi), Chucko-Fats (D.K.), The Quackback Kid (Dennis Duck), Ju Suk Reet Meate with Reed Burns, Richard Wagner, and Danton Dodge. At the end of October 1973, Ricky Reets Hubba-Hubba Band was disbanded. It had been decided that what was needed was "a band without musicians" and many wild experimental jam sessions took place. Finally on November 23, a particularly inspired jam was named "Cat Cheese" and the band Smegma was born. Although they had only been playing music together (or at all) for a few months, they decided to record a full length "live in the studio" Christmas album that included three original songs and an Elvis Presley cover. Budding sound engineer Mike Lastra offered them their first studio recording session in a garage in San Diego, and after a few rehearsals every track was recorded in one take and history was made. They wanted to do some old fashioned songs so they asked two willing "musicians," Reed Burns and Richard Wagner, to help, and since only four Smegma members could make the session "Danny" Danton Dodge (14 years old) was recruited as well. Of course, at the time only two or three copies on cassette were ever dubbed. The "Ace Of Space" received one and promptly became the first person to join the group, but now 50 years later this album is finally made available to public for the first time!
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
ESPDISK 5085CD
|
This group evolves in leaps and bounds. You've never heard a jazz piano trio sound like this album -- not even this band on its previous album, the much-praised World Construct. That said, there is a through line from the first Matthew Shipp Trio album, 1990's Circular Temple (ESPDISK 4082CD, 2023 reissue) to New Concepts in Piano Trio Jazz. Says Shipp, "Yes, we went there with that type of title this time. To anyone who thought the trio had reached its apotheosis on World Construct, you are in for a surprise -- this is light years ahead of World Construct. Of course each CD is its own world and valuable for that, but I am in complete and utter shock at what I am listening to. New Concepts in Piano Trio Jazz sounds completely thoroughly composed and yet completely spontaneously improvised at the same time. This is a major album in jazz history. Newman Taylor Baker is one of the most profound percussionists ever. Michael Bisio sounds like God's angel on this album. He has dedicated himself to working in my vision for years now and I think this might be the ultimate of how we can read each other and hook up. This is one of the greatest trio albums ever. While creating a whole new cosmos we manage to escape every cliché that exists in jazz and in avant jazz. This really might be the last trio CD because it really cannot get better than this."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BEWITH 165LP
|
Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label's final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long. As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Plath (or Steve Lacy)" via a Ghostly International missive. Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound -- fuzzy layers of beats, bleeps and symphonic synths -- they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see listeners out. Under the watchful eye of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much-needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. With the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRWTFWW 102LP
|
WRWTFWW Records presents the first ever vinyl release for the outstanding soundtrack of 1999 Japanese action-political-thriller anime Jin-Roh: The Wolf Brigade by Hajime Mizoguchi. The epic full-length album is available as a limited-edition LP cut at Emil Berliner Studios and housed in a heavyweight 350gsm sleeve. Legendary animation film Jin-Roh was penned by Palme d'Or and Leone d'Oro award winning filmmaker, television director and writer Mamoru Oshii whose filmography includes Ghost in the Shell, Patlabor 2: The Movie, and Angel's Egg -- critically acclaimed works praised worldwide, notably by luminaries such as James Cameron, Steven Spielberg, and The Wachowskis. The film was directed by leading studio Production I.G. affiliate Hiroyuki Okiura. The film's score, courtesy of famed anime and TV score composer, cellist and arranger Hajime Mizoguchi, evokes the dystopian world in which Jin-Roh takes place and captures the Little Red Riding Hood theme that carries the story -- a dark, atmospheric, and immensely emotional soundscape that takes you on a grand and immersive journey and stays with you forever. It blends classical, orchestrated ambient, and poignant melodies carried by ominous strings. This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap, and Violent Cop.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HOS 035LP
|
2024 restock, reduced price, last copies... Live set from Aretha Franklin never before heard on a commercial release. And it is with pride that History of Soul can say that the recordings, made in a TV studio in Cologne during her first European tour in 1968, are smack in the middle of soul's Golden Age. The musical quality -- the great artist at her peak -- is so high that this issue can only enhance her reputation. This is prime Aretha Franklin -- and soul music doesn't get much better than this.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MR 256LP
|
2024 restock; 2003 release. Jeffrey Lee Pierce -- reggae enthusiast, heroin addict, and former president of the Blondie fan club -- suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record his band, The Gun Club, recorded 16 years earlier: the masterful Fire Of Love. A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene. Inspired by bands like X, Television and the Cramps, he met Kid Congo Powers (who later played with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP -- released in 1981 on Slash's Ruby Records. What makes Fire Of Love such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive -- in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs' GI). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time. From the immensely dark and aggressive sexuality of "Sex Beat," Gun Club's most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in "For The Love Of Ivy," including the hellfire classic "She's Like Heroin To Me," a 2:33 masterpiece in which everything comes together; Fire Of Love is pure perfection. It stands among the greatest classics of rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of the most influential records of the '80s, with countless musicians declaring their love for the Club.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BLUME 024LP
|
Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding, the label is now offering a brand new, ambitious work by the American composer Ben Vida, entitled Vocal Trio, conceived, performed, and recorded in Bremen, Germany, during the Spring of 2022. A truly stunning work of compositional conceptualism, combining the ideas of systems based synthesis with real-time vocal collaboration -- issued in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score -- it's a landmark in contemporary experimental practice and arguably the most forward-thinking and exciting piece by one of the most exciting American artists working today. Vocal Trio is a work that encounters Vida composing for the human voice with the ideas that allow for synthesis -- transferring the underlying concepts and structures of both subtractive and additive synthesis to the acoustic realm -- without using a synthesizer. During the Spring of 2022 Vida was in Bremen, Germany, collaborating on a dance piece with the choreographer Fay Driscoll, when the production fell into delays. Finding himself with time on his hands, a space at his disposal, and the company of two dancers -- Amy Gernux and Lotte Rudhart -- he set out to utilize the larynx as audio paths (multi-harmonic or harmonically pure) while conceptualizing each person's mouth as a filter to sculpt the timbre and resonance of a given tone. Considering how typographical scores might be developed into a non-linguistic social framework, Vida drafted a single page of text -- what became the score for Vocal Trio -- accompanied by a set of harmonic suggestion and loose parameters, seeking a core meaning from each word's phonic make-up by each of the three singers (Vida, Gernux and Rudhart) singing as slowly as possible. At the core of the pulsing vocal drones -- intoxicating, harmonically rich long-tones -- that make up the duration abstraction of Vocal Trio, is Vida's regard for music as a social space. It is an experiment that seeks liberation through the act of collective music making, by challenging the terms through which the act of composing is perceived and then relinquishing control.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BS 093LP
|
On the same path as Baraka, Klaus Wiese (Popol Vuh) continues his intimate spiritual journey into healing and cosmic drone music. Like its predecessor, this work originally appeared on tape for Aquamarin Verlag (1982). "Sabiya" means bright, shining, an oriental wind that suggests feminine power; "Sabiha" is therefore she who manifests beauty and grace. "Shaheena" is indicative of gentle and soft, while "Shahira" embodies and represents the essence of recognition and visibility. Absorbed in absolute state of contemplation, Wiese plays harp, tambura and harmonium in a very essential and circular minimal way, focusing on the stillness of their pure harmonics. The glorious, triumphant sweep of this luminous sound thus seems to evoke and suggest these precise concepts, tactile and visual emotional drops, swirls of impalpable bliss, revelatory of an ethereal and infinite astral dimensional level.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VIA 009LP
|
"While there has been plenty of precedent, regarding Alvarius B's fascination with the down and out of Anglo/American cultural refuse, That's How I Got To Memphis is certainly his most realized collection of paying homage to it. The fact that this whole album is a collection of covers that have invaded AB's current musical obsessions is testament to the timeless nature of the original artists songwriting prowess. Imagine Joe Meek coming back from the dead to produce a country western and northern album by a Saginaw miscreant fried up in the Orman botanical gardens of Cairo Egypt. That this album could be a perfect soundtrack to a Paul Lynch sequel to his portrait of failed ambition masterpiece The Hard Part Begins is irrelevant, because it stands alone as a sequel to another AB masterpiece, Baroque Primitiva. That this album also highlights actual OUTSIDER artists from the halcyon days of holy, rebellious, loner losers should give hope, cuz outsider these days means you don't have a gmail account or Meta colonized brain. That's How I Got To Memphis is a superb collection of songs about longing, love lost and found, curios picked up and dropped off, tragedy and hope, confusion and epiphany while stumbling around through back roads to nowhere." --HM
|
|