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Recent Best Sellers
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BEC 5772110
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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.
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WRJ 010LTD-LP
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2025 repress; LP version. 180 gram vinyl, half speed mastered; heavy sleeve with obi and gold ink. We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.
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2LP
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AU 1028LP
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"Open Vocal Phrases, Where Songs Come in And Out and Sketches For World of Echo (AU 1029CD) offer two intimate unedited Arthur Russell solo live performances recorded at Phill Niblock's Experimental Intermedia Foundation in Downtown NYC on 12/20/85 and 06/25/84. Phill curated and produced with Arthur both concerts at EI that would become part of the foundation for the World of Echo album. These extraordinary performances were recorded 18 months apart between 1984/85 by Steve Cellum and overseen by Phill and Arthur. Arthur would later edit sections from both concerts merging it with studio material recorded at Battery Sound to finalize the World of Echo album released in 1986. The double vinyl LP for Open Vocal Phrases, Where Songs Come in And Out includes the complete nineteen-minute-plus version of 'Tower of Meaning/Rabbit's Ear/Home Away' along with the previously unreleased songs 'That's The Very Reason,' and 'Too Early to Tell.' Side four includes two instrumental performances from the 06/25/84 Sketches for World of Echo performance, 'Changing Forest' and 'Sunlit Water' along with a full color insert and liner notes from Audika Records and Arthur Russell archivist Steve Knutson."
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MGART 615LTD-LP
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Pearl color vinyl version. Highly-anticipated 50th Anniversary Edition re-issue of Ash Ra Tempel's legendary fifth studio album Starring Rosi. Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience. The album has been recorded by Manuel Göttsching in its entirety, with additional help from producer Dieter Diercks, Harald Grosskopf, and of course Rosemarie "Rosi" Müller. Starring Rosi is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Starring Rosi stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music. This reissue of Starring Rosi has been introduced and overseen by Manuel Göttsching, and finalized by his family exactly to his standards, in which the meticulous approach to his work lives on. An updated 2024 recut carefully commissioned by Schnittselle in Berlin ensures the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. Comes with a replica of the original vinyl artwork including its original backside. Also includes a poster of the alternate backside, used later on the CD editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased original "The Fairy Dance" and "Schizo" composition sheets, handwritten by Manuel.
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MR 468LP
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After the poor sales of their debut album, Faust's So Far (1972) presents the more commercial and accessible side of the legendary German krautrock band without giving up their advanced and experimental personality. It is a perfect album to begin exploring the group's discography, featuring one of their most well-known songs, "It's a Rainy Day, Sunshine Girl," and is considered a striking work on par with Neu!'s first album or Can's "Tago Mago." Preceding other artists like Throbbing Gristle and Nurse with Wound, Faust were pioneers in creating industrial and futuristic atmospheres using processed rhythms. An essential krautrock masterpiece. Remastered from the original tapes. 180g vinyl. Booklet included. Their approach to rock includes elements of electronic music and improvisation, drones and dissonance, becoming one of the main groups in the kosmische musik movement also known as krautrock. Their debut album was innovative and received critical acclaim but did not sell well. Unavailable on vinyl for quite some time, here is a much-awaited reissue of an essential krautrock masterpiece.
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ESPDISK 5089LP
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LP version. Formed 29 years ago (1996) by Nate Young, Wolf Eyes is currently a duo generally characterized as "noise," though they have called themselves "psycho jazz" (among other things). Extremely prolific, they have literally hundreds of releases and are a towering presence in underground music. Saxophonist Anthony Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians) and has won a MacArthur and been named an NEA Jazz Master, though his work is hardly confined to jazz. He's also an extremely prolific recording artist, debuting on record in 1968. Braxton famously first heard Wolf Eyes at the Festival International de Musique Actuelle de Victoriaville and immediately bought all the band's CDs that they were selling that night; a year later, they made their first album together, Black Vomit (also a concert recording). Their new untitled album (calling it Live At Pioneer Works, 26 October 2023 is merely a way of helping people distinguish it from their other collaborations and to give it a vintage) is the third Wolf Eyes/Braxton release. The LP has no track titles or even side designations. ESP has tried to keep that same spirit in the other formats.
"Both parties clearly understand what the other stands for and adapt their approaches accordingly. Braxton purists are in for a solid headache, of course, but something really clicked between these artists, and it was all in good fun. As far as Wolf Eyes' discography goes, this is also one of their best-recorded albums." --François Couture, All Music Guide, regarding Black Vomit
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BEWITH 177LP
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Laurin Rinder and W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius. During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others. Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fueled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs. As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: "we really had cots, beds and the whole thing, we were just pumpin' them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer 'What's the name of this group?'." Evidently, their prolific output was the result of a crazy cocaine-fueled production schedule: "The amount of coke we did, to do all this, you can't even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more." Looking at the frankly terrifying cover, you'd have never known! Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure 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.
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SVVRCH 086LP
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2025 repress. London-based psychedelic folk quartet Kaleidoscope formed as the Sidekicks in 1964, changing their name to the Key the following year. By the time they signed Fontana for the 1967 debut album Tangerine Dream, their choral pop harmonies were stronger and the musicianship more accomplished, the distinctly English folk undercurrents more pronounced. A favorite of Spaceman 3 and other connoisseurs of neglected psych, originals of this rare gem now change hands at extortionate prices and the work has aged like a vintage wine, the unjustly overlooked classic now rightly feted.
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BEWITH 167LP
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A massive speaker-smashing release, decades overdue. It's been bootlegged but finally Be With presents the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favorite of Harvey, Antal, Young Marco and every great DJ to ever play deep records ever, basically. Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums -- the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.). Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the drop-dead dazzling cover. This here is a true drum attack. Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to Tumblack & Friends. They were the absolute cream of the French scene such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties. Tumblack really is a gorgeous late-'70s disco-not-disco essential. The audio for Tumblack 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 cover of Tumblack is so iconic and Be With sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.
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LP
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JACK 071LP
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Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.
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LSD 69003LP
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2025 repress; yellow vinyl. '70s disco music wasn't just Abba or the Studio 54. Just like punk or glam rock were doing at the same time, the "disco" phenomenon generated a plethora of obscure and bizarre studio projects which remained in the unknown, despite being often more inspired and creative than the few ones that reached stardom and sold millions of copies. 45 rpm singles that remained unsold, sitting in junkshops all over the world for decades, hide forgotten gems, revealing genius and avant-garde only guilty of not being at the right place at the right time. Be it Moroder-oriented proto synth-wave, groovy space-disco or acid Afro funk, the first volume of the Cosmic Discotheque series is all about rediscovering those forgotten treasures while setting your dancefloor on fire. Features The Mystic Moods, Life, Alan Bown, Red Parish Group, André Brasseur, Black Buster, Bil Tze, The People Next Door, Diabolic Man, Performance, Dance Machine, and Pharaoh. Edition of 500.
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2LP
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BORNBAD 051LP
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2024 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.
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2LP
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VAMPI 312LP
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After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in the previous volumes, this third instalment in the series Cumbia Cumbia Cumbia!!! comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian Lucho Bermúdez, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series Cumbia, cumbia, cumbia demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born Hugo Blanco, Tulio Enrique León, Los Teen Agers and Amparito Jiménez. Featuring Carlos Pickling Y Su Orquesta, Los Chicoques, Los Demonios De Corocochay , Los Felcas, Sonora Casino De Hugo Macedo, Sam Brasil, Volada 5, Otto De Rojas Y Su Orquesta, Silvestre Montez Y Sus Guantanameros, Ñico Estrada, Freddy Roland Y Su Orquesta De Moda, Los Avileños, Joe Di Roma Y Su Conjunto, Los Rumberos Del Solar, Los Pavos Reales, Nilo Espinosa Y Su Orquesta, Tito Chicoma Y Su Orquesta, Nelson Ferreyra Y Su Sonora, Los Kintos, Manzanita Con Los Cañeros, and Los Belking's.
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2LP
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SA 010LP
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Restocked. Pagan Psych-Folk Glam Vocal Sounds of the Italian Cinema is a superb collection of extremely obscure gems culled from a variety of forgotten films. Featuring mostly vocal tracks, these songs are dripping with that mid-1960s to mid-1970s exploratory nature of song-craft, from clever and majestic to the ridiculously absurd. Acoustic guitars laced with strings and subtle effects, haunting and moody lyrical tales, and epic ballads that rock -- all of them fitting together like an impossible puzzle that most music aficionados of this magical period never knew existed. Stretches of this compilation could accompany an imagined sequel to the Wicker Man film made in Italy! A mix of relatively unknown and legendary composers of the time are presented here in this incredible package, which has been lovingly assembled to provide the most pleasurable listening experience available. Legends such as Nico Fidenco, Guido & Maurizio De Angelis, Piero Umiliani, and obscure combos like The Sorrows and The Rage Within are included among many other artists that combine to make Pagan Psych-Folk Glam Vocal Sounds of the Italian Cinema an instantly iconic release. Lavish full-color gate-fold jacket collage artwork with still shots from many of the films represented here. Limited edition pressing of 750 copies. Featuring Orchestra Cometa, Nico Fidenco, The Carrie Nations, The Sorrows, Augusto Martelli, Guido & Maurizio De Angelis, Raoul Lovecchio, Cyan, Don Powell, Piero Umiliani, The Rage Within, Charles Cannon, Gene Roman, Shirley Hammer, Phil Chilton/Peter L. Smith, Zeudi Araya, Canary Jones, Melody, and Orchestra Di Rockford Kabine.
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WWSLP 031LP
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2025 repress; LP version. Obi; includes four-page insert. Wewantsounds present the first official release outside of Japan for The Mystery Kindaichi Band's The Adventures of Kindaichi Kosuke, originally released in 1977. The "imaginary" soundtrack to the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best '70s Japanese Funk musicians, the album is pure undiluted disco funk. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaichi. The fictional character was born in 1946 with Yokomizo's first novel in the series and solved mysteries until the late '70s under Yokomizo's pen before the death of the writer in 1981. Yokomizo's novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though. The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game Wizardry. For the album, he assembled a supergroup of some of the best Tokyo funk and city pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 Joe Henderson In Japan album, drummer Jun Moriya, who is on Joe Hisaichi's cult Wonder City Orchestra album (1982), percussionist Tadaomi Anai who played with disco singer Eri Ohno, trumpeter Koji Hadori who's featured on Haruomi Hosono's Pacific album (1978). Also present on the album are saxophonist Takeru Muraoka who plays on many Tatsuro Yamashita cult albums including For You (1982) and Spacy (1977), Kimiko Yamauchi (koto) who's on Akiko Yano's landmark 1976 album Japanese Girl (WWSCD 017CD/WWSLP 017LP), and last but not least, French hornist Koji Yamaguchi who plays on Yazuaki Shimizu's Kakashi (1982). Together they lay the funk on ten instrumentals filled with pure disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene. Remastered from the original tapes. Faithfully reproduced original artwork; Artwork by renowned illustrator Ichibun Sugimoto. New introduction by Anton Spice.
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2LP
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KR 100LP
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Double LP version. For the first time a full album with recordings based on Yoko Ono's 1964 collection of texts, event scores and drawings Grapefruit, a foundational cornerstone of what became known as conceptual art, and enveloping the orbits of Fluxus and experimental music. Performed by The Great Learning Orchestra which has during the 25 years of its existence worked with Gavin Bryars, Terry Riley, Pauline Oliveros, J.G. Thirlwell, Arnold Dreyblatt, and more. Originally self-published in 1964 in a limited edition of 500 copies under Yoko Ono's own imprint, Wunternaum Press, and later reprinted in expanded editions, the collection of over 230 texts, event scores and drawings that comprise Grapefruit has long been considered a foundational text in what became known as Conceptual Art, and envelops the orbit of Fluxus and experimental music. Though comparisons to John Cage may seem obvious, Ono's first attempts at textual composition actually pre-date her first encounter with the American composer by around a decade and have evolved free from Cage's influence. Another factor that sets these scores apart from associated forms of verbal notation from the same period is Ono's ambivalence towards the necessity, or even possibility, of their physical realization -- instead the idea being that the realization should take place in the mind of the reader. Hardly any performances have been recorded and released on disc -- so, 60 years after Grapefruit first appeared, Selected Recordings From Grapefruit is the very first full album of pieces selected from the many sections of the book. The sonic realizations presented here are of a number of different kinds, encompassing studio-based ensemble performances, but also location, environmental and field recordings (and at times combinations of these), as the scores themselves dictate, and for the most part recorded live and acoustically, such that the performances, actions, situations and environments that you hear are real. The accompanying 20-page booklet with rare performance photos and some original typewritten scores from Ono's personal archive also includes the text instructions for each piece - thus allowing the listener to make a connection between the imaginative engagement and creative activity executed by the performing members of The Great Learning Orchestra and the resulting recording. With 20 tracks and approximately 85 minutes duration, Selected Recordings From Grapefruit finally brings to ear some of the most important and influential 20th century avantgarde art.
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2LP
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BORNBAD 077LP
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2025 repress. Double LP version with insert. In the early '80s in France, the happy-go-lucky gathered the nectar of each and every new release. Believing in a bright future for videotex and loosened up by budding pirate radio stations, the new generation dreamt of dancefloors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams. What has come to be called "French boogie" is a form of synthetic funk reflecting the spirit of those days when everything seemed possible. In popular clubs such as La Main Bleue in Montreuil or L'Echappatoire in Clichy-sous-Bois -- where Micky Milan could be seen behind the decks -- an enthusiastic audience discovered this post-disco sonic wave, influenced as much by French pop as by The Sugarhill Gang or Kurtis Blow. In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh musical hybrid. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), and Jean-Pierre Massiera (Anisette, Pirate Club, Mandrake, Groupe Scratch Man) added an eccentric touch. Singers like Agathe (the author of "La Fourmi" (included here) and of the hit song "Je ne veux pas rentrer chez moi seule") were far more than just window dressing, giving an ironic and subversive twist to this rather harmless genre. But by 1984, French boogie was already breathless, and merged with other genres; on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Dee Nasty's broadcasts on Radio Nova, and on the other, Italo, new beat, and house began to rule dancefloors. Squeezed between the age of disco and that of modern electronic music, French boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless basslines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French boogie is what you need to party. Includes tracks from 1980-1985 by Interview, Krootchey, Gérard Vincent, Style, Pierre Edouard, Casino, Bianca, Trigo & Friends, Hugues Hamilton, Pascal Davoz, Anisette, Pilou, Henriette Coulouvrat, New Paradise, Ich, Attaché Case, and Yannick Chevalier.
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WRWTFWW 030LP
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2025 repress; LP version. 350gsm sleeve with selected UV high gloss varnish. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. WRWTFWW Records announce the reissue of Satoshi Ashikawa's Still Way (Wave Notation 2). Initially released in 1982 as part of the Wave Notation series (which includes Hiroshi Yoshimura's Music For Nine Postcards), Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through The Looking Glass (1983) (WRWTFWW 018LP, WRWTFWW 019CD/LP) and Hiroshi Yoshimura's Green (1986) as one of the genre's most important pieces. "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second..." Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object -- not something that would stimulate listeners but music that should drift like smoke and become part of the environment." The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone). In conjunction with Still Way, WRWTFWW Records is releasing Laistigh den Ghleo (WRWTFWW 039CD/LP), a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond.
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BEWITH 186LP
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Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who Be With have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-filled firecracker -- using his Who's Who moniker -- is for disco-funk, library music and cosmic beat lovers. The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, the deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. Who's Who really is a fantastic late-'70s-early '80s roller disco-funk essential. The audio 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.
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LP
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JACK 071CV-LP
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Color vinyl version. Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.
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Cassette
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RADK 7004CS
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2025 restock; Radiation Tapes present a cassette reissue of Dinosaur Jr.'s Green Mind, originally released in 1991. Formed in 1984, Dinosaur Jr. carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped-down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level, aided by the singles The Wagon (1990) and Whatever's Cool With Me (1991), a non-album EP of new material and live recordings, all of which are included here alongside a previously unreleased live recording capturing the group at the Hollywood Palladium in June 1991. Critically lauded on release, Green Mind remains one of the band's strongest collections, and a firm fan favorite. Limited edition of 350 on cassette.
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LP
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WRWTFWW 017LP
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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).
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LP + 7"
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WWSLP 071LP
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2025 restock; LP version, includes 7" with two extra tracks: "Replica" and "Ma Mère l'Oye." The first ever international release of Ryuichi Sakamoto's landmark 1984 album Ongaku Zukan, originally issued in Japan on his own School label in 1984. Remastered by Saidera Mastering in Tokyo. The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's Merry Christmas Mr. Lawrence, had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album Naughty Boys. Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, Ongaku Zukan ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. It was on his return to the studio the following year that the album truly began to take shape. Released in August 1984 the album Ongaku Zukan proved a huge success, providing Sakamoto with his first top five hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Featuring remastered audio with bonus tracks and new liner notes by Andy Beta. This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced.
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LP
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NA 6104LP
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2025 repress. "Pressed on opaque green vinyl. 'Electrified by a diet of James Brown, the Stones and Deep Purple, Witch were the stadium-filling kings of 70s Zamrock.' --MOJO This landmark recording from Now-Again's comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-, Afro-rock ensemble Witch, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect -- restored and remastered from the original master tapes. Witch's musical arc is contained to a five-year span and, in retrospect, is a logical one. The band's first two, self-produced albums -- released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. In The Past, their second album, is the perfect follow-up for anyone exposed to the Witch band through their landmark Introduction."
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LP
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WWSLP 100LP
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Wewantsounds reissues Roy Haynes' 1971 LP Hip Ensemble, recorded in New York for Bob Shad's Mainstream Records and featuring Hannibal Marvin Peterson, George Adams, Teruo Nakamura, and Lawrence Killian. Together the musicians create a superb mix of jazz funk and spiritual jazz showcasing Haynes powerful drumming and creativity. Hip Ensemble is presented in its original gatefold artwork with first generation photos and includes the bonus track "Roy's Tune." It comes with newly remastered audio and a two-page insert featuring new liner notes by Kevin Le Gendre. Roy Haynes, who passed at age 99, is one of the undisputed giants of jazz. Born in Roxbury, Massachusetts in 1925, Haynes started drumming during his teenage years before moving to New York in 1945 where his career took off. He went on to play with the likes of Charlie Parker, Miles Davis, and Lester Young, becoming an institution over the decades. In the late '60s, after a stint with the John Coltrane's quartet, he put together the Hip Ensemble, a small group featuring the young turks George Adams on sax, Hannibal Marvin Peterson on trumpet, Japanese bass player Teruo Nakamura, Lawrence Killian on percussion together with German pianist Carl Schroeder on Fender Rhodes. Bob Shad, who had worked with Haynes in the '50s when he was running EmArcy, saw the group live in New York one night and decided to sign them on his label Mainstream Records as he was starting to produce jazz again after a few years releasing psychedelic rock. His idea was to plug into the new modal and jazz-funk scenes that was flourishing at the time and Haynes was also experimenting with. The album Hip Ensemble reflects this new direction with a superb mix of spiritual jazz. Complementing the group for this session were Mervin Bronson, adding a touch of Fender bass and a second percussionist, Elwood Johnson. "Roy's Tune" has been added as a bonus track, which was recorded at the same session but not included on the original album -- it briefly came out on a low-key Mainstream compilation two years after. The track is another fascinating breakbeat that has strangely never been sampled. Hip Ensemble has been remastered for vinyl by Colorsound Studio in Paris and is a timely reminder that Haynes is one of the greatest jazz drummers of all times.
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LP
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GB 167LP
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LP version. This album title translates as "One more chance to succeed in life." Not that they need it. The trio of guitarist Eblis Alvarez, bassist Mario Galeano, and drummer Pedro Ojeda has been successfully carving out a wildly idiosyncratic musical world since the release of their debut album in 2010, pushing the boundaries of instrumental Latin tropical music with bold infusions of psychedelia, dub, minimalism and more. But their journey started a long time before that. All three attended the same high school and have been playing together for three decades, since they were around 15 years old. "We started with punk and heavy metal," Ojeda recalls. "Then we were very interested in Colombian tropical music and traditional music from Colombia and Latin America, and that led us to focus on African music. It's been a long road." Along the way, the unfettered, spontaneous improvisation of jazz has been a crucial touchstone. "When we started playing in an improvised setting, we were very influenced by free jazz from the '60s," says Ojeda. "But now we are more into making music for the dance floor and music that has a beat and a strong feeling to dance to -- especially in this latest album." The music on Una Oportunidad stems from the venerable tradition of the groove-based jam session. "All of the tunes 100% come from improvisation sessions," says Galeano. "With this album," Ojeda elaborates, "we went to the studio in the morning every day for a week. Each of us would bring one or two ideas and we would start jamming, experimenting with those ideas. By lunchtime, we had one or two pieces based on those ideas and then, after lunch, we would record them. By the end of the week, we had the eight tracks that are on the record." Recording for the first time in the relaxed surroundings of Galeano's studio, with Alvarez once again mixing and producing, Una Oportunidad luxuriates in a relaxed intimacy. And, more than any other album they've released so far, it captures the immediacy of a live performance, with no overdubs or studio magic, just raw, in-the-moment invention.
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2CD
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AU 1029CD
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"Open Vocal Phrases, Where Songs Come in And Out and Sketches For World of Echo (AU 1029CD) offer two intimate unedited Arthur Russell solo live performances recorded at Phill Niblock's Experimental Intermedia Foundation in Downtown NYC on 12/20/85 and 06/25/84. Phill curated and produced with Arthur both concerts at EI that would become part of the foundation for the World of Echo album. These extraordinary performances were recorded 18 months apart between 1984/85 by Steve Cellum and overseen by Phill and Arthur. Arthur would later edit sections from both concerts merging it with studio material recorded at Battery Sound to finalize the World of Echo album released in 1986. Double CD digipack with full color insert and liner notes. 2CD contains the complete Sketches performance."
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CD
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ESPDISK 5089CD
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Formed 29 years ago (1996) by Nate Young, Wolf Eyes is currently a duo generally characterized as "noise," though they have called themselves "psycho jazz" (among other things). Extremely prolific, they have literally hundreds of releases and are a towering presence in underground music. Saxophonist Anthony Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians) and has won a MacArthur and been named an NEA Jazz Master, though his work is hardly confined to jazz. He's also an extremely prolific recording artist, debuting on record in 1968. Braxton famously first heard Wolf Eyes at the Festival International de Musique Actuelle de Victoriaville and immediately bought all the band's CDs that they were selling that night; a year later, they made their first album together, Black Vomit (also a concert recording). Their new untitled album (calling it Live At Pioneer Works, 26 October 2023 is merely a way of helping people distinguish it from their other collaborations and to give it a vintage) is the third Wolf Eyes/Braxton release. The LP has no track titles or even side designations. ESP has tried to keep that same spirit in the other formats.
"Both parties clearly understand what the other stands for and adapt their approaches accordingly. Braxton purists are in for a solid headache, of course, but something really clicked between these artists, and it was all in good fun. As far as Wolf Eyes' discography goes, this is also one of their best-recorded albums." --François Couture, All Music Guide, regarding Black Vomit
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2CD
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ROKU 033CD
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One of Peter Brotzmann's final concerts, presented on Otoroku. When the label invited Peter to do a residency at Cafe OTO back in February 2023, it had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again. Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass, and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, so it feels fitting that the last shows he ever played here should also have that trio at its core. There are moments of tenderness to Brotzmann's playing that feels specific to this small group -- one that cuts across three generations -- and in a space that's come to feel like home. Of course, there is dizzying, forceful, single-minded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savored and held onto. As he remarked after at the end of the group's first visit to OTO, "the Quartet is, for us, a great adventure." Peter clearly wanted to play to the end. It was Peter's wish that these recordings should be made public and he was due to finalize the cover design on the week he passed away. Otoroku would like to thank Peter's family for working to fulfil Peter's wishes to release this material. Recorded live at Cafe OTO by Billy Steiger on 10th and 11th February 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Photos by Dawid Laskowski. Pressed in the UK by Vinyl Press. Artwork by Peter Brötzmann. Design by Untiet. The 2CD version contains both sets from both nights. The discs are housed in a digipak on reverse board and will include photographs from the residency by Dawid Laskowski. The 2LP version (ROKU 033LP) is an edit of the music played on both nights. It comes as a gatefold 12" printed in reverse board outersleeves and includes a pull out with photographs from the residency by Dawid Laskowski.
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2LP
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OP 078LP
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Repressed. The initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song "Piedras" for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023, it took on a new form as a radio play entitled Archivos de Radio Piedras, which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24-channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for five months. Piedras 1 & 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún). The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they resort to DIY radio methods because the anonymous group "Las 0cho" has launched a worldwide attack on undersea internet cables, causing a global internet blackout. The play's central theme revolves around the idea that truths, memories and identities speak from the cracks, or the "in-between" spaces. This concept is supported by the way much of the narration unfolds -- in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It's in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play -- non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of "official" historical accounts. This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. Embodied in the salt lakes of northern Chile, home to the world's oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.
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LP
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WWSLP 095LP
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Wewantsounds presents the reissue of Ammar El Sherei's sought-after instrumental album Music From The East from 1976. Here, the iconic Egyptian musician and composer revisits seven classic compositions by another Egyptian legend, Mohamed Abdel Wahab, in his own hypnotic way. Mixing Arabic music with funky arrangements and electric keyboard experimentations, the album is a perfect showcase for El Sherei's artistry. Curated and annotated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris, this reissue has been newly remastered and comes with original Soutelphan artwork. Musician and composer Ammar El Sherei (1948-2012) is a giant of Egyptian music. Born in Upper Egypt in 1948 into an upper middle-class family (his grandfather was MP during King Fouad's reign and his eldest brother became the Egyptian ambassador to Australia), El Sherei attended a special school for the blind in Cairo (he lost his eyesight in his early childhood). He got noticed by his teachers there who recommended him to the Hadley School for the Blind in America so he could perfect his studies through a correspondence course. Thanks to this, he quickly learnt piano, oud and composition. Once his studies completed, El Sherei began playing in various Cairo bars and clubs and quickly made a name for himself on the Cairo music scene. He also started writing songs for many established Egyptian artists and quickly rose to fame, becoming one of the most sought-after composers for films and TV series. In 1976, El Sherei signed to leading Egyptian label Soutelphan and recorded Music from the East, an homage to the leading Egyptian composer Mohamed Abdel Wahab. On the album, El Sherei masterfully interprets classics from Abdel Wahab including "Enta Enta," "El Kamh El Leila," and "Balad El Mahob." With the help of innovative keyboards of the time, such as the Steelphon S900 or the Farfisa (as seen on the album cover), El Sherei creates hypnotic instrumentals that blend traditional Arabic melodies with jazz, funk and groove. Popular with vinyl collectors and diggers alike, Music from the East is a sought-after gem on the international Arabic Funk scene.
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LP
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JACK 069LP
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Bauhaus delivered a dark and electrifying performance at the Old Waldorf, San Francisco, on December 15, 1982, blending gothic intensity with avant-garde flair. The intimate venue amplified their haunting sound, leaving the audience spellbound.
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LP
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BALMAT 015LP
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It took a village to create Le Motel's Odd Numbers/Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life -- purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy. Le Motel -- who runs the Brussels-based record label Maloca -- gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers/Số Lẻ -- which takes its title from traditional Vietnamese numerological beliefs and customs -- is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album's final shape was deeply dependent upon the participation of the people the artist met in Vietnam. Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album's 15 tracks feature multiple composer credits. Among the album's diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel's own music (and, in one case, psychedelics). The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening -- about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It's an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel's Odd Numbers/Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.
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2LP
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TMR 546LP
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2025 repress! "Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, 'If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.' In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest -- its resolution from the original release in 1969. If you've only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90's, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling. 180g vinyl, gatefold Stoughton tip-on jacket, booklet insert."
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CD
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BB 478CD
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Agree to disagree: A selected Krautrock discography. Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope's "Krautrocksampler" to encyclopedic approaches like Alan and Stephen Freeman's "Crack in the Cosmic Egg", there are plenty of books to read and lists to discuss: Who's in, who isn't? The quarrels and disputes surrounding the terms "Krautrock" and "Kosmische Musik" are a testament to their enduring relevance and fascination. The book Krautrock Eruption by Wolfgang Seidel addresses some of those questions. In this book, you will find an annotated discography of fifty albums. Out of these fifty, Bureau B are presenting an even narrower selection of tracks from twelve albums on this compilation. Lists and compilation track listings inevitably see tracks missing and being left out. The list is meant to inspire repeated or further listening, to spark discussions and -- potentially -- to provoke new lists, perhaps your own! It's all part of the fun. Music is made for enjoyment in the first and for friendly debate in the second place, after all. Featuring Conrad Schnitzler, Eno Moebius Roedelius, Harald Grosskopf, Cluster, Moebius & Plank, Roedelius, Pyrolator, Riechmann, Kluster, Günter Schickert, and Asmus Tietchens.
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LP
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BE 1007LP
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Passivité is the entrancingly beautiful debut solo album from You Ishihara, the founder of Japan's legendary White Heaven. Originally released on CD in 1997, it received scant attention. Since then, it has steadily gathered adherents, who, like P.S.F. Records founder Hideo Ikeezumi, have praised its tremendous depth and discovered that they experience something new each time they listen. The album draws from rock and psychedelic music, the sounds of '60s America as well as elements of jazz, bossa nova, soul, and even electronic music. Joined by a choice group players including Michio Kurihara (White Heaven) on guitar, Chiyo Kemekawa (Yura Yura Teikoku) on bass, and Koji Shimura (Acid Mothers Temple), Ishihara creates an enigmatic late-night meditation that unfolds in a cool darkness pierced by scattered flashes of light and heat. Listening back today, Passivité sounds timeless and encapsulates the concepts and brilliance that have marked Ishihara's near 50-year career and standing as a key figure in the history of Japanese underground music. Black Editions presents Passivité for the first time on vinyl in a meticulously remastered deluxe edition with notes by Masato Matsumura (Studio Voice, Tokion) and by Shinji Shibayama (Nagisa Ni Te, Org Records). Pressed to high quality vinyl at Record Technology Inc. Housed in a metallic silver tip-on jacket with gloss film laminate finish, matte pigment stamping, two inserts with liner notes in Japanese and English.
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LP
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EPR 079LP
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LP version. Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960s and 1970s legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colorful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix -- seemingly without much effort. The second and final volume of the Fortezza Di Vetro series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy -- channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production.
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2LP
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WWSLP 055LP
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Repressed; double LP version. Following the recent success of the Tokyo Dreaming (WWSCD 040CD/WWSLP 040LP), Wewantsounds comes with another compelling set, this time compiled by city pop expert DJ Notoya who has dug the rich Nippon Columbia catalog to bring a breezy selection of funky gems. Nippon has amassed an incredible back catalog over the decades. Particularly strong in the '70s and '80s, the label was one of the main purveyors of great music at a time when Japan was entering its greatest economic boom and labels had budgets at hand to create the highest quality music. As Notoya explains in the liner notes "Back in the day, the record companies had big budgets and could afford to have many great musicians playing on one record, plus strings and horn sections, top drummers and keyboardists. It all made for a very rich sound, which is generally very different to today's music." Keen to emulate the music created in the US by their American counterparts, Japanese musicians came with their own blend of funk, boogie and soul that has come to be known as city pop. The selection on Tokyo Glow is full of such gems and starts with "Kimugare" a relaxed, mid-tempo track by Kumi Nakamura, famous actress who only recorded one album in 1980 for Columbia. The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi -- with his superb boogie, "Juggler" -- and one of the queens of the genre, Hitomi "Penny" Tohyama with "Tuxedo Connection". Tokyo-based DJ Notoya is from a new breed of Japanese DJs there focusing on nippon music and is an expert on funk, modern soul, and boogie from the Island. With Tokyo Glow, Notoya says he "focused more on the slightly more underground tracks from the era, rather than the bigger, well-known releases. For me that was a more fun and satisfying approach." Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba, Kazuo Shiina, and Yutaka Uehara. Tokyo Glow showcases the diversity and specificity of Japanese city pop during the late '70s and '80s. Also features Haruyoshi Yamashina, Sumiko Yamagata, Makoto Iwabuchi, Arakawa Band, Kiyohiko Ozaki, Ken Nishizaki, Jadoes, Midori Hara, Mizuki Koyama, Haruo Chikada & Vibra-Tones, and Mitsuko Horie.
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LP
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ACOLOUR 050LP
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Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue, and The Epic of Everest -- via a stint with The The and collaborations with Derek Jarman, David Lynch, and Tilda Swinton -- Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity. In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma is reworked and appears on vinyl only. Jarman is privately recorded reading "White Lies," Bertrand Russell is sampled, and Turner records his brother practicing the Great Rissington organ for their father's funeral.
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CD
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ESPDISK 5095CD
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When Michael Bisio heard Korean pianist Eunhye Jeong's ESP-Disk 2021 album NOLDA, he expressed interest in working with her. After a successful and riveting duo concert in Kingston, NY showed what a good match they were, ESP was eager to document their musical affinity. One of the concert attendees was avant-jazz sax icon Joe McPhee, who guested with the duo at their subsequent studio session along with one of ESP's favorite drummers, Jay Rosen. Magical moments abounded, as you can hear on this album. Recorded March 8, 2023 at Park West Studios by Jim Clouse, who also mixed and mastered. Produced by Steve Holtje for ESP-Disk. Liner notes by Paul R. Harding. Cover art from "Shanghai Sunrise" by Dawn Bisio.
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LP
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MGART 904LP
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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
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LP
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VL 900082LP
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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.
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LP
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RRS 149CV-LP
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Color vinyl. Originally released in 1982 on New Underground Records. Featuring Descendents, Minutemen, Anti, Saccharine Trust, Redd Cross, Civil Dismay, Ill Will, or Zurich 1916, China White, Mood Of Defiance, 100 Flowers, Urinals, and Plebs.
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LP
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RRS 216B-LP
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2025 repress. During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch's shouted lyrics matched by her non-conventional use of electric guitar. The group's self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it's an awesome disc that rebuffs punk's easy cliches and refuses to be categorized. This black vinyl reissue also includes the Pre EP and the tracks from the legendary No New York compilation. Essential!
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LP
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TR 582LP
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LP version. The Loft notched up an impressive list of firsts for Creation Records' artists back in the mid-'80s. First Creation band on TV, first to hit the top of the indie singles chart, first to be invited on to a major UK tour and first Creation band to record a coveted BBC radio session -- for Janice Long's Radio One show in 1984. Then they split up. Since that infamous onstage tragedy; splitting up mid-song, at the Hammersmith Palais in front of 3,000 people when on the verge of Big Time indie greatness, the band has reunited. Just as their status as one of the UK's most influential guitar bands of the '80s continues to grow and to influence a host of younger artists, and thirty-nine years after that acrimonious split, it seemed the time was right to record their debut album. After a sell-out show at London's MOTH club and their heralded appearance at the Glas-Goes Pop festival, the group was invited by BBC 6 Music's Riley & Coe to record its fourth BBC session, at Maida Vale's famous Studio 4. Within six months the session was rush released by Precious Recordings of London on glorious ten inch vinyl. Enter Hamburg based, Tapete Records, who, hearing rumors about new Loft material, snapped up the album and signed the band without hearing a single note. The ten song collection, Everything Changes, Everything Stays The Same was recorded in Hackney in August and produced by Dexys' Sean Read with the original Loft line up of Pete Astor (guitar /vocals) Andy Strickland (guitar), Bill Prince (bass) and Dave Morgan (drums).
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LP
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BEWITH 158LP
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2024 repress. Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted. Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his eponymous album will be available on vinyl across the globe, ensuring that fans -- and soul music enthusiasts worldwide -- can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest quality at Record Industry in Holland.
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LP
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LPCT 125LP
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2022 repress. Some of Barrington Levy's most significant (and enduring) recordings from Channel One Studio, mixed by Scientist. Originally released in 1982. "It's difficult to overstate the transformative effect that Barrington Levy's earliest recordings had on the sound of Jamaican music. In late 1979, Levy's spare, hauntingly arranged early singles such as 'Shine Eye Gal,' 'Collie Weed,' and 'Shaolin Temple' completely overtook Jamaican dancehalls and streetside sound clashes. . . . By the time Levy released Poorman Style in 1982, he was arguably Jamaica's preeminent vocalist. Poorman Style features a set of punishing rhythms from the crack studio outfit The Roots Radics, with production work from singer-turned-label owner Linval Thompson and former King Tubby protégé Scientist. The title track -- a crisply observed sufferers' tale full of tragic notes and indelible details from everyday life -- hits particularly hard." --iTunes
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LP+CD
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LR 336LP
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2024 repress. Lilith present a reissue of Os Mutantes' self-titled debut, originally released in 1968. With the release of their debut LP in 1968, Os Mutantes cracked the already red hot Tropicalia scene wide open. Fusing traditional Brazilian music, psychedelia, rock, and a good dose of pure experimentation, they quickly became giants both in Brazil and in the outer fringes of pop music, where they have managed to reign supreme for the past four decades. Not an easy task in such a crowded arena. Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Tom Zé, and Os Mutantes? What do these people put in their drinking water? The band went on to release several more albums, but this one was their magnum opus. Obi "bookmark" Japanese style; 180 gram vinyl; Includes CD.
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LP
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RRS 265O-LP
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Green color vinyl. The Chameleons Live at The Hacienda, January 28th, 1983 captures the band at a crucial stage in their career, delivering a raw and electrifying performance. Recorded at Manchester's iconic venue, the set features early classics like "Paper Tigers" and "Don't Fall," showcasing their signature blend of atmospheric guitars and powerful rhythms. The energy of the band is undeniable, with Mark Burgess' commanding vocals adding an extra layer of intensity. For fans of post-punk and the vibrant Manchester music scene of the '80s, this live recording is an essential listen.
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LP
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RRS 166CV-LP
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Originally released in 1983 on new underground records. Cover art by Raymond Pettibon. Featuring Shattered Faith, Anti, Germs, Minute Men, Bags, China White, M.I.A., Ill Will, Bpeople, Mood Of Defiance, Invisible Chains, Marshall Mellow, Zurich 1916, Vox Pop, and Powertrip.
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