|
Recent Best Sellers
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 102LP
|
Wewantsounds reissues Fairuz's classic album Chat Iskandaria released on Relax-in in 1987. The album sees "The Lebanese Diva" going back to her roots and interpreting classic songs by the Rahbani Brothers in her own style accompanied by hypnotic traditional orchestral arrangements. Coming with its original deluxe gatefold sleeve, the album -- curated by Mario Choueiry from Institut du Monde Arabe (Paris), who also wrote the liner notes -- has been newly remastered by Colorsound Studio in Paris. Fairuz is a living legend and one of the greatest divas of the Arab world. For more than sixty years, she has been at the heart of Arabic music, releasing landmark albums since the early '50s and performing on stages around the globe. Fairuz rose to prominence through her collaboration with the Rahbani Brothers (Assi and Mansour), a creative partnership that began in the 1950s and flourished through the 1970s, producing a vast repertoire of timeless songs that remain beloved across the Arab world and beyond. In the late 1970s, Fairuz shifted to a more modern sound with albums such as Wahdon (1979) and Maarifti Feek (1986), produced by her son Ziad Rahbani, blending jazz, funk, and other contemporary influences into her music. However, Chat Iskandaria, released in 1987, marks a return to her classic Rahbani sound, offering a more traditional yet captivating approach to Arabic music. The album sees Fairuz interpreting a selection of Rahbani Brothers compositions in their signature theatrical and orchestral style, with themes ranging from nostalgia and love -- including a heartfelt homage to the city of Alexandria -- to the passage of time, central motifs in much of their work the legendary poet Saïd Akl contributes to two songs, "Min Rawabina Al Kamar" and "Fattehhon Alay." Unlike her more experimental collaborations with Ziad Rahbani, Chat Iskandaria stays firmly rooted in traditional Lebanese and Levantine musical aesthetics. Rich in melody and poetic imagery, it showcases Fairuz at her most evocative, supported by the refined orchestral arrangements that defined her golden era with the Rahbanis. Chat Iskandaria is a must-have for lovers of classical Arabic music and a poignant reminder of the enduring artistic bond between Fairuz and the Rahbani Brothers. Wewantsounds releases the album on vinyl for the first time since its original 1987 release, featuring its beautiful gatefold sleeve, remastered audio and a new bilingual introduction by Mario Choueiry (Institut du Monde Arabe).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
AKU 1053LP
|
Deluxe laminated sleeve and high-quality vinyl made in France. Includes: A3 poster, 2x 12'' inserts, 1x 4-panels flyer. Limited edition of 700. Akuphone and The Cambodian Vintage Music Archive present the first-ever retrospective dedicated to So Savoeun -- one of the radiant voices that defined Phnom Penh's golden age of sound in the 1960s and 1970s. In those vibrant years, the city pulsed with music: rock bands, crooners, and traditional ensembles blended East and West, shaping a uniquely Cambodian pop that shimmered with hope and modernity. Amid this flourishing scene, So Savoeun's voice stood out -- silken yet powerful, intimate yet expansive, carrying with it the promise of a new era. This collection brings together rare and long-unheard recordings, including luminous duets with legendary contemporaries Meas Saman, Lek Savath, and Sinn Sisamouth. Each track is more than just a song -- it is a fragment of memory, a preserved echo of nights when Phnom Penh's dance halls and radios overflowed with rhythm and possibility. In her own words, hearing these songs resurface is like opening a long-buried chest of jewels, hidden beneath the dust of history and now gleaming again after half a century. Her voice, once thought lost to time, reemerges like the cicada whose chant reverberates endlessly through the forest -- an eternal call that bridges silence and remembrance. Her music is more than nostalgia; it is testament and rebirth. It continues to resonate, not only with those who lived through that golden era, but with new generations discovering its beauty for the first time. Through this release, the past breathes again -- tender, luminous, and unforgettably alive.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BEC 5772110
|
2023 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRWTFWW 017LP
|
2025 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
|
|
OJO 25006LP
|
Color vinyl. Legendary Egyptian vocalist and cultural icon, Umm Kulthum was known as "the voice of Egypt" and "Egypt's fourth pyramid." Released in 1961 on Parlophone, this is a stunning showcase of her unmatched vocal power and a cornerstone of 20th-century Arabic music. A national treasure with fans ranging from Bob Dylan to Youssou N'Dour -- essential listening.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 085LP
|
2025 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
WWSLP 106LP
|
Double LP version. Wewantsounds reissues French pop icon Brigitte Fontaine's landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. This special, approved by the artist, features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of "Il Pleut" recorded for France Inter/ORTF. The release also includes a 20-page bilingual booklet with introductions by journalist Jeremy Allen and Stereolab's Laetitia Sadier, essays by Brigitte Fontaine's biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos. Brigitte Fontaine needs no introduction. An inspiring figure in French music since the 1960s, she has long been revered by a wide array of musicians -- from Stereolab to Sonic Youth, Beck, and Jarvis Cocker. Originally released in 1968 on Pierre Barouh's cult Saravah label, Brigitte Fontaine Est Folle shattered conventions. Fusing Fontaine's lyrical brilliance -- tackling themes like death, social revolt, and female desire -- with Vannier's lush, funky arrangements, the pair created a work that was ahead of its time. The release offers a selection of rare and previously unreleased recordings, including demos -- recently unearthed by the album's composer, Olivier Bloch-Lainé -- instrumentals showcasing Vannier's skills, and a groundbreaking 1969 live rendition of "Il Pleut" recorded for France Inter/ORTF. This version features Malachi Favors on bass, forming a direct link to her next LP, Comme à la Radio, recorded with the Art Ensemble of Chicago. Rebellious, witty and timeless, Brigitte Fontaine Est Folle is a landmark work by an artist who not only redefined French pop but also expanded its boundaries on the international scene. This deluxe edition stands as a vital document of her enduring legacy and one of the most original voices in modern music.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 115LP
|
2025 repress. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BORNBAD 051LP
|
2025 repress. French indie-rock band La Femme is a conundrum -- an episodic band with various faces. La Femme was born during the X years in Biarritz, France, when Sasha and Marlon started composing music on their guitars and recording it onto Garage Band. Together they ride surfboards, pianos and synthesizers as they explore various styles from '60s yé-yé French pop to California surf music. Marlon moved to Paris, and there he met Sam, who played bass. Together, they formed SOS Mademoiselle along with Olivier Peynot, and played vintage French rock, as Sasha was practicing his scales in reverb surf band Les Redoutables. Sasha then joined his friends in Paris, where they discovered French cold wave and synth pop, Marie et les Garçons being one of their favorites. They polished a style that could be described as one of the following: surf-wave, bizarre-wave, strange-wave, weird-witch-wave, silly mental-wave or psycho-tropical Berlin. Joined in 2010 by drummer Noé and female singer Clémence. La Femme formed its first live roster in a few days and took shape that same year with its first anthem, "Sur la planche," a song that was made to be hummed and whistled while riding a surfboard. Later on, La Femme released their second EP, Paris 2012. Soon joined by fancy rhythm drummer Nunez Ritter von Merguez aka La Sauterelle and singer Clara Luciani, as well as a whole roster of female singers, they now present their debut album Psycho Tropical Berlin where rock, pop, rococo Bauhaus, as well as influences from Kraftwerk and Elli & Jacno conjoin just to please you. Printed innersleeves.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DSTN 003LP
|
Discostan presents the first vinyl release by young legends Sireesha and Sreeusha -- better known to both classical Indian fans and to musical fans of improvisation around the world as the Mandolin Sisters. On their first album released to a global audience, the Sisters showcase an upstart energy, revitalizing centuries-old songs with a fast and furious playing on electrified mandolin. Mandolin Sisters: Odysseys in Electric Carnatic is a deep immersion into the Sisters' virtuosic playing style, weaving intricate lines and sophisticated harmonies that will appeal to fans of genre-expanding experimental guitar sounds and improvised music. But the pair is also deeply steeped in historical tradition and spent years dedicated to study and practice of these sonorities. Even before the two sisters could read, the duo were singularly devoted to the expression of Carnatic music through an instrument that is still relatively new to South Indian classical music. Over their career, they have played more than 3,500 shows. The mandolin is only a recent addition to the world of Carnatic music. However, there is no disputing the role that Uppalapu Srinivas (more widely known as simply U. Srinivas) played in bringing the instrument to wider acclaim and as a respected part of South Indian classical music. Today, the Mandolin Sisters are carrying on the legacy of Srinivas. Across the seven songs in this album, the Mandolin Sisters imbue their signature sound onto raga compositions drawn from the deep well of the Carnatic tradition. Because of the amount of improvisation in Carnatic music, no song is ever played the same twice. Each person adjusts the song every time to create an all-new version, even playing them for years. While they are inspired by deep tradition and the mastery of Srinivas and others, their search for new paths is unrelenting. In the words of Sireesha: "In Carnatic music there's no end to learning, it keeps going. It's like a sea. No matter how deep you go, there is always more depth." Discostan is a relatively young record label dedicated to documenting innovative sounds from South and West Asia and North Africa from the past, present and future. The long-running party, radio show and label has previously released reissues of Urdu-language synth pop and Palestine's first English-language folk songs. This album is a unique entry point into contemporary Carnatic music as well as a gift (or revelation) for fans of adventurous music from new voices.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VPALWR 52272LP
|
Repressed. "Sister Nancy's 'Bam Bam' on the Stallag Riddim is arguably the most licensed dancehall track for advertising and film backgrounds with multiple uses since 2000. The song has also displayed amazing lasting power for club DJs, with its instantly recognizable hooks. This album, originally released in 1982, showcased Sister Nancy for the world on the heels of a hit that has only gotten bigger over the decades. This is the first legitimate re-issue of the album, since the death of producer and techniques label founder, Winston Riley. Demand will be strong for this rare gem."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP + 7"
|
|
BORNBAD 188LP
|
To celebrate the 40th anniversary of the release of this indisputable classic of French coldwave and synthwave, including hits such as "Polaroid Roman photo" and "Mots," Born Bad presents a limited-edition reissue, including a bonus 7" with two previously unreleased tracks and a 12-page vinyl booklet. Thierry Müller, who initiated the RUTH project, was not a newcomer when the album Polaroid Roman Photo was released in 1985. As early as 1982, an early version of the track "Polaroïd/Roman/Photo" was released under the project RUTH. "I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that's how it started." Thierry worked on other tracks for the future LP and asked some friends to write other texts. Later, Thierry settled down in the Anagramme recording studio to carry out acoustic sound recordings. But when the sessions were over, he was not too happy with the results of "Polaroïd/Roman/Photo": according to them, they lacked "flamboyance". They decided then to record a new female voice with a professional singer and the sound engineer Patrick Chevalot offered to mix the track in the Synthesis studio "so that it blows out." With his tape ready and the help of Jacques Pasquier (S.C.O.P.A./ Invisible Records) he started to contact record companies. "I visited almost all the major record companies and was thrown out every time. Only at RCA's I found someone interested in my music." The album barely sold 50 copies in 1985, despite the eponymous title being a potential success. In 2004, two DJs (Marc Colin and Ivan Smagghe) discovered the track "Polaroïd/Roman/Photoand," and decided to exhume it from oblivion. They released it on a compilation called So Young But So Cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track and the album began a new life. Alongside his activity as graphic designer, Thierry Müller carries on producing music under his name, those of ILITCH and RUTH, and with various collaborators.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
OJO 25001BL-LP
|
Black vinyl version. Milton Nascimento's 1969 Courage blends Brazilian music with jazz, marking his international debut. Featuring Herbie Hancock and arranged by Eumir Deodato, the album highlights Nascimento's emotive vocals and lush arrangements. A timeless introduction to one of Brazil's most unique voices.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 064LP
|
2025 restock; Wewantsounds present a first-time vinyl reissue Fairuz's classic album Kifak Inta produced by her son Ziad Rahbani in the late '80s and only released on cassette and CD in 1991. Composed and arranged by Rahbani, who had already produced Wahdon (1979) and Maarifti Feek (1987), Kifak Inta features his usual blend of jazz, funk, and Arabic music, spiced up with Brazilian influences serving Fairuz's beautiful voice. Fairuz is a living legend and one of the greatest divas of the Arab world. She came to prominence in the '50s crossing path with the Rahbani Brothers (Assi and Mansour) an encounter that turned into a fruitful collaboration that would last until the '70s, spawning countless classics in the process. Fairuz's marriage with Assi produced a son, Ziad, who would start a brilliant career as a cutting-edge playwright, musician, and producer in the early '70s. When Assi Rahbani became ill in the mid-70s and the couple separated, Ziad took over as Fairuz's musical director and started to add elements of jazz, funk, and bossa nova to her music. The collaboration started in 1979 with Wahdon which included the funky cult classic "Al Bosta". They worked together again in 1983-84 on the album Maarifti Feek which was released in 1987 and continued their collaboration with Kifak Inta a few years later. The album was released on the Lebanese label Relax-in in 1991 on cassette and CD only, but, although there are no recording dates listed, the track "Ouverture 87" indicates it was recorded around that year. The album follows the same pattern as previous Ziad Rahbani productions for his mother and mixes traditional Arabic music ("Farewell Song", "It's Not a Problem"), jazz-funk ("Ya Leili Leili Leili"), and bossa nova ("Indi Thika Fik"), all featuring Ziad's superb orchestrations and slick arrangements. The jewel in the crown is the album's title track, "Kifak Inta" (And You, How Are You?), a ballad written and composed by Ziad Rahbani. The song is sung by a woman opening her heart to her childhood sweetheart, now married to another woman, and confessing she still loves him. The subject was controversial and created quite a stir when the song came out in the still conservative Lebanese society of the time. The track "Prova" which closes side one is a fascinating studio rehearsal of "Kifak Inta" featuring both Ziad and Fairuz. Remastered audio by Colorsound Studio in Paris. Includes new liner notes (French/English) by Mario Choueiry (Institut Du Monde Arabe).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BB 492LP
|
LP version. Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BEWITH 132LP
|
The Keith Tippett Group's Dedicated to You, But You Weren't Listening is a landmark in cutting edge fusion/avant-jazz. A vital and profoundly adventurous jazz-rock record that still swings hard, it was first released on Vertigo in 1971. Original copies are now very tricky to score and, as most of you really should know, it's aged ridiculously well. The stunning gatefold jacket fully restores Roger and Martyn Dean's original, arresting album artwork to complete this must-have reissue. Alive and bursting with a joyful energy that has to be heard to be believed, Dedicated to You, But You Weren't Listening flirts with perfection. It's truly magical and forever essential. A brilliant jazz pianist, composer, arranger and bandleader "who could make the outlands of modern music feel like the most hospitable of places" (The Guardian), Keith Tippett's second album is oft-regarded as his Canterbury album. Indeed, not only does he draw heavily on Soft Machine members past, present and future but the album title itself archly references a Soft Machine composition. Ray Babbington handles bass alongside Neville Whitehead and the drums are shared between Brian Spring, Robert Wyatt, and Phil Howard. Gary Boyle is on guitar whilst the great percussionist Tony Uter is enlisted for his conga and cow bell expertise. Elton Dean on alto saxello, cornetist Marc Charig and Nick Evans on trombone round out this quite stunning ensemble. Dedicated to You, But You Weren't Listening presents a collective of superhuman musicians enjoying themselves in the studio. The sheer exuberance of the performance is totally infectious. It's wild, energetic, atmospheric and, bluntly, bordering on chaotic at points. In a word, it's beautiful. This Be With edition of Dedicated to You, But You Weren't Listening has been re-mastered from the original Vertigo master tapes, Simon Francis' mastering working together with Cicely Balston's cut at Abbey Road Studios to weave their usual magic with these wonderful recordings.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MORR 206LP
|
LP version. History of Silence is the first full body of work by Icelandic collective múm since 2013's Smilewound (MORR 124CD) and their seventh studio album to date -- recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting. For a long time now, múm have been exploring the idea of distance in their music. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. History of Silence leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces -- neatly stitched together with unparalleled craftsmanship. On History of Silence time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they're wandering, gently resisting direction. Work on History of Silence began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don't dominate the record -- instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility. Contrary to what the album title suggests, History of Silence is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support. Bless.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VL 900051LP
|
2025 restock. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land. Deluxe gatefold jacket with peeling banana and "Chelsea Girls" bonus track on B5
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SVVRCH 104LP
|
Originally released in 1970, Tone Float is the only album by German rock band Organisation, a pioneering work that blends experimental rock with avant-garde soundscapes. Driven by hypnotic rhythms, unconventional instrumentation, and a freeform approach, the album explores the boundaries of sound with a mix of electronic textures and organic improvisation. A cult classic, Tone Float remains a fascinating snapshot of an era defined by musical innovation and fearless creativity.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
WRWTFWW 095LP
|
WRWTFWW Records is boiling with excitement: Pizza Hotline is back! The UK producer and DJ is following up the already classic Level Select (WRWTFWW 078LP, 2023) with another liquid drum and bass with a video game music twist beauty: the Polygon Island album, available in a limited-edition double LP with a majestic 45rpm cut (for louder, bigger, bolder, deeper earth-shaking bass), packaged in a heavyweight 350gsm gatefold sleeve. Home of eight all new slices of delicious atmospheric drum and bass, Polygon Island is the perfect artificial paradise beach for Pizza Hotline to deepen his exploration of modern jungle music liquified through the lens of '90s/Y2K video game motifs and seasoned with the soundtrack essence of PS1, PS2, N64, Sega Saturn & Dreamcast adventures. Bewitching and larger than life, Pizza Hotline's perfect follow-up to Level Select takes listeners (players?) on an endless summer escapade filled with immaculate vibes, crispy beats, and refashioned homages to, once again, LTJ Bukem, Peshay, the Wipeout OST, and Soichi Terada's Ape Escape. It's bouncy, it flows, it's dreamy -- something to dance to, something to reminisce to, something to chill to. Pizza Hotline is back and it feels so good. Press start. Again.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 119LP
|
2025 restock; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DC 956LP
|
LP version. "The shaman of the six-string is back. Waving his axe of choice, Sir Richard Bishop once again summons forth damnable truth and beauty on an all-new musical kamikaze run through histories both written and -- as of yet -- not commonly known. Since the dying days of the 20th century, the composer/player of spirited polytheistic guitar recitals including Salvador Kali, Improvika, The Freak of Araby, Tangier Sessions, and most recently, Oneiric Formulary has worked feverishly to wrench and wrangle all the music that has and can possibly fall out of the guitar from east to west. With Hillbilly Ragas, Sir Rick stretches his callused hands across the waters to draw diverse musics back to his shack with the gladiatorial bloodthirst and balance of gravitas and jocosity listeners can expect from him in every hot little moment of play. But there's more to be said than these merely glib rantings as to what happens when traditional music heads for the hillbillies:"
"There were a few different approaches I utilized for this release. First and foremost, I wanted to go back to basics, to strip away any excesses and keep it as simple as possible: one man, one acoustic guitar, no overdubs, no effects, no electricity. Taking several cues from the sounds most often associated with the so-called American Primitive guitar style, I wanted to avoid any traditional approaches and instead try something more-raw and aggressive, concentrating more on rhythm and movement as opposed to anything predictable or overly melodic, while also keeping my particular interpretive ideas about East Indian Raga in the mix. I've always felt that the majority of what is considered to be American Primitive music, while certainly based on historical American musical traditions, never really had any sounds that I personally thought of as being primitive -- it always seemed too orderly, too developed, and too safe? During the recording process I was envisioning an undiscovered mountain man or "hillbilly" who had remained hidden in his own private backwoods; one who never learned, or even heard about, any traditional musical canon that he was expected to work within. So what we have here with Hillbilly Ragas are nine pieces for solo acoustic guitar, each one representing a different excursion into the dark woods -- the untamed explorations of a musical loner, an outsider, maybe even an undesirable, embodying a peculiar folklore and turning it into sound -- creating his own folk music in the process. He's still out there, fueled by moonshine, his supernatural surroundings, and a fuck-all attitude!" --Richard Bishop, 2025
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
3LP
|
|
IMPREC 399LP
|
"Grayfolded is literally a hundred or so great nights rolled into one extraordinary extended high. Gorgeous sonic origami." --Rolling Stone
"An extended time-warped psychedelic jam that is meticulously hallucinatory." --New York Times
This deluxe 2025 vinyl edition of The Grateful Dead's Grayfolded was pressed at Optimal in Germany, known for their high-end audiophile pressings. In 1993 Canadian composer John Oswald was invited by Phil Lesh to transform historical recordings of the Dead into something new, along the lines of what they had attempted in their Anthem of the Sun album. Oswald chose to focus on the Dead's Dark Star, which, over the course of a quarter century, they had expanded and transformed in myriad ways in live performances. Oswald was given access to the Vaults, where over the course of a month, with the guidance of the Dead's resident archivist Dick Latvala, he collected 105 performances, which through the following year he formed, folded, fondled, and finessed into a kaleidoscopic unstuck-in-time documentary of the Grateful Dead in some of their most psychedelic, symphonic, and rocking excursions -- a singular 110-minute fantasy performance. Here it is, Deadheads, the ultimate Dark Star. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Elaborately printed packaging in a heavy-duty triple gatefold jacket includes liner notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter plus six "time maps" which chart the source concerts of Dark Star. Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc. Taken from over 100 performances of Dark Star recorded between 1968 and 1993. Built, layered and "folded" to produce one large, new re-composed Dark Star. Original recordings of the Grateful Dead in performance have been processed using Plunderphonic techniques. John Oswald is best known as the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the '90s he began, with several commissions from the Kronos Quartet, to compose scores for classical musicians and orchestras, the latest of which is an orchestral work, commissioned by the BBC, combining aspects of The Beatles, Gyrgy Ligeti, and Terry Riley. He also improvises on the saxophone in various settings, dances, and is a successful visual artist, best known for the chronophotic series Stillnessence.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SOD 140LP
|
Students of Decay presents The Dip, a new full-length recording by Berlin-based artist and composer Thomas Ankersmit, marking his debut with the label and sixth album to date. Comprised of two expansive, sidelong pieces composed entirely on the Serge Modular synthesizer, it signals a subtle yet significant shift in Ankersmit's trajectory, imbuing the hyper-physical, psychoacoustic intensities of his live performances with introspective, atmospheric, and even melodic elements. Primarily known for a site-responsive approach to sound, often realized in the moment of performance, Ankersmit's turn toward the studio in the last few years has opened up a new dimension within his practice. It is in this quiet rupture that The Dip emerged, a study in internality and suspended states, rich with cinematic undercurrents and ghostly spatial suggestion. Here, electricity itself feels transfigured -- becoming supple, even organic -- within an environment shaped entirely by analog signals. Over the past two decades, Ankersmit has established himself as one of the foremost practitioners of the Serge, the notoriously idiosyncratic and expressive instrument that has remained central to his work. On The Dip, he harnesses its potential not for brute force or disorientation, but for spaciousness, resonance, and lyrical abstraction. Without resorting to additional processing or effects, he draws out tones that feel simultaneously raw and refined, articulated and blurred -- intricate structures that seem to breathe and evolve of their own volition. The result is a kind of auditory hallucination, a "cinema for the ears," wherein impressions, emotional arcs, and imagined topographies unfold. Each side of The Dip plays like a single gesture unfolding in time -- a spatial narrative constructed through vibration, density, and the movement of air. The Dip follows acclaimed works on PAN, Touch, and Shelter Press, and reaffirms Thomas Ankersmit's position as one of the most focused and probing voices in contemporary experimental music. Quietly radical and meticulously constructed, it is less a departure than a deepening -- a descent into a more private sonic world, where the boundaries between perception, memory, and pure signal dissolve.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SF 130LP
|
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.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
REPOSE 149LP
|
Silver-color double vinyl set. First time on vinyl with bonus previously unreleased, period correct live side. Housed in gatefold sleeve with black/metallic silver ink artwork. Riot Season has purged the Acid Mothers Temple archives once again, resurrecting another classic album: Electric Heavyland. Originally released in 2002 on CD only (via Alien 8 Recordings), Electric Heavyland is presented here for the first time on vinyl, remastered and with a whole bonus live side! Housed in a beautiful gatefold sleeve with heavy use of the original black and metallic silver ink artwork. Side D was recorded live at the second Acid Mothers Temple Festival on December 13th 2003 with Yamazaki Maso (Masonna) as a guest. Makoto says "we have played this song, 'Atomic Rotary Grinding God' live only once, and this is that recording." Produced, engineered and mixed by Kawabata Makoto. Live recorded by Takayama Manabu (original source is VHS video tape). Remastered by John McBain.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
LMS 1725563
|
New/permanent black vinyl edition; double 140gr vinyl. Originally released in 1993, The Brown Album marked a significant evolution in Orbital's sound -- and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time. Standout track "Halcyon + On + On" became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's It's a Fine Day. The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged. This Brown Album 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DOC 144LP
|
2025 repress. Akira Ifukube's mighty score to the legendary monster movie that started it all, Godzilla! Ifukube's visionary music is super dark reflecting the horror of Ishiro Honda's film. This incredible score music alternates between brass and strings as we witness the death and destruction that comes in Godzilla's wake.
|
|
|
# |
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
|
|
OJO 25004LP
|
Color vinyl. Sleek, soulful hard bop from Duke Pearson at the top of his game. Hush! glides with understated swing and tight chemistry, driven by Donald Byrd's smooth, melodic lines. Cool, refined, and quietly captivating. An essential slice of early '60s jazz.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
RRS 121LP
|
2025 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FAITICHE 039LP
|
Off The Record, the new album by French collagist Roméo Poirier, is an amusing romp through the discarded history of recording studios. It contains fourteen miniatures based on accidental recordings of studio talk, revealing things that were never meant for the public: listeners hear instructions from studio staff, scraps of talk between musicians, or just microphones being adjusted, as well as false notes, false starts: everyone stops. Start again: 1, 2, 3, 4! Poirier's approach recalls "Accumulation," an artform practiced by Arman, Jean Tinguely and Daniel Spoerri that involved piling up everyday items into assemblages. The objects themselves often remained unaltered, the artistic gesture consisting in the careful curating of a distinctive selection. Poirier's audio collages explore similar terrain. The fourteen pieces on Off the Record combine more than a thousand found sounds from studio archives into complex miniatures. The audio content of these outtakes is twisted, stretched, cut, reassembled, slowed down and accelerated. Voices cut into a microgroove, from a very old recording, intertwine with digital voices gleaned from YouTube. All of them in dialogue, engaging the listener with the impression of being part of a new music group. Poirier uses the mundane routine of setting up before the actual recording gets underway to tell a universal story about working in a recording studio. And he manages something few achieve, transforming specialist knowledge into a narrative whose beauty goes far beyond its immediate subject. It speaks to everyone, because the story is told in a musical language that is open and accessible, evoking magical images reminiscent of Oz -- a world consisting less of events than of camp hallucinations, captured in grainy black-and-white photographs. En passant, Poirier shows listeners how the notion of material accumulation can produce great art. Written and produced by Roméo Poirier, mastered by Stephan Mathieu, photos by Roméo Poirier, graphic design by Tim Tetzner.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DMOO 001LP
|
2025 repress. Destination Moon present a reissue of Françoise Hardy's self-titled album, originally released in 1962. Françoise Hardy became an international sensation during the early 1960s through her albums on Disques Vogue, the French jazz label that then began showcasing chanson. She signed to the label at seventeen after answering a newspaper advertisement recruiting unknown singers while she was a freshman at the Sorbonne, the B-side of debut single, "Tous Les Garçons Et Les Filles", brought her to the forefront of the yé-yé movement, mixing chanson with Anglophone rock and pop, and paving the way for this debut LP, which was lauded by the likes of Bob Dylan and Mick Jagger. This first offering is still arguably her best -- grab it now to understand why! Clear vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 124LP
|
2025 repress. Recorded at Channel One Studio in 1982. Tracks include "Having Fun With The Klingons," "Rocking Time Warp Dub," "Jah Love All Aliens," "Conversation With Kahn" and "Smerf Wak Head Beat."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 084LP
|
2025 restock. One of King Tubby's finest works, originally released in 1974. Recorded at Tubby's famous 18 Drummly Ave. studio in Kingston during dub's early development period.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BB 492LTD-LP
|
LP version. Color vinyl. Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
MORR 206CD
|
History of Silence is the first full body of work by Icelandic collective múm since 2013's Smilewound (MORR 124CD) and their seventh studio album to date -- recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting. For a long time now, múm have been exploring the idea of distance in their music. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. History of Silence leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces -- neatly stitched together with unparalleled craftsmanship. On History of Silence time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they're wandering, gently resisting direction. Work on History of Silence began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don't dominate the record -- instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility. Contrary to what the album title suggests, History of Silence is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support. Bless.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VL 990359LP
|
2025 repress. Seventeen Seconds was the second album by The Cure originally released in 1980. It was too bleak for bassist Michael Dempsey who left after hearing Robert Smith's demos. Smith went his own merry/miserable way in the end and the album is a fine example of their spindly proto-goth. It contains one of their finest moments in menacing single "A Forest" which exemplifies the dark nature of the material on the album.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
CSR 356CD
|
Released on standalone CD for the first time in 33 years, this now-complete edition of the ground-breaking cult soundtrack is finally here. A cult classic of sci-fi dystopia, Decoder (1984) saw Einstürzende Neubauten's members working alongside Genesis P-Orridge (Throbbing Gristle/Psychic TV) and William S. Burroughs. It's one of the strangest (and most prescient) films of the decade. The film was made in Hamburg and Berlin, and directed by Klaus Maeck 'Muscha' (who directed several punk films). The lead roles are played by Christiane F and FM Einheit from Neubauten, who also contributed to the film's score. Genesis P-Orridge, the kingpin of the English industrial scene, also appears as a priest of the Black Noise faith. Author William S. Burroughs portrays an insurrectionist salesman of audio equipment (and contributes spoken word to the soundtrack), and American cult actor Bill Rice plays a detective. Soft Cell contributed their classic "Seedy Films," while Matt Johnson from The The wrote a frenetic, deformed song for the film that is both fantastic and painful to listen to, and Einstürzende Neubauten's "Compressed Metal" is sublime. Dave Ball (Soft Cell), Jon Caffery, and Genesis P-Orridge composed the rest of the soundtrack. A futuristic film, and a joyous application of William S. Burroughs' "The Electronic Revolution," which proposes a seditious and rather poetic method of subverting the masses and inciting them to rise up against the forces of order. CD in matt-laminate digipak with ten-page foldout booklet.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 332LP
|
This curated collection comprises hard-to-find salsa 45s from the Discos Fuentes vaults -- deep cuts that have long flown under the radar but still light up dance floors today. This compilation also includes a range of studio experiments and covers -- where artists like Piper Pimienta, Galileo y Su Banda, and La Integración reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens. During the golden age of vinyl -- from the 1960s through the 1980s -- Colombia produced an astonishing number of 45 rpm records -- many of them not tied to full albums, that continue to surprise collectors and music lovers today. This abundance can be attributed to many factors: affordability, jukebox demand, radio promotion, or simply the joy of sharing a small musical token with a loved one. Whatever the reason, these little records traveled far and wide, sometimes ending up in distant countries -- especially Mexico -- carried by DJs, collectors, or pirate radio waves. They became cultural passports, spreading salsa, cumbia, son montuno, and more. These tracks, once pressed in small numbers, feature top tier musicianship, fiery brass, unforgettable grooves, and lyrical gems that reflect the rich diversity of Colombia's musical landscape. Every track tells a story -- of artistic ambition, social change, regional identity, or simple joy. Some were attempts at hits, others personal expressions or studio curiosities. What they share is an authenticity that continues to resonate. These obscure gems, long scattered across dusty crates and forgotten jukeboxes, now find new life. They speak not just to the past, but to a timeless rhythm that still moves dancers and dreamers alike. Featuring Super Combo Los Famosos, Sexteto Manaure, La Protesta De Colombia, Sonora Guantanamera, Orquesta Salsa Panamericana, La Integración, Galileo Y Su Banda, The Latin Brothers, Piper Pimienta Y Su Orquesta, and Fruko Y Sus Tesos.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 333LP
|
Hasabe is a thoughtfully curated collection of Ethio-groove recordings from one of the overlooked pioneers of 1970s Addis Ababa's vibrant music scene -- Ayalew Mesfin and his Black Lion Band. Expect trap drum kits, jazz big-band styled horn sections, funky guitars played through wah wah and fuzz pedals -- all seasoned with a unique Ethiopian touch. Reissued once again thanks to Vampisoul's collaboration with Now Again. Pressed on 180g vinyl. For many, the music created in 1970s Ethiopia will sound both familiar and alien: while the trappings of '70s Ethiopian music carry some aspects that those in the West will easily identify with the Ethiopian style of singing, and the modes in which the musicians move, may confound. Perhaps some who have delved into the instrumental Ethio-Jazz of Mulatu Astatke -- a well-known Ethiopian musical export, relatively unknown in his homeland -- will have a context in which to engage this great compilation of '70s Ethiopian music by Ayalew Mesfin. The music Mesfin created with his Black Lion Band is amongst the funkiest to arise from Addis Ababa; his recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of the unconquerable East African nation. Ayalew was forced underground by the Derg regime that took control of the country in 1974. Until recently, only four of Ayalew Mesfin's tracks had been reissued, appearing in the well-known Éthiopiques series. Hasabe marks the first comprehensive release of this powerful and long-overlooked body of work by an artist whose originality and resistance defined a genre: Ethio-groove. More than four decades later, this album offers the rare opportunity to rediscover a vital and beautiful chapter in global music history.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MJJ 359CC-LP
|
2025 limited restock. Klimt present a reissue of Don Cherry's Relatively Suite, originally released in 1973. Finally, available again on vinyl. Recorded with the Jazz Composer's Orchestra. At this time, Cherry was becoming increasingly interested in Middle Eastern and traditional African and Indian music, having traveled extensively and studied with Indian musician, Vasant Rai. This suite of songs was particularly influenced by the Indian Carnatic singing tradition, as can be heard from the very opening moments of the album. Featuring Carla Bley on piano, Charlie Haden on bass, and Ed Blackwell on drums, as well as an extended horn and string section, Cherry collaborated extensively with the Jazz Composer's Orchestra throughout the early '70s. His Swedish wife, Moki Cherry, plays tambura on "Trans-Love Airways". Clear vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MR 485LP
|
1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things. When it came to recording Anti Todo, Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and the question is: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song "Tamara" was practically composed on the spot in the studio in less than two recording days, as was much of "Ha llegado el momento." The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. Listeners can once again enjoy the urgency, simplicity, and rage of this refreshed Anti Todo, a true classic in musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy. This edition of the album includes a large poster and insert with notes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 088LP
|
2025 repress. Originally released in 1985, this is a compilation of classic Horace Andy, including covers of Tappa Zukie's "Better Collie" and Leroy Sibble's "My Guiding Star."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FTR 809LP
|
"Although it was the lead track on the Stones's eighth studio LP, Let it Bleed, the song 'Gimmie Shelter' was not released as a single. Indeed, the single 'from' that album was the countrified non-LP track, 'HonkyTonk Women' backed with the corny chorale sluice of 'You Can't Always Get What You Want.' It was as though the Stones, knowing they would soon be pilloried on the cross of Altamont, wanted to have a way to try and dodge those nails by being able to claim they weren't even a rock band. Well, fuck them. 55 long years after the Stones's shameful retreat from their true identity, Jackie O Motherfucker has decided to try them in the court of public opinion, both for their jaundiced world view as well as the sheer cowardice of their presentation of facts. The simplest way for JOMF to proceed would have been to illuminate the ridiculous musical and philosophical inconsistencies inside their trademark song of 1968/9, 'Sympathy for the Devil,' but they chose to leave child's play to children. Instead, they took the four minutes and thirty seconds of 'Shelter,' divided it into thirds and created a set of music that explores the mathematical relationships between those segments and the three parts of a song which it reportedly inspired, The Stooges's 'Gimme Danger.' I've had the Calculus of the equation explained to me a couple of times by Tom Greenwood, the founding member of JOMF, but I get sorta lost in most number stuff more evolved than Trigonometry. My sense is that three improvised pieces on this album are musical meditations about the possible existence of a tripartite equivalent of Aristotle's Golden Mean. And while I totally believe in his as a concept, it doesn't really help to explain what the music sounds like, y'know? The three tracks are drawn from two live shows and one studio session, using a line-up resembling that on 2023's Manual of the Bayonet, the music here is largely-instrumental, reed-laced, and filled with the same glowing sense of direction this listener gets when I'm several acid sheets to the wind. Some parts collect themselves and repeat like small bursts of energy trapped inside a pyramid. When vocals do pop up, they sound like out-takes from the soundtrack to Kenneth Anger's Invocation of My Demon Brother, and submerge themselves in a murk of Egyptian dust. Some might compare JOMF's sound to the more abstruse out-takes from the Dead's Gizan shows of '78. But its commentary on the nature of musical forms reaches back further than that. I mean, remember -- the Dead pulled out of playing Altamont. I'm not sure JOMF would have done the same, but I'm sure they would have done something if they found themselves in the same situation. And it might well have sounded like this. As Bear always said, 'A trip in time saves nine.' Good thought, and as diggable today as it was back then. Hop on. This shelter is rolling. --Byron Coley, 2025
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
LIFE 001LP
|
2025 restock; reissue, originally released in 1971. Can you pick up a better iconic band than Japan's Flower Travellin' Band? Have a look at Julian Cope's Japrocksampler cover with the band bare naked wildly ridin' on their wheels. Is any description more appropriate? A sense of freedom has always enhanced their music, a heavy rock manifesto clearly informed by British stalwarts. Their second album Satori was released on Atlantic Japan in 1971 and still is a masterpiece on its own. The band was made up of Joe Yamanaka (vocals) -- possibly an Eastern version of Rob Tyner of MC5 -- Hideki Ishima (guitars), Jun Kobayashi (bass), and George Wada (drums). By the end of 1970, they had relocated to Toronto, Canada and lived there until March of 1972. In April 1973, the band split up, but they reunited in January 2008 with all original members joined by Nobuhiko.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
GET 52716LP
|
2025 repress. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
COSMR 042LP
|
Definition was the only album by the American psych folk band Chrysalis, released in 1968 on MGM Records. Together with their Velvet Underground label mates, Chrysalis, were considered pioneers of the art rock movement, thanks to their sublime vocal melodies and baroque arrangements -- ageless psych acid folk gems!
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SCR 350LP
|
LP version. Neon orange color vinyl. Lorelle Meets The Obsolete return with their seventh album, Corporal. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and 2024's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels, and Anadol. Corporal, as the title suggests, is all about the body. The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies that march together in protest, the bodies that are being controlled."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MORR 124LP
|
2025 repress. Gatefold LP version. You don't need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. Smilewound is another example of the band's art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both. Sparser in sound than many of its predecessors, Smilewound is an airy, relaxed record. The múm core duo of Örvar and Gunni doesn't make you laugh out loud (except maybe for the quirky vintage arcade-sound-start of "When Girls Collide"), but it will make you smile often -- despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm's capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take "The Colorful Stabwound": an aguish drum 'n' bass piece and Smilewound gets close to a straight pop-song. Even that isn't very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or "Candlestick," which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colors every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on "Whistle," the main song in 2012 movie Jack & Diane. Recorded in, among other places, the band's practice space, an old Baltic farmhouse and on the kitchen table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band's penchant for ambivalence -- in fact, that's part of the album's charm.
|
|