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forthcoming releases available for pre-order
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How preorders work: FAQ
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CD
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AHA 004CD
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$24.00
PREORDER
RELEASE DATE: 4/3/2026
Zos Kia's music is an essential insight and archival piece into the early work of the industrial scene and particularly of Coil in their formative stages. Their recordings are even darker and more industrial-rooted than much of the Coil material that followed. The music is primal, brutal and reveals the interests that surrounded Coil/Zos Kia. John Gosling was an original member of Zos Kia (as Joan D'Arc), alongside John Balance (Coil) and Min. This trio, together with Peter Christopherson (TG, Coil) and other guests, recorded and performed in the early 1980s under the names Zos Kia/Coil, including the "Performance Action" (involving blood and flesh cutting) at the Air Gallery in London in August 1983 and a performance at the Berlin Atonal festival in December 1983. The latter comprised one side of the transparent cassette issued by the now defunct Austrian label Nekrophile in 1984, which became the first released recordings of both Coil and Zos Kia. It was reissued years later by Coil (Threshold House/Eskaton) and included the Coil manifesto The Price of Existence Is Eternal Warfare, originally written by John Balance in 1983, in which numerous references that inspired their future work can already be found. The name "Zos Kia" had been taken from the magickal system of occult artist Austin Osman Spare although John Gosling never really seemed too occult-fixated, AOS was a great source of inspiration for Coil's members. In 1984, Balance and Christopherson left to concentrate on Coil full-time. All material released under the Zos Kia name alone was primarily the work of John Gosling. After retiring the Zos Kia name, Gosling went on to record with Sugardog, Psychic TV and work solo as Sugar J and Mekon. Debuting in 1994 with Phatty's Lunchbox, Gosling pioneered the blueprint for the dance music popularized years later by the Prodigy and Chemical Brothers: breakbeat trip-hop invested with a lot of energy and old-school attitude.
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LP
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ASH 105LP
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$22.00
PREORDER
RELEASE DATE: 4/3/2026
"For years, Jackson C. Frank was as ghostly a legend as they come. Even the relatively few record collectors who revered his work were only aware of the lone LP released during his lifetime. For all most listeners knew, Frank made an incredible album in 1965 and then vanished, despite that record having been produced by Paul Simon. 1975 Mekeel Sessions features six tracks recorded in the mid-'70s at a studio in Lake Hill, New York about five miles from Woodstock where Frank was living at the time. Only uncovered decades later, these recordings hum with the same mysterious warmth that defined Jackson at his peak. His guitar work, alternating between strummed and fingerpicking, is perfectly understated. His stark and somber voice, more weathered than the lighter tone on his debut. While the Mekeel tapes were intended for Frank's sophomore album, it never came to be. What one hears is not a singer-songwriter fading out of view, but rather a singular artist who never stopped trying to build his own world -- even when no one was watching. For fans of everyone influenced by Jackson: from Nick Drake, Sandy Denny and Bert Jansch to more contemporary acts like Elliott Smith, Vincent Gallo and Iron And Wine who surely used Frank's sparse approach as a template."
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CC 012LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"Malmo, Sweden's Sternpost returns to Concentric Circles with unworld.afterpop. Following on the heels of the much-loved Ulrika, the new album from Sternpost, AKA multi-instrumentalist Petter Herbertsson, shimmers with immersive, cinematic arrangements that sound like they could have only come from a dream. Taking inspiration from Paddy McAloon of Prefab Sprout's I Trawl the Megahertz and A Breath of Life by Brazilian author Clarice Lispector, with some bits of Van Dyke Parks and Art Bears thrown in for good measure, it is apparent from the start that unworld.afterpop is no scrappy DIY affair. The songs are alive with an unbelievably lush and warm production quality, belying their homerecorded origins. Not content to simply rest on his laurels and repeat himself from release to release, unworld.afterpop sits at the meeting point between Herbertsson's more overtly pop structured group Testbild! (four of whose members appear here), and Sternpost's explorations into harmonic texture and countermelody. Albums this richly ambitious, detailed and mature feel almost out of step with modern music, having more in common with grand late '60s or early '70s productions, when producers working in a 'pop' context were more likely to stack layers in the studio, creating mini orchestras of sound. Most importantly, nothing here feels superfluous or unnecessary, with every detail and instrument simply being exactly where it should be. Concentric Circles is incredibly honored to present new recordings from Sternpost, with a release that reminds you that sometimes a really good, fully formed album is the best way to experience music."
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LP
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CHKLP 045LP
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$39.00
PREORDER
RELEASE DATE: 4/3/2026
"'One of the countless Harvey Milk recordings I've accumulated over the years is a spotless recording of the band performing on Atlanta radio stalwart WREK 91.1 over at Georgia Tech. The year is 1994 and the band has barely been a band for less than two years. Two freakin' years. Harvey Milk drove into Atlanta on a weeknight to perform their puzzling Southern Gothic dirge for the weirdos that religiously tune in to hear the vanguard of Georgia music on the Tech station. All these years later, I listen back to this recording and sit in sheer awe of what a fully formed, self-actualized and succinct powerhouse Harvey Milk had become so quickly after their beginning not two years prior. While the band's full lengths are unassailably well conceived and air tight, their live performances of the era leaned more on the material that lurked on their many seven inch releases that sat dormant on local record shelves until the world outside of Georgia caught on, leading the locals to take stock in this puzzling and extremely righteous band. Taut megajams like 'Probolcoc/Jim's Polish,' 'Yer Mouse Gets My Dander Up' and 'Women Dig It' were merely tucked away in singles bins while their full length masterpieces had yet to find their fans across the globe. Nary a hair out of place. Sitting on my patio during an extended layover a couple years back, Tanner said 'anything you ever want to put out by me, Creston and Paulie is fair game.' Enter WhaRvEy milK. Perfectly sweetened by Jason NeSmith, this release shows a band not just at the height of their powers, but also a band on the balls of their ass. No recognition. No cult of devoted superfans. Yet. Just three dweebs becoming the astonishment we now know them to be. Sleeve photography by the always amazing Hillery Terenzi. Set list drawn by Tanner. Each copy comes with one of four repro flyers of the band playing around Athens and Atlanta during this time. All the other thankless slop done by yours truly because why the heck not. Dedicated with love to Doug Ahern.'"
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CSR 358LP
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$31.50
PREORDER
RELEASE DATE: 4/3/2026
Written in 1971 and read here by the author himself, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film Blue, it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalizing autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press/Prototype Publishing, and The Estate of Derek Jarman. Limited 500 copies on heavyweight 180gm black vinyl in gloss sleeve.
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12"
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DE 331EP
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$18.00
PREORDER
RELEASE DATE: 4/3/2026
"Chicago legend K. Alexi returns to Dark Entries with Warehouse Trax, an EP of previously unreleased acid and house mayhem. K'Alexi Shelby's illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began writing songs and honing his poetic craft. 'I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.' Dark Entries previously reissued Shelby's debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Warehouse Trax follows with six tracks recorded in Chicago between 1991 and 1994. The material here has all the hallmarks of classic K'Alexi. Salsa-inflected rhythms, emotive basslines, and hip-house vibes are displayed on tracks like the high-octane 'Jungle Line' or the low-key tearjerker 'Protect and Survive.' There are also some unexpected surprises in store. 'Aaaah' comes out of the gate swinging with hard-hitting beats and apocalyptic ravey vocal pads evocative of the edgier material on Saber Records or Djax Up Beats, and the surprisingly contemporary-sounding 'Klub Dred' delivers half-time dub with stuttering vocal samples. Warehouse Trax comes in a retro-styled sleeve designed by Eloise Shir-Juen Leigh. This is essential material for devotees of classic house sounds."
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12"
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DE 336EP
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$18.00
PREORDER
RELEASE DATE: 4/3/2026
"Chicago legend K. Alexi returns to Dark Entries with K.A. Posse's Strkes Again, an EP of preleased unreleased acid and house mayhem. K'Alexi Shelby's illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. 'I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.' Dark Entries previously reissued Shelby's debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn's personal archive. This record showcases the rawer, more immediate side of Shelby's sound, with tracks full of overdriven 808's, careening sirens, and dangerously funky breakbeats. 'Imported Taste' brings Shelby's signature deep pads to the front of wild Congo-laced percussion. 'Suckas Be Ready' is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking 'Muzic Box.' Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh."
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DM 004LP
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$33.00
PREORDER
RELEASE DATE: 4/3/2026
"Originally released in 2001, Up The Country is the debut album by The Sixth Great Lake and a quietly revered title within the late-'90s/early-2000s indie scene. Rooted in jangly guitars, melodic songwriting, and a distinctly pastoral sensibility, the album sits at the intersection of indie pop, folk-rock, and classic guitar-driven pop. Although initially released with modest exposure, Up The Country steadily developed a loyal following, earning cult status among fans of understated, melody-focused indie. Its charm lies in its simplicity: clean arrangements, memorable hooks, and an unforced warmth that has allowed the record to age exceptionally well over the past 25 years. This 25th anniversary reissue presents an opportunity to reintroduce an overlooked catalogue gem to today's market, appealing both to original fans and to a new audience drawn to timeless, guitar-led indie records. With renewed interest in archival and heritage releases, Up The Country offers strong long-term catalogue potential beyond initial anniversary demand."
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2LP
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DOS 001LP
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$40.00
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RELEASE DATE: 4/3/2026
SODS were formed in Copenhagen in 1977 and are considered the first Danish punk band. In autumn 1978 they recorded their first album, Minutes to Go, which became an important part of punk's primal and foundational wave. With the release of their second album, Under en Sort Sol, in 1980, their music became a bit more somber and avantgarde. This release documents the progression of SODS from their initial raw punk era of 1977-1979 to the first signs of their eventual transformation into Sort Sol, one of Denmark's best-known bands. It features rough and spirited live performances of tracks mostly released on their two albums Minutes to Go and Under en Sort Sol, plus one piece from Daggers and Guitars (which was only published three years later in 1983 as the first Sort Sol album), as well as the fantastic "Breathtaking Effect" which weirdly never made it onto a release. Sides A, B and C collect tracks from three Danish live shows from 1979 and 1980 in chronological order. Side D then returns to the very beginnings with an ultra-raw recording of a high-energy rehearsal from around the spring of 1978.
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EZRDR 149LP
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$34.00
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RELEASE DATE: 4/3/2026
"It's 1970 and this beast of an LP nails the moment psychedelic '60s haze faded into early bad ass hard rock. Edge take it other places as well, brief progressive flashes, medieval folk pop, even -- ambitious and concise on every track. No excess baggage, killer arrangements shot through with ripping guitar, moody organ and hooks to spare. The Edge LP always pulled premium collector $$ and your ears will tell you why! Edge was formed by members from two L.A. bands that both had psychedelic pop LPs issued on the obscure Flick-Disc label in 1968, a 'hip' subsidiary of MGM. Richard Barcellona and John Keith from the American Revolution and David Novogroski from the Boston Tea Party along with Gallen Murphy make up the guitar/organ/bass/drums quartet lineup. Richard Barcellona is also responsible for the amazing lead guitar on the Seeds 1972 single 'Shuckin'' and Jivin', so this LP is Seeds related, always a notable detail when talking L.A. rock history. Cue it up and hold on to your seat, you're in for quite a ride during the next 28 minutes of your life!"
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LP
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EZRDR 168LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"White Boy and the Average Rat Band was formed in the unlikely small mountain town of Richlands, Virginia in late 1979 by guitarist and songwriter Michael Matney. Fresh out of high school in 1979, Matney would venture over the mountain to neighboring Tennessee to try his luck in the music Mecca of Nashville. There Matney would join Kriss Famous' longtime established local act Tabu, replacing Ron Keel as lead guitarist. It was in this arrangement that Matney would be christened with the name 'White Boy.' His time with Tabu and in Nashville would be brief before returning back to Virginia. Once back home, Matney would take a job with a local record store and recording studio owner who would grant him recording time in exchange for employment. There Matney would helm his own project deemed White Boy and the Average Rat Band; writing, composing and producing the self-titled debut. On the project, Matney played all the instruments, in exception to the two separate drummers used to complete the album. Musicians were then assembled in order to represent a band on the album and in live performances. In 1980 the White Boy and the Average Rat Band self-titled debut album would be released in a limited number of 300 copies, of which 50 would be lost. They would see very limited distribution, which only added to the curiosity the album would become. The band in the early 1980s would have a short life-span that would well be surpassed by their reputation on into the next couple of decades. Matney would then go on to other projects, such as a live guitarist sitting in with Dr. Hook and as a touring guitarist with David Allen Coe. During which time, unannounced to Matney, White Boy and the Average Rat Band's name was gaining somewhat of a cult status amongst record collectors around the globe seeking private press releases and on-the-fringes type rock bands. As the records continued to circulate through the hands of these collectors, the album began to become more and more difficult to find, as well as fetching prices in the high hundreds of dollars. In 2010 a bootleg pressing of the band's album would begin to circulate. This unofficial release would be a response to the high demand of people seeking the record. Although it was unknown to the band at the time and obviously done without permission, the bootleg only helped to grow the band's cult status even greater. Riding Easy offers the first official reissue of this lost 1980 album."
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LP
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FAKE 015LP
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$26.00
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RELEASE DATE: 4/3/2026
2025 repress. "Bill Orcutt is of course famous for his bluesy free improv acoustic guitar playing, which he has been performing since he re-emerged with the 2009 solo album A New Way To Pay Old Debts, 12 years after the dissolution of his seminal noise rock band Harry Pussy. He has also held down day jobs as a software engineer at various Silicon Valley companies for the last two decades. Apart from certain errant excursions such as Harry Pussy's final album Let's Build A Pussy, which consists of Orcutt time-stretching a second of the voice of Harry Pussy drummer Adris Hoyos into an hour, and notwithstanding the fact that since 2011 his albums have been released by electronic music label Editions Mego, there was previously a marked divergence between the computers of Orcutt's career and the eschewal of digital manipulation in the uncompromisingly visceral playing of his vocation, in which the pluck of every string is palpable. This changed in 2016, when he released the avowedly primitive open-source live coding audio program Cracked, which consists only of a window in which commands are typed. Since then, Orcutt has been intermittently releasing music made with the app on his DIY label Fake Estates, A Mechanical Joey being the latest. Its two sides comprise one continuous track, lasting 35 minutes in total, during which Orcutt creates the illusion that a sample of Joey Ramone counting in a song accompanied by drumbeats is moving forwards and backwards in space. It is a sequel of sorts to Pure Genius, another release by Orcutt made on Cracked, which consists of various computer-generated voices counting, accompanied by bleeps ascending the chromatic scale. The blurb for that record claims that it was borne of the fact that 'while stuck out on the left coast surrounded by braying tech bros,' Orcutt 'realized that we, the plebs, will eventually be here only to serve the machines'. But perhaps the return of the human voice on A Mechanical Joey is his indication that we might be able to resist after all." --Daniel Neofetou
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FAKE 017LP
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$26.00
PREORDER
RELEASE DATE: 4/3/2026
2025 repress. "Bill Orcutt's latest 'counting' album, The Anxiety of Symmetry, completes a trilogy on his Fake Estates label that started with Pure Genius (2020) and A Mechanical Joey (2021). Comprising two 15-minute-long improvisations, the album's terrain is limited to six samples of female voices singing the number of the corresponding note value in the first six pitches of a major scale. These are fashioned into compact phrases that are looped and layered. As the loops combine in multiple permutations and cycles, their uneven lengths create polyrhythms and syncopations as well as harmonies. On the surface, Anxiety is unusually placid for Orcutt, reminiscent of minimal classics like the 'Knee Plays' of Phillip Glass' Einstein on the Beach and the breathy soprano voice loops in '2/1' from Brian Eno's Music for Airports. However, the album's title is adapted from Orcutt's essay of the same name in the Spectres III anthology about a compulsive behavioral condition known as 'Just Right' and its parallels and possible applications to music, which suggests that this titular music's inspiration is not trance-inducement, but rather a kind of mental obsession with ordering and re-ordering. In the essay, Orcutt posits that 'for the 'Just Right' subject composing or performing with the computer, the fixation with repetition, symmetry and arrangement in sound can be mediated with software, creating new prospects for both therapeutic engagement with their compulsions and the creation of music with a length, density and scale not possible without machines. The Anxiety of Symmetry might then be comparable to artist Hanne Darboven's quasi-Minimal compositions and their basis in odd mathematical calculations derived from the calendar, in taking its cue from an extra-musical process. The two pieces' polyphony is not far off from Orcutt's recent Music for Four Guitars, but also marks Anxiety as a departure from both Pure Genius and A Mechanical Joey. The latter bypassed melody and harmony altogether; its relentless, phantasmagorical looping and subdivisions of Joey Ramone's trademark onstage count-offs could be seen as a wry comment on the repetitions within repetitions of rock songs and their ongoing performances, or simply the monomania of years of touring for months on end. Anxiety collapses Pure Genius' juxtaposition of pitch and counting by having the numbers sung. Stripped down yet excessive (in the tradition of his other works with Cracked), Anxiety seems less like its predecessors' deconstructions than a new kind of subversive easy listening." --Alan Licht
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LP
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FAKE 018LP
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$26.00
PREORDER
RELEASE DATE: 4/3/2026
2025 repress. "In 1957, R&B singer Richard Berry scrawled a few crude stanzas on a strip of toilet paper, and chant-sung them in fake patois over a shuffling rhythm to capitalize on the Latin craze tearing up the charts. 'Louie Louie' didn't make much of a dent in the national consciousness in its first iteration, but when Berry and the Pharaohs took the song on the road up and down the West Coast, it became something of a regional sensation. In 1962, the Kingsmen carved their mush-mouthed, barely-pubescent first take of the nascent standard into acetate. The resulting 45 was a mega-hit (although Berry remained a pauper until legal wrangling finally made him rich shortly before his death in 1997). No one could quite decipher the words, so grown-ups assumed the worst, and the resulting hysteria culminated in an FBI obscenity investigation and trial. The countless cover versions that followed the original hit mangled the song's blurry text into guesstimated verse with varying shades of angst and filthiness. Less than a decade later, Steve Reich's Four Organs made its concert debut. Its introductory staccato fanfare poleaxed unsuspecting uptown highbrows in an almost rockist fashion, and while the piece was tolerated by the art mob, Reich's work didn't fare so well in uptown concert halls. At a Carnegie Hall performance in 1971, one listener repeatedly slammed her head into the stage, shouting 'Stop, stop, I confess!' Nonetheless, the work's relentless progression, melting into Farfisa dreamscapes, would eventually inspire some of the most palatable manifestations of American minimalism. Bill Orcutt's latest release for Fake Estates, his ongoing opus of obsessive rearrangement, seamlessly melds these audio landmarks. Fittingly, Reich described Four Organs as 'the longest V-I cadence in the history of Western Music,' and as such, it neatly envelops all of Louie Louie within its single chord. Intuiting this, Orcutt deftly overlays the opening salvos of these sonic cognates into a zig-zagging 4/4 cadence, which unfolds over side one with an incongruously conventional rock dynamic structure. The Four Organs' sustained organ threads suggest Louie Louie's vocal line, whether by accident or Orcutt's design. Taken together, Louie Louie and The Four Organs represent key signposts in musical evolution: proto-punk, proto new age; reviled by the squares, yet efficacious in blowing forward-looking minds."
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CD
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GRAM 2601CD
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$15.50
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RELEASE DATE: 4/3/2026
I Made It All Up For You is the new record by Hugo Race Fatalists, their sixth studio album. In his 40-year career, Hugo Race has lived a thousand lives and played the role of songwriter, producer, musician, performer, head of a record label (Helixed). His music went from folk to lounge, from "trance industrial blues" to psychedelia, from world music to electronics. Starting from post-punk Melbourne in the 1980s, he took fascinating paths that led him from Africa to Turkey, from Berlin to Romagna. Hugo Race returns after highly successful collaborative albums with Michelangelo Russo, The Church frontman Steve Kilbey, and Gianni Maraccolo with I Made It All Up For You, an epic album with his Italian band Fatalists -- existential songwriting framed by the band's signature fusion of roots music, electronica, Italian soundtracks and desert rock. CD comes in digipak sleeve and includes 12-page booklet (with lyrics). LP is 180g black in black polylined innersleeve and includes download code stickered on the innersleeve. Comes in matt-laminated 350g cover with insert inside.
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GRAM 2602LP
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$28.50
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RELEASE DATE: 4/3/2026
LP version. I Made It All Up For You is the new record by Hugo Race Fatalists, their sixth studio album. In his 40-year career, Hugo Race has lived a thousand lives and played the role of songwriter, producer, musician, performer, head of a record label (Helixed). His music went from folk to lounge, from "trance industrial blues" to psychedelia, from world music to electronics. Starting from post-punk Melbourne in the 1980s, he took fascinating paths that led him from Africa to Turkey, from Berlin to Romagna. Hugo Race returns after highly successful collaborative albums with Michelangelo Russo, The Church frontman Steve Kilbey, and Gianni Maraccolo with I Made It All Up For You, an epic album with his Italian band Fatalists -- existential songwriting framed by the band's signature fusion of roots music, electronica, Italian soundtracks and desert rock. LP is 180g black in black polylined innersleeve and includes download code stickered on the innersleeve. Comes in matt-laminated 350g cover with insert inside.
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12"
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HEIST 099EP
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$20.00
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RELEASE DATE: 4/3/2026
Rising star Storm Mollison lands her debut on Heist with an EP blending house and RnB. In Storm's own words: "it's the most exciting music I've made so far." Her EP is a perfect blend of her love for house music and soulful RnB with its four tracks smothered in deep chords, smooth vocals and crunchy textures. It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but this will be the record that people come back to after years and say, "remember when she released A.L.T.!?" As always, enjoy the music and play it loud!
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HMRLP 042LP
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$31.50
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RELEASE DATE: 4/3/2026
On Nocturnes, Jesse Hackett steps into the shadows, unveiling a deeply personal album of spectral piano and gothic chamber pieces. The record channels a sense of lingering unease and creeping dread and signals a new direction in Hackett's unpredictable oeuvre. Written and produced during a particularly difficult period, Nocturnes plunges the listener into a beautifully eerie world of rain-soaked twilight jazz and gothic chamber music. Reminiscent of the soundtrack to an imagined Giallo thriller or Hammer Horror film, the album is deeply cinematic and evocative, conjuring unsettling mental images: shapeless presences lingering at the edges of uneasy dreams, candlelight casting wavering shadows, and unspeakable secrets hidden in the run-down bars and lounges of London's bohemian underbelly. For Nocturnes, Jesse returns to the piano as his primary means of expression and collaborates with saxophonist and flautist Finn Peters. Together, they channel spirits summoned during late nights listening to the works of Erik Satie, Maurice Ravel, Olivier Messiaen, and the jazz lineage of Bill Evans and Charles Mingus. The album is released in a limited edition of 250 copies -- black vinyl in a reverse board sleeve. Jesse Hackett is a London-based multi-instrumentalist, producer, and songwriter renowned as a musical chameleon, shifting style and mood while working across genres. He is best known as a longtime live keyboard and synthesizer player for Gorillaz, contributing to their performances and recordings from 2010 to 2022. Alongside this, he has been involved in a wide array of globe-spanning projects, including the Afro-Futurist ensembles Owiny Sigoma Band, Ennanga Vision, and Nyege Nyege Tapes favorites Metal Preyers and Teeth Agency. In parallel, he has released warped synth-funk under the name Elmore Judd and forms one half of the experimental pop production duo Blludd Relations.
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CD
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HPS 382CD
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$17.50
PREORDER
RELEASE DATE: 4/3/2026
Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early '90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old-fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction. Also available on black vinyl (HPS 382LP), transparent yellow vinyl (HPS 382LTD-LP), and white/red/black splatter color vinyl (HPS 382ULTRA-LP).
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Title |
Format |
Label |
Catalog # |
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LP
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HPS 382LP
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$29.50
PREORDER
RELEASE DATE: 4/3/2026
LP version. Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early '90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old-fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction.
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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HPS 382LTD-LP
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$34.00
PREORDER
RELEASE DATE: 4/3/2026
LP version. Transparent yellow color vinyl. Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early '90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old-fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction.
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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HPS 382ULTRA-LP
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$44.50
PREORDER
RELEASE DATE: 4/3/2026
LP version. White/red/black splatter color vinyl. Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early '90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old-fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction.
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Artist |
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Label |
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2LP
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HPS 383LP
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$36.50
PREORDER
RELEASE DATE: 4/3/2026
Repress of Kadavar's Live in Antwerp. Live in Antwerp is a live album by German hard rock band Kadavar, released in 2014 by Nuclear Blast. It was their first live album and fourth album overall. The record featured live versions of 11 tracks that originally appeared on the studio albums Kadavar and Abra Kadavar, performed and recorded in Antwerp, Belgium. Also available on green vinyl (HPS 383LTD-LP) and yellow/red vinyl (HPS 373ULTRA-LP).
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Catalog # |
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2LP
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HPS 383LTD-LP
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$43.50
PREORDER
RELEASE DATE: 4/3/2026
Green color vinyl version. Repress of Kadavar's Live in Antwerp. Live in Antwerp is a live album by German hard rock band Kadavar, released in 2014 by Nuclear Blast. It was their first live album and fourth album overall. The record featured live versions of 11 tracks that originally appeared on the studio albums Kadavar and Abra Kadavar, performed and recorded in Antwerp, Belgium.
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Catalog # |
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2LP
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HPS 383ULTRA-LP
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$51.50
PREORDER
RELEASE DATE: 4/3/2026
Yellow/red color vinyl version. Repress of Kadavar's Live in Antwerp. Live in Antwerp is a live album by German hard rock band Kadavar, released in 2014 by Nuclear Blast. It was their first live album and fourth album overall. The record featured live versions of 11 tracks that originally appeared on the studio albums Kadavar and Abra Kadavar, performed and recorded in Antwerp, Belgium.
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Label |
Catalog # |
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2LP
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HPS 384LP
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$36.50
PREORDER
RELEASE DATE: 4/3/2026
Repress of Kadavar's Live in Copenhagen. The album features Kadavar's infamous show at Pumpehuset in Denmark's capitol in November 2017 during the band's tour in support of the album Rough Times. Also available on red vinyl (HPS 384LTD-LP) and white/orange/black splatter vinyl (HPS 384ULTRA-LP).
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Artist |
Title |
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Label |
Catalog # |
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2LP
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HPS 384LTD-LP
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$43.50
PREORDER
RELEASE DATE: 4/3/2026
Oxblood red color vinyl version. Repress of Kadavar's Live in Copenhagen. The album features Kadavar's infamous show at Pumpehuset in Denmark's capitol in November 2017 during the band's tour in support of the album Rough Times.
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Title |
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Label |
Catalog # |
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2LP
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HPS 384ULTRA-LP
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$51.50
PREORDER
RELEASE DATE: 4/3/2026
White/orange/black splatter vinyl version. Repress of Kadavar's Live in Copenhagen. The album features Kadavar's infamous show at Pumpehuset in Denmark's capitol in November 2017 during the band's tour in support of the album Rough Times.
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7"
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HSRSS 039EP
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$16.00
PREORDER
RELEASE DATE: 4/3/2026
"This is the reissue of the rare 1973 original single with its original tracks as produced by Lee Perry. This original 'Better Days' performed by The Carltons aka Carlton And The Shoes, was released on the Jamaican label Underground in 1973 as a B side to the track 'Station Underground News' by Lee Perry (under the stage name 'King Koba'). It was also released the same year in the U.K. on the Bread label, a Trojan's sublabel. 'Better Days' was the only song ever recorded under the name The Carltons. Regrettably, it was also the only Carlton And The Shoes track ever produced by Lee Perry. This is the fi¬rst reissue of the original single complete with its original tracks."
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7"
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HSRSS 040EP
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$16.00
PREORDER
RELEASE DATE: 4/3/2026
"This is the fi¬rst reissue ever of the ultra-rare and very much in demand single fi¬rst issued in the U.K. on the Doctor Bird label. Although it was released in 1968, the single captures The Ethiopians at their best as a Rocksteady vocal harmony group with two extremely popular and highly collectible Rocksteady tracks on 7" vinyl format, the A side 'Come On Now' and 'Sh'Boom' on the flip."
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CD
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IF 1103CD
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$22.50
PREORDER
RELEASE DATE: 4/3/2026
With Halage, Frànçois & The Atlas Mountains continues his voyage between dream and reality. Following the more contemplative Âge Fleuve (IF 1095CD), this new album is grounded in the present -- carried by an electronic pulse and enriched by multiple collaborations (Clara Luciani, Yasmine Hamdan, David Numwami, Ëda Diaz). Blending indie pop, dream pop, and folktronica, Halage evokes movement, memory, and the flowing currents of life -- a continuous stream where voices, synths, and organic percussion merge. Conceived as a journey along the waterways, the album moves against the tide of cynicism, tracing the thread of human emotion. Recorded between Le Château Vert and the Péniche Adélaïde, it balances fragility, warmth, and luminous resilience.
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CD
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ITR 414CD
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$15.00
PREORDER
RELEASE DATE: 4/3/2026
"Courtroom Wedding, the feral new album by singer-songwriter-punk rock legend Chris D.'s new unit Poison Fang Society, succeeds In the Red Records' release of two expansive albums by the bandleader's Divine Horsemen, Hot Rise of an Ice Cream Phoenix (2021) and Bitter End to a Sweet Night (2022). The taut, economical eight-song set grew out of several songs penned in the immediate wake of the COVID pandemic lockdown and originally envisioned as material for a third Divine Horsemen record. But logistical problems involving the band's co-lead singer Julie Christensen's ability to record in Los Angeles led to the formulation of a new solo configuration rooted in the past. Poison Fang Society guitarist Larry Schemel, most recently of Death Valley Girls, and Tucson-bred drummer Johnny Ray are both veterans of the eight-piece lineup heard on the Flesh Eaters' 1999 album Ashes of Time. They are joined by bassist-keyboardist-guitarist Sharif Dumani, who also engineered the collection and co-produced with Chris D. The songs Chris brought to the studio reflect a shift in style: 'I was really trying to write some more traditional kinds of songs, but not make them sound really anonymous. On the last couple of albums, the Divine Horsemen albums, there was a lot more cut-up stuff. I still did some cut-up in the lyrics with this record, but not as much. The lyrics to 'Cellars to Weep' were very influenced by songs like Bob Dylan's 'Subterranean Homesick Blues' or 'Highway 61 Revisited,' even though song doesn't sound like that. I wanted to keep that kind of surrealist humor that Bob Dylan has -- those nonsense phrases that add meaning when they're all put together.' With tracks inspired by subjects as diverse at the gun-toting MAGA couple who pointed their weapons at Black Lives Matter protesters ('Goddamn Thieving Shame') to the sleazy come-on cover lines of '50s pulp paperbacks ('Sex Kitten'), Courtroom Wedding flexes a lean, potent sound that recalls the knife-edge attack of the Don Kirk-era Flesh Eaters and the heavyweight vibe of Chris' second solo album (as Stone by Stone), 1989's I Pass for Human. Like this punk grand master's finest work, it displays an electric, tormented immediacy."
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Artist |
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Catalog # |
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LP
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ITR 414LP
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$24.00
PREORDER
RELEASE DATE: 4/3/2026
LP version. "Courtroom Wedding, the feral new album by singer-songwriter-punk rock legend Chris D.'s new unit Poison Fang Society, succeeds In the Red Records' release of two expansive albums by the bandleader's Divine Horsemen, Hot Rise of an Ice Cream Phoenix (2021) and Bitter End to a Sweet Night (2022). The taut, economical eight-song set grew out of several songs penned in the immediate wake of the COVID pandemic lockdown and originally envisioned as material for a third Divine Horsemen record. But logistical problems involving the band's co-lead singer Julie Christensen's ability to record in Los Angeles led to the formulation of a new solo configuration rooted in the past. Poison Fang Society guitarist Larry Schemel, most recently of Death Valley Girls, and Tucson-bred drummer Johnny Ray are both veterans of the eight-piece lineup heard on the Flesh Eaters' 1999 album Ashes of Time. They are joined by bassist-keyboardist-guitarist Sharif Dumani, who also engineered the collection and co-produced with Chris D. The songs Chris brought to the studio reflect a shift in style: 'I was really trying to write some more traditional kinds of songs, but not make them sound really anonymous. On the last couple of albums, the Divine Horsemen albums, there was a lot more cut-up stuff. I still did some cut-up in the lyrics with this record, but not as much. The lyrics to 'Cellars to Weep' were very influenced by songs like Bob Dylan's 'Subterranean Homesick Blues' or 'Highway 61 Revisited,' even though song doesn't sound like that. I wanted to keep that kind of surrealist humor that Bob Dylan has -- those nonsense phrases that add meaning when they're all put together.' With tracks inspired by subjects as diverse at the gun-toting MAGA couple who pointed their weapons at Black Lives Matter protesters ('Goddamn Thieving Shame') to the sleazy come-on cover lines of '50s pulp paperbacks ('Sex Kitten'), Courtroom Wedding flexes a lean, potent sound that recalls the knife-edge attack of the Don Kirk-era Flesh Eaters and the heavyweight vibe of Chris' second solo album (as Stone by Stone), 1989's I Pass for Human. Like this punk grand master's finest work, it displays an electric, tormented immediacy."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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ITR 417CD
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$16.00
PREORDER
RELEASE DATE: 4/3/2026
"The unholy triumvirate of Big Sexy Noise featuring Lydia Lunch, James Johnston (Nick Cave, PJ Harvey, Faust), and Ian White (Barry Adamson) of the notorious Gallon Drunk are dead set on proving once more that rock is alive and kicking, down and dirty and raunchier than ever! Lunch helped pioneer no wave in 1977 with the slashing din of Teenage Jesus and the Jerks and has remained a caustic presence in the alt-rock firmament ever since. Big Sexy Noise unites her with guitarist James Johnston and drummer Ian White of guttural London greasers Gallon Drunk for the most joyfully bawdy music of her career, stripping bare the bluesy brawn of '70s heavy-rock and inverting its every cock-rock cliche to Lunch's delight. White's limber shuffle injects sinful grace into what could have been Neanderthal sludge, while Johnston stirs up the din of an entire band with his single guitar, hurtling between bone-simple, steamy riffs and blasts of near psychedelic noise. Big Sexy Noise Live in Italy, a fierce, fearless, tub thumbing, balls to the wall rock monsterpiece."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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ITR 417LP
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$24.00
PREORDER
RELEASE DATE: 4/3/2026
LP version. "The unholy triumvirate of Big Sexy Noise featuring Lydia Lunch, James Johnston (Nick Cave, PJ Harvey, Faust), and Ian White (Barry Adamson) of the notorious Gallon Drunk are dead set on proving once more that rock is alive and kicking, down and dirty and raunchier than ever! Lunch helped pioneer no wave in 1977 with the slashing din of Teenage Jesus and the Jerks and has remained a caustic presence in the alt-rock firmament ever since. Big Sexy Noise unites her with guitarist James Johnston and drummer Ian White of guttural London greasers Gallon Drunk for the most joyfully bawdy music of her career, stripping bare the bluesy brawn of '70s heavy-rock and inverting its every cock-rock cliche to Lunch's delight. White's limber shuffle injects sinful grace into what could have been Neanderthal sludge, while Johnston stirs up the din of an entire band with his single guitar, hurtling between bone-simple, steamy riffs and blasts of near psychedelic noise. Big Sexy Noise Live in Italy, a fierce, fearless, tub thumbing, balls to the wall rock monsterpiece."
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Title |
Format |
Label |
Catalog # |
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CD
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KRANK 251CD
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$18.00
PREORDER
RELEASE DATE: 4/3/2026
"'The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions -- the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder. Two songs established the spine of this music. Songs I've always loved, it seems even before I'd heard them. The first one, and the source of the title is 'You Belong to Me' by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it's also a beautiful mid-century romance -- and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth. The second song is 'Promised Land' by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he's safely arrived in the new one. The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open." --Mark N/Pan?American
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Artist |
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Format |
Label |
Catalog # |
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LP
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KRANK 251LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
LP version. "'The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions -- the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder. Two songs established the spine of this music. Songs I've always loved, it seems even before I'd heard them. The first one, and the source of the title is 'You Belong to Me' by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it's also a beautiful mid-century romance -- and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth. The second song is 'Promised Land' by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he's safely arrived in the new one. The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open." --Mark N/Pan?American
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Artist |
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Format |
Label |
Catalog # |
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CD
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KSCD 032CD
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$13.50
PREORDER
RELEASE DATE: 4/3/2026
Welcome to the Ska Beat!, the sound that came from Jamaica between 1961-1967. Based on the American R&B and doo-wop records that the sound systems in Kingston Town used to play. The American records style started to mellow out while the Jamaicans preferred a more upbeat sound. So, to meet this demand the sound system bosses became record producers to cater for this demand. Sir Coxsone, Duke Reid lead the way by putting the top musicians on the Island in the studio to make this ska sound! Here for your enjoyment is a selection of some of the top tunes that made ska so great. Features The Skatalites, Johnny Moore, and Roland Alphonso. CD version includes two bonus tracks.
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LP
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KSLP 032R-LP
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$20.50
PREORDER
RELEASE DATE: 4/3/2026
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Catalog # |
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2LP
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LOV 030LP
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$44.00
PREORDER
RELEASE DATE: 4/3/2026
"Maximillian Colby fashioned seminal works on their own terms. Neither purely aggressive nor depressingly somber, Maximillian Colby's music creates soundscapes that can rupture the eardrums and soon after lull the mind. As a band, they melded crisp whispers with clamor drenched in feedback to dizzying, cathartic effect. With songs that run such a gamut of genres, Maximillian Colby never let their music lapse lazily into incoherence. Rather, the sounds they created are a lesson in methodical precision and totality. For example, how many other bands can succeed in writing an engaging, eight-minute song whose two primary tones are within a half-step of each other? Maximillian Colby were all too happy to wring the utmost out of something as deceptively innocuous as a pair of notes, exploring their many inherently possible rhythms, dynamics, and effects. This all-encompassing exploration of the different, nuanced qualities of each song reflects Maximillian Colby's playful, deft approach to their art. Songs will build and build, only to have the climax moments or even half a song later. What seems like relentless adolescent pummeling is in fact incredibly intentional and calculated. This charismatic musical approach ensures that Maximillian Colby's music remains as captivating, animated, and vital as it was a decade ago. Remastered double LP (color vinyl) of the Max Colby discography with two exclusive live tracks. Exquisite pantone metallic color print on the sleeve with Lovitt Archives OBI-Strip."
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CD
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MELODE 3333CD
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$12.50
PREORDER
RELEASE DATE: 4/3/2026
Six years after Asphalt, Rico Puestel brings back his project Tetzlaff with the album Automatenhalle, redefining the aesthetics of electronic song compositions and minimalism. Also available on red color vinyl (MELODE 3333LP) and cassette (MELODE 3333CS).
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Cassette
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MELODE 3333CS
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$14.50
PREORDER
RELEASE DATE: 4/3/2026
Cassette version. Six years after Asphalt, Rico Puestel brings back his project Tetzlaff with the album Automatenhalle, redefining the aesthetics of electronic song compositions and minimalism.
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Artist |
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Format |
Label |
Catalog # |
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LP
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MELODE 3333LP
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$38.50
PREORDER
RELEASE DATE: 4/3/2026
LP version. Red color vinyl. Six years after Asphalt, Rico Puestel brings back his project Tetzlaff with the album Automatenhalle, redefining the aesthetics of electronic song compositions and minimalism.
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Artist |
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LP
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NOHL 034LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"First ever reissue of the project's debut 1982 highly sought-after cassette. A teenage Brad Laner's (Medicine) DIY recordings of industrial mayhem. Taking cues from Throbbing Gristle, LAFMS, Brion Gysin, and early Cabaret Voltaire, the tracks veer from Nag, Nag, Nag styled aggro-'songs,' rhythmic tape loop musique concrete to pure, harsh industrial noise. A lost album from LA's underground scene, features luminaries like Monte Cazzaza and Don Bolles amongst the collaborators. Limited edition of 300 copies pressed on clear vinyl with a booklet insert."
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Catalog # |
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CD
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NOHL 038CD
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$16.00
PREORDER
RELEASE DATE: 4/3/2026
"Pressed on vinyl for the first time, Masonna's Noisextra receives the standalone treatment it deserves. Originally released in 1995 as part of RRRecords Pure series, Noisextra is updated with new cover art. Each LP comes packaged with an 8-page booklet printed on glossy 150gsm art paper."
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Artist |
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Format |
Label |
Catalog # |
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LP
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NOHL 038LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
LP version. "Pressed on vinyl for the first time, Masonna's Noisextra receives the standalone treatment it deserves. Originally released in 1995 as part of RRRecords Pure series, Noisextra is updated with new cover art. Each LP comes packaged with an 8-page booklet printed on glossy 150gsm art paper."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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NOHL 039CD
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$16.00
PREORDER
RELEASE DATE: 4/3/2026
"For the first time, Masonna's Super Compact Disc is pressed to vinyl. Recorded at Acty Hanazono and released on the legendary Alchemy Records in 1995, Super Compact Disc represents a high point in Maso's '90s discography. Each LP comes with a 12-panel poster and postcard insert."
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Artist |
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Format |
Label |
Catalog # |
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LP
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NOHL 039LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
LP version. "For the first time, Masonna's Super Compact Disc is pressed to vinyl. Recorded at Acty Hanazono and released on the legendary Alchemy Records in 1995, Super Compact Disc represents a high point in Maso's '90s discography. Each LP comes with a 12-panel poster and postcard insert."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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NOIRE 024LP
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$34.00
PREORDER
RELEASE DATE: 4/3/2026
Tour-Maubourg returns with a new six-track release, Dreams, further cementing his place as a key figure in today's electronic music scene. Known for blending soulful house with rich jazz influences, the French-Belgian producer showcases both his DJ sensibility and refined production skills on this long-awaited release for French deep house label Noire & Blanche. Nearly four years after Floating on Silence -- his acclaimed EP for the label that quickly became a staple in DJs' sets and underground all-night club sessions -- Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive album that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
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2CD
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NSD 263CD
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$31.00
PREORDER
RELEASE DATE: 4/3/2026
"Tha God Fahim's timeless creative instincts have been evident from the moment his art began to circulate, as the Atlanta emcee quickly distinguished himself with sharp wordplay and atmospheric production. With just a few projects to his name, Tha God Fahim was still a hungry young talent on the rise when he unleashed Tha Dark Shogunn Saga in late 2016. Among his most memorable early releases, the album kicked off an unprecedented creative explosion, as Fahim cemented his status with more than 50 projects released over the next two years. Evoking shadowy street corners and smoke-filled hallways, Tha Dark Shogunn Saga showcases the power of a true rhyme assassin, with commanding lyricism melding into ethereal instrumentation. Followed by an equally compelling sequel released just a few months later, the overall saga became an important moment in Tha God Fahim's rise, containing some of his earliest collaborations with Mach-Hommy along with beats from Nicholas Craven, Camouflage Monk, Denmark Vessey, and more. Nearly a decade later, Fahim is expanding this series into a full trilogy with Tha Dark Shogunn Saga, Vol. 3. Reviving the unmistakable vibe of the original projects, the new collection finds our hero back in warrior mode, sharpening his lyrical blade over rich production from Cookin Soul, Nicholas Craven, Fortes, and Fahim himself. All three chapters in Tha Dark Shogunn Saga are now available in this double disc CD collection."
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LP
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ORD 034LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"Chicago singer/songwriter/producer Gia Margaret describes her music as 'sleep rock.' It's a genre all her own, combining elements of folk, shoegaze, slowcore, ambient electronica and trip hop. For her self-produced debut album, There's Always Glimmer, Gia Margaret crafted twelve gorgeously melancholic lullabies to combat her own insomnia, and to salvage some beauty from the brighter and darker moments of her life. There's Always Glimmer explores relationships between friends, family members and significant others, often in past tense. Sparse verses isolate mundane moments of domestic and urban life, and choruses ache with earnest expressions of yearning and loss. The disarmingly simple language of Gia Margaret's lyrics, when carried by the melodic sparkle of her singing voice, have the power to elevate an ordinary moment into something supremely nostalgic and sentimental. A ride on a train, a hand on a shoulder, a dog in a yard, the light of the moon through an apartment window are each made significant and sacred, worthy of examination and preservation. As much as it addresses the unease in our lives, each song on There's Always Glimmer is steeped in loving comfort, awash with gentle sounds to usher the still minutes before dreams come. There's Always Glimmer exists to fill the darkness and the quiet."
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LP
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ORD 047LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"Mia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist and producer Gia Margaret. Mia Gargaret was not the follow-up album that Gia intended to release after the critical success of her 2018 debut, There's Always Glimmer. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily. Gia explains: 'After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.' Without singing or lyrics to steal the focus, the instrumental tracks on Mia Gargaret shine a light on Gia Margaret's skills as a musician, composer and producer. Spare but immersive arrangements of synthesizer, piano and acoustic guitar simultaneously ache and soothe, building emotional landscapes that rise and recede like scenery through a train window. 'I wanted to make something that sounded hopeful, which is a little ironic because I felt essentially hopeless during the entire process. I was making music to self-soothe. I had synth loops going while I walked around my apartment, forming my own daily soundtrack.'"
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10"
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PR 017LP
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$22.00
PREORDER
RELEASE DATE: 4/3/2026
"With bass drones cranked way past 11, frantic guitar shredding passages, and blown out drum machines, Takaat's Is Noise Vol. 3 poses the question, 'what if the Tuareg songwriting legends Tinariwen started a band with drone-lords Sunn O)))?' Well, that might be what Is Noise Vol. 3 kinda sounds like. Drawing from sonic inspiration of blown out Takamba recordings of the Sahel, slinky drum machines of Hausa pop mp3s, and manipulated field recordings collected in Agadez, Niger, Is Noise Vol. 3 is yet another exciting musical departure from its prior volume. Takaat was birthed from the idea of always evolving concepts and taking risks, seeing each volume as an opportunity to explore noisy futures steeped in a shared language of DIY. Through chronological limited 10" EPs you too can take the noise home. Play it loud." --Mikey Coltun
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LP
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RIP 127LP
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$36.00
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RELEASE DATE: 4/3/2026
"'I made this 19-minute stop motion animation over the past four or so years. It was made on a 4-plane animation stand using paper and paper puppets. Kept me sane during Covid. Also made the OST. Hope You Enjoy. Cheers Big Ears.' Pressed on clear red vinyl with offset printed jackets in an edition of 500 copies."
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CD
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ROOSTER 030CD
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$20.00
PREORDER
RELEASE DATE: 4/3/2026
"The album was recorded over three days whilst the Heads were rehearsing for a couple of live dates with their friends, and peers, Mudhoney. The guitars, drums and bass were laid down live in Bristol, over-dubs added and then mixed/produced by John McBain in Portland. Initially planned as two single albums, (Volumes 1+2) it soon made sense that they should be put together as a double LP. Named in a nod to the Stooges' Raw Power classic 'Your Pretty Face Is Going To Hell,' it describes the trajectory everyone is on. The Heads are renowned for their brutalist take on psychedelic rock, this new album shows how much they have absorbed from their years of existence, their peers and the world around them. Not much change though, they haven't mellowed out. The pummel is there, the spaced out sike zones are there, there's wigged out guitar solos that will peel the paint off the walls, there's even pop songs if you look/listen hard enough. John McBain has done a grand job in fine tuning the noise and sonic assault. It's hard to draw a direct 'for fans of' list, because ultimately this album is for fans of the Heads. However, you can trace the DNA of this album back to the Stooges, Hawkwind, 13th Floor Elevators, Can, Mudhoney, Monster Magnet, Loop, Spacemen 3, MC5 etc. all squeezed through the Head's heavy sonic blender."
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2LP
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ROOSTER 030LP
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$42.00
PREORDER
RELEASE DATE: 4/3/2026
Double LP version. "The album was recorded over three days whilst the Heads were rehearsing for a couple of live dates with their friends, and peers, Mudhoney. The guitars, drums and bass were laid down live in Bristol, over-dubs added and then mixed/produced by John McBain in Portland. Initially planned as two single albums, (Volumes 1+2) it soon made sense that they should be put together as a double LP. Named in a nod to the Stooges' Raw Power classic 'Your Pretty Face Is Going To Hell,' it describes the trajectory everyone is on. The Heads are renowned for their brutalist take on psychedelic rock, this new album shows how much they have absorbed from their years of existence, their peers and the world around them. Not much change though, they haven't mellowed out. The pummel is there, the spaced out sike zones are there, there's wigged out guitar solos that will peel the paint off the walls, there's even pop songs if you look/listen hard enough. John McBain has done a grand job in fine tuning the noise and sonic assault. It's hard to draw a direct 'for fans of' list, because ultimately this album is for fans of the Heads. However, you can trace the DNA of this album back to the Stooges, Hawkwind, 13th Floor Elevators, Can, Mudhoney, Monster Magnet, Loop, Spacemen 3, MC5 etc. all squeezed through the Head's heavy sonic blender."
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2LP
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RVSN 003X-LP
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$39.00
PREORDER
RELEASE DATE: 4/3/2026
"All The Young Droids: Junkshop Synth pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesizer in '80s popular music. Compiled by curator Phil King, the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesizers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller's Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesizers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk's guitar-led revolution, it's telling that much of the music on All The Young Droids was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalize on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yahoo, what resulted was a testament to necessity being the mother of invention."
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12"
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SCAT 091EP
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$18.00
PREORDER
RELEASE DATE: 4/3/2026
"Originally released in 1985, the debut EP by The Mice still stands as one of the finer song-oriented rock records of that era. Drawing inspiration from both mid 1960s British Invasion groups and the energy of punk, For Almost Ever is about as scorching as an essentially pop record can be. Although vocalist/guitarist Bill Fox would go on to release several much-loved mostly acoustic solo records, here he is joined by his younger brother Tommy, a veritable monster on the drum kit, bashing away with both finesse and the manic energy of a high school kid. And the song 'Not Proud of the USA' -- conceived as an answer to The Clash's 'I'm So Bored with the USA,' this track is packed with such overwhelming hooks, righteousness, and adrenaline that it's irresistible. During the war in Iraq, it took on a new life on college radio and online when it was reissued on CD. And with this vinyl reissue, it would seem the timing is sadly spot-on once again. Mastered by John Golden, this new pressing crackles with The Mice's spirit, reproduced in big 45 rpm sound for deeper low end and greater definition than the original, which has been commanding a steep price for quite a while now."
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LP
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SHR 220LP
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$26.00
PREORDER
RELEASE DATE: 4/3/2026
"The Disassociation is a collective made up of all five members of Refrigerator, Amy Maloof of the band Falcon Eddy, author/bassist Jonathan Lethem and artist/musician Sam Sousa. Their first record is comprised of material written and shared over the last five years and recorded over one long seventy three hour weekend. It is called Losing Is A Luxury. Some songs feature one member, some all eight, as the mood turns from stoic Tammy Wynette to Shambolic ESP Godz/MIJ Yodeling Astrologer before circling back to NZ circa 1985. This is no side project, no 'eclectic and organic album,' it is a fucking electric shut down. The band is a true collective with members bouncing from instruments, vocals and songwriting duties. The seed of the project was a song that Maloof recorded for Lethem and Sousa's weekly radio show on KSPC. Lethem, who has written lyrics for Lee Ranaldo, Walter Salas-Humara and a myriad of others, does the same here, but also plays and sings, while his radio co-host sings a gruff Lee Hazlewood/Ann Margret duet with Maloof. Refrigerator offers both knee play balladry and some bright cherry shoulda been AM pop leanings on the record as members back up or step out with the collective of The Disassociation."
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LP
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SV 207LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"Between 1975 and 1978, Brian Eno's Obscure imprint produced ten LPs to document the work of virtually unknown composers at the time. These records continue to inspire both practitioners and fans of experimental, ambient and modern classical music. Ensemble Pieces, Obscure No. 2, is the second LP to feature composer Gavin Bryars -- the first being his magnum opus The Sinking of the Titanic. Bryars would play a big role in finding projects for Obscure and helping to realize them in the studio with Eno. Christopher Hobbs was an early member of Cornelius Cardew's Scratch Orchestra and performed with anarchic free improv titans AMM. Ensemble Pieces presents two Hobbs compositions, his debut recordings. On 'Aran,' the composer is accompanied by Bryars and John White -- utilizing various percussion, reed organs and toy piano to construct an otherworldly gamelan music, while the Scottish bagpipe-inspired 'McCrimmon Will Never Return,' featuring Hobbs and Bryars on reed organs, evokes the slow-motion minimalism of Eliane Radigue or Folke Rabe. John Adams' masterpiece 'American Standard' premiered in 1973 at San Francisco Museum of Modern Art where these recordings were made. While this neo-Romantic three-part suite explores distinctly American musical forms (march, hymn and jazz ballad), Adams threads in found-sound tape elements from AM talk radio, which suggests a mottled landscape of Robert Ashley, The Residents or Negativland. The album's closing piece, Bryars' '1, 2, 1-2-3-4,' features Hobbs, Cardew, Derek Bailey, Eno and Roxy Music's Adam McKay. Each musician performed while listening on headphones to identical pre-recorded music, though factors such as tape-speed and battery life of the individual Walkmans provided tantalizing variables that affected pitch and duration. Despite this process-oriented approach, '1, 2, 1-2-3-4' is exquisitely sublime -- at times predicting the gauzy, haunted music of The Caretaker."
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LP
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SV 208LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"Between 1975 and 1978, Brian Eno's Obscure imprint produced ten LPs to document the work of virtually unknown composers at the time. These records continue to inspire both practitioners and fans of experimental, ambient and modern classical music. Machine Music, Obscure No. 8 and the third title to feature Gavin Bryars, showcases 'systems music' pioneer John White. Largely known for his compositions for tuba and piano, White was a stylistically omnivorous artist who felt at home in his position as musical director at the Western Theatre Ballet as well as playing alongside Cornelius Cardew and Bryars in the radical Scratch Orchestra. Performed by the composer, Christopher Hobbs, Michael Nyman, and Bryars, the album's first side is comprised of four White pieces. Short, repetitive themes -- for brass, woodwinds, strings, piano and jaw harp -- share common ground with the minimalist work of Steve Reich and Terry Riley. Splendid timbral variations reveal a trance-inducing listening experience. 'Drinking And Hooting Machine,' the side's eerie finale, features the sound of five musicians (including Eno himself) blowing into empty milk bottles -- a reminder that serious avant-garde music can sometimes be puckish and strange. Side two consists of Bryars' 'The Squirrel And The Ricketty Racketty Bridge,' a mesmeric piece that finds Derek Bailey, Fred Firth, Bryars and Eno each striking a pair of tabletop guitars. Fans of Michael O'Shea and Eno's own protege Laraaji will find much to love here. Machine Music serves as an ideal entry point to the kind of compelling art music that would become Obscure's stock and trade."
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LP
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SV 209LP
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$29.00
PREORDER
RELEASE DATE: 4/3/2026
"Between 1975 and 1978, Brian Eno's Obscure imprint produced ten LPs to document the work of virtually unknown composers at the time. These records continue to inspire both practitioners and fans of experimental, ambient and modern classical music. Irma -- Obscure No. 9, the label's penultimate release -- might be considered an outlier in its catalogue, given that the album is presented (nominally) as an 'opera,' complete with libretto by art historian Fred Orton. Yet when one considers that Eno included within the label's small discography the works of Harold Budd, Michael Nyman, John Cage, and Penguin Cafe Orchestra, Irma begins to feel less conspicuous. Conceived by visual artist Tom Phillips -- whose painting graces the cover of 'Another Green World' -- Irma is constructed from phrases from Phillips' book A Humument, itself a postmodern up-cycling of a Victorian novel that Phillips had found in a second-hand shop. These textual fragments were the basis for a graphical score, and Gavin Bryars was tasked with orchestrating the work. Each time the piece is performed, as Bryars states in the liner notes, 'Irma needs to be re-composed rather than realized.' While on the surface this may seem to be one of the more accessible Obscure titles, Irma resonates as complex as anything in the label's daring and original roster, utilizing clusters of cycling notes and Cageian strategies of indeterminacy to make a record that is profoundly and unexpectedly beautiful. The overall effect is a grand tour through several centuries of symphonic music -- from Joseph Haydn to Morton Feldman."
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12"
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SYNAPTIC 024EP
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$23.50
PREORDER
RELEASE DATE: 4/3/2026
pdqb is an entity without a fixed form, moving through multiple timelines at once, performing in all of them simultaneously. Every tone on this record was sampled somewhere else: in collapsed futures, unfinished pasts, and inside stress loops that never resolved. The tracks are not composed -- they are retrieved, stitched together from moments that already happened and moments that haven't happened yet. By filtering pdqb's multidimensional signal through machine discipline, they force a temporary alignment -- a version of a track that sounds the same to most listeners.
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LP
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SYR 007LP
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$25.00
PREORDER
RELEASE DATE: 4/3/2026
"The seventh in the series of Sonic Youth's SYR documents unearths even more fruit from the fields of Sonic improvisational/compositional love. On the heels of a lengthy investigation into their relationship to 20th Century classical music, the band took advantage of their millennial crossroads in 2000 via the adventurous, then-newfound All Tomorrow's Parties festival in the UK, on invitation from Mogwai. Besides it being historical as their last show as a foursome until 2006, it stands as a wholly unique set that not only delved into instrumental previews of the forthcoming NYC Ghosts And Flowers, but also featured an opening 20-minute group interpretation of a solo composition Thurston had performed at NYC's late/beloved venue The Cooler. With Thurston and Lee both sporting electric 12-strings, and Kim on her Eterna, the piece was set-listed as 'New Drone,' and took a right turn from the initial instrumental plan with Kim's added intonings that reflected on Sylvia Plath's relationship to her husband, hence retitled J'Accuse Ted Hughes. It's a sublimely spaced-out bit of one-chord introspection, though perhaps not what the festival punters were looking for at that moment. Certainly not the irked Melody Maker scribe who headlined his review 'Goodbye 20th Century/Goodbye Talent,' a screencap of which appears on the sleeve of this 2008 release. Sparks infamously declared 'Talent Is An Asset,' and one of SY's great ones was to give their deep listener faction something new and unheard to chew on. Initially live streamed in not-so-great quality, the SYR 7 mix ably accents the thunderous, phased crescendos that ebb and flow here." Brian Turner (April 2025)
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2CD
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TA 172CD
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$27.00
PREORDER
RELEASE DATE: 4/3/2026
Performed at Kirche zum Heiligen Kreuz, Berlin (Kreuzberg) on 27th September 1974 by the incredible all-star line-up of Dieter Roth, Gerhard Rühm, Oswald Wiener, Hermann Nitsch, Günter Brus, Attersee, Arnulf Rainer and Dominik Steiger. Two CDs, full-color 12" LP gatefold sleeve, printed inner sleeve, two A3 size posters. Includes previously unpublished archival photos and artworks. Das Berliner Konzert was first published by Hansjörg Mayer, Studio Morra & Pari e Dispari in 1977 as a 3LP Box. This is part six in the Selten Gehörte Musik reissue series, curated and produced by Daniel Löwenbrück/Tochnit Aleph.
"Stimulated by our first public performance of 'rarely heard music' (Das Münchner Konzert), we at once planned another concert in which the tight circle of performers was to be enlarged by a couple of dear friends, and once again the location had to have the lure of the special. Oswald Wiener suggested the church of the holy cross in berlin as our place of action, for we had learnt that it could be hired for public performances. everyone was most enthusiastic about playing a venue like that, and so 'rarely heard music' came to be performed on 27 September 1974 on a grand scale before a large audience. The participants this time were Attersee, Günter Brus, Hermann Nitsch, Dieter Roth, Gerhard Rühm, Dominik Steiger, Oswald Wiener, and Arnulf Rainer, who contributed to the performance as silent face-puller and contortionist. Not only did the event assume almost monumental dimensions in terms of outlay, preparations, resonance and duration, at times it rose to unbridled, almost ecstatic climaxes; at one point Brus, who had been manically blowing the one and same note into a kind of alphorn, even momentarily lost consciousness." -Gerhard Rühm "Über Selten Gehörte Musik"
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LP
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TA 174LP
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$25.00
PREORDER
RELEASE DATE: 4/3/2026
Published January 2024 on occasion of the 30th anniversary of the label and the 50th anniversary of the artist, this is the first solo vinyl release by Daniel Löwenbrück on Tochnit Aleph. Mastered and cut by Rashad Becker, Berlin. Manufactured at RPM Records, København. Artwork by Roger Ballen. On "Grievance Studies," all instruments, objects and body-functions were performed, recorded and mixed by DL in 2006-2023, with additional material from Doreen Kutzke (yodeling voice), Rudolf Eb.er (snoring), Dave Phillips (strings), and with various field-recordings, made sometimes somewhere by DL. On "Prinzendorf Requiem (für Hermann Nitsch)," the animals of Prinzendorf Castle recorded by DL in 2013. Church-bells of Prinzendorf Castle were performed and recorded by DL in 2014. Drums and percussions were performed and recorded by Jakob Hoyer in 2023. Composed, edited, and mixed by DL 2022-2023.
"GRAVØL meditates on two extremes, each of which seemingly remain determined to present their reveries without affectation or even play. The first side, 'Grievance Studies', is a disquieting elixir that takes components from the archive and previous live-actions and builds into a harrowing primordial soup. The logic of this piece would suggest that it leads to its object. Löwenbrück instead renders it impermissible. The second side, 'Prinzendorf Requiem (für Hermann Nitsch)', presents a work of memorial for the recently deceased Hermann Nitsch. Through a celebratory cacophony composed of recordings made by the artist at Nitsch's Prinzendorf Castle, and with additional drum and percussion work specifically made to realize the piece, Löwenbrück's tender yet joyous composition blunts the melancholy with a warmth that he has rarely made space for in previous work." --Patrick Quick
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2LP
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TA 175LP
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$56.00
PREORDER
RELEASE DATE: 4/3/2026
Double Vinyl LP in full-color gatefold sleeve with full-color inner sleeves. A&E In The Garden Of Eden, Picnic is the first chapter in Paul McCarthy's A&E video project. Paul McCarthy and Lilith Stangenberg performed Picnic three times on August 2, 3, and 4, 2021, in the lower Sierra Mountains of California. This 2LP set, A&E, Adolf & Eva, Adam & Eve, In The Garden Of Eden, Picnic, Mix is roughly 80 minutes each of day 1, day 2, and day 3, merged. Produced and distributed by Daniel Löwenbrück/Tochnit Aleph. Photography by Alex Stevens. Sound design by Paul McCarthy and Alex Stevens. Graphic design by Paul McCarthy and Sid M. Duenas.
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LP
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TA 176LP
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$28.00
PREORDER
RELEASE DATE: 4/3/2026
"El Llamado" is a performative work for solo or multiple voices, produced using whistles of varying sizes, materials, shapes, and cultural origins. It was commissioned by Maison des Arts Georges & Claude Pompidou, 2020. Its duration, format, and number of performers are adapted to the specific context of presentation. El Llamado (Der Aufruf) is a fixed arrangement of this work, composed and realized for this publication. It includes a studio recording employing whistles sourced from Austria, Germany, Italy, China, Spain, Greece, Hong Kong, Portugal, France, India, Mexico, the United States, Poland, the Czech Republic, Russia, Japan, and Nepal, alongside a public-space activation performed by Yann Leguay at Saint-Cirq-Lapopie, France, in 2020. Mario de Vega (1979) is a Mexican conceptual artist working in Berlin and Mexico City. His work overlaps relations between stability, failure, simulation and ambiguity with site-specific interventions, sound events, electronic devices, process-oriented projects and sculpture. Since 2020 he is professor for Sound-Art at the Kunsthochschule Kassel.
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LP
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TA 177LP
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$28.00
PREORDER
RELEASE DATE: 4/3/2026
Recorded, composed and edited between 2013-2025. Alice Kemp (1972) is a British multi-disciplinary artist based in Devon and London. Her work is informed by subtle states of trance, dream and disturbance, and includes an idiosyncratic praxis of sound composition, conceptual music, public and private performance, installation, visual art, poetry, video, and fetische-object making.
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LP
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TB 142LP
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$26.00
PREORDER
RELEASE DATE: 4/3/2026
"Considered by many the template for 1990s indie rock. Versus' first full-length album became an instant cult classic. Recorded by Adam Lasus (Yo La Tengo, Helium, Lilys) at his Studio Red in March of 1994 and released just six weeks later in early May of that same year on the Teenbeat label. Finally back on vinyl LP with all new art on the outside (designed by Unrest's Mark Robinson) and the original art on a full-color innersleeve, plus an OBI strip holding the package together. While the first pressing didn't include the track 'Fallow,' this edition has all 12 songs from the CD. Each of them remastered by Scott Anthony. Formed in New York City in 1990 by guitarist Richard Baluyut and bassist Fontaine Toups, Versus became one of the most important, influential and underrated bands in the then budding indie-rock genre."
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12"
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TOYT 114EP
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$15.50
PREORDER
RELEASE DATE: 4/3/2026
COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. It's addressed to the clubs and night owls out there, who turn night into day and won't stop dancing! The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs and rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven.
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LP
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VHF 168LP
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$24.00
PREORDER
RELEASE DATE: 4/3/2026
"Debut by a new string trio of Pelt and Elkhorn veterans with the wild card contributions of Kaily Schenker, creating a new variant of supremely pleasing acoustic-psychedelic-drone-Americana etc. 'Lullaby>Summer Field' is an aptly named gentle rise, with Sheppard's fingerpicked 12 string snaking through waves of elongated fiddle and cello. 'Triode>Freedom' follows a darker minor-key ostinato with Gangloff's keening melody over the top. 'Freedom>Universal Blues' starts as a dirge and builds to a transition into the traditional 'The Squirrel is a Pretty Thing,' with Kaily Schenker's droning harmonium and vocal delivering a riveting, epic version of what's usually cast as a short 'kids'/folk-tale song (e.g. Peggy Seeger's version). Originally this album was released by the band in an instantly sold-out edition of 100 for sale at their shows. This updated version includes a new insert by Kaily, a new cut by John Golden and a thick pressing from Smashed in Chicago."
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LP
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VHF 170LP
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$24.00
PREORDER
RELEASE DATE: 4/3/2026
"If you've been following the wanderings of prolific psychedelic magicians Elkhorn, you might be surprised that Elkhorn guitarist Drew Garder's solo LP Wave Field is the most out and out 'rock' record on VHF in many years. Working here in a small group with excellent players Tom Malach (guitar), Andy Cush (bass), and Ryan Jewel (drums), Gardner cuts loose on a set of propulsive and swinging material that allows him to greatly expand his sound into unexpected areas. 'Rhizoid' starts with a sneaky groove riding the nimble bass and drums of Cush and Jewel before a leap into the ripping Sonic Youth/NEU! hybrid of 'Space Ray.' 'Shadow Casting Grass' brings things back down to end the side with some Elkhorn-adjacent gentle guitar weave backed again by the sly rhythm section. 'Wave Field' kicks off side 2 with an extended buzzy guitar raga with Cush's melodic and fat bass providing jammy counterpoint. The epic 'Mayan Bees' closes the LP with an extended workout on another extremely fine drum and bass ostinato, a hypnotic minor key riff that slow builds over 10+ minutes."
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MAG
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WJMAG 018
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$26.00
PREORDER
RELEASE DATE: 4/3/2026
We Jazz Magazine, Issue 18 / Spring 2026: Space Time for Shabaka. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. Shabaka by Tina Edwards, Booker Stardrum by Clifford Allen, Aurora Nealand by Bennett Kirschner, Jazz Now Jazz by Rui Miguel Abreu, "The Space Book" by Patrick Preziosi, "XT" by XT (Paul Abbott & Seymour Wright), Naïssam Jalal by Florent Servia, Craig Taborn by Bret Sjerven, the term "Free Jazz" by Pierre Crépon, Alexander Hawkins by Kevin Le Gendre Alan Braufman by Andy Beta, Discaholic column by Mats Gustafsson, album reviews, live reviews, Big Ears Festival photo essay and more.
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LP
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WWSLP 114LP
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$33.00
PREORDER
RELEASE DATE: 4/3/2026
Wewantsounds presents Ayam El Disco, a new selection of Egyptian 1980s disco and boogie cassette tracks curated by Egyptian DJ Disco Arabesquo, following his highly acclaimed Sharayet El Disco. Most tracks make their vinyl debut in this set. A journey through the funky sounds of 1980s Egypt, Ayam El Disco ("Disco Days") features Ammar El Sherei, Al Massrieen, and other underground artists from Cairo's vibrant cassette culture. The audio has been remastered for vinyl by David Hachour at Colorsound Studio in Paris, and the LP features artwork by Egyptian graphic designer Heba Tarek, along with a two-page insert showcasing the original cassette artwork and insightful liner notes by Moataz Rageb. Based in Amsterdam, the Egyptian DJ has spent years collecting rare tapes from the 1980s and early 1990s -- a period that transformed Egypt's musical landscape and shaped his own listening experience. By the 1980s, the cassette format had become a revolutionary medium in Egypt. Affordable and easily duplicated, tapes allowed artists to work independently while absorbing global influences such as disco, funk, and synth-pop through imported and bootleg recordings. Rather than mirroring Western club culture, these sounds were adapted to local contexts. Disco entered everyday life -- played at home, in cars, at weddings, beaches, and family gatherings - resulting in a distinctly Egyptian interpretation rooted in Arabic musical traditions. Ayam El Disco reflects this era through a carefully curated selection ranging from smooth disco and boogie to funkier instrumentals and early proto-Jeel sounds. Also featuring Firkit Americana Show, Firkit Hany Shenoda, Mostafa El Sakka, Hamid El Shaeri, Firkit El Pharana, Omar Fathy, Ammar El Sherei, Medhat Saleh, Aida El Ayoubi, and Ahmed Adaweya.
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DVD
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MVD 20174DVD
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$21.00
PREORDER
RELEASE DATE: 4/7/2026
DVD is NTSC. Region Code: 0. "Throughout the 1980s, outfits like Black Flag, D.O.A., Dead Kennedys, Minor Threat and the Circle Jerks helped define the decade's deafening hardcore punk sound, paving the way for the eventual explosion of punk bands through radio and MTV in the decades to come. While punk rock's upper echelon may no longer be as culturally seditious as they once were, the genre's effect on a new generation of activists and aspiring politicians has never been more clear. The Vancouver-based D.O.A. have always been a politically outspoken outfit since first forming in 1978 as teenagers. Their mix of raucous anthems like 'Fucked Up Ronnie', 'America The Beautiful', 'The Prisoner' and others remain classics. The band's 1981 LP entitled Hardcore '81 was awarded the prestigious Slaight Family Polaris Heritage Prize in 2019, which honors groundbreaking Canadian albums from the past, winning out over 11 other critical album releases including The Band's Music From Big Pink, and Joni Mitchell's Court And Spark. In 2018, after 40 years of fighting against oppression, homelessness and corporate greed around the world, D.O.A. frontman Joe Keithley decided to turn art into life and run against the outspoken Mayor of Burnaby, Derek Corrigan. In a classic underdog scenario --and with only a $7000 campaign budget -- Keithley convincingly won a city councilor seat that year and helped to unseat the entrenched five-term Corrigan. The filmmakers followed Joe Keithley during his 2022 reelection campaign to document the amount of work and commitment that goes into running for public office. They were allowed unprecedented access to Keithley's entire campaign throughout its often chaotic and nail-biting conclusion. Ultimately, Something Better Change is a documentary film that proves music, political steadfastness and social advocacy can work together to effect real change just about everywhere -- including city hall."
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LP
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12XU 169LP
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$24.00
PREORDER
RELEASE DATE: 4/10/2026
"You-On is a collaboration between Masami Tomihisa and Jim White. Three sessions, all improvised consisting of keyboard and drums were recorded at Jim's in April and May of 2024. Guy Picciotto mixed, edited and sequenced the recordings comprising New Side, the duo's first album together. You-On is two Japanese characters put together, asobu which means to play or to have fun and on which means sound. New Side is a work of precise, at times otherworldly beauty. The interplay between Tomihisa and White is nothing short of uncanny -- it seems hard to believe these are the results of their first recordings together. Masami Tomihisa is a pianist, composer and improviser based in New York City. Prior to this, her most recent release was the Invitations cassette released by Purplish in 2024. Jim White's most recent solo album, his second such LP for Drag City, Inner Day, was released in the Autumn of 2025."
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12"
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ACRE 100EP
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$22.50
PREORDER
RELEASE DATE: 4/10/2026
Undisputed legend of the dubstep scene Commodo collaborates with jazz aficionado Alfa Mist on Deep Harbour. The release also features two mixes by Anz, a real producer's producer with a broad range and felt like the perfect remixer. Commodo has seen support from DJ Mag, Crack, Clash, BBC Radio 1, BBC Radio 6, NTS and played likes of Boiler Room Festival, Outlook Festival Boomtown Festival, Keep Hush and more.
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CD
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AX 060CD
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$19.00
PREORDER
RELEASE DATE: 4/10/2026
A major milestone in the history of electronic music, Jeff Mills' legendary Live at Liquid Room, recorded in 1995 in Tokyo, is widely regarded as one of the greatest DJ mixes of all time. A true techno anthology, this set made history with its boldness and intensity, inspiring generations of DJs and producers around the world. To celebrate the album's 30th anniversary, Jeff Mills presents this reissue of the iconic live recording. Featuring Surgeon, Joey Beltram, Millsart, DJ Funk, DJ Joe T. Vanellis, Csilla, Wicked Wipe, Circuit Breaker, iO, Joey Beltram, Club MCM, Claude Young, The Advent, Rhythim Is Rhythim, Ken Ishii, Damon Wild, X-102, H&M, The Shadow, Dan Morgan, and Hell & Jonzon.
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12"
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BARN 129EP
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$23.50
PREORDER
RELEASE DATE: 4/10/2026
Studio Barnhus presents ARN4L2, a producer from Cartagena, who debuts on the Stockholm label with the striking EP Tierra Bomba, a record built from the fractured memory of an island in the Colombian Caribbean, understood as a surface in motion. The project draws on tools present in the early development of the Champeta genre -- the Yamaha RY30 drum machine, the Yamaha DD-14 drum pad, and the Pyramid mixer -- alongside percussive gestures and guitars characteristic of the style.
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CD
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BB 501CD
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$16.50
PREORDER
RELEASE DATE: 4/10/2026
With Grumpy Pieces, Düsseldorf-based musician Stefan Schwander, aka Harmonious Thelonious, returns with an album that gathers many of the elements that have defined the project over the years -- while simultaneously pushing them apart. The record feels like a tightening of earlier ideas: interlocking melodies, hypnotic patterns, a sustained focus on rhythm and texture, paired with a sound that is rougher, drier and more immediate than before.
"Musically, Grumpy Pieces draws from familiar territory within the Harmonious Thelonious universe: Pan-African and Middle Eastern rhythmic concepts, repetitive minimal structures, stripped-down electronics and noise used as a structural force. Yet everything here feels less fixed, more unstable, at times close to falling apart. Melodies grind against rugged bass foundations; dry snare hits cut sharply through the mix. The groove remains central, but now carries a nervous, fractured quality -- noticeably more restless than one might expect from a project active for nearly eighteen years. The title Grumpy Pieces is more than a wry aside. The album reflects a present shaped by political and social tension. Anger, uncertainty and a muted sense of despair run through the tracks, without the music ever becoming literal or lapsing into overt commentary. Instead, it operates through friction: between dancefloor momentum and disruption, immediacy and resistance. While the A-side opens in a comparatively direct and driving manner with 'And You May Find Yourself,' the B-side increasingly embraces disintegration as a guiding principle, culminating in the aptly titled closing track 'Dissolving.' The album was once again produced in Schwander's home base of Düsseldorf, using a working method rooted firmly in the moment. The tracks were not arranged on a screen, but developed intuitively, recorded, abandoned and reshaped. This approach also connects directly to the live practice of Harmonious Thelonious: music understood as a repetitive state, a trance-like space that insists rather than narrates. Limitation, intuition and spontaneity are not stylistic gestures here, but essential conditions of the music itself. Influences from everyday listening -- from Brazilian music and electronic records to film soundtracks -- remain deliberately submerged, fully absorbed into a self-contained sonic world. Grumpy Pieces is not a break, but a sharpening. An album that further condenses and roughens the unmistakable sound of Harmonious Thelonious, offering an uneasy yet physical soundtrack to the current social climate. Dance music with teeth." --Daniel Jahn, 2026
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LP
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BB 501LP
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$26.00
PREORDER
RELEASE DATE: 4/10/2026
LP version. With Grumpy Pieces, Düsseldorf-based musician Stefan Schwander, aka Harmonious Thelonious, returns with an album that gathers many of the elements that have defined the project over the years -- while simultaneously pushing them apart. The record feels like a tightening of earlier ideas: interlocking melodies, hypnotic patterns, a sustained focus on rhythm and texture, paired with a sound that is rougher, drier and more immediate than before.
"Musically, Grumpy Pieces draws from familiar territory within the Harmonious Thelonious universe: Pan-African and Middle Eastern rhythmic concepts, repetitive minimal structures, stripped-down electronics and noise used as a structural force. Yet everything here feels less fixed, more unstable, at times close to falling apart. Melodies grind against rugged bass foundations; dry snare hits cut sharply through the mix. The groove remains central, but now carries a nervous, fractured quality -- noticeably more restless than one might expect from a project active for nearly eighteen years. The title Grumpy Pieces is more than a wry aside. The album reflects a present shaped by political and social tension. Anger, uncertainty and a muted sense of despair run through the tracks, without the music ever becoming literal or lapsing into overt commentary. Instead, it operates through friction: between dancefloor momentum and disruption, immediacy and resistance. While the A-side opens in a comparatively direct and driving manner with 'And You May Find Yourself,' the B-side increasingly embraces disintegration as a guiding principle, culminating in the aptly titled closing track 'Dissolving.' The album was once again produced in Schwander's home base of Düsseldorf, using a working method rooted firmly in the moment. The tracks were not arranged on a screen, but developed intuitively, recorded, abandoned and reshaped. This approach also connects directly to the live practice of Harmonious Thelonious: music understood as a repetitive state, a trance-like space that insists rather than narrates. Limitation, intuition and spontaneity are not stylistic gestures here, but essential conditions of the music itself. Influences from everyday listening -- from Brazilian music and electronic records to film soundtracks -- remain deliberately submerged, fully absorbed into a self-contained sonic world. Grumpy Pieces is not a break, but a sharpening. An album that further condenses and roughens the unmistakable sound of Harmonious Thelonious, offering an uneasy yet physical soundtrack to the current social climate. Dance music with teeth." --Daniel Jahn, 2026
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2LP
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BLKRTZ 008LP
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$41.00
PREORDER
RELEASE DATE: 4/10/2026
2026 repress. With Dub Techno firmly back on the menu in clubs the world over, Deadbeat, at long last, resissues what is perhaps his greatest collaborative work with Paul St Hilaire aka Tikiman. A true genre masterclass, as the name suggests, the album infinitely showcases two titans of the form at their very best, and 10 years on, remains a stone-cold classic. Re-cut by their old friend Stefan Betke aka Pole at Scape Mastering who first cut it to wax so many years ago, this 10-year anniversary edition is a crucial showcase of two masters at work.
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LP
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CAP 142LP
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$31.50
PREORDER
RELEASE DATE: 4/10/2026
Adam Green's new album is a flamboyant synthesis of his recent creative work, compiling three EPs he had previously released exclusively digitally. Houseface University, Magic Spells/Vending Machine, and Falling Around finally unite into a single, coherent project: a singular work of incisive songwriting, lo-fi psychedelic pop, and poetic irony. A key figure in the New York anti-folk scene, the singer-songwriter, visual artist, filmmaker, and poet Adam Green has influenced an entire generation since The Moldy Peaches. His songs have been covered by Regina Spektor, The Libertines, Carla Bruni, and Will Oldham; his films and installations have been exhibited at the Beyeler Foundation and acclaimed by the international press. In 2023, the tribute album Moping In Style: A Tribute to Adam Green (featuring Father John Misty, Devendra Banhart, Sean Ono Lennon, and others) confirmed his enduring influence on the global indie and alternative music scene. With this new album, Adam Green continues his unique trajectory: an instantly recognizable visual and musical universe, somewhere between quirky pop and minimalist folk. One of his most accessible and accomplished albums.
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CD
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CAP 143CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Clément Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. Out For Blood bears witness to a transformation in Turner Cody's life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene -- closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueled a new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody's "three chords and the truth" to create this unique magic!
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LP
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CAP 143LP
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$31.50
PREORDER
RELEASE DATE: 4/10/2026
LP version. Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Clément Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. Out For Blood bears witness to a transformation in Turner Cody's life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene -- closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueled a new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody's "three chords and the truth" to create this unique magic!
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12"
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DEF 2602EP
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$21.50
PREORDER
RELEASE DATE: 4/10/2026
Dompe delivers peak-time house energy on new Reload EP. Definitive Recordings welcomes a brand-new three-track EP from Dompe, showcasing his unmistakable blend of classic house foundations, driving grooves, and modern club attitude. Dompe aka Dominic Wagner is a DJ and producer driven by relentless passion and an instinctive feel for the dancefloor. Known for pairing distinctive vocals with finely crafted basslines and arrangements, his sound is always moving forward while staying rooted in house tradition. This three-track EP is Dompe at his most focused: groove-heavy, vocal-driven, and made for the dancefloor from start to finish.
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12"
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DEF 2603EP
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$23.50
PREORDER
RELEASE DATE: 4/10/2026
Boogie Vice and N-You-Up return to Definitive Recordings with Decadisco EP. Following their 2025 collaboration Come On Closer, the duo returns to the label with a fresh collection of groove-driven club tools that balance modern energy with classic house foundations. The EP opens with "Game Concept," a driving house cut built on percussive drums, a rolling classic house bassline, and catchy vocal samples. "Wurkin Like Dat" follows with a disco-infused house vibe, stacking groove upon groove as vocal snippets and disco elements take center stage, delivering pure dancefloor momentum. Rounding out the EP are two DJ-focused versions of "Wurkin Like Dat." With Decadisco, Boogie Vice and N-You-Up once again showcase Definitive Recordings' ability to deliver modern house weapons that honor the genre's past while pushing the sound firmly forward.
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LP
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FTR 822LP
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$36.00
PREORDER
RELEASE DATE: 4/10/2026
Co-Release with Cardinal Fuzz/Rooster Rock. A unique bespoke outer sleeve. Cardinal Fuzz and Feeding Tube Records, both seasoned navigators of the deep zone, present two new kandodo albums -- Solstice/Dub and Dusk/Dawn (FTR 823LP). Two records orbiting one deep pulse, each presented in a unique bespoke deluxe screen-printed outer sleeve finish. Includes download for full pelagic bliss. From the psychedelic shack in Northumberland, Simon Price (kandodo) has spent two years coaxing these sounds into being, eighty minutes, four sides, each a branch reaching out from the same shimmering sonic tree. A slow unfurling of heady drift and cosmic fuzz, the sound bending like light across the equinox, refracted through delays, flanges and fuzz until it folds in on itself. Hugo Morgan (The Heads) joins on low-end duties, sending tremors through the deep ether where the basslines anchor the drift, turning the horizon to liquid and the floor to vibration Four longform trips, each a 20-minute drift through the same solar pulse seen from different angles, all refracted through a sike sonic toolbox. A headphone treat at 20,000 feet or cranked loud on the stereo. They're glimmering portals, longform meditations, head-expanding drift zones to lose yourself in, built for the hour when everything dissolves, preferably at 2AM, lights low, synapses wide open, the turntable spinning like a slow planet. Each side a transmission that captures the same essence but from a different vantage point. "Solstice" brings the march of fuzz, tremeloes pulling you under. The dub burns with the bright hum of eternal noons and shards of phased harmonics. Dubbed, delayed, distorted, this is kandodo in full expansion mode, an anural equinox, a sonic solstice, a total double dissolver. One pulse, four horizons, infinite zones. Drop the needle, watch time blur and dive deep. See you on the other side.
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LP
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FTR 823LP
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$36.00
PREORDER
RELEASE DATE: 4/10/2026
Co-Release with Cardinal Fuzz/Rooster Rock. A unique bespoke outer sleeve. Cardinal Fuzz and Feeding Tube Records, both seasoned navigators of the deep zone, present two new kandodo albums -- Solstice/Dub (FTR 822LP) and Dusk/Dawn. Two records orbiting one deep pulse, each presented in a unique bespoke deluxe screen-printed outer sleeve finish. Includes download for full pelagic bliss. From the psychedelic shack in Northumberland, Simon Price (kandodo) has spent two years coaxing these sounds into being, eighty minutes, four sides, each a branch reaching out from the same shimmering sonic tree. A slow unfurling of heady drift and cosmic fuzz, the sound bending like light across the equinox, refracted through delays, flanges and fuzz until it folds in on itself. Hugo Morgan (The Heads) joins on low-end duties, sending tremors through the deep ether where the basslines anchor the drift, turning the horizon to liquid and the floor to vibration Four longform trips, each a 20-minute drift through the same solar pulse seen from different angles, all refracted through a sike sonic toolbox. A headphone treat at 20,000 feet or cranked loud on the stereo. They're glimmering portals, longform meditations, head-expanding drift zones to lose yourself in, built for the hour when everything dissolves, preferably at 2AM, lights low, synapses wide open, the turntable spinning like a slow planet. Each side a transmission that captures the same essence but from a different vantage point. "Dusk" slinks into the cool breath of the coming dark. "Dawn" lets slip earthly bounds and shimmers into deep space, going beyond beyond. Dubbed, delayed, distorted, this is kandodo in full expansion mode, an anural equinox, a sonic solstice, a total double dissolver. One pulse, four horizons, infinite zones. Drop the needle, watch time blur and dive deep. See you on the other side.
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CD
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GB 183CD
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$16.50
PREORDER
RELEASE DATE: 4/10/2026
Taiga Trans, the debut album from Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy. The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat's feral mysticism, Can's motorik drive, and a dancefloor at its most transcendental. Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up a twanging bounce. An ancient saz introduces a taut riff. Suddenly a high-strung electric guitar scorches and a deep, booming bass groove drops with a four-to-the-floor kick drum thud. Welcome to the mysterious world of Fauna. Since forming around three years ago, the Gothenburg-based group have forged a singular sound, proposing an imaginary world somehow outside of history. It's a sound of cultures and philosophies entwining, creating a liminal space where traditional acoustic instrumentation meets electronic innovation. The group's origins go back to informal, intimate jam sessions held by guitarist Tommie Ek and bassist Ibrahim Shabo -- two experienced musicians who had been playing together in the local rock scene for over a decade. During the recording of these demos the core duo attracted a cohort of likeminded sonic adventurers, leading to the current live line-up as a nine-piece ensemble with Ek and Shabo joined by core members Caroline Kabat (drums), Cuneyd Kocalp (percussion), Jennie Magnusson (guitar), Ibrahim's sister, Alexandra Shahbo (vocals) and French flautist Fauna Buvat. Now, their debut album, Taiga Trans, offers eight concise snapshots of that transporting experience, harnessing the band's primordial live energy while making the most of 21st century studio technology. You'll hear echoes of heroic 1960s/'70s Swedish psychedelic bands like Träd, Gras & Stenar in the hypnotic, repetitive grooves. You'll hear the mind-melting squelch of vintage acid house. If the human voice can be seen as the original and oldest musical instrument, it's followed closely by the drum and the flute, as played with sly and alluring delicacy by Fauna Buvat. And it's these ancient sounds -- slotted into the buzz of Fauna's hypermodern rituals that make their music so overpoweringly seductive.
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LP
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GB 183LP
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$32.00
PREORDER
RELEASE DATE: 4/10/2026
LP version. Taiga Trans, the debut album from Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy. The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat's feral mysticism, Can's motorik drive, and a dancefloor at its most transcendental. Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up a twanging bounce. An ancient saz introduces a taut riff. Suddenly a high-strung electric guitar scorches and a deep, booming bass groove drops with a four-to-the-floor kick drum thud. Welcome to the mysterious world of Fauna. Since forming around three years ago, the Gothenburg-based group have forged a singular sound, proposing an imaginary world somehow outside of history. It's a sound of cultures and philosophies entwining, creating a liminal space where traditional acoustic instrumentation meets electronic innovation. The group's origins go back to informal, intimate jam sessions held by guitarist Tommie Ek and bassist Ibrahim Shabo -- two experienced musicians who had been playing together in the local rock scene for over a decade. During the recording of these demos the core duo attracted a cohort of likeminded sonic adventurers, leading to the current live line-up as a nine-piece ensemble with Ek and Shabo joined by core members Caroline Kabat (drums), Cuneyd Kocalp (percussion), Jennie Magnusson (guitar), Ibrahim's sister, Alexandra Shahbo (vocals) and French flautist Fauna Buvat. Now, their debut album, Taiga Trans, offers eight concise snapshots of that transporting experience, harnessing the band's primordial live energy while making the most of 21st century studio technology. You'll hear echoes of heroic 1960s/'70s Swedish psychedelic bands like Träd, Gras & Stenar in the hypnotic, repetitive grooves. You'll hear the mind-melting squelch of vintage acid house. If the human voice can be seen as the original and oldest musical instrument, it's followed closely by the drum and the flute, as played with sly and alluring delicacy by Fauna Buvat. And it's these ancient sounds -- slotted into the buzz of Fauna's hypermodern rituals that make their music so overpoweringly seductive.
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CD
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GME 228CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Taï Phong is a French progressive rock band formed by two Vietnamese brothers, Khanh Maï (guitar, voice) and Taï Sinh (bass, guitar, voice, keyboards), in 1975. They were joined by Jean-Alain Gardet (keyboards), Stephan Caussarieu (drums, percussion), and Jean-Jacques Goldman (guitar, voice, violin). They released three albums between 1975 and 1979: Taï Phong (1975), Windows (1976), and Last Flight (1979). "Sister Jane" (1975), the first single from their first album, was a radio hit.
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LP
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GME 929LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
LP version. Taï Phong is a French progressive rock band formed by two Vietnamese brothers, Khanh Maï (guitar, voice) and Taï Sinh (bass, guitar, voice, keyboards), in 1975. They were joined by Jean-Alain Gardet (keyboards), Stephan Caussarieu (drums, percussion), and Jean-Jacques Goldman (guitar, voice, violin). They released three albums between 1975 and 1979: Taï Phong (1975), Windows (1976), and Last Flight (1979). "Sister Jane" (1975), the first single from their first album, was a radio hit.
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CD
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GME 930CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Ange (lit. 'Angel') is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Le Cimetiere Des Arlequins.
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LP
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GME 931LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
LP version. Ange (lit. 'Angel') is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Le Cimetiere Des Arlequins.
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CD
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GME 932CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Ange (lit. 'Angel') is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Au-Dela Du Delire.
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LP
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GME 933LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
LP version. Ange (lit. 'Angel') is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Au-Dela Du Delire.
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CD
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GME 934CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Ange (lit. 'Angel') is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Emile Jacotey.
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LP
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GME 935LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
LP version. Ange (lit. 'Angel') is a French progressive rock band formed in September 1969 by the Décamps brothers, Francis (keyboards) and Christian (vocals, accordion, acoustic guitar and keyboards). Since its inception the band's music has been inspired by medieval texts, fantasy and the music of Procol Harum and King Crimson. Their music was quite theatrical and poetic. This is their album Emile Jacotey.
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CD
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GME 936CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. 1001 Centigrades was released April of 1971.
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LP
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GME 937LP
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$35.00
PREORDER
RELEASE DATE: 4/10/2026
LP version. Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. 1001 Centigrades was released April of 1971.
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2CD
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GME 938CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released in the spring of 1970.
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2LP
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GME 939LP
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$42.00
PREORDER
RELEASE DATE: 4/10/2026
Double LP version. Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released in the spring of 1970.
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LP
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GUESS 271LP
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$31.50
PREORDER
RELEASE DATE: 4/10/2026
From Barcelona, Los Negativos stood out within the 1980s sixties-revival scene thanks to their carefully crafted look, lyrics, and thrilling songs. With their first album, Piknik Caleidoscópico, originally released in 1986, they masterfully combined pop, psychedelia, garage, beat, and folk-rock, creating a distinctive lysergic universe that continues to captivate 40 years after its release. This 40th-anniversary reissue of Piknik Caleidoscópico preserves the album's original artwork but, for the first time, includes the black-and-white back cover, which is how the band originally designed it. In addition, the audio has been remastered again by the album's original producer, Enric Lindo, together with the members of Los Negativos. It also includes an eight-page trilingual booklet (Spanish, Catalan, and English) with informative notes by journalist and band's official biographer Àlex Oró, plus rare photos/memorabilia and a reproduction of the original lyrics insert.
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LP
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GUESS 283LP
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$28.00
PREORDER
RELEASE DATE: 4/10/2026
One of the hidden treasures of the Spanish '90s garage-revival scene, Madrid's Beat In blended beat, folk-rock, and pop, heavily influenced by bands like The Remains, Byrds, Zombies, Hollies, Kinks, and Easybeats. Songs full of melody, energy, and a true '60s spirit that never made it beyond demo tapes are now rescued and restored by Guerssen Records to celebrate the label's 30th anniversary. In the mid-'90s, Antoni, founder of Guerssen, received a cassette with demos by a Madrid band called Beat In. Despite the home-recorded sound, those songs had something special that hooked him: irresistible melodies, sparkling harmonies, and a clear connection to names like The Remains, The Byrds, and the West Coast sound. Now, Guerssen tracked down the main songwriters, Marcos de Ben and Fernando Maestú, who sent more recordings. The project slowly began to take shape, and it finally crystallized when Guerssen discovered that Jesús Sanz -- respected music tastemaker and someone Alex Carretero at Guerssen followed on social media had been the band's bassist. With Guerssen's 30th anniversary approaching, it was the perfect moment: now or never. Although Guerssen is known for rescuing psychedelic rarities from the '60s and '70s, releasing the Beat In recordings makes perfect sense. Active between 1989 and 1992 and friends with bands like Sex Museum, Los Potros (with whom they shared many influences), or Snap!, Beat In were a group deeply in love with '60s pop but with a personality of their own. In a scene dominated by raw and dirty garage sounds, they stood out for their melodic side. They left behind a good handful of home demos with memorable songs, and it's quite possible that, had they continued, they might have become one of the first bands of the Spanish indie movement.
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LP
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GUESS 287LP
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$31.50
PREORDER
RELEASE DATE: 4/10/2026
Part-time farmer/musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK. His cult masterpiece Standing Stone was recorded in early 1974 at a remote farm in Wales, using a portable 4-track Teac reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and "smaller winged creatures," Oliver sang and played acoustic and electric guitars filtered through tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless. Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver's music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe. He remains a kind of a mysterious figure and Guerssen now offers a new, long-awaited reissue of Standing Stone, sanctioned by the artist.
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7"
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GUESSG 008EP
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$16.00
PREORDER
RELEASE DATE: 4/10/2026
Before releasing their now legendary debut LP, Piknik Caleidoscópico in 1986, Los Negativos recorded a four-song demo with the help of their own personal "George Martin," producer and sound engineer Enric Lindo. Recorded on four tracks, it displayed clear influences from psychedelia, garage rock, and '60s folk-rock: the Beatles, the Byrds, the Seeds -- not forgetting local bands like Los Salvajes. This early demo, released on cassette, introduced them to the underground scene of the time, even getting airplay on Radio 3's "Diario Pop" program. Now, for the first time on vinyl, you can enjoy these brilliant songs exactly as they were originally conceived.
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7"
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GUESSG 009EP
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$16.00
PREORDER
RELEASE DATE: 4/10/2026
Before releasing their now legendary debut LP, Piknik Caleidoscópico in 1986, Los Negativos recorded a four-song demo with the help of their own personal "George Martin," producer and sound engineer Enric Lindo. Recorded on four tracks, it displayed clear influences from psychedelia, garage rock, and '60s folk-rock: the Beatles, the Byrds, the Seeds -- not forgetting local bands like Los Salvajes. This early demo, released on cassette, introduced them to the underground scene of the time, even getting airplay on Radio 3's "Diario Pop" program. Now, for the first time on vinyl, you can enjoy these brilliant songs exactly as they were originally conceived.
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CD
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HPS 378CD
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$17.50
PREORDER
RELEASE DATE: 4/10/2026
The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death.
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LP
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HPS 378LP
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$29.50
PREORDER
RELEASE DATE: 4/10/2026
LP version. The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death.
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LP
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HPS 378LTD-LP
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$34.00
PREORDER
RELEASE DATE: 4/10/2026
LP version. Green color vinyl version. The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days -- The End Is High. Recorded and mixed by Satanic Audio at Sound of Records, this new chapter drags you deeper into your doom -- where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death.
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12"
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KILOTONI 004EP
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$17.50
PREORDER
RELEASE DATE: 4/10/2026
Another batch of forgotten and previously unreleased radioactive acid techno has surfaced on the anonymous, vinyl-only Kilotoni imprint -- possibly their strongest release so far. The peak of acid techno is perhaps found in its most stripped-down form. As the bass line throbs your breath out, you try to chase the kick drum in a game of hide-and-seek until complete exhaustion. The kick drum keeps pounding its way through while a lonely TB-303 is traveling in its own space and time. Influenced perhaps by the Midwest acid techno style, this could be a mid-90s DAT-tape lost inside the transatlantic postal system on its way to the Analog Records USA headquarters.
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12"
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LYAM 012EP
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$21.50
PREORDER
RELEASE DATE: 4/10/2026
Oath sub-label Last Year At Marienbad presents the latest spellbinding work from producer Holo, Astro, a record that emulates never-ending ethereal, emotively pure, and endlessly danceable frequencies. Berlin-based Holo makes dance music that speaks in carefree whispers, through a brilliantly constructed sound that leans as much on the hypnotically emotive as on the core fundamentals of composition. Astro is the next phase of his musical journey, and as a contained experience, it gives over all that Holo has become celebrated for, alongside explorations of invigorating spaces in which his sound has grown.
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CD
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MR 493CD
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$12.50
PREORDER
RELEASE DATE: 4/10/2026
With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US North West at the same time. Theirs is the same DNA shared by The Sonics, Rocket From The Tombs, The Cramps and Black Lips. This release compiles all their recordings, including some later rarities available here on CD for the first time, and tells their amazing story.
"I'd never heard Los Saicos until a few days ago but had experienced the Wau y Los Arrrghs!!! version of 'Demolición.' Whilst appreciating the inherent wildness, I never for a minute considered that the original could have been even more deranged. More importantly, this snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles. I hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. The unhinged nature of the song titles is one thing but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and kicks in the call of the wild. The individuals have no other option than to just go with it. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton
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LP
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MR 498LP
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$28.50
PREORDER
RELEASE DATE: 4/10/2026
For some strange reason -- surely related to the country's extreme conditions, its high altitude, and the influence of huayno -- Bolivian recordings are truly unique and fascinating. A multitude of bands sprang up under the influence of groups -- mainly British -- that dominated the international charts. From the ashes of two of Bolivia's most important seminal bands, Los Black Byrds and The Turtles, two new groups fundamental to the history of Bolivian rock would be born: the mythical Climax and the legendary Loving Darks. Los Amantes Oscuros brings together for the first time on vinyl the recordings this band made between 1968 and 1969, originally released across three EPs on the local Lyra label. Their repertoire is packed with covers such as "El Adivino," a sped-up reinterpretation of "Fortune Teller," or even "Algo de títere," a reworking of "Jumpin' Jack Flash." They also adapt the classic "Call Me" by Tony Hatch and "Toad" by Cream, from whom they borrow the cover of one of their most iconic albums for the artwork of their EP Complicado. In fact, "Complicado" -- a proto-punk version of the Rolling Stones' "Complicated" and their signature track -- is a perfect example of how a Bolivian band could outdo the British giants in attitude and power. Their importance lies in having paved the way for new sounds, styles, and aesthetics within a still-emerging scene. This compilation is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history. First time vinyl reissue.
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7"
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MR 7396EP
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$15.50
PREORDER
RELEASE DATE: 4/10/2026
At the genesis of one of the most essential bands in Spanish pop-rock of the 1980s, this rarity emerges: early versions of what would later become some of the most chanted songs in Siniestro Total's repertoire. With limited resources but plenty of energy and humor, a three-song demo was recorded in August 1981, now available here on vinyl for the first time. The songs came first, and only later did the band take a name -- initially Mari Cruz Soriano y los que afinan su piano, and shortly after, Siniestro Total. "El Vaticano va a arder" was contributed by Germán Coppini, the mysterious fourth member of this singular lineup. This single is an essential document for both Siniestro Total fans and Spanish-language punk enthusiasts. First-ever vinyl edition.
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5CD BOX
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NOTON 060CD
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$189.50
PREORDER
RELEASE DATE: 4/10/2026
Housed in 1 design slipcase. NOTON presents this limited-edition box set of Alva Noto's Xerrox series. Pioneering in his approach to digital sound and its materiality, Alva Noto (Carsten Nicolai) began his ongoing exploration of sampling, degradation and recontextualization with the Xerrox series in 2007. Over the years, the project has evolved into one of the most distinctive bodies of work in contemporary electronic music, situated between minimalism, experimental sound art and digital abstraction. Across five albums, Xerrox Vol. 1 (2007), Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), and Xerrox Vol. 5 (2024), Nicolai's method evolves from sample-based work toward original composition as he deconstructs and reassembles source material into precise, sculpted sound worlds that are at once minimal and emotive. Remastered in collaboration with Bo Kondren of Calyx Mastering, the Xerrox recordings of Volumes 1, 2, and 3 are made available alongside Volumes 4 and 5 under the title "reMASTER," presented in a beautifully designed box featuring original artwork by Carsten Nicolai.
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10LP Box
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NOTON 060LP
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$278.00
PREORDER
RELEASE DATE: 4/10/2026
10LP box version. 2,68 KG. Housed in 1 design slipcase. NOTON presents this limited-edition box set of Alva Noto's Xerrox series. Pioneering in his approach to digital sound and its materiality, Alva Noto (Carsten Nicolai) began his ongoing exploration of sampling, degradation and recontextualization with the Xerrox series in 2007. Over the years, the project has evolved into one of the most distinctive bodies of work in contemporary electronic music, situated between minimalism, experimental sound art and digital abstraction. Across five albums, Xerrox Vol. 1 (2007), Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), and Xerrox Vol. 5 (2024), Nicolai's method evolves from sample-based work toward original composition as he deconstructs and reassembles source material into precise, sculpted sound worlds that are at once minimal and emotive. Remastered in collaboration with Bo Kondren of Calyx Mastering, the Xerrox recordings of Volumes 1, 2, and 3 are made available alongside Volumes 4 and 5 under the title "reMASTER," presented in a beautifully designed box featuring original artwork by Carsten Nicolai.
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CD
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NOTON 065CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Xerrox Vol. 1 is the third studio album by German electronic artist Alva Noto. It was released in 2007 as part of the ongoing Xerrox pentalogy, based on the concept of digital replication of source material. Using the process of copying as a basis, the Xerrox series deals with the manipulation of data through endless reproduction. Due to the inherent fallacy of making copies from other copies, everyday sounds become so altered that they are hardly associated with their source material. As a result, entirely new sounds are created: copies of originals become originals themselves. Together with Christoph Brünggel, Nicolai designed a "sample transformer" that takes audio fragments and manipulates them beyond recognition. In this process of taking something familiar and defamiliarizing it, samples from obvious sources-advertising jingles, airport tones, telephone hold music, and film soundtracks-were used and altered, resulting in sounds totally unlike their original source. The result is a series of haunting, intricately realized pieces that recontextualize Nicolai's "glitches and bass" sound into extended, cinematic, organic, and almost orchestral works. Xerrox Vol. 1 was followed by Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), Xerrox Vol. 5 (2024).
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2LP
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NOTON 065LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
Double LP version. Xerrox Vol. 1 is the third studio album by German electronic artist Alva Noto. It was released in 2007 as part of the ongoing Xerrox pentalogy, based on the concept of digital replication of source material. Using the process of copying as a basis, the Xerrox series deals with the manipulation of data through endless reproduction. Due to the inherent fallacy of making copies from other copies, everyday sounds become so altered that they are hardly associated with their source material. As a result, entirely new sounds are created: copies of originals become originals themselves. Together with Christoph Brünggel, Nicolai designed a "sample transformer" that takes audio fragments and manipulates them beyond recognition. In this process of taking something familiar and defamiliarizing it, samples from obvious sources-advertising jingles, airport tones, telephone hold music, and film soundtracks-were used and altered, resulting in sounds totally unlike their original source. The result is a series of haunting, intricately realized pieces that recontextualize Nicolai's "glitches and bass" sound into extended, cinematic, organic, and almost orchestral works. Xerrox Vol. 1 was followed by Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), Xerrox Vol. 5 (2024).
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CD
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NOTON 066CD
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$20.00
PREORDER
RELEASE DATE: 4/10/2026
Xerrox Vol. 2 is the sixth studio album, released in 2009 by German electronic artist Alva Noto. It is the second installment of the Xerrox penthalogy, based on the concept of digital replication of source material. As with the first Xerrox album, the starting point is a set of samples culled from external sources. This time, snippets and recordings from Sunn O))) collaborator Stephen O'Malley and composer Michael Nyman are featured, as is an excerpt from the 2004 Insen tour with Ryuichi Sakamoto. While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, the Xerrox series holds more intimate gestures and emotional sensibility. This volume moves further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.
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2LP
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NOTON 066LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
Double LP version. Xerrox Vol. 2 is the sixth studio album, released in 2009 by German electronic artist Alva Noto. It is the second installment of the Xerrox penthalogy, based on the concept of digital replication of source material. As with the first Xerrox album, the starting point is a set of samples culled from external sources. This time, snippets and recordings from Sunn O))) collaborator Stephen O'Malley and composer Michael Nyman are featured, as is an excerpt from the 2004 Insen tour with Ryuichi Sakamoto. While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, the Xerrox series holds more intimate gestures and emotional sensibility. This volume moves further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.
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CD
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NOTON 067CD
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$20.00
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RELEASE DATE: 4/10/2026
Xerrox Vol. 3 is the eighth solo studio album by German electronic artist Alva Noto, released in 2015 as part of the ongoing Xerrox penthalogy, which began with Xerrox Vol. 1 (2007) and Xerrox Vol. 2 (2009). Inspired by formative influences such as Andrei Tarkovsky's 1971 film Solaris, La Isla Misteriosa y el Capitán Nemo by Juan Antonio Bardem, and Henri Colpi, Carsten Nicolai exchanges austerity for cinematographic lushness in the remarkably widescreen third volume of his Xerrox series. In line with the series' focus on "using the process of copying as a basis," the eleven compositions of this volume can be heard as copies of memories, exploring emotional data patterns that are reflected as melodic vectors and noise.
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2LP
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NOTON 067LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
Double LP version. Xerrox Vol. 3 is the eighth solo studio album by German electronic artist Alva Noto, released in 2015 as part of the ongoing Xerrox penthalogy, which began with Xerrox Vol. 1 (2007) and Xerrox Vol. 2 (2009). Inspired by formative influences such as Andrei Tarkovsky's 1971 film Solaris, La Isla Misteriosa y el Capitán Nemo by Juan Antonio Bardem, and Henri Colpi, Carsten Nicolai exchanges austerity for cinematographic lushness in the remarkably widescreen third volume of his Xerrox series. In line with the series' focus on "using the process of copying as a basis," the eleven compositions of this volume can be heard as copies of memories, exploring emotional data patterns that are reflected as melodic vectors and noise.
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LP
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NP 058LP
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$29.50
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RELEASE DATE: 4/10/2026
The long-awaited fourth record by the cult solo project of Anthony Di Franco (Ramleh, JFK) has arrived. From the artist: "I started AX as a 21-year-old in 1993 because I wanted to combine distorted guitars and feedback with electronics and synthesizers. I wanted to strip out rhythms and percussion and just leave the beatless sound to flow, surge, crescendo and climax. To achieve this, I used a 4-track portastudio and a simple array of guitars, synths and effects to record three albums from 1994 to 1997. With Vulcanalia, I explore the same sound world but using techniques and inspiration gleaned from an additional 25 years of experience. This has allowed me to scale up the sound, using amplifiers, effects and mic placement in the studio to create greater depth and atmosphere. But although the equipment and recording techniques may have evolved, my aim remains the same: to create a towering edifice in sound that overwhelms me as much as it does the listener. The unifying theme of this album is Roman mythology and religion which has long been an obsession of mine. I have had the good fortune to tour Italy and visit many ancient sites which have been a great inspiration to me, and all of this has fed into this work."
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LP
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OATH 028LP
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$24.00
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RELEASE DATE: 4/10/2026
Oath's presents Vault with Holes, the first record from French duo C.ling. Formed by lifelong friends Paul Brunet and Alexandre Maillet, now based between Paris and Brussels, the pair draw from a wide European electronic music network and a classical background. Combining hyper-kinetic sound design, delicate instrumentation and fluid, polyrhythmic layering, C.ling's sound is immersive and genre-less at times, rooted in remembrance and shifting emotional spaces. Vault with Holes unfolds like chapters, where thresholds between tracks feel like breaks in a narrative, reflective, tactile and quietly expansive.
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CD
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OSR 118CD
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$16.50
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RELEASE DATE: 4/10/2026
Proto-doom metal/stoner/hard-rock by this Mexican band formed in 1972, including their mega-rare early '70s singles plus later material in the same raw vein. Born on Día de los Muertos in 1972, Medusa emerged from Mexico City with a mission: to forge heavy, hard, Spanish-language rock rooted in social awareness and poetic force. Guitarist Luis Antonio "Toño" Urquiza, drummer Víctor Moreno, and bassist/vocalist Javier Plascencia shaped their sound influenced by bands like Blue Cheer and Black Sabbath, as well as the turbulence of the 1968 Student Movement, the 1971 Halconazo, and the creative explosion surrounding the legendary Avándaro Festival. Friends and contemporaries of bands like Peace & Love, the Dug Dug's, and El Ritual, Medusa quickly stood out for their powerful live presence and politically charged energy. They released their mega rare first single in 1973 and then an EP followed in 1974, but their refusal to compromise their artistic direction led to being dropped before completing a full LP -- pushing them into self-produced, underground recordings throughout the following decades. Despite media marginalization, Medusa remained active into the mid-1980s, playing everywhere from stadiums and TV to prisons and "hoyos fonkis." After a decade-long hiatus, they resurfaced in 1994 to a new generation that embraced them as pioneers of heavy metal and early stoner rock in Mexico. Later joined by Jaime García Mares, they reaffirmed their status with a landmark 2006 national TV appearance. In 2015, after more sporadic performances and demos, Medusa were honored by Tianguis del Chopo and recognized by the National Sound Archive as the founders of stoner rock in Mexico, becoming subjects of books and a Rolling Stone special on Mexican rock. Shortly after, the band closed a 43-year chapter and its members moved on to personal projects. Now, thanks to recordings rescued from Víctor Moreno's personal archives, Medusa's early work -- including their four tracks from the '70s and additional raw and unadulterated sessions from the '80s-'90s -- finally appears on CD.
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12"
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PC 005EP
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$18.00
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RELEASE DATE: 4/10/2026
Four different flavors of deep, hypnotic acid house.
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CD
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RM 4253CD
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$17.50
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RELEASE DATE: 4/10/2026
This is the first recording album by Carl Stone and ASUNA (Asuna Arashi). Spring 2024. Carl Stone and Asuna performed together for the first time at an international experimental music festival held in Kanazawa city, where Asuna lives. Carl Stone is a pioneering composer of computer sampled music. and ASUNA known for its "100 Keyboards" performance, played in this duo with over 100 toy instruments, samplers, and synthesizers. Carl samples and processed the sound of Asuna's various toys in real time. Asuna then incorporates the sounds into her own sampler and sends again the signal to Carl. The two transformed the sounds on the live show, music born mysterious cultural parade of toys was stirred up by the electronic sounds, melting one into the other. They then on to record in the studio, Tokyo. ASUNA then edited the song based on ideas that were in the opposite direction to the way the two performed on the recording. "Sampling" comes from the ancient Latin "exemplum," which means the act of juxtaposing something taken from measurement or observation, and it is self-evident that a sample is made because of an object. However, as music is an art of time, the editing was done in such a way that the relationship between the sample and the object is reversed. In other words, Carl's sample and the editing of the target sound made of electronic sounds are placed before ASUNA's sound, and the original sound is placed after it (except "Casual Resonant"). This album is a composition of improvisations in which ASUNA sliced Carl Stone's sampling idea from the opposite direction when editing the samples. Mirroring the process of how that album was compiled, each song title on the album is made up of anagrams of "Carl Stone" and "Asuna." This is because the process of the duo felt like an anagram, as if Carl Stone reconstructed Asuna sound and Asuna further re-edited it from the upside down.
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LP
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SILUH 135LP
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$28.50
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RELEASE DATE: 4/10/2026
Topsy Turvy are back and up for the fight. Suited up in space age glam, Fighting the Ginormous Macho Nacho is the second album from a Vienna trio who are irreverent, smart, and always playful. With instrument swapping, operatic vocals, and Van Halen synths a-plenty, the band weave together a restless infusion of garage-punk, surf, vintage rock and psychedelia, following a line that runs from the iconic Girls In The Garage compilations right through to the snarling defiance of Amyl and The Sniffers or Automatic. Born from the collaborative hub of a prolific DIY scene in Vienna, it's not only the band's most focused effort to date, but a celebration of the independent spirit, a living, breathing rebellion against toxic "Macho Nacho" men the world over. Topsy Turvy's Fighting The Ginormous Macho Nacho is the band's second release, following hot on the heels of acclaimed summer 2024 debut But Sore. The Vinyl-LP comes with a Din A2 format poster.
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12"
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SRWAX 027EP
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$16.00
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RELEASE DATE: 4/10/2026
Francisco Foo presents a beautifully pensive four-track chillage EP as his vinyl debut. Europe After The Rain perfectly captures the ideas of healing, regeneration, and rebuilding.
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LP
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SVT 2601LP
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$35.00
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RELEASE DATE: 4/10/2026
How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser," who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalized and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty. You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterize an indie sound that remains open and breathes. Self-produced for the first time in his home studio in Neukölln, Content Creatures sounds thoughtful and light at the same time. The album is presented on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.
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2LP
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SVT 411LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
Oliver Koletzki releases twelfth studio album, 12. The beautifully crafted twelve-track opus is out via Stil vor Talent. 12 is a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. Serving as both a milestone and a manifesto, 12 distils Koletzki's evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It's a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki's output as both an artist and a label curator. The journey begins with album opener "Petrichor," a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album's emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki's unmistakable melodic sensibility. As a whole, 12 feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki's previous albums, 12 stands as a self-contained world, inviting listeners to step inside and stay. Released on Stil vor Talent, the album also reinforces the label's ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.
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LP
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THROT 017LP
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$37.50
PREORDER
RELEASE DATE: 4/10/2026
Clark's latest film score is for We Bury the Dead, the Daisy Ridley-starring feature film. Limited to 500 copies for the world on color-within-color vinyl. Stunning artwork. Set in Tasmania and offering a fresh take on the zombie genre. Clark reveals the films emotional heart with tender strings and choral recordings, whilst underpinning with glorious bass sounds that could be taken straight from recent studio album Steep Stims. Plus the occasional requisite jump scare, pin drop tension and vocal eeriness.
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12"
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TOYT 193EP
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$15.50
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RELEASE DATE: 4/10/2026
Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo Alma Negra. The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."
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MAG
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UT 071
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$11.95
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RELEASE DATE: 4/10/2026
"Iggy Pop is on the cover as Ugly Things presents an expansive, mind-blowing interview with manager/publicist/journalist/tastemaker Danny Fields, who reveals intimate insider tales of the Stooges, MC5, the Velvet Underground, Nico, Brian Epstein, the Ramones, and his role in triggering the Beatles' 'bigger than Jesus' firestorm. For 'Teenage Grease 1972,' Peter Stanfield burrowed deep into the archives to dig up everything you need to know about the Flamin' Groovies' UK sojourn of that year. Then there's '60s Canadian psych/rock legends the Collectors, '70s French femme punk trailblazers the Lou's, a chat with Vern Miller of the Remains, and the final installment of Dave Laing's epic interview with Ed Kuepper of the Saints. Plus the strange tale of the Bugs' Boston Strangler cash-in Strangler in the Night, the continuing saga of Canadian '60s punks the Churls, the Glass Cage from British Columbia, and more of Cyril Jordan's encounters with Brian Wilson. And as always, the essentials reviews sections covering all the latest and greatest reissues, and rock 'n' roll related books."
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LP
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VAMPI 348LP
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$28.50
PREORDER
RELEASE DATE: 4/10/2026
Los Felcas were one of the best bands to come out of Peru during the golden years of the cumbia and tropical sounds explosion. In Lima, founding member, guitarist Florentino "Tino" León, quickly joined the Peruvian cumbia tropical movement led by electric guitarists Enrique Delgado (Los Destellos) and Berardo Hernández "Manzanita.". This new style was soon practiced by other groups from Lima, such as Los Ecos, Los Beta 5, Los Diablos Rojos, and, a bit later, by bands from the rest of the country. This movement became a massive phenomenon. Nelson Ferreyra and the multifaceted singer Pablo Villanueva Branda "Melcochita", who had become fans, introduced them to the MAG record label. In mid-1973, they recorded their first 45 RPM singles, with "Sabor a Felcas" being their most popular release. They recorded several albums during the late '70s and '80s, mostly on MAG: "La Blanquiñosa," "Tu bello cuerpo," "La cusqueñita" and "Manzanita coloradita." In the early 1990s, chicha music became popular in Argentina, especially in the north, where "Boquita perfumada" by Los Felcas was a hit. This compilation brings together their finest recordings, taking from albums and obscure 45s, blending a wide range of influences -- from psychedelic vibes to rhythms closer to guaracha and chicha -- and now being reissued for the first time.
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LP
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VAMPI 352LP
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$28.50
PREORDER
RELEASE DATE: 4/10/2026
Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for peacock and back beat records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. Free As You Wanna Be, his first album with his band The Lightmen, predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East: this album is a harbinger of the collective voice of resistance to the musical and cultural status quo that emerged in the 1970s jazz underground. Most of the tracks remain strongly groove-based with a clear sense of cohesion, but a few of the performances push further out than you might expect from later Lightmen releases, revealing the band's deep roots in avant-jazz. This lineup includes a very young Ronnie Laws sounding noticeably removed from the jazz-fusion style he'd adopt in the late '70s. Alongside Thomas on drums, the ensemble is rounded out by Doug Harris on tenor sax, Carl Adams on trumpet, Kenny Abair on guitar, and Joe Singleton on trombone.
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7"
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VAMPI 45119EP
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$15.50
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RELEASE DATE: 4/10/2026
"Spacing Out" is an instrumental funk masterpiece only ever issued in Bermuda at the turn of 1970, taken from an exceedingly rare album sought out by rock, funk, soul and hip hop sample fiends -- and bootlegged -- for decades. It lays out the band's funk bonafides: a relentlessly tight conga-filled groove, the punchy wall of intertwined horn leads, and raucous unintelligible background vocals adding extra mystique. On the flip is "Latin Lips" a heavy funk cut with a jazzier vibe, also taken from the mega rare LP by The Invaders.
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LP
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VLEK 043LP
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$31.50
PREORDER
RELEASE DATE: 4/10/2026
Hand-assembled offset-printed sleeve. Limited edition of 250 copies. Hawk Deh Near marks the return of MT Gemini with his most intense and uncompromising release to date. The title draws from the Jamaican proverb "Chicken merry, hawk deh near," a phrase balancing humor and warning, and encapsulating the album's central tension between apparent lightness and underlying threat. Leaning toward incantation rather than genre, Hawk Deh Near treats reggae as raw material. Fragments of rhythm, melody, and texture are pulled into abrasive hypnotic compositions where repetition, saturation, and warped psychedelia destabilize familiar forms. The result is a music of deconstruction: raw, ritualistic, and emotionally immediate. The album was recorded, produced, and mixed by Yannick Franck using a process deliberately opposed to hyper-controlled digital production. Texture, imperfection, psycho-acoustic phenomena, and instability are foregrounded, allowing distortion, accidents, and ambiguity to actively shape the music. MT Gemini is Franck's long-running avant-dub project, fusing Jamaican forms such as ska, rocksteady, and dancehall with unorthodox electroacoustic practices. Rather than revivalism, the project operates through mutation and fabulation: obscured elements of classic rocksteady or popular dancehall tunes re-emerge from unfamiliar angles, reconfigured into dense, ritualistic sound environments. Drawing from pataphysics, defined by Alfred Jarry as "the science of imaginary solutions to actual problems," MT Gemini stages collisions between genres, techniques, and cultures that rarely communicate, embracing radical cross-pollination as a creative method. MT Gemini's work has been released by Sub Rosa and Antibody, the left-field imprint founded by Franck himself, and has been praised by The Wire and Brainwashed.
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LP
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VLEK 044LP
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$31.50
PREORDER
RELEASE DATE: 4/10/2026
Hand-assembled offset-printed sleeve. Limited edition of 250 copies. Late Bush presents Hoarses on Vlek Records, an original repertoire in which he blends electronic music, power ambient, IDM, avant-pop, and early music, which share the same affective intensity, a taste for ornamentation and a form of sonic excess. At the heart of this material, AI-cloned voices, both human and spectral, extend the idea that any baroque interpretation is a reconstruction of the unknown. They contrast with organic strings recorded with Echo Collective, in a temporal and radical hybridization, creating a fluid and unstable material, between memory and simulation. One of the conceptual starting points is essential: there is no sonic trace of baroque music as it was played. Only scores remain, and sometimes contradictory indications, a sensitive archaeology, even an imaginary projection. Everything that is played today is therefore, in fact, a reconstruction, an interpretation of a vanished material. According to this logic and to pursue this reflection, the cloned voices, transformed by AI, are not a rupture but propose a natural continuation of this chain of reinvention, of this relationship to the invisible, to the indefinite. They do not aim to replace a human voice, but rather to embody the fact that any baroque restitution is already a fiction. The project does not seek to imitate the real, but to play with the thresholds of the plausible, of the spectral. The music then becomes a fluid material, manipulable, alterable, and the performers, musicians or machines, are its vehicles. The strings, carried by the sensitive and expressive interpretation of Echo Collective, breathe into the project a vibrant authenticity. Their presence brings an organic and tactile dimension that contrasts with the fluid and intangible aspect of the voices and the electronics.
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LP
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WRWTFWW 111LP
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$38.50
PREORDER
RELEASE DATE: 4/10/2026
WRWTFWW Records presents the release of Nighthawks, the new collaborative album from composer Azumi Okamura and musician/sound designer Andrea Esperti, available on limited edition LP (300 copies worldwide) cut at 45rpm, and housed in a heavyweight sleeve with inside-out print. A sublime convergence of Japanese piano poetry and Swiss sonic craftsmanship, Nighthawks brings together Azumi Okamura's intimate, emotionally resonant compositions with Andrea Esperti's refined approach to sound design. Esperti is known for his work alongside ambient legend Takashi Kokubo, and here he extends that sensibility into an intimate and immersive space. Echoes of dreams from an imaginary world drift through the album: forgotten memories rising gently, only to fade again. The music unfolds like a series of inner scenes -- reflective, rich with atmosphere -- where minimal piano motifs meet organic textures and subtle electronic detail. Rooted in the emotional solitude of Edward Hopper's urban landscapes, Nighthawks balances stillness and warmth. Gentle, simple melodies glow softly, wrapped in environmental music that evokes autumn air and walks by the beach. Resisting excess and spectacle, the record embraces poetic minimalism and emotional clarity. Each piece feels suspended in time, offering quiet moments that linger long after the sound has faded -- a drifting, cinematic journey shaped by sensitivity and restraint.
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LP
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WRWTFWW 130LP
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$35.00
PREORDER
RELEASE DATE: 4/10/2026
WRWTFWW Records presents its fifth collaboration with NY-LA ambient/jazz/downtempo musician Danny Scott Lane with the first ever vinyl release of his 2022 full-length album Holy Goodnight, available on limited edition LP (500 copies worldwide) housed in a heavyweight sleeve. After Home Decor, Shower, Caput, and Songs For Sex, here's another Danny Scott Lane classic. On Holy Goodnight, he handles synths, keyboards, bass, guitar, percussion, and field recordings for a smooth nightride through city pop, contemplative jazz, vaporwave, slow funk, cozy ambient, library music vibes, and relaxed moods. Holy Goodnight feels like cruising through a half-asleep city with the windows down and the radio low -- lush harmonies and soft grooves guiding the way. It's warm and hazy music for late hours and early mornings, introspective, comforting, cinematic, and intimate. Following the release of chillout staples on WRWTFWW, Danny Scott Lane further cements his unmistakable sonic universe. Complete the collection and sink deeper into the night. For fans of ambient jazz, city pop, downtempo, smooth funk, vaporwave, library music, night drives, neon lights, quiet introspection, cozy late hours, and peaceful goodnights.
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LP
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ZORN 085LP
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$36.50
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RELEASE DATE: 4/10/2026
First time reissue of Japan/US free jazz rarity. Old-style gatefold LP with rare photographs and liner notes by Ed Hazell. Edition of 1000. The 1970s were Marion Brown's most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as "a more deliberate kind of music that had more structure to it," pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines. Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown's methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style. "La Placita," making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard "Flamingo" is reshaped through diasporic rhythm and lyrical soloing, while "Pepi's Tempo" and "Mangoes" harness crisp funk and reggae grooves to generate what Brown called a "manifestation of community" through collective improvisation. Even the overdubbed solo feature "And Then They Danced" reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player. This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles -- rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, "from life and from the world of experience."
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LP
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ZORN 098LP
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$36.50
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RELEASE DATE: 4/10/2026
First time reissue of free jazz rarity, pre-Seikatsu Kōjyō Iinkai group. Old-style gatefold LP with rare photographs and liner notes by Alan Cummings. Limited edition of 500. The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo's free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In free jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the center: a cramped basement beneath a rice shop, seating just 20 people. Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene. In early 1976, Umezu and pianist Yoriyuki Harada -- recently returned from New York's loft jazz environment, where they had played with musicians such as David Murray and William Parker -- formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning "mass evacuation," pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms. They returned to Alone on December 24 to record Sono zen'ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.
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LP
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5JT185
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$28.50
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RELEASE DATE: 4/17/2026
In late September and early October 1969, John Tchicai toured throughout Denmark with a special quintet. The international band was a notable one, bringing together musicians from Denmark and Holland whose conceptual differences were as important as the musical values they held in common. Tchicai and two of his closest Danish collaborators -- trumpeter Hugh Steinmetz and guitarist Pierre Dørge -- embraced an international perspective that incorporated far flung influences from African music, contemporary classical, and jazz into a cool, yet playful and joyous, modernity. In this quintet they worked with two pillars of the Dutch Instant Composer's Pool, pianist Misha Mengelberg and Han Bennink. Ironic and subversive, they displayed a willingness, you might even say an eagerness, to disrupt accepted conventions of any kind. The music on this LP, recorded on October 9, 1969, at Danish Radio Studio 11 in Copenhagen, consists of compositions they'd played on the recently concluded tour plus a group improvisation. Of course, Tchicai's international collaborations extended beyond neighboring Holland. He was a most cosmopolitan musician, performing and recording with musicians in the U.S., Asia, Africa, and Europe. Perhaps surprisingly, one of his most sympathetic European partners was German bassist Peter Kowald. Tchicai did share some musical affinities with the German improvising scene. As Kowald and his compatriots, such as Peter Brötzmann and Alexander von Schlippenbach, took inspiration from the cathartic energy and the collective improvisation of free jazz, especially Albert Ayler. His appearance on John Coltrane's Ascension, would have also earned him respect among the hard-blowing Germans. Tchicai and Kowald mutual openness to the sounds of other cultures and free improvisation made them quite compatible, so it's something of a shock that this is the only documentation of their work together. The two improvisors found themselves in Japan in 1983, when they recorded the astonishing duet contained on the second side of this LP. Their improvisation in Kyoto is an amazingly resourceful conversation a kind of improvisation which remains far from "world music," and with new textures expanding their musical vocabularies and allowing them to develop new ideas; qualities that allowed Tchicai to flourish in so many different settings. Includes an insert with beautiful photos from the John Tchicai Quintet sessions with portraits of Tchicai, Bennink, Mengelberg, Steinmetz and Dørge as well as liner notes by Ed Hazell.
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6FFCND186
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$28.50
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RELEASE DATE: 4/17/2026
To the best of anyone's knowledge this performance by John Tchicai and Cadentia Nova Danica was the first ever jazz- or improvisation-type concert held at London's hallowed recital room Wigmore Hall. 1968 was a year of Denmark's extensive cultural program in Britain, which included a poorly attended CND concert, not recorded, on 2nd October at Manchester's Free Trade Hall. That this was to be the sole concert by Tchicai -- of New York Contemporary Five, New York Art Quartet, Coltrane's Ascension fame -- was stupefyingly ridiculous so Anthony Barnett set about trying to organize a London concert. He traipsed the capital in search of an available venue without luck until, with no thought of a positive outcome, he entered Wigmore Hall. To his astonishment, with few questions asked, they said yes. Following that, there was the matter of work permits. Barnett visited the relevant office and they too said yes, probably because of the involvement of The Royal Danish Embassy and the Danish Cultural Ministry with the Manchester concert. Danmarks Radio asked the BBC to record the concert on its behalf. The arrangement was that Barnett would receive a small fee and a complete set of the tapes. Afterwards, it turned out that the BBC had edited the tapes down to what it sent to Danmarks Radio, as broadcast and now heard here for the first time since. Sadly, and quite true to form, the BBC had wiped the rest. And it was a struggle for Anthony Barnett to get back the tape that did remain. Possibly it shows how difficult things can be when one acts independently. Featuring Cadentia Nova Danica at the absolute peak of their powers; furious, rich and dense, moving between freeform improvisation and African touchstones before erupting into incandescent free improvisation. Includes an insert with the reproduction of both Wigmore Hall and Manchester's Free Trade Hall original press releases. Liner notes by Anthony Barnett.
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Book
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9783955752545
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$27.00
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RELEASE DATE: 4/17/2026
Paperback, illustrated, 296 pages. 15x22cm. Alexander Hacke became obsessed with classical music at an early age, but ended up dropping out of school and hanging out with punks, squatters, and bohemians in the West Berlin underground scene. After his first music projects under the pseudonym Alexander von Borsig, he joined the newly formed Einstürzende Neubauten in 1980. While the Neubauten became a groundbreaking and hugely successful band, Hacke not only experimented with all kinds of stimulants, but also continued to develop musically: whether as an internationally successful solo artist, collaborating with Crime & the City Solution, as a film composer, or together with his wife, the artist Danielle de Picciotto, with whom he has been roaming the world since 2010. Blast is a dazzling testimony to the wild West Berlin before the fall of the Wall, the rise of Einstürzende Neubauten, and the thrilling life story of a jack-of-all-trades. Hacke recounts international tours and surprising collaborations, as well as his cinematic soundscapes, and offers personal reflections on art and society. He looks back on an artistic career that uniquely combines avant-garde art, pop success, and creative freedom.
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12"
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BARN 123EP
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$21.50
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RELEASE DATE: 4/17/2026
Samo DJ, undeniable legend of global oddball house, finally debuts on hometown label Studio Barnhus after a decade-long, winding courtship and frequent collaborations with SB mainstays like Baba Stiltz and Pedrodollar. Every atom of his singular craft is on display as tracks like "Third Guitar" distill disco tradition, club futurism and hip-hop attitude into cuts only Samo could deliver. Pressed on DJ-friendly 12'' vinyl, complete with a printed love letter from Stockholm underground hero, Nasty Nate.
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LP
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BEAT 120LP
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$28.50
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RELEASE DATE: 4/17/2026
Fronted by charismatic poet and wordsmith Chinas, the band created an exciting mix of classic female fronted punk in the vein of L.A. bands like X, The Avengers, or The Bags with poetic and artistic sensibilities. Includes their two sought after EPs (Peasant/Slave (1978) and Snaps (1979)) plus unreleased studio recording, one demo take, and a blistering live cover of "The Witch" by The Sonics. Includes an insert with information about the band and photos. Essential for fans of classic American punk rock with an art twist.
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LP
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BORNBAD 125BWLP
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$27.00
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RELEASE DATE: 4/17/2026
Color vinyl version. Ever since the late 1950s bossa-nova revolution, Brazil's influence on French music has been undeniable. Pierre Barouh, Georges Moustaki, and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languor of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba. With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic Tchic: French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France. A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre's pioneers. In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes, and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on "The Girl From Ipanema". The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound. Bossa nova arrived in Paris through the classic "guitar-voice" channel. But France loved jazz and Paris had already welcomed its American contributors. Features Les Masques, Isabelle Aubret, Christianne Legrand, Jean Constantin, Billy Nencioli & Baden Powell, Marpessa Dawn, Jean-Pierre Sabar, Sophia Loren, Isabelle, Sylvia Fels, Frank Gérard, Ann Sorel, Charles Level, Andrea Parisy, Audrey Arno, Aldo Frank, Clarinha, Hit Parade des Enfants, Jean-Pierre Lang, Magalie Noël, and Françoise Legrand. CD version includes 24-page booklet with liner notes in French and English. Double-LP version includes printed undersleeve with liner notes in French and English; also includes download code.
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CONICROSE 002CD
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$18.00
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RELEASE DATE: 4/17/2026
Welcome to the second studio album by the Berlin-based band Conic Rose. The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because "Wedding" also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope -- unfold in every single song on Wedding. For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark. The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to the times. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete.
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CONICROSE 003LP
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$29.50
PREORDER
RELEASE DATE: 4/17/2026
LP version. Welcome to the second studio album by the Berlin-based band Conic Rose. The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because "Wedding" also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope -- unfold in every single song on Wedding. For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark. The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to the times. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete.
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12"
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COR 182EP
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$19.00
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RELEASE DATE: 4/17/2026
¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light. Between tension and release, shadows and melody, it moves like a living entity. A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.
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CD
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CSR 362CD
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$15.50
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RELEASE DATE: 4/17/2026
The first time on any format for Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen. Three weeks before the scandalous release of Salò, or The 120 Days Of Sodom, Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote "Addio a Pier Paolo Pasolini" (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit. Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste," descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own somber tribute to the director. Disgusted by the flood of crass sexploitation movies which filled the space opened up by his Trilogy Of Life, Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. CD comes in matt-laminate gatefold ecopak. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve (CSR 362LP).
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LP
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CSR 362LP
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$33.00
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RELEASE DATE: 4/17/2026
LP version. Red color vinyl. The first time on any format for Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen. Three weeks before the scandalous release of Salò, or The 120 Days Of Sodom, Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote "Addio a Pier Paolo Pasolini" (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit. Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste," descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own somber tribute to the director. Disgusted by the flood of crass sexploitation movies which filled the space opened up by his Trilogy Of Life, Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve.
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CD
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CSR 363CD
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$15.50
PREORDER
RELEASE DATE: 4/17/2026
Best known for his Nekromantik soundtracks (Dir. Jörg Buttgereit), Hermann Kopp composed and recorded his new soundtrack to the 1920 classic horror film Der Golem -- a leading example of early German Expressionism by Paul Wegener. First released in 1914, three versions of this material were made, but only the 1920 version is still available. Using violin, viola and electronic/synthesizer sounds, the new score adds a more contemporary, sometimes noisy edge to the film, whilst not forgetting the esoteric and mysterious components of the Golem myth of Jewish folklore. Set in a ghetto of medieval Prague, the Golem, a clay hulk brought to life by a magic scroll implanted in his chest, is summoned as a protector and avenger. The soundtrack premiered March 7, 2025 in a Parisian cinema near Place de l'Etoile -- by invitation of Vincent Glaume (organizer of the legendary Au-delà du Silence events in France, who first proposed the idea to Kopp). It was also presented at Wroclaw Industrial Festival, Poland in October 2025. Hermann Kopp started recording songs on tape in the '70s, combining his violin with a Moog imitation in a very personal and minimal approach to music, with lyrics that bordered on surrealism. After a mini-LP in 1981 and his Pop LP of 1983, he became the fifth member of experimental synthesizer band Keine Ahnung. After a split, Kopp was contacted by filmmaker Jörg Buttgereit to participate in the scores for Nekromantik, later in Der Todesking and finally in Nekromantik 2. He has since released a string of incredible works through labels such as Galakthorrö, 4iB Records, One Way Static, and Vinyl On Demand.
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CD
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CSR 365CD
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$15.50
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RELEASE DATE: 4/17/2026
As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. His solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. Over the course of a year, Ian Lynch enjoyed the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, the essence of which have seeped into the spirit of the music, Lynch explores rediscovered spaces in Dublin and familiar interior spaces. He frequently visited the abandoned warehouse where his father worked and sang with his shruti box, contented in his solitude. The result is a distinct and sometimes harrowing drone-folk atmosphere conjured throughout the album's lengthy and enveloping compositions, with an eerily beautiful, immersive sadness resonating throughout. Featuring Ian Lynch on hurdy gurdy, uilleann pipes, synth, vocals, shruti box, concertina, guitar, found sounds, and tape, with guests: Laurie Sue Shanaman (Ails, Ludicra) on vocals, and Ruth Clinton (Landless, Poor Creature) on church organ. Only available on a one-time, long sold-out CD pressing in Ireland (Nyahh Records, 2022), Cold Spring now present this incredible album with an exclusive bonus track "Sympathetic Invertebrate Ritual," recorded especially for this edition. CD in matt-laminate digipak with updated artwork.
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CD
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EB 225CD
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$15.50
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RELEASE DATE: 4/17/2026
From the wicked mixing desk of Greg Dread (fame with Dreadzone & Big Audio Dynamite) plus support by the legendary rebel dread Don Letts, here's a special selection presenting the legendary Serious Dropout from Frankfurt/M. 13 killer tracks for the first time available on CD, overdubbed and worked out as a "Mega Mix" processed and edited for longplay album release. Overdubbed by Greg Dread at Dreadzone/Dubwiser studio. Salt & Pepper by Don Letts.
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CD
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EB 226CD
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$15.50
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RELEASE DATE: 4/17/2026
From Bunny Lee and Coxone's Studio One to King Tubby and Wackie's, Mad Professor and Massive Attack to On-U Sound these days -- here's a special selection presenting the legendary voice in sound in a different style! An international bunch of producers show their craft and embedded the unique voice in sound and rhythm.
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LP
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EMK 010LP
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$26.00
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RELEASE DATE: 4/17/2026
Brand new Emika LP Fountain, part of the artist's Kickstarter campaign "How To Make Music Immersive." Intimate lyrical songs with piano and synths. Moody Electronic heavier songs in between the piano. For listeners who are tired of presets. Handmade, hand-played, honest-craft, 40 year old grown-up Emika. A mother of two, who lost her mother in 2025. Grief as a train on the way to the station of understanding love. A record written about the artist's personal life. If you like number drawings, you can draw on the artwork.
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LP
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FAITICHE 041LP
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$36.50
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RELEASE DATE: 4/17/2026
Faitiche welcomes a new artist to the label. Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions. TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered "non-music" into compositions.
From Christina Kubisch: "I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In 'Gaming' it's my recording of a Chinese song about silence... With ['Two persons walking through a street in Madrid'], I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism... 'Diapason' is part of a series of three pieces that deal with 'non-instruments' or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people's hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin's Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse."
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5CD
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GF 011CD
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$41.00
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RELEASE DATE: 4/17/2026
Dimensions: 314 × 314 × 8mm. Materials: die-cut laminated greyboard, archival case-wrapping. Media: 4× 80mm compact disc, 1× full-length compact disc. Electronic musician, composer, and conceptualist Joseph Branciforte joins pioneering Fender Rhodes artist Jozef Dumoulin on ITERAE, a compelling entry in the post-glitch canon. The album documents an acutely focused musical dialogue between two artists who have reimagined not only the sonic possibilities of amplified keyboard instruments, but the potential of technology to shape musical improvisation. Spanning 70 minutes, its eight modular sections hover between form and abstraction, precise sonic architecture and dream-like flow. ITERAE is issued as a bespoke multi-disc edition designed by Branciforte -- extending the music's own structural logic into physical form. ITERAE links two performers from opposite sides of the Atlantic known for their transformations of Fender Rhodes electric piano. Jozef Dumoulin is a Belgian keyboardist recognized for his role in redefining the Fender Rhodes as a 21st-century instrument, forging a highly personal musical language through extensive electronic manipulation. Joseph Branciforte is a composer, producer, and fellow Rhodes experimentalist known for bridging acoustic and electronic worlds in collaborations with Theo Bleckmann, Taylor Deupree, and Ryuichi Sakamoto. Both performers are fluent improvisers, with musical vocabularies drawing broadly from jazz, electronic, and contemporary music. Here, however, the focus is squarely on distillation: small fragments captured, transformed, and recombined into cascading, lattice-like structures. The result is a sound that merges aspects of the early glitch movement with bold explorations of harmony and form -- weaving together threads from modern classical, electroacoustic, and ambient to create something decisively of the present. The music unfolds with an unbroken focus and sense of direction, dense tapestries of glitches giving way to moments of deeply intuitive, harmonic convergence. The juxtaposition of open-ended improvisation and the precise, methodical compositional vision for which Branciforte is known creates a dynamic interplay, where flow and memory, improviser and editor remain in constant dialogue. ITERAE is issued as a bespoke multi-disc edition designed for both shelf and wall -- referencing the domestic scale of the vinyl LP while quietly subverting its familiar expectations. The format embodies the album's structural logic in physical form: four paired movements (⊏/⊐) distributed across four 80mm compact discs. Each disc can be played independently or sequenced freely, extending the music's own recursive methodology into its physical presentation. Each disc is housed within a die-cut matte greyboard panel. This outer layer is bonded to a rigid 4mm core, case-wrapped in white archival paper with a printed bottom spine -- allowing it to sit comfortably on a shelf alongside vinyl records. A full-length compact disc is included on the rear for universal playback, along with an integrated wall-hanging tab. Functioning both as a playable sound edition and sculptural object, the design reframes the album as a physical system.
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CD
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HPS 364CD
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$17.50
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RELEASE DATE: 4/17/2026
"This is Volume 10 (The Best Of) the series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sung and/or recorded bass on 50+ releases of bands I love and had the great honor to work with. The good folks at Heavy Pysch Sounds Records are releasing a series called N.O. Hits At All. All these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now." --Nick Oliveri. Also available on black vinyl (HPS 364LP), red vinyl (HPS 364LTD-LP), and orange splatter color vinyl (HPS 364ULTRA-LP).
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LP
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HPS 364LP
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$29.50
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RELEASE DATE: 4/17/2026
LP version. "This is Volume 10 (The Best Of) the series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sung and/or recorded bass on 50+ releases of bands I love and had the great honor to work with. The good folks at Heavy Pysch Sounds Records are releasing a series called N.O. Hits At All. All these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now." --Nick Oliveri
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LP
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HPS 364LTD-LP
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$34.00
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RELEASE DATE: 4/17/2026
LP version. Red color vinyl. "This is Volume 10 (The Best Of) the series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sung and/or recorded bass on 50+ releases of bands I love and had the great honor to work with. The good folks at Heavy Pysch Sounds Records are releasing a series called N.O. Hits At All. All these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now." --Nick Oliveri
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LP
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HPS 364ULTRA-LP
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$44.50
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RELEASE DATE: 4/17/2026
LP version. Transparent/orange splatter color vinyl. "This is Volume 10 (The Best Of) the series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sung and/or recorded bass on 50+ releases of bands I love and had the great honor to work with. The good folks at Heavy Pysch Sounds Records are releasing a series called N.O. Hits At All. All these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now." --Nick Oliveri
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CD
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IMPREC 518CD
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$13.50
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RELEASE DATE: 4/17/2026
Triple Point, featuring Pauline Oliveros, Doug Van Nort, and Jonas Braasch, was an improvising trio with a core instrumentation of soprano saxophone, greis/electronics, and V-accordion. The name refers to the point of equilibrium on a phase plot, which acts as a metaphor for the group's improvisational dialogue. Triple Point's musical interaction was centered around an interplay between acoustics, physically-modeled acoustics (v-accordion), and electronics. Van Nort captured the sound of the other players on-the-fly, either transforming them in the moment to create blended textures or new sonic gestures or holding them for return in the near future. Oliveros changes between timbres and "bends" the intended factory sound models through her idiosyncratic use of the virtual instrument, while Braasch explores extended techniques, including long circular-breathing tones and multiphonics. This mode of interaction has resulted in situations where acoustic/electronic sources are indistinguishable without very careful listening, while other times, this becomes wildly apparent. This continual, fluid morphing is a product of Deep Listening and listening in the moment. The tracks were recorded by Jonas Braasch during a week-long residency at the Experimental Media and Performing Arts Center (EMPAC), Troy, NY, August 2012. Mastered by Tom Eaton at Sounds & Substance.
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2CD
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IMPREC 519CD
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$13.50
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RELEASE DATE: 4/17/2026
These stunning recordings combine the great strengths of Pauline Oliveros on her Roland V-Accordion, Issui Minegishi, Ichigenkin master and great-great granddaughter of the founder of the Seikyodo Ichigenkin tradition and Miya Masaoka on her 21 string Japanese Koto. Together, these masterful improvisors create a beautiful and fascinating world of instrumental communication. This trio of legendary artists establish a sonic zone so compelling that you'll never want to leave. This double CD preserves the original session edits chronologically in order to preserve the emotional flow of the recordings. Disc one presents the first day of sessions and disc two presents the second day. Hence the title, Two Days In Dreamland. Recorded at Dreamland Studios in Hurley, New York. Mastered by Tom Eaton at Sounds & Substance. Pauline Oliveros, composer and accordionist, was a central figure in the development of post-war experimental and electronic music. She was a founder of the San Francisco Tape Music Center along with Ramon Sender and Morton Subotnick and she also served as its director. Minegishi Issui is the great-great-granddaughter of Tokuhiro Taimu, founder of the Seikyodo Ichigenkin tradition. She received her earliest training from her great-grandmother, Matsuzaki Issui, who was the third hereditary head of Seikyodo and who was also designated by the Japanese government as official guardian of the Ichigenkin tradition, as one of the country's Intangible Cultural Treasures. Miya Masaoka is an American sonic artist, composer and performer. Her work explores bodily perception of vibration, movement and time, while foregrounding complex timbre relationships. She has created a body of work that encompasses scores for orchestras and ensembles, sculpture works instigating new modes of listening, interactive media. Among her awards are the John Simon Guggenheim Fellowship, a Fulbright, the American Academy Rome Prize, the Doris Duke Artist Award and the United States Artist Award.
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Cassette
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IMPREC 539CS
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$13.50
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RELEASE DATE: 4/17/2026
Analog Tara's Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.
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CD
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INVMUS 1014CD
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$16.00
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RELEASE DATE: 4/17/2026
Vibraphonist, percussionist, drummer, composer, and teacher, Jean-Michel Davis has cultivated a career at the crossroads of jazz, popular music, and contemporary composition for several decades. His playing, combining freedom of phrasing with a taste for diverse timbres, makes him a unique voice in the French musical landscape. Born in Paris in 1956, he studied drums with Dante Agostini, then in 1971 crossed paths with Christian Vander (Magma), with whom he furthered his studies. In 1975, he went to Berklee College of Music in Boston, where Ed Saindon introduced him to the world of jazz vibraphone. From 1980 to 1984, he lived in New York and San Francisco, immersed in the American music scene, and then studied classical percussion with Guy-Joël Cipriani of the Paris Opera at the Montreuil Conservatory. In the 1990s, he joined Les Primitifs du Futur, while simultaneously developing his own projects (Novelty Fox, Ethereal Vibes, etc.). In 2022, he founded his quintet with Frédéric Loiseau (guitar), Patrick Villanueva (piano, accordion), Raphaël Schwab (double bass), and Julien Charlet (drums), and recorded the album This n'That (Frémeaux & Associés) with them. Too Blue was built like a chorus: unexpected encounters, detours, and improvisations, captured in the moment. During the quintet's concert at the Salle du Citoyen in Lognes (Printemps du Jazz, March 18, 2023), sound engineer Simon Auffret spontaneously offered to record the performance. A few months later, he recorded them again during the concert at the Espace Michel-Simon in Noisy-le-Grand (December 7, 2023). Brought together after the fact, these two recordings constitute Jean-Michel Davis's first live album as lead. Hilary Kliros's artwork provides the key: Humpty Dumpty, broken and then reassembled, perfectly illustrates this album and how a group's repertoire takes shape before a series of concerts. The program includes two pieces by Victor Feldman, three original compositions, and a piece by pianist Patrick Villanueva: contrasting worlds, brought together without seeking artificial unity. This is the quintet's signature sound: the timbre of the vibraphone, the marimba, and the other instruments, combined with the musicians' energy, weaves the connection and gives form to this ensemble, which is both composite and coherent.
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CD
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IRON 043CD
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$14.50
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RELEASE DATE: 4/17/2026
Dreadland is an instrumental roots reggae album and represents work of over several years where the tracks have evolved and have now been recently updated by Alien Dread. The album has been updated and now includes (the in demand) tracks "My Homeland" and "My Homeland Dub Vs.1." Alvin Davis is a talented Jamaican multi-instrumentalist; specializing in saxophone, trumpet, trombone, flute, and more. Alvin has worked with Alien Dread for many years and has contributed to virtually all Alien Dread projects and releases. The album tracks were inspired by traditional Jamaican roots reggae and skillfully produced by Alien Dread with assistance from ISR (long time co-producer). The other players involved are Asha B, who has worked with AD for several years on Congos, percussion etc, and Steven "Marley" Wright, rhythm and lead guitar.
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2LP
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ITS 017LP
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$42.00
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RELEASE DATE: 4/17/2026
"During a job in Cologne, I stayed in a room with a loft bed that had no electrical outlets at the top. Every night, I would listen to my TB303, which runs on batteries, through headphones to help me fall asleep. I loved the sequences, it was like meditation. The TB-303 bassline is iconic in acid music, so I created the Acid Lullabies to bring these two elements together. In 2017, the label Doom Chakra Tapes released ten of the Acid Lullabies on tape. Last year, I felt the urge to rework the tracks, so I mixed them again and created some new ones. I also asked friends to contribute their own versions. I'm very glad that the following artists contributed the Acid Lullabies: 47IN4 (Pudel Produkte, Doom Chakra Tapes), Museum of No Art (Séance Center, Cosima Pitz), N:in, and Philipp Otterbach (Music from Memory, Offen Music). Two violinists from Ensemble Resonanz performed my piece 'Afternoon Lights' for Acid Lullaby 6. Alex Solman designed the cover, which captures the essence of the project perfectly. Have fun with the Acid Lullabies!" --RVDS
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JMAN 150CD
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$14.50
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RELEASE DATE: 4/17/2026
Jazzman's latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes and marimba. Features Diane Reeves (vocals) and Adele Sebastian (flute)! "Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune." These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life. It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming. Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood. As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP My Kind of Music was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label. Kelly remains humble and proud of his debut album to this day. "I was still a beginner" he says, "These masters walked in, smiling, and gave me something worth gold."
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LP
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JMAN 150LP
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$28.00
PREORDER
RELEASE DATE: 4/17/2026
LP version. Jazzman's latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes and marimba. Features Diane Reeves (vocals) and Adele Sebastian (flute)! "Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune." These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life. It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming. Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood. As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP My Kind of Music was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label. Kelly remains humble and proud of his debut album to this day. "I was still a beginner" he says, "These masters walked in, smiling, and gave me something worth gold."
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LP
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JPR 128LP
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$31.00
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RELEASE DATE: 4/17/2026
"Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood -- where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of 'Journey To The East' to Bill Plummer's swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any '60s genre-crossing jazz fans. Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time: Carol Kaye (legendary bass player of The Wrecking Crew); Maurice Miller (drummer in The Jazz Corps); Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar, and Frank Zappa); Mike Lang (piano with Flamin' Groovies & Hal Blaine); Tom Scott (saxophone with Gabor Szabo & Thelonious Monk); Ray Neopolitan (Bass for The Doors & Leonard Cohen); Milt Holland (percussionist with The Wrecking Crew and Captain Beefheart); Bill Goodwin (drums for Mose Allison and Tom Waits). Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz. Produced by Bob Thiele who produced everyone from John Coltrane, Art Blakey, to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records."
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LP
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LFR 032LP
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$33.00
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RELEASE DATE: 4/17/2026
Following his acclaimed debut album Whateverism, Italian producer Turbojazz returns with Memorabilia, a heartfelt tribute to the roots of dance music culture and a personal journey through memory, community, and sound. The album delivers a rich and diverse palette of house and soulful grooves, music to dance with both your feet and your ears, and features a heavyweight lineup of collaborators including Robert Owens, Rona Ray, Javonntte, Cor.Ece, Bad Colours, Doni Nicole, alongside longtime allies Veezo and Broke One. Crafted with reverence and a forward-thinking spirit, Memorabilia is more than an album. It is a message to the dance music world that culture lives on through those who carry it forward.
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LP
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LOS 013LP
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$25.00
PREORDER
RELEASE DATE: 4/17/2026
"A magus is a wizard -- a sorcerer. Magus, the band, is certainly interested in such things (who isn't), but the name is especially apt due to the band's approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks' deft use of the keyboard dovetails with Greg Weeks' more standard six-string approach. Not standard is the band's sound. Doomy yet inspirational, dour yet vibrant, the duo's tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus. Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trance-like spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks' Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album. Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band's fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release's inner panels."
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LP
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LSSN 104LP
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$29.00
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RELEASE DATE: 4/17/2026
"'One foot out the door, another in the otherworld.' So begins Hannah Lew's debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist's history in the U.S. underground. A towering, hook-laden album, it's infused with an optimism and surrealism that conversely deals with the times people find themselves in. Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, Hannah Lew is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once. Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist's face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first 'solo' material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew's vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting. In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements -- Lew regards the album as 'a wartime album.'"
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LP
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MACROM 083LP
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$25.00
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RELEASE DATE: 4/17/2026
With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio -- and quietly fracture it from within. Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players -- not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction. Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies -- instrumental ghosts circulating through the dense weave of rhythm and keys. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable. Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Dispersion is not about addition but about distribution -- of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other. Three musicians. Countless vectors. A music that fractures in order to cohere.
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2LP
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NEXUS 001LP
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$43.50
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RELEASE DATE: 4/17/2026
Double LP is presented on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent -- an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley -- one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Their eponymous track "LFO" -- a classic of the bleep and bass techno movement -- was one of the first releases on the Warp label, gate- crashing the UK's Top 20. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO, and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form. As the inaugural release on the Circuitry Electronic label this album plugs all the right sockets; stay close for further electronic expansions on the theme on the label in the coming months.
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LP
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NSR 026LP
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$29.50
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RELEASE DATE: 4/17/2026
French artist Swan Wisnia, under her solo project molto morbidi, presents her second album Maybe Marcel. An experimental album forged in both tenderness and turmoil, combining art/weird pop and baroque pop, the album moves between the intimate and raw to the playful and inventive, creating a universe that is at once dark and hopeful. "What inspires me are artists who stand by their influences while transcending traditions," she explains. "Artists who are recognizably their own." Drawing inspiration from everything from Siouxsie Sioux to The Raincoats to Broadcast, Lizzy Mercier Descloux, and ESG, Wisnia balances melodic sensibility with the experimentally daring, creating a body of work that is both timeless and wholly original.
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10"
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PLAY 007LP
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$30.50
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RELEASE DATE: 4/17/2026
Dorian Concept returns with Miniatures, a collection of his renowned one-take synthesizer recordings that he's been known for sharing online since the mid-2000s. Over the past two decades, Dorian Concept has uploaded videos of himself "fooling around" on various synthesizers and keyboards -- long before the rise of short-form content. These signature one- to two-minute performances have sparked countless covers, remixes and reinterpretations by musicians and producers alike. Through this project, Dorian Concept aims to celebrate a long-standing bond with his instruments and honor it in the form of a photo album.
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LP
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RANDB 181LP
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$28.50
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RELEASE DATE: 4/17/2026
A fascinating record of Hawkwind's activities in 1970 with all tracks recorded for BBC radio. Side one is the band's first Top Gear session transmitted in September and side two is the Sunday Concert recorded just after their legendary appearance at the Isle Of Wight festival. Comes with full recording details and extensive sleeve notes.
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LP
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RANDB 182LP
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$28.50
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RELEASE DATE: 4/17/2026
Twelve tracks from the New York Dolls recorded live for TV and radio in 1973, showcasing a raucous rock'n'roll band in their prime. Two cover versions -- "Hoochie Coochie Man" and "Give Her A Great Big Kiss" -- were never included on either of the band's two original studio LPs. Comes with full recording details and extensive sleeve notes.
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LP
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RANDB 183LP
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$28.50
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RELEASE DATE: 4/17/2026
The title comes from a previously unreleased version of "All The Young Dudes" (track one, side one) specially recorded for the BBC. Elsewhere are two further studio tracks aired by Sounds Of The Seventies, live versions of "Midnight Lady" and "Thunderbuck Ram" recorded for FM radio and a ferocious set of four live tracks originally broadcast on French TV in 1971. Full recording details and extensive sleeve notes are included.
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CD
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RIV 001CD
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$16.00
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RELEASE DATE: 4/17/2026
This is Julian Joseph's first studio album with his beloved trio of Mark Hodgson and Mark Mondesir on bass and drums since 1996. Over the last 30 years much of Julian's focus has been on performing new music on the live stage, but now he brings his hallmark sparkle, originality, and the wonderful pulsating swing he is so famous for to this set of original compositions and prized standards from the jazz canon. His Caribbean inter-pretation of the Duke Ellington/Juan Tizol staple, "Caravan," and his extended, emotive reading of Wayne Shorter's "Footprints" express both his love for jazz and his desire to always push himself, his band, and the expectations of the listener. The trio is also joined by the great Irish singer Ken Papenfus, who treats listeners to his irresistible vocals on "Meditation Point." On "Voyage of the Faithful" Julian Joseph shines a light on his own uniqueness and onto his new audiences and the many that have missed him. Julian has made ground-breaking advances for jazz in the UK. He was the first Black British jazz musician to host a series at London's Wigmore Hall, and the first to headline a late-night concert at the BBC Proms with his All Star Big Band. His work has been recognized by many major cultural organizations, including the British Academy of Songwriters, Composers and Authors, which awarded him a Gold Badge in 2010. In 2019 he was awarded an OBE for his contribution to music. Credits include appearances on albums by Courtney Pine, Branford Marsalis, Adam F and Working Week.
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LP
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SB 207LP
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$25.00
PREORDER
RELEASE DATE: 4/17/2026
"Can you believe there are now four C.I.A. Debutante LP's in the world? That's right, this newest one, Trespass is batting in the cleanup spot and it is very to task; the strongest, most focused effort put forth yet. Narrator/guitarist Nathan Roche is at the peak of his oratory and string mangling prowess. His recitation over flared fret work, conjoined with Paul Bonnet's alchemical electronic stitchery summons forth a promethean tableau that's inexplicably both gothic and futuristic. Imagine if Mary Shelley had created Roxy Music instead of Frankenstein? Trespass burns with a demanding urgency, its majesty sweeping across time from the charnel houses of Ingolstadt, Barvaria, to the Offworld shoulders of Orion -- frontiers! Whatever you thought of their previous three albums, those are now but tears in the rain. With Trespass, could C.I.A. Debutante be approaching the pinnacle of Godhead? The Fates whisper only, 'perhaps.'"
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LP
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SOR 008LP
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$25.00
PREORDER
RELEASE DATE: 4/17/2026
Every N*gger is a Star is the legendary soundtrack to the cult 1973 Jamaican film! Composed and arranged by popular Jamaican singer and bassist Boris Gardiner, this music still sounds as the perfect blend between reggae and Blaxploitation oriented soul-funk groove. Needless to remember that in 2015 the title track was sampled for the opening track of Kendrik Lamar's iconic album To Pimp For A Butterfly -- in other words an essential release for all the ghetto-sounds freaks out there!
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LP
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SOR 009LP
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$25.00
PREORDER
RELEASE DATE: 4/17/2026
Money Maker is a rare 1978 release by the great Jamaican organ wizard Jackie Mittoo. A must have instrumental reggae classic which blends a series of killer-riddims originally laid down at Studio One and Mittoo's highly infectious gritty funk organ work.
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LP
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SOUK 016LP
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$28.50
PREORDER
RELEASE DATE: 4/17/2026
Bruno Silva, operating here under his restless Serpente alias, returns with Visita do Fogo -- a sharp, stripped-back and incendiary counterpoint to the drifting, dream-jazz abstractions of Dias da Aranha (SOUK 009LP). If that record floated like smoke, this one crackles and snaps like dry wood. Visita do Fogo finds Silva stepping back into the heat of his beat-driven origins, embracing a raw, forward-leaning approach that feels closer to his live detonation than a studio construction. The record is built on stark materials -- drum fragments, percussive jolts, scorched-earth loops -- all manipulated with his unmistakable "screw" instincts: micro-cuts, sudden pivots, rhythmic false floors and the sense that the track might turn itself inside-out at any moment. Rather than smoothing edges or leaning into atmospherics, Serpente doubles down on urgency. Each piece moves through the record with a chop-and-go physicality, a kind of ritual propulsion that never settles into comfort. Silva's rhythmic language remains entirely his own: crooked but precise, feral yet meticulous, rooted in dance structures but constantly mutating away from them. Visita do Fogo is less a sequel to Dias da Aranha than a flare shot into the same night sky -- brighter, hotter, and designed to leave afterimages. It captures an artist burning forward, shedding everything unnecessary, trusting the flame.
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LP
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SOW 065LP
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$25.00
PREORDER
RELEASE DATE: 4/17/2026
Originally released in Brazil in 1963, this is Nara Leao's debut album. A marvelous first statement from an artist usually recognized as the Muse of Bossa Nova. A great piece of Brazilian art featuring warm arrangements of solid compositional material signed by the likes of Edu Lobo, Vinicius DeMoraes, and Baden Powell -- and of course Nara Leao's beautiful, soft and super-sensitive vocals.
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LP
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SOW 066LP
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$25.00
PREORDER
RELEASE DATE: 4/17/2026
Composed by Brazilian masters Tom Jobim and Billy Blanco and originally released in 1954, Sinfonia do Rio de Janeiro came as an early attempt to integrate jazz, classical and pop music forms into a Latin soundscape. Lavish string arrangements flow between sweet choral melodies and light and sensitive rhythms. This is some sort of unprecedented hybrid music prior to the rise of Bossa Nova and still far from the explosion of the so called Popular Brazilian Music.
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LP
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SV 210LP
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$29.00
PREORDER
RELEASE DATE: 4/17/2026
"Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called 'noise rock' bands, it has yet to be surpassed in its nihilistic glee. Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi's icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction. In early '80s punk, when the hardening default was 'faster-shorter-louder,' Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. 'Ever' sets the tone with trademark restraint, while closer 'Sex Bomb' is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs. Tons of indie bands have attempted to recreate Flipper's mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat."
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LP
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SVVRCH 116LP
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$24.00
PREORDER
RELEASE DATE: 4/17/2026
Originally released on Vermillion Records in 1972, Vernon Wray's Wasted stands as a cult underground classic, capturing a raw and deeply personal vision of early '70s American outsider rock. Issued in extremely limited numbers, the album has gained legendary status over the decades for its unpolished intensity and haunting, introspective songwriting. As the older brother of Link Wray, Vernon shared a bloodline with one of rock's true innovators, yet Wasted charts its own solitary path, stripped-back, melancholic, and fiercely independent. The record reflects a moment frozen in time, where folk, country, and primitive rock converge with a confessional honesty rarely documented. Long sought after by collectors, Wasted offers listeners a rare glimpse into the fragile beauty of an artist working outside the spotlight, creating music on his own terms. A powerful document of American underground music, this release cements Wasted as an essential artifact of rock's shadow history.
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LP
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TU 001LP
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$34.00
PREORDER
RELEASE DATE: 4/17/2026
"Akusmi is the new project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album Fleeting Future. With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. Fleeting Future stands apart as an inventive and inspirational debut. The creation of the album's richly colorful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on Fleeting Future seed from the Slendro scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; 'the compelling way things dramatically change when you shift from any given scale to another.' The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis. Fleeting Future was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiraling into the unknown is the future."
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LP
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TU 003LP
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$34.00
PREORDER
RELEASE DATE: 4/17/2026
"London based composer, multi-instrumentalist and producer Akusmi presents Lines, an exhilarating new collection of works born from the desire to take where the acclaimed debut album Fleeting Future left off -- in search of new forms. Formed with a sense of urgency and a reductive approach, Lines is almost entirely comprised of alto saxophone, clarinet and piano, with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process: 'I wanted to go a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me.' 'Secant' is the electrifying and cinematic opener, emerging with the main motif deriving from the recording sessions of Fleeting Future. It's distinct sound echoes New York, a homage in part to the works of Steve Reich and inspired also by train travels across the English countryside. Rhythmical looping pianos unite with shifting strings that build to a symphony of hypnotic rich layers, towards a euphoric and filmic climax."
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LP
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TU 009LE-LP
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$36.00
PREORDER
RELEASE DATE: 4/17/2026
"Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK. In 2023, Laurie shifted focus to work on her own creations, a process of making time -- the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio, and ML Buch, Après Coup finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of 'other options.' Centering around piano, drums and synthesizer with interweaving field recordings, Après Coup follows the precursor EP Correspondances in the form of a sprawling 11-track album. Translating directly from French -- afterwards, after the event -- its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity. Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of 'pop music' as she elaborates: 'I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive.' With her 'pop' past workings never far away, Laurie artfully drifts between uplifting and melancholic hues, never overbearing or undermining one another. She plants seeds throughout and only in consuming the album in its entirety do we make sense of its seriality, as new meanings unfold where repetition and subtleties produce increasingly complex meanings."
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Cassette
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UR 161CS
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$14.50
PREORDER
RELEASE DATE: 4/17/2026
The Buenos Aires-based producer's second album on Umor Rex can be read on at least two levels. The most direct traces its origin to the influence of environmental music, as well as to some pioneers of electronic music. The album was recorded in a single session, making extensive use of loops that were later edited and condensed into the six pieces that make up Pequeño clima doméstico. This working method responds to a playful approach that runs through Entidad Animada's musical intentions, which often start from a specific genre or aesthetic and then filter it through his own language. From a more conceptual perspective, the record proposes music as a tool capable of modifying the perception of a moment. Rather than closed songs, the album functions as a device that allows one to tune a state, transform a space, or alter a mood. In this sense, it engages with the idea of functional music not as a utilitarian background, but as a means to equalize time, slow the pace, and reconfigure the listener's emotional climate. All songs written and performed by Entidad Animada. Recorded in August 2025 in Buenos Aires, Argentina. Field recordings and processed textures by Guazuncho. Mastered by José D'Agostino at Moloko Estudio, Frankfurt, Germany. Cover photo by Diego Berruecos. Layout by Daniel Castrejón.
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LP
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12XU 168LP
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$24.00
PREORDER
RELEASE DATE: 4/24/2026
"The title track for Lupo Città's second LP, Inverno ('winter' in Italian), was born in January 2023. Written in waking sleep at 4 am. Looking out the window at the winter world below when it's too quiet, no one is around, but anything and everything feels possible. Lupo Città wrote the songs for Inverno by instinct: each song, in viscera, a life and personality of its own. Chris, Jenn, and Sarah each brought in songs at different stages, in different forms and moods. Some came together fast, others took long. Some songs had to be stripped, slowed down or sped up, while others were completely gutted and rebuilt. A hard coming out of post-COVID lockdown, trying to relearn to live outside of isolation. Moving from the dark of winter into light, a jarring shift, the world was changing so fast in such stark contrast between the quiet isolation the world settled into with close friends and family. While Lupo Città's debut was melodic, energetic, world-weary, sometimes chaotic, Inverno is out on a limb, taking a risk, and not caring at all how it turns out. Inverno is a snapshot of the bad and good, trying to stay awake and be present, fighting off the sleep of winter and the lure of time standing still. Writing, playing, listening to music is essential, now, more than ever, for survival amidst uncertainty, doubt, dystopia, grief, loss, blindness, vision, and love. This is Inverno."
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LP
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ABDT 063LP
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$25.50
PREORDER
RELEASE DATE: 4/24/2026
Alan Bishop's solo persona appears again from his now 15-year-old home of Cairo where it was recorded in and around many other projects over the past few years. And unlike his more recent singer/songwriter material, Malarial Dream drifts closer to latter day Sun City Girls (Mister Lonely/Funeral Mariachi) amidst a melodic Middle Eastern and beyond psych-warped folk setting. Mostly instrumental and, except for two obscure covers, original compositions that feature a cast of extraordinary players: Adham Zidan, Aya Hemeda, Cherif El Masri, and Morgan Mikkelsen (The Invisible Hands), Maurice Louca and Sam Shalabi (The Dwarfs of East Agouza), Amelie Legrand, Asher Gamedze, Eyvind Kang, Hana Al Bayaty, Huda Asfour, and Sammy Sayed. LP Limited to 500 copies. Produced by Alvarius B. and Adham Zidan.
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LP
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ACOLOUR 049LP
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$31.50
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RELEASE DATE: 4/24/2026
Wondrous ethereal folk songs by a reclusive pen pal of Maxine Funke, first introduced to A Colourful Storm by Funke while sharing music and ideas during her Australian tour.
"Ghost faced pansies. A moth-colored cat. Cauliflowers, cabbages undying. I hear the spine of the dictionary crack. Is what they call a creature who only wakes at dusk. And turning backs. My afternoon has turned pitch black. For a trace. For a shape. I wipe the steam from the window like the bloom on a grape. Ghost faced pansies. A moth-colored cat. Light of stars long since died." --Avital Rolnick
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LP
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AKU 1057LP
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$27.00
PREORDER
RELEASE DATE: 4/24/2026
Ak'chamel, The Givers of Illness plunged into truly deranged extremes to summon the decayed, otherworldly essence captured on Spiritually Unemployed, embracing unhinged and esoteric methods during the tracking process. Recorded in a makeshift adobe studio amid liminal border-zone ruins. Nocturnal treks along forgotten stretches near the U.S.-Mexico line, through derelict border outposts and sun-bleached vehicle husks, yielded unique recording opportunities: Ak'chamel dragged tape decks like sacrificial talismans, to capture gravel crunch, distant javalina fights, and unintentional EVP-like anomalies. Harvesting the psychic weight of migration, abandonment, and geopolitical limbo. A half-broken oud, double-reed pipes, a battered hurdy-gurdy, and self-built spike fiddles were "tortured" pre-recording; strings detuned to unstable microtonal chaos, reeds soaked in questionable desert-sourced liquids, and instruments were kept outdoors to absorb ambient dew, dust, and wild temperature swings, ensuring every take carried an unpredictable, haunted instability. Vintage cassette decks and reel-to-reel units were powered through erratic, low-voltage setups (literally dying generators) which introduced random voltage drops, speed fluctuations, and ghostly dropouts mid-take -- turning tracking into unpredictable spirit interventions. Fresh analog takes were dubbed onto tapes previously buried in arid soil throughout the hot day, then exhumed and played back while layering new overdubs; creating a palimpsest of temporal erosion where past decay bleeds into present performance. Live performances were blasted through overloaded, malfunctioning analog chains (cranked cassette walkmans, battered spring reverbs filled with gravel, warped echo units), then physically "mauled" by running the tape through sandpaper-wrapped capstans or crushing segments underfoot before resplicing -- resulting in tracks that feel compressed, twisted, and ruptured. Thus the desert claims its due: instruments tortured into prophecy, tapes interred and exhumed in chapels of malfunction. Spiritually Unemployed is the resulting artifact -- a sonic border autopsy where enlightenment arrives not as a sealed doctrine but as an open infested wound.
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CD
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ALA 005CD
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$28.00
PREORDER
RELEASE DATE: 4/24/2026
"Recorded in January 2022 in Brooklyn, NY, this album traces the map of an extraordinary musical dialogue. Two guitars, two territories, a moment suspended in time. Loren Connors, an iconic figure in avant-garde blues for 50 years, and Alessandra Novaga, a unique voice in experimentation, come together here for an improvised performance that is both fragile and intense. A moment of deep listening to be shared beyond the boundaries of sound: in the communication between two artists of great sensitivity. A live event captured on record: mystery, emotion and improvisation combine to create the magic of this improvisational piece The concert was part of a season-opening evening at Issue Project Room in Brooklyn, New York, which also featured Kim Gordon alongside Loren Connors seven years after their first duo, already immortalized on record in 2022 by the same label, Alara. This duet between Connors and Novaga is like an almost whispered conversation between two guitars, opening up spaces for listening, suspension and revelation. What this record captures is not simply a concert -- it is an immersion in the solemnity of silence, the tension of almost nothingness, the delicacy of sound gestures that are sometimes as if sprinkled. On stage, Connors and Novaga's interventions are overlapped and calibrated, with each silence itself becoming material. The guitars sometimes align in a beam of micro-details: quivering harmonics, subtle glides, dissolving attacks, minimal melodic droplets almost like piano notes. Their timbres blend -- Novaga's high-pitched grains, Connors' spectral depth -- to create a soundscape of subtle density. These emotions, bordering on the infinitesimal, do not impose themselves through intensity or crescendo, but through contained tension, attentive listening, and suspended moments."
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12"
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AX 078DC-EP
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$19.00
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RELEASE DATE: 4/24/2026
2026 repress. 180g Axis Audiophile Series/color label/black generic jacket. Jeff Mills does the dance a favor with remastered and unreleased cuts of some all-time classic. Mills presents a previously unreleased version of the savage "Suspense" from his Drama EP, alongside the haunting synth pads and fizzing 909 hustle of "Gamma Player" from Millsart's Humana on the A-side. The flipside features a fresh cut of the bleeping, intrepid deep-space sound design of "Transformation B (Rotwang's Revenge)" from his Metropolis soundtrack, and the hypnotic energy of "Hydra and Synergy," as used in his Exhibitionist 2 (2015) mix.
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12"
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AX 082DC-EP
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$19.00
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RELEASE DATE: 4/24/2026
2026 repress. 180g Axis Audiophile Series/color label/black generic jacket. Storied techno originator Jeff Mills parses his archive for more gold, pulling from rare Japanese CD cuts and his late '90s archive, plus new material as well as track-by-track commentary.
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12"
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AX 083DC-EP
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$19.00
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RELEASE DATE: 4/24/2026
2026 repress. 180g Axis Audiophile Series/color label/black generic jacket. Jeff Mills isolates and highlights three further gems from the Axis archive. The Director's Cut Chapter 5 notably features two cuts on vinyl for the first time, namely the slinky, time-slipping lag of "Solar Cycles" from the Proxima Centauri (2015) USB, and the lofty strings and angelic chorales of "Above Waiting Worlds" from the One Man Spaceship (2006) CD, along with a kinky Afro-Latin sizzler "L8" from his Skin Deep (1999) 12", which also featured in Richie Hawtin's "Decks, EFX & 909" mix.
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LP
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BEAT 117LP
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$28.50
PREORDER
RELEASE DATE: 4/24/2026
One of the pillars and most important records of Spanish punk, Manifiesto Guernika remains a fresh, powerful and intense classic of the genre. An exciting mix of '77 punk, post-punk and Combat Rock-era Clash with smart and profound lyrics that elevated them to cult status. Original artwork and insert and extra fold out insert.
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CD
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BJR 125CD
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$16.00
PREORDER
RELEASE DATE: 4/24/2026
This compilation brings together eight tracks by Yassine Nana and his group, recorded between 1984 and 1989, during a key moment in Mauritania's musical history. A central figure of one of the country's most respected musical families, Yassine stands at the crossroads of a long-standing tradition and a period of deep transformation in form, sound and production. Recorded in Mauritania as well as during stays in Paris and Rabat, these songs integrate drum machines, synthesizers and electric guitars into Saharan musical structures. Influenced by reggae, soul and new wave, the group develops a sound that reflects the circulation of music and technology in the 1980s, while remaining firmly rooted in Mauritanian languages, themes and melodic systems. Love, travel, exile and music itself run through lyrics sung in Hassaniya and classical Arabic. Originally released on cassette and long confined to local circulation, these recordings offer a rare perspective on African popular music of the period, seen from Nouakchott. A body of work that documents a Mauritanian modernity, both popular and exploratory, now brought back into circulation by Les Disques Bongo Joe and Sofa Records.
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LP
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BJR 125LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. This compilation brings together eight tracks by Yassine Nana and his group, recorded between 1984 and 1989, during a key moment in Mauritania's musical history. A central figure of one of the country's most respected musical families, Yassine stands at the crossroads of a long-standing tradition and a period of deep transformation in form, sound and production. Recorded in Mauritania as well as during stays in Paris and Rabat, these songs integrate drum machines, synthesizers and electric guitars into Saharan musical structures. Influenced by reggae, soul and new wave, the group develops a sound that reflects the circulation of music and technology in the 1980s, while remaining firmly rooted in Mauritanian languages, themes and melodic systems. Love, travel, exile and music itself run through lyrics sung in Hassaniya and classical Arabic. Originally released on cassette and long confined to local circulation, these recordings offer a rare perspective on African popular music of the period, seen from Nouakchott. A body of work that documents a Mauritanian modernity, both popular and exploratory, now brought back into circulation by Les Disques Bongo Joe and Sofa Records.
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CD
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BORNBAD 196CD
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$14.50
PREORDER
RELEASE DATE: 4/24/2026
If Dorian Pimpernel's first album could be seen as the opening of a secret passage, this second record, Flowers Too, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized -- they keep digging. And deeper still. Esoteric pop -- the noblest, the most dangerous kind -- is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling. Still operating on the margins of the classic "group of friends starting a band" model, they pursue their strange project: moonshine pop -- the nocturnal, lunatic, sometimes venomous reverse side of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis -- it is a territory. Each song is at once fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist just next door. The whole forms a labyrinth whose map one may study -- or choose to get lost within. For whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: this is pop. Grand melody. Immediate, supple, luminous -- even when it speaks from the shadows. Their influences are still present, but more deeply digested: the learned psychedelia of the '60s, the imagined bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and vintage guitars that populate their studio-cabinet of curiosities. Except that here, none of it is quoted anymore -- it breathes. On the surface, this music seems to come from yesterday. In depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also -- and above all -- harmonious, immediate, deliciously toxic, of an almost suspect beauty. The real surprise is that this second album already possesses the density of a mature work. In its themes -- lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited -- as in its form: no longer merely a proposition, but a fully realized manifesto.
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LP
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BORNBAD 196LP
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$24.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. If Dorian Pimpernel's first album could be seen as the opening of a secret passage, this second record, Flowers Too, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized -- they keep digging. And deeper still. Esoteric pop -- the noblest, the most dangerous kind -- is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling. Still operating on the margins of the classic "group of friends starting a band" model, they pursue their strange project: moonshine pop -- the nocturnal, lunatic, sometimes venomous reverse side of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis -- it is a territory. Each song is at once fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist just next door. The whole forms a labyrinth whose map one may study -- or choose to get lost within. For whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: this is pop. Grand melody. Immediate, supple, luminous -- even when it speaks from the shadows. Their influences are still present, but more deeply digested: the learned psychedelia of the '60s, the imagined bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and vintage guitars that populate their studio-cabinet of curiosities. Except that here, none of it is quoted anymore -- it breathes. On the surface, this music seems to come from yesterday. In depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also -- and above all -- harmonious, immediate, deliciously toxic, of an almost suspect beauty. The real surprise is that this second album already possesses the density of a mature work. In its themes -- lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited -- as in its form: no longer merely a proposition, but a fully realized manifesto.
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CD
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BR 025CD
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$12.50
PREORDER
RELEASE DATE: 4/24/2026
Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world is finally realized. Evergreen In Your Mind was recorded with co-producer Stian Skaaden. It is Habel's first album in three-years, following the breakthrough success of 2023's Carvings LP. Formed of eleven new recordings, the songs here remain delicate, with Habel's voice playing an elegant lead role. Small shifts in Habel's sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. The extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It's a search for connection, and it's a recurring theme across Evergreen In Your Mind. The album's title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. The album cover also adds shimmer: a striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home.
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LP
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BR 025LP
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$30.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world is finally realized. Evergreen In Your Mind was recorded with co-producer Stian Skaaden. It is Habel's first album in three-years, following the breakthrough success of 2023's Carvings LP. Formed of eleven new recordings, the songs here remain delicate, with Habel's voice playing an elegant lead role. Small shifts in Habel's sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. The extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It's a search for connection, and it's a recurring theme across Evergreen In Your Mind. The album's title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. The album cover also adds shimmer: a striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home.
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2LP
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BT 139LP
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$58.00
PREORDER
RELEASE DATE: 4/24/2026
Gatefold! Comes with booklet. Black Truffle presents Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith, and Keith Rowe, Reichel's rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release. Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely center of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. Reichel was an important source for the development of Oren Ambarchi's own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel's work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. Many of the pieces from the 1980s make use of varieties of the "pick behind the bridge guitar," instruments of uncanny harmonic richness primarily designed to be played on the 'wrong' side of the bridge. At times the unexpected behavior of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realized solely through Reichel's unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel's own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel.
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LP
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BT 140LP
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$33.00
PREORDER
RELEASE DATE: 4/24/2026
Black Truffle presents Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano's organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on "Profij dëspers" Meyer Lysne's prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, "D'antorn a lor" is grounded in chiming guitar chords of stunning beauty; once Giordano's joins, the result calls up the most spacious moments of Maria Monti's Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas' haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano's voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar. Captured in gorgeously intimate recordings, Jim O'Rourke's careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.
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CD
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BT 141CD
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$16.00
PREORDER
RELEASE DATE: 4/24/2026
Newly remastered version of Oren Ambarchi's long out-of-print classic Hubris, originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now. From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section. After a short second part, in which Ambarchi, O'Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
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LP
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BT 141LP
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$33.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. Newly remastered version of Oren Ambarchi's long out-of-print classic Hubris, originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now. From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section. After a short second part, in which Ambarchi, O'Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
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LP
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CCS 141LP
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$32.00
PREORDER
RELEASE DATE: 4/24/2026
Nitai Hershkovits and Daniel Dor return with Found & Found, their second collaborative album and a natural continuation of the musical dialogue initiated with The Garden Suite. Born out of pure curiosity -- "there was more to say, more to explore," explains Dor -- the album expands the duo's sonic language beyond the synth-only framework of their previous work. While the Moog remains central, Found & Found introduces clarinet and acoustic guitar, gently dissolving the boundaries between electronic and acoustic sound. Each composition unfolds through interlocking, mantra-like patterns. Repetition becomes a space for transformation: melodies circle, textures shift, and subtle harmonic movements invite the listener inward. The music is structured with care, yet it feels open and fluid. intimate, spacious and quietly immersive. If their previous record explored orchestral depth through synthesizers, this new chapter embraces air and clarity. Acoustic gestures emerge within electronic landscapes, creating a sound world that is both grounded and weightless. Nitai Hershkovits brings with his fellow partner Daniel Dor a refined harmonic sensitivity shaped by both jazz and classical traditions. Together they continue to refine a shared language that moves between structure and freedom, precision and emotion.
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CD
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CVSD 124CD
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$13.50
PREORDER
RELEASE DATE: 4/24/2026
All compositions by Marty Ehrlich. All poems by Erica Hunt. Featuring Ron Horton (trumpet); Sara Schoenbeck (bassoon); Erik Friedlander (cello); Matt Pavolka (bass); Satoshi Takeishi (percussion and drums). Produced by Marty Ehrlich. Recorded October 10th, 2024 at Samurai Hotel Studios. Mixed, mastered, and edited by Christopher Hoffman. Cover painting by Andrea Deszö.
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LP
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DC 978LP
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$23.00
PREORDER
RELEASE DATE: 4/24/2026
"Like a lightning strike that travels through time, White Fence are all of a sudden cracking in the hear-view mirror again. Orange hits like, visceral. Guitars sound and like a shower spray forth. Resolutely picked. Cold and soothing. Swivelin' thru the jagged, jittery pop sounds of the '60s-'00s, the sharped focus of Orange's rock sonics gives Tim Presley exactly what he needed the most: open space to sing into, and songs to sing. The rest is White Fence magik at its most dark, as Tim's restless free-allusivation trippifyingly transforms the cramped confines of heart wracked self-excoriation right before our eyes and ears! In pop songs. On (the mixing) board with White Fence/on the (drum) kit with Tim is Ty Segall. Engineering tactics fully hand-in-glove with the White Fence intent, they produce a clean and uncrowded space to mount up all the rock 'n balladry, their clean lines surrounded by an emphatic/unalterable (minimalist) frame. Tim's lyric sets and chord progressions, with their perspectives, time codes and smash cuts, give up eleven fleeting glimpses from the other side of the 'Fence, each outfitted as foot-forward pop tunes for maximum rock 'n roll. Playing with genre throughout the album like a space-age Kinks, Tim's natty wordplay splatters against the songs' rock-solid edifice, spilling an infinitum of cracked, shaggy realities, billowing, mirrored, sharded. When it all moves, you move, and that's fun. Orange is an unstill life; a bowlful of Tim's latest conceptions for guitar band, grown larger through thoughts, feelings, SONGS and some keys and synth from Alice Sandhal (+ 2 drum cameos from the ever-righteous Dylan Hadley). A trance-like chronology of consciousness, captured in opalescent diamond tightness and ice fidelity at Ty's Harmonizer II studio. It's a KILLER. White Fence is Orange on time this time!"
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12"
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DEF 2604EP
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$23.50
PREORDER
RELEASE DATE: 4/24/2026
Definitive Recordings presents a special vinyl-only release as Roland Leesker delivers his cover version of "What You Need," the seminal house anthem originally released in 1990 by Soft House Company. This release is a respectful homage to one of house music's defining records, crafted for DJs and collectors alike. While retaining the essence of the original, this version introduces a more energetic bassline before weaving in a subtle 303 acid line, bridging different eras of house music history into one hypnotic, evolving arrangement. This vinyl-only release is a tribute to the legacy of house music -- respectful, powerful, and made to be played loud on a proper sound system.
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LP
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DRAM 2073LP
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$23.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. "First time on vinyl for these incendiary hard psych rock tracks, which made their only other appearance in Australia in 1999 on CD as part of the Sky Pilot compilation released by Camera Obscura Records. With each passing year since his death, the intense and inspiring musical legacy of Jesus Acedo is in danger of slipping into darkness. That's where Lion Productions come in -- together with Rich Hopkins and San Jacinto Records -- to keep the Lambent Flame burning, so to speak. All of the music on Whirlpool Ocean originates from the troubled and bizarre sessions for the album Acedo made under the name Black Sun Legion -- and then destroyed, when his struggles with schizophrenia overwhelmed him. Fortunately, Hopkins had the masters, or this album would not exist today, and some of Acedo's most brilliant music would be lost. Happily, not the case. Lion Productions have this album and other recordings of Acedo's through which to remember and admire his genius."
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CD
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DRAM 2074CD
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$10.00
PREORDER
RELEASE DATE: 4/24/2026
"First time on vinyl for these incendiary hard psych rock tracks, which made their only other appearance in Australia in 1999 on CD as part of the Sky Pilot compilation released by Camera Obscura Records. With each passing year since his death, the intense and inspiring musical legacy of Jesus Acedo is in danger of slipping into darkness. That's where Lion Productions come in -- together with Rich Hopkins and San Jacinto Records -- to keep the Lambent Flame burning, so to speak. All of the music on Whirlpool Ocean originates from the troubled and bizarre sessions for the album Acedo made under the name Black Sun Legion -- and then destroyed, when his struggles with schizophrenia overwhelmed him. Fortunately, Hopkins had the masters, or this album would not exist today, and some of Acedo's most brilliant music would be lost. Happily, not the case. Lion Productions have this album and other recordings of Acedo's through which to remember and admire his genius."
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CD
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DUST 139CD
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$16.00
PREORDER
RELEASE DATE: 4/24/2026
"Loud Ambient 2 picks up directly from where Loud Ambient (DUST 135LP) left off. After picking the drum machines back up, we returned to the colorfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off. Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality. The creative side landed easily this time. There is something about working with colorfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response. With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result." --The Black Dog
Also available on orange color vinyl (DUST 139LP).
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LP
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DUST 139LP
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$38.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. Orange color vinyl. "Loud Ambient 2 picks up directly from where Loud Ambient (DUST 135LP) left off. After picking the drum machines back up, we returned to the colorfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off. Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality. The creative side landed easily this time. There is something about working with colorfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response. With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result." --The Black Dog
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2CD
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FFL 090-91CD
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$19.00
PREORDER
RELEASE DATE: 4/24/2026
Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.
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LP
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FFL 090LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
Volume 1. Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.
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LP
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FFL 091LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
Volume 2. Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantled all borders and all styles of creative music. The Intercommunal takes its audience from New Orleans to Brittany and on to North Africa, building unprecedented soundscapes around a song of revolt, a dance tune, and a burst of dissonance. This now-restored reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz, François Tusques founded the Intercommunal -- a grouping whose very name called for the fraternization of the various communities making up the country. Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first. François Tusques and his companions performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. The energy is striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk. The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. "We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially," declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to "Le Temps des cerises." The struggle was therefore serious -- but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever -- and once again, it is François Tusques who makes it heard.
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LP
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FH 003LP
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$30.50
PREORDER
RELEASE DATE: 4/24/2026
Australian ambient electronic album Green Chaos, reissued for the first time on vinyl LP. Originally released in 1988 on Sydney based private press label Freefall, Green Chaos marks the sole release from Ripley-Marshall. In the late '80s Ripley-Marshall lived a Bohemian lifestyle in inner city Sydney; "surrounded by musicians, actors and artists, there was an amazing creative experimental vibe going on." While playing in new wave/art rock band D Face she began Green Chaos as a personal project to counteract the creative friction sometimes experienced within a group dynamic, heavily inspired by Arnold Frolows' "Ambience" radio show on Australia's Triple J and particularly the music of Tangerine Dream, Harold Budd, and Brian Eno. Initially a solitary endeavor, once she decided to record in a studio Green Chaos morphed into a somewhat collaborative, improvisational project with other musicians invited into the studio to improvise and add their own interpretations and ideas, additional layers and dimensions, resulting in a work that combines a clear influence from the electronic repetition of the Berlin school with a meandering, futuristic lyricism. Although influenced by the long form sonic journeys of artists like Tangerine Dream, Ripley-Marshall's background in art rock and new wave brings a more concise approach, each song a self-contained universe that says only what is necessary in the arrangement. After completing a sound engineering course Ripley-Marshall recorded the album at Sydney's Exeter House Studio over several months alongside studio engineer Andrew Knight, met through a fellow member of D Face. Knight ran Freefall, a private press recording label releasing folk and bluegrass music, which had Green Chaos as its sole ambient release. Ripley-Marshall self-distributed the album to local inner city record stores and dropped a copy to Triple J, where it became a regular staple of Arnold Frolows' show. These days Ripley-Marshall has moved away from music and is predominantly focused on visual art. Green Chaos stands as the only released product of her musical years, both a personal window into the vibrant experimental art scene of late 1980s Sydney and a deep, timeless anomaly of Australian electronic music.
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CD
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HPS 385CD
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$17.50
PREORDER
RELEASE DATE: 4/24/2026
The Lords of Altamont's eighth sacrifice to the rock n roll underworld. Ten tracks to take you on a trip through vice enhanced heights and dive bar depths. Recorded worldwide, this album captures the evolution of the Lords' sound, while staying true to the grit and power of their 28 year history. Dope Forever, Forever Loaded. Also available on black vinyl (HPS 385LP), yellow vinyl (HPS 385LTD-LP), and white/red splatter color vinyl (HPS 385ULTRA-LP).
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LP
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HPS 385LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. The Lords of Altamont's eighth sacrifice to the rock n roll underworld. Ten tracks to take you on a trip through vice enhanced heights and dive bar depths. Recorded worldwide, this album captures the evolution of the Lords' sound, while staying true to the grit and power of their 28 year history. Dope Forever, Forever Loaded.
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LP
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HPS 385LTD-LP
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$34.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. Yellow color vinyl. The Lords of Altamont's eighth sacrifice to the rock n roll underworld. Ten tracks to take you on a trip through vice enhanced heights and dive bar depths. Recorded worldwide, this album captures the evolution of the Lords' sound, while staying true to the grit and power of their 28 year history. Dope Forever, Forever Loaded.
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LP
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HPS 385ULTRA-LP
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$44.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. White/red splatter color vinyl. The Lords of Altamont's eighth sacrifice to the rock n roll underworld. Ten tracks to take you on a trip through vice enhanced heights and dive bar depths. Recorded worldwide, this album captures the evolution of the Lords' sound, while staying true to the grit and power of their 28 year history. Dope Forever, Forever Loaded.
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CD
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HPS 390CD
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$17.50
PREORDER
RELEASE DATE: 4/24/2026
Beyond The Beyond is the highly anticipated tenth studio album from inter-dimensional space travelling explorers The Cosmic Dead. The album takes listeners on a four-track expedition into the deepest cosmos of the band. Recorded at Dystopia Recording Studio in Glasgow, Beyond The Beyond features the riff rolling rhythm section of Tommy Duffin on drums and Omar Aborida on bass guitar alongside soaring fiddle acrobatics from Calum Calderwood and electronic textural bleeps and bloops from Luigi Pasquini on synthesizers, all wah laden and with phasers set to destroy. Also available on black vinyl (HPS 390LP), green vinyl (HPS 390LTD-LP), and yellow/green splatter color vinyl (HPS 390ULTRA-LP).
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LP
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HPS 390LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. Beyond The Beyond is the highly anticipated tenth studio album from inter-dimensional space travelling explorers The Cosmic Dead. The album takes listeners on a four-track expedition into the deepest cosmos of the band. Recorded at Dystopia Recording Studio in Glasgow, Beyond The Beyond features the riff rolling rhythm section of Tommy Duffin on drums and Omar Aborida on bass guitar alongside soaring fiddle acrobatics from Calum Calderwood and electronic textural bleeps and bloops from Luigi Pasquini on synthesizers, all wah laden and with phasers set to destroy.
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LP
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HPS 390LTD-LP
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$34.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. Green color vinyl version. Beyond The Beyond is the highly anticipated tenth studio album from inter-dimensional space travelling explorers The Cosmic Dead. The album takes listeners on a four-track expedition into the deepest cosmos of the band. Recorded at Dystopia Recording Studio in Glasgow, Beyond The Beyond features the riff rolling rhythm section of Tommy Duffin on drums and Omar Aborida on bass guitar alongside soaring fiddle acrobatics from Calum Calderwood and electronic textural bleeps and bloops from Luigi Pasquini on synthesizers, all wah laden and with phasers set to destroy.
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LP
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HPS 390ULTRA-LP
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$44.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. Yellow/green splatter color vinyl version. Beyond The Beyond is the highly anticipated tenth studio album from inter-dimensional space travelling explorers The Cosmic Dead. The album takes listeners on a four-track expedition into the deepest cosmos of the band. Recorded at Dystopia Recording Studio in Glasgow, Beyond The Beyond features the riff rolling rhythm section of Tommy Duffin on drums and Omar Aborida on bass guitar alongside soaring fiddle acrobatics from Calum Calderwood and electronic textural bleeps and bloops from Luigi Pasquini on synthesizers, all wah laden and with phasers set to destroy.
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CD
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HPS 391CD
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$17.50
PREORDER
RELEASE DATE: 4/24/2026
Repress of The Cosmic Dead's self-titled debut album. Also available on black vinyl (HPS 391LP), magenta vinyl (HPS 391LTD-LP), and blue/orange color vinyl (HPS 391ULTRA-LP).
"This album is a total revelation of sonic imagery. Across eighty minutes the listener is taken on an astronomic road trip that never once wavers in imagination or immensity." - Shindig!
"It's Can locked in an eternal psychedelic battle with the cosmos itself, a feast of tripped-out riffage, swelling, swirling bass and juddering sonic explorations that come to a hypnogogic climax with the 40-minute sonic quicksand of Father Sky, Mother Earth." - Rock-A-Rolla
"Spatial exploration rather than the psychiatric breakdown. cologne rather than altamont. There's no hipster arched eyebrow here, no faux-intellectual exploration of unfashionable musical tropes. this is just one monstrous monged jam after another monstrous monged jam." - Cows Are Just Food
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2LP
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HPS 391LP
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$39.50
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Repress of The Cosmic Dead's self-titled debut album.
"This album is a total revelation of sonic imagery. Across eighty minutes the listener is taken on an astronomic road trip that never once wavers in imagination or immensity." - Shindig!
"It's Can locked in an eternal psychedelic battle with the cosmos itself, a feast of tripped-out riffage, swelling, swirling bass and juddering sonic explorations that come to a hypnogogic climax with the 40-minute sonic quicksand of Father Sky, Mother Earth." - Rock-A-Rolla
"Spatial exploration rather than the psychiatric breakdown. cologne rather than altamont. There's no hipster arched eyebrow here, no faux-intellectual exploration of unfashionable musical tropes. this is just one monstrous monged jam after another monstrous monged jam." - Cows Are Just Food
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2LP
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HPS 391LTD-LP
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$48.00
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Magenta color vinyl. Repress of The Cosmic Dead's self-titled debut album.
"This album is a total revelation of sonic imagery. Across eighty minutes the listener is taken on an astronomic road trip that never once wavers in imagination or immensity." - Shindig!
"It's Can locked in an eternal psychedelic battle with the cosmos itself, a feast of tripped-out riffage, swelling, swirling bass and juddering sonic explorations that come to a hypnogogic climax with the 40-minute sonic quicksand of Father Sky, Mother Earth." - Rock-A-Rolla
"Spatial exploration rather than the psychiatric breakdown. cologne rather than altamont. There's no hipster arched eyebrow here, no faux-intellectual exploration of unfashionable musical tropes. this is just one monstrous monged jam after another monstrous monged jam." - Cows Are Just Food
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2LP
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HPS 391ULTRA-LP
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$56.00
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Blue/orange color vinyl. Repress of The Cosmic Dead's self-titled debut album.
"This album is a total revelation of sonic imagery. Across eighty minutes the listener is taken on an astronomic road trip that never once wavers in imagination or immensity." - Shindig!
"It's Can locked in an eternal psychedelic battle with the cosmos itself, a feast of tripped-out riffage, swelling, swirling bass and juddering sonic explorations that come to a hypnogogic climax with the 40-minute sonic quicksand of Father Sky, Mother Earth." - Rock-A-Rolla
"Spatial exploration rather than the psychiatric breakdown. cologne rather than altamont. There's no hipster arched eyebrow here, no faux-intellectual exploration of unfashionable musical tropes. this is just one monstrous monged jam after another monstrous monged jam." - Cows Are Just Food
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CD
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HPS 392CD
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$17.50
PREORDER
RELEASE DATE: 4/24/2026
Repress of The Cosmic Dead's sophomore album. Also available on black vinyl (HPS 392LP), purple vinyl (HPS 392LTD-LP), and yellow/purple/orange splatter color vinyl (HPS 392ULTRA-LP).
"Lysergic acid diethylamidian monstrous waves of sonic color, we've landed home, inside a black hole of fuck." - Beard Rock
"The Exalted King takes its sweet-ass time to worm into your brain, through your ears, and lays some alien eggs. A dark trip worth exploring if you're made of the right stuff." - Fast 'N' Bulbous
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2LP
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HPS 392LP
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$39.50
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Repress of The Cosmic Dead's sophomore album.
"Lysergic acid diethylamidian monstrous waves of sonic color, we've landed home, inside a black hole of fuck." - Beard Rock
"The Exalted King takes its sweet-ass time to worm into your brain, through your ears, and lays some alien eggs. A dark trip worth exploring if you're made of the right stuff." - Fast 'N' Bulbous
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2LP
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HPS 392LTD-LP
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$48.00
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Purple color vinyl. Repress of The Cosmic Dead's sophomore album.
"Lysergic acid diethylamidian monstrous waves of sonic color, we've landed home, inside a black hole of fuck." - Beard Rock
"The Exalted King takes its sweet-ass time to worm into your brain, through your ears, and lays some alien eggs. A dark trip worth exploring if you're made of the right stuff." - Fast 'N' Bulbous
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2LP
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HPS 392ULTRA-LP
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$56.00
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Yellow/purple/orange splatter color vinyl. Repress of The Cosmic Dead's sophomore album.
"Lysergic acid diethylamidian monstrous waves of sonic color, we've landed home, inside a black hole of fuck." - Beard Rock
"The Exalted King takes its sweet-ass time to worm into your brain, through your ears, and lays some alien eggs. A dark trip worth exploring if you're made of the right stuff." - Fast 'N' Bulbous
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LP
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JB 012LP
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$33.00
PREORDER
RELEASE DATE: 4/24/2026
Carlos Dafé (born October 25, 1947) is a singer and songwriter from Rio de Janeiro, recognized as one of the iconic voices of the Brazilian samba-soul era. Born into a family of musicians and trained at the conservatory, he rose to prominence in the 1970s alongside Tim Maia, Cassiano, and Hyldon, shaping the sound of Rio Noir with his warm baritone voice and soulful phrasing. His 1977 album, Pra Que Vou Recordar, became a cult classic among collectors and DJs worldwide, earning him the title of "Prince of Brazilian Soul." Still active today, Carlos Dafé remains an essential reference for artists exploring the boundaries between samba, soul, and MPB (Brazilian Popular Music). Released in 1977, Pra Que Vou Recordar reveals Carlos Dafé at the peak of his art, blending samba-soul, MPB, and the warm groove of the 1970s Rio de Janeiro scene. Surrounded by some of the city's finest musicians, Dafé showcases his baritone voice in deeply melodic arrangements and a series of songs that have become fan favourites. An album imbued with soul and elegance. The sound of Brazilian Black music at its most sincere and timeless.
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CD
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KALLISTA 003CD
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$17.50
PREORDER
RELEASE DATE: 4/24/2026
Confession is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged -- and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. This is Carla dal Forno's fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms -- a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling. The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines -- longing, jealousy, fantasy, self-exposure. The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There's a looseness, even a playfulness. The album traces a subtle arc: attraction blooming where it shouldn't; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. Like all of dal Forno's work, Confession resists clean conclusions. It doesn't moralize desire or romanticize restraint. Instead, it lingers in the in-between -- where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel -- and living with what that admission changes.
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LP
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KALLISTA 003LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. Confession is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged -- and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. This is Carla dal Forno's fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms -- a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling. The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines -- longing, jealousy, fantasy, self-exposure. The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There's a looseness, even a playfulness. The album traces a subtle arc: attraction blooming where it shouldn't; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. Like all of dal Forno's work, Confession resists clean conclusions. It doesn't moralize desire or romanticize restraint. Instead, it lingers in the in-between -- where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel -- and living with what that admission changes.
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LP + 10"
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KLASSIKS 003LP
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$38.50
PREORDER
RELEASE DATE: 4/24/2026
Justus Köhncke is a unique voice in the history of Kompakt -- and far beyond. He has contributed so many unforgettable tracks to the catalogue that it was difficult to make a selection. His sound has often been copied, but remains incomparable. From his deep knowledge and understanding of the history of pop, schlager and disco, he distilled not only official club hits such as "2 After 909" and "Timecode," but also countless poetic gems. Both sides of Justus Köhncke's work are united here on this record. Justus' music knows no boundaries, only "weiche Zäune (soft fences)." Special attention should be paid to the included bonus 10". Here you will find two of his most enchanting, hard-to-find cover versions. His immortal version of Jürgen Paape's evergreen "So weit wie noch nie" and the monumental adaptation of Round One's "New Day," originally released under the nom de guerre Kinky Justice.
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12"
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KOM EX139EP
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$18.00
PREORDER
RELEASE DATE: 4/24/2026
On Speicher 139, Dessagne's project Fantastic Twins is finally let loose on Kompakt's storied series. The key words: psychedelic acid trax. "False Index" is peeled back to core: a fearsome rhythm, with an endlessly helixing synth pattern twisting around your skull, crinkling like cellophane and warping like burnt plastic, while Dessagne's "Sprechstimme" floats above everything. Everything here's simultaneously under control, all under the watchful, guiding eye of Dessagne, and playfully, wildly out of control, little arrangements of phenomena let loose to build new worlds.
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12"
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LIVITY 075EP
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$23.50
PREORDER
RELEASE DATE: 4/24/2026
Taut drum science and steely atmospheres are the order of the day as Terrain deliver a moody, stripped-back four-track EP for Livity Sound. The partnership of Forest Drive West and Voytek has so far yielded sharply-focused releases for Delsin's Mantis series and Vargmal, finding the synergy between lean, intricate drum and bass and heads-down, experimental techno.
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LP
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MOVATM 453LP
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$39.00
PREORDER
RELEASE DATE: 4/24/2026
"You don't have to be a cinephile to know Michael Winner's 1974 cult vigilante movie Death Wish. Starring the ever-stoic, quintessential action hero Charles Bronson, it was this film that defined the further careers of both Winner and Bronson. Right before this, they collaborated on The Stone Killer, in which Bronson plays a gritty detective from New York sent to L.A. to solve a case involving an old Sicilian Mafia family feud. The soundtrack is composed by jazz pianist and composer Roy Budd, who was also responsible for the much-praised soundtrack of the 1971 classic Get Carter starring Michael Caine. It begins with a gentle tender melody but it's a trick, as there is a 70-piece orchestra waiting to pounce. Suddenly the big picture is revealed and the listener enters a full-on Budd theme with a cool jazz accompaniment. The score perfectly demonstrates Budd's ability to blend jazz with orchestral arrangements in ways unparalleled by very few composers. In typical 1970s fashion, this soundtrack will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe. The Stone Killer is available as a limited edition of 1000 individually numbered copies on 'Blade Bullet' colored vinyl and includes an insert with liner notes and a fold-out replica of the original movie poster."
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LP
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MUSIQ 303LP
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$42.00
PREORDER
RELEASE DATE: 4/24/2026
180g vinyl. 15th anniversary reissue. Duo, a collaboration between Norwegian jazz heavyweight Bugge Wesseltoft and German house visionary Henrik Schwarz, is finally being reissued. It stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. Deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. Newly remastered by Kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. The refreshed artwork has been created by emerging Japanese artist Joji Nakamura.
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LP
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MUSIQ 305LP
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$35.00
PREORDER
RELEASE DATE: 4/24/2026
The debut solo album by Henrik Raabe, guitarist of the German trio Wareika, who rose to prominence in the 2000s with their minimal deep house sound. Departing from the cool, jazzy deep house he was known for, Raabe delivers a uniquely crafted downtempo album that feels like a seamless blend of jazz, Afro, dub, new age, and postmodern influences. It evokes the spirit of an imagined encounter between the Durutti Column and Dennis Bovell, with Virginia Astley joining in -- reminiscent of the UK sound of the 1980s -- yet rendered more minimal and refined, in a distinctly German way. With each listen, the album draws you deeper in. It is poised to become a defining release for Mule Musiq.
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LP
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ODA 001FT-LP
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$30.50
PREORDER
RELEASE DATE: 4/24/2026
Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes. It is released in a second edition black vinyl, with an alternate cover artwork. Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments -- cello, piano and acoustic guitar -- he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings. Channeling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate's childhood experiences of rural England. Developed over a series of intuitive musical enquiries, the mini-album's uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur. As a painter, Heygate's practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes' striking artwork, which features paintings of 13th-century stone carvings from the font of the church in the town where he grew up. Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.
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LP
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ODA 007LP
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$30.50
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RELEASE DATE: 4/24/2026
Bristol duo Pume Orenge unspool a world of spectral electronica from cassette loops and instrumental improvisation on their debut album Angel By Milo for Odda Recordings. It is a world that opens draped in ferric hiss. A fog of sound, dense and yet not quite there, catching the light in strange shades and ambient drifts. Looping and receding, looping and receding, as pucks of static burst like faraway fireworks on a cold winter's night. Sound sources obscured, ambiguous, not quite what they seem. Angel By Milo takes its lead from the analogue process and textures by which it was made. Percussive and melodic loops were established, manipulated and responded to with instrumental improvisation, in a give-and-take with the materiality of the medium. Across these seven intricately developed tracks, the sound fluctuates between the cinematic and the introspective, at times melancholy, at others verging on a kind of restrained anger, before the calm sets in once more. It is music for the small hours, awash with the grainy stuff of memory. Embedded within Bristol's independent scene, Pume Orenge's quiet debut also speaks to the duo's shared roots in the area, and like many of Odda's previous releases, contains a sensitivity to place and atmosphere, even when these are no more than implied. Angel By Milo builds on the DIY ethos of Pume Orenge's 2023 self-titled debut EP, whose tracks were recorded live in single takes, now honing a more intentional, purposeful approach to music making. It is one in which layers of meaning are allowed to reveal themselves, a way of composing that makes a virtue of its labor and the chance occurrences that can arise in the process. This is music in praise of shadows.
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LP
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OH 042LP
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$27.00
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RELEASE DATE: 4/24/2026
LP version. BCUC -- Bantu Continua Uhuru Consciousness -- have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs -- a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. The album cover is based on a matchbox design, matches being a common household item in South Africa even today. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs.
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LP
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OJO 25009LP
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$26.00
PREORDER
RELEASE DATE: 4/24/2026
Originally released in 1962 on Candid Records, The Straight Horn of Steve Lacy finds a young Steve Lacy stepping forward with quiet confidence and a sound unlike anyone else at the time. Stripped of excess and focused on tone, space, and intent, these sessions reveal a musician already thinking beyond convention. The soprano sax cuts clean and direct, moving between sharp angles and lyrical calm, with a small group that listens as closely as it plays. Nothing here feels rushed or ornamental, just music unfolding with clarity and purpose. A remarkable early statement that still feels fresh, exploratory, and deeply personal more than sixty years on.
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12"
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OSTGUT 129EP
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$24.00
PREORDER
RELEASE DATE: 4/24/2026
Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming. A testament to introspection and self-awareness. Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.
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12"
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QUINTESSE 100EP
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$20.50
PREORDER
RELEASE DATE: 4/24/2026
The 100th release of Quintessentials! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real." On the way to the 100th release come Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session.
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12"
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R-N 146EP
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$24.00
PREORDER
RELEASE DATE: 4/24/2026
Raster Media 30 years anniversary edition repress. 180gram vinyl. "ich bin meine maschine" is a spiritual track. "ich bin meine maschine" is a musical track. "ich bin meine maschine" is a scientific track. To underline this tryptic statement and to demonstrate the diversity of one of Atom TM's compositions that appeared on his 2013 HD album, Raster now re-releases the long sold-out vinyl EP featuring remixes by Boys Noize, Function and Atom TM himself. "ich bin meine maschine," in an elaborate manner, illustrates Uwe Schmidt's main musical concern -- the exploration of electronics in pop music. Inspired by a statement of the cybernetician Heinz Von Foerster, Atom TM generated a message that is playing around with a widely-cited Kraftwerk quotation, turning "ich bin eine maschine" into "ich bin meine maschine" ("I am my machine"). Besides the album version of "ich bin meine maschine," the EP features some dominantly techno influenced versions that perfectly connect the pop attitude of HD with dancefloor functionality. The Boys Noize remix shows off Alexander Ridha's deft skills for translating Atom TM's futuristic pop into his own rough and driving electronic language. On the other hand, Atom TM's "Linear Remix" breaks down the original structure of the song and turns it into a reduced and much straighter, forward looking composition. Function -- one of techno's true underground heroes -- provides a remix that is breathing the air of solid and hypnotic club music, in which just the essential elements are streamlined and condensed into perfection. All three remixers adapt the track to their particular universe. By doing so, they prepare the 12" vinyl for its final destination -- the club.
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LP
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RRS 226LP
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$26.00
PREORDER
RELEASE DATE: 4/24/2026
Recorded during The Damned's very first live performance at London's legendary 100 Club on 6 July 1976, supporting the Sex Pistols, this historic set captures the raw energy of punk at its explosive beginnings. The recording was made on a Sony cassette recorder, tucked away in a sports bag, onto a Scotch 120 tape, lo-fi, immediate, and unfiltered. From the first chord to the last shouted chorus, the band tears through a killer set of ferocious, fast, and unpolished punk rock, brimming with the reckless attitude and electricity that would define the era. Every track crackles with the excitement of a scene on the verge of exploding, making this more than a live show, it's a time capsule of the birth of British punk.
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LP
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RRS 226R-LP
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$30.50
PREORDER
RELEASE DATE: 4/24/2026
Color vinyl version. Recorded during The Damned's very first live performance at London's legendary 100 Club on 6 July 1976, supporting the Sex Pistols, this historic set captures the raw energy of punk at its explosive beginnings. The recording was made on a Sony cassette recorder, tucked away in a sports bag, onto a Scotch 120 tape, lo-fi, immediate, and unfiltered. From the first chord to the last shouted chorus, the band tears through a killer set of ferocious, fast, and unpolished punk rock, brimming with the reckless attitude and electricity that would define the era. Every track crackles with the excitement of a scene on the verge of exploding, making this more than a live show, it's a time capsule of the birth of British punk.
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LP
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RUMI 016LP
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$33.00
PREORDER
RELEASE DATE: 4/24/2026
Aigua Ballant ("Dancing Waters") is a musical fusion where the Mediterranean soul meets the deep-rooted mysticism of Central Asia. Inspired by the surprising resonance between the work melodies of Balearic Islands and Pitises Islands and the haunting beauty of Persian and Byzantine melodies, Qanat weaves together the rich traditions of the Mediterranean, Mesopotamia, and Persia. The project blends old Balearic work songs with the modal textures of Middle Eastern and Central Asian music -- including influences from Iran, Turkey, Tajikistan, and the ancient region of Khorasan. At the heart of the project is the remarkable melodic kinship between Balearic field songs -- once sung during rural labor -- and the ancient echoes of Byzantine chant. Qanat bridges these traditions, crafting new musical landscapes through original compositions, instrumental dialogues, and vocal ornamentations that celebrate the shared soul of these distant-yet-connected cultures.
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LP
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RUMI 017LP
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$33.00
PREORDER
RELEASE DATE: 4/24/2026
Berlin-based international collective Saturno 4000 present their highly-anticipated debut LP, Arrival. Known for their explosive live shows and genre-defying grooves, the band blends psychedelic rock with flavors of Turkish and Latin music, surf, funk, and Afrobeat. With a reputation for igniting dance floors across Europe, Arrival comprises ten tracks that mark the next step in their mission: to push boundaries and reinvent groove-driven music for a new generation. Lyrically, the album weaves in themes of philosophy, hermetic principles, and humanity, adding a deeper dimension to its captivating rhythms and radiant soundscapes.
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12"
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SAT 072EP
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$19.00
PREORDER
RELEASE DATE: 4/24/2026
Scissor and Thread presents Tailored Cuts, Vol. 06, a four-track selection. All four tracks appear on vinyl for the first time. Opening the A-side is a brand new and exclusive dub mix of Soela & Module One's "Drowning," reworked by Matthias Reiling (one half of Session Victim). Also on the A-side, Black Light Smoke's "Love Triangle" appears in ZG's remix, a lush and understated reimagining that balances warmth with rhythmic precision. On the B-side, Hidden Spheres remix of Francis Harris' "Earth Moves" feat. Eliana Glass appears alongside DaRand Land's "Passion Motion" from his album Wander Being.
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LP
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SILUH 136LP
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$30.50
PREORDER
RELEASE DATE: 4/24/2026
With his latest album, Inside The Cage, Vienna-based Salamirecorder once again presents stylish '60s garage sound. Following his last LP on Bachelor Records, which he recorded with his band The Hi-Fi Phonos, he recorded ten songs for Inside The Cage entirely on his own using a four-track tape recorder. Of course, 23-year-old Salamirecorder is far too young to have experienced the world-changing era of rock `n' roll himself. But his persona embodies its historically rebellious spirit. His style was shaped by his early passion for 2010s genre greats such as Ty Segall and Bass Drum of Death, which he developed while skateboarding. These days, Salamirecorder is well connected, but less through social media than in real life. He is respected by both beat-loving young kids and gray-haired scene veterans such as Wild Evil & The Trashbones and The Jaybirds, plays acclaimed gigs with his perfectly rehearsed backing combo The Hi-Fi Phonos, and is a drummer, guitarist, and singer in bands such as Laundromat Chicks, Sux Sux Sux, and Telebrains. As a producer, he recently recorded Vic Velvet's solo debut on tape. For him, analog is not just a purist principle of faith, but an artistic and political decision. In a world of endless digital possibilities, the salami recorder finds a paradoxical freedom by "limiting itself a little bit."
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2LP
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SO 005LP
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$46.50
PREORDER
RELEASE DATE: 4/24/2026
LB Honne's Guardwatcher (Pt. I) explores dramatic undertones across psychedelic house, techno and ambient.
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LP
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SR 587LP
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$24.00
PREORDER
RELEASE DATE: 4/24/2026
Limited edition of 250. Textured sleeve. Marbled yellow flame color. Jean Dubuffet used to define his music as something disordered and dirty. But here, it is a Dubuffet returning from a long journey in Africa, with haunting rhythms that reach trance-like states, corrupted by ErikM's UK Drill.
"With one exception, this disc is a recording of a concert given at the Ateliers Claus in Brussels in March 2024. It was preceded by three short hours of improvisation the day before and the day before that, during which ErikM and I made a series of careful observations of each other's playing. It must be said that neither of us had skimped on transporting a few cases, the contents of which would have allowed us to play several concerts in a row without ever repeating ourselves. Erik had brought his turntables to Brussels, as well as sophisticated electronic machines, accompanied by a virtually infinite sound bank. For my part, I had both a mechanical orchestra and a range of acoustic instruments at my disposal. In two sessions, we eliminated the superfluous and the ineffective. On the evening of the concert, it was through close observation-of each sound, each direction taken by one or the other, each intention, each break-that we composed this record in the moment: vigilant and scrutinizing, like the pairs of eyes on the cover of this album." --Pierre Bastien
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LP
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STUDIOMUL 055LP
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$39.50
PREORDER
RELEASE DATE: 4/24/2026
The first-ever reissue on Studio Mule of the debut album by Japanese jazz legend and bassist Yoshio Ikeda. Having performed with such illustrious figures as Sadao Watanabe, Masabumi Kikuchi, and Terumasa Hino, Ikeda's first album as a leader features pianist and vocalist Ichiko Hashimoto -- also known for her involvement with Yellow Magic Orchestra -- Berlin-based jazz pianist Aki Takase, and leading Japanese drummer Motohiko Hino. Avant-garde yet imbued with a distinctly Japanese sense of melancholy, this is a work that resonates profoundly with the present moment. The gem "whispering weeds," highlighted by thrilling piano and Hashimoto's evocative scat vocals, was also included on a compilation by BBE. Remastered from the original master tapes by Kuniyuki, the album has been revived with a richer, more lustrous sound in this definitive reissue.
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LP
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SUBURBIA 063LP
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$26.00
PREORDER
RELEASE DATE: 4/24/2026
Originally released on Voodoo Rhythm in 2015, Rolando Bruno's Bailazo is full-blast psychedelic Latino cumbia garage. Fuzzed-out guitars, vintage rhythms, and the cheesy charm of a '70s supermarket soundtrack collide in pure DIY madness. Cumbia warped through psych, exotica, and garage rock chaos. From the Asian-flavored freakout of "Thai Cumbia" to the Turkish-twisted groove of "Falafel King" everything gets thrown into the Rolando Bruno shredder. Dusty. Psychedelic. Unhinged. Cumbia like it could've been recorded in 1967.
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LP
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SUBURBIA 065LP
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$26.00
PREORDER
RELEASE DATE: 4/24/2026
Originally released in 1999 on Marutake Records, the Disgusteens became a cult favorite in the Japanese underground punk scene with a light, catchy pop-punk sound rooted in the spirit of mid-'90s Lookout! Records releases. Fast, melodic, and heartfelt, if you love The Queers or Screeching Weasel, this is punk rock with its own voice. First time on vinyl, a must for fans of melody, speed, and timeless three-chord hooks. Double-sided insert included.
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CD
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SUBURBIA 067CD
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$14.50
PREORDER
RELEASE DATE: 4/24/2026
Formed in Palermo in 1995, at the height of the Italian-language punk rock wave, Semprefreski have always been a story unto themselves. Too fast for the pop-punk standards of the time, too rowdy for the extreme hardcore scene, and too far from any scene epicenter, they built their reputation mile after mile on tour, through high-octane shows and a near-religious dedication to building a local scene in one of the most challenging cities in Italy. They disbanded in 2002 and never truly reformed, aside from occasional reunions like the one at the 2024 edition of the "dumb little festival" par excellence, now immortalized on vinyl in the new volume of the Live at Punk Rock Raduno series (which also features, among others, Senza Benza, Giuda, and Klasse Kriminale). Pop-punk "tarello" at two thousand miles an hour, with anthems like "Stai ancora con quel pirla" and "Bongoloide" exploding into a chaos of singalongs, stage dives, and full-on punk rock mayhem. Limited to 300 copies. Also available on red vinyl (SUBURBIA 067RED) and white vinyl (SUBURBIA 067WHI).
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LP
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SUBURBIA 067RED
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$26.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. Red color vinyl. Formed in Palermo in 1995, at the height of the Italian-language punk rock wave, Semprefreski have always been a story unto themselves. Too fast for the pop-punk standards of the time, too rowdy for the extreme hardcore scene, and too far from any scene epicenter, they built their reputation mile after mile on tour, through high-octane shows and a near-religious dedication to building a local scene in one of the most challenging cities in Italy. They disbanded in 2002 and never truly reformed, aside from occasional reunions like the one at the 2024 edition of the "dumb little festival" par excellence, now immortalized on vinyl in the new volume of the Live at Punk Rock Raduno series (which also features, among others, Senza Benza, Giuda, and Klasse Kriminale). Pop-punk "tarello" at two thousand miles an hour, with anthems like "Stai ancora con quel pirla" and "Bongoloide" exploding into a chaos of singalongs, stage dives, and full-on punk rock mayhem.
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LP
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SUBURBIA 067WHI
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$26.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. White color vinyl. Formed in Palermo in 1995, at the height of the Italian-language punk rock wave, Semprefreski have always been a story unto themselves. Too fast for the pop-punk standards of the time, too rowdy for the extreme hardcore scene, and too far from any scene epicenter, they built their reputation mile after mile on tour, through high-octane shows and a near-religious dedication to building a local scene in one of the most challenging cities in Italy. They disbanded in 2002 and never truly reformed, aside from occasional reunions like the one at the 2024 edition of the "dumb little festival" par excellence, now immortalized on vinyl in the new volume of the Live at Punk Rock Raduno series (which also features, among others, Senza Benza, Giuda, and Klasse Kriminale). Pop-punk "tarello" at two thousand miles an hour, with anthems like "Stai ancora con quel pirla" and "Bongoloide" exploding into a chaos of singalongs, stage dives, and full-on punk rock mayhem.
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LP+12"
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SZ 060-61LP
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$37.00
PREORDER
RELEASE DATE: 4/24/2026
Eskaton is part of that generation of FrenchZeuhlbands that arrived on the scene a little too late in the 1970s, on the cusp of the shift to punk and then new wave, to have benefited from the media coverage of the glory years of progressive rock in all its forms and currents. Originally released in 1980, it was their first official album. But it was actually their second, since '4 visions' (SZ 23 onCD and SZ 39 on vinyl) had been recorded in 1978 but only released in 1981 on cassette by the American label Eurock. When it was released in 1980, the band was very disappointed with the muffled sound of the mastering, which did not do justice to the band's power. The 2003 CD reissue, based on the original tapes and thanks to the Parélies studio, made it possible to correct the errors of the time and restore the sound quality originally intended by the band. This vinyl reissue was once again produced with the help of Parélies studio, a renowned specialist in vinyl engraving. While '4 Visions' is generally considered Eskaton's masterpiece, "Ardeur" is very similar in style (only a little over a year separates their respective recordings) and contains some of the collective's most iconic tracks, such as 'Dagon'. The original album is complemented by a maxi 45 rpm single (a format that allows for much better dynamics due to the optimised spacing of the grooves, a format rarely used in 'our' music but very common in techno for this reason) which contains on side A the two tracks released on 45 rpm in 1979 (" Le chant de la terre' and 'If" -already included as bonus tracks on the 2003 CD) and on side B three completely unreleased tracks...until now.If this release is as successful as the vinyl edition of '4 visions' was in its time (2013) it is advisable not to wait untilstocks run out, as evidenced by the surprising prices reached on the second-hand market since 2022 on Discogs.
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LP
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SZ 062LP
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$31.00
PREORDER
RELEASE DATE: 4/24/2026
"In 1975, Jannick Top left Magma (before returning in 1976 for the VanderTop period and the album Üdü Wüdü) and had just composed De Futura, a piece performed live for the first time at the Nancy Jazz Festival on 17 October, with a collective of 18 musicians, including C. Vander, under the name Utopic Sporadic Orchestra. The version of 'De Futura' released here, for the first time on vinyl, is the rehearsal from 16 October 1975 (duration 23:40).The record also includes the two studio tracks released by Jannick Top on a 45 rpm single in 1975 on the Utopia label, then created by Giorgio Gomelsky in association with RCA: 'Utopia Viva' and 'Epithecanthropus Erectus II'. It should be noted that the versions released here are those from the aforementioned single, which have never been reissued since then, as the versions released in 2001 on the Utopic CD Soleil d'Ork are longer versions, previously unreleased. The disc includes an insert with a bilingual historical text (French/English) by Jean-Christophe Alluin, author of a book on Magma that has not yet been published."
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12"
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TENA 128EP
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$23.50
PREORDER
RELEASE DATE: 4/24/2026
Known under several aliases including Freestyle Man or Sasse, Klas Lindblad uses the latter for this special outing on the Mexican imprint. Under his Sasse moniker, Lindblad delivers a refined selection of dubby house cuts, infused with warm, spring/summer energy. Effortlessly groovy with a subtle, hypnotic flow, this is music designed for the dancefloor yet built to stand the test of time, showcasing the depth and sonic excellence that define his work.
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CD
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THRILL 647CD
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$14.50
PREORDER
RELEASE DATE: 4/24/2026
"The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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LP
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THRILL 647LP
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$25.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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LP
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THRILL 647X-LP
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$27.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. Maroon color vinyl. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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LP
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THRILL 658LP
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$27.00
PREORDER
RELEASE DATE: 4/24/2026
Gold vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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LP
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THRILL 658X-LP
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$27.00
PREORDER
RELEASE DATE: 4/24/2026
Silver vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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LP
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TROST 264LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
LP version. Since forming their duo Nabelóse back in 2016 Ingrid Schmoliner and Elena Kakaliagou have consistently defied expectations, forging mercurial blend of meditative lyricism, spellbinding rhythm, and poetic wanderlust. The project illustrates the foolishness of making assumptions about what creative musicians are all about, with both artists nonchalantly going against type. They're both known primarily as instrumentalists -- Schmoliner is an Austrian pianist who blends fierce minimalism and a wildly extended palette of prepared piano and elaborate miking arrays to forge music of driving intensity that harnesses the full spectrum of her instrument and its attendant overtones to produce works of ecstatic beauty and mind-melting motion. She's a committed collaborator, too, whether improvising with drummer Hamid Drake or working in the collective GRIFF. The Berlin-based Greek horn player Kakaliagou is a dynamic improviser noted for her deep explorations of just intonation as a member of the trio Zinc & Copper with Robin Hayward and Hilary Jeffery. Both musicians incorporate their primary instruments in Nabelóse, but the overall sound world feels miles away from those practices. Trost now presents the project's stunning third album HAAR, straddling the divide between fiercely hypnotic rhythms and ethereal textures. While voice has always been a part of Nabelóse's arsenal, it's never been so prominently featured. While the arrangements are wide open, all five pieces convey a song-like orientation. Unpitched horn breaths and solemn piano chords cast a calm but charged atmosphere on "Perfume," yet once Kakaliagou begins her astonishingly tender vocal performance the listener is taken on yet another detour -- an extended ballad of almost crushing beauty and fragility. Schmoliner and Kakaliagou both recite poetic texts in German and Greek, respectively, in "Hinter Meinen Dünen," which unfold over a delicate drone that rises and falls like a hill beneath the voices. But that reverie is shattered by the insistent, hammering piano part played using a traditional Greek folk music rhythm and vocalic horn gestures on the reserved yet fierce "Blue Mountains." Kakaliagou delivers the Greek lyrics by speaking through her horn for a compelling metallic quality. The album concludes with the stunning invocation of "Toke," which features a powerful cameo from the Berlin-based percussionist Els Vanderwyer adding extra resonance to the sustained tones, tiny but piercing percussive gestures and heavenly singing, including Schmoliner's stunning overtone singing in an imaginary language of her own design.
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CD
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WAT 007CD
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$17.50
PREORDER
RELEASE DATE: 4/24/2026
Black Jacket is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and now comes Black Jacket, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts. Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel. Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990s, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs. Together, the six of them have created Black Jacket.
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2LP
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WAT 007LP
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$40.00
PREORDER
RELEASE DATE: 4/24/2026
Double LP version. Black Jacket is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and now comes Black Jacket, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts. Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel. Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990s, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs. Together, the six of them have created Black Jacket.
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LP
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WJLP 092LP
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$29.50
PREORDER
RELEASE DATE: 4/24/2026
Matt Gold and Dustin Laurenzi present Devotional Fade, a collaborative record of electroacoustic rhythmic improvisations -- equal parts meditation and dance. Laurenzi and Gold, key collaborators in the Chicago creative scene and with genre spanning artists such as Bill Callahan and Makaya McCraven, step forward here with a major artistic statement, a product of extended improv sessions capturing the duo's hypnotic interplay. This is the sound of two of Chicago's most vibrant instrumental voices listening deeply, communing in sound. Recorded in Laurenzi's attic studio, Devotional Fade emerged from a series of weekly sessions over the course of a single month. The duo kept the tape rolling continuously each day and selected a number of immersive sonic worlds to present, oscillating between patient, sacred minimalism and wild, dancefloor-worthy combustion. The pair set two parameters to heighten the sessions' stakes: editing would be kept to a minimum, and a rule of "no pitched overdubs" was put in place -- ensuring that all melodic and harmonic gestures would have to be committed in real time. Laurenzi and Gold held true, only sparingly adding a stray shaker or brush to these already largely complete improvisations. Devotional Fade is imbued with quiet propulsion and ecstatic repetition. Matt Gold is a guitarist, multi-instrumentalist, songwriter, and producer based in Chicago, IL. His work pulls from diverse traditions of electric and acoustic music. Matt has performed across six continents and contributed to over fifty recordings as a collaborator and instrumentalist, garnering critical praise from Pitchfork for playing "one of the most exhilarating guitar solos of recent memory, in any genre." Gold has several long-running collaborative bands spanning jazz, folk, experimental, and chamber music including Sun Speak, Storm Jameson, and Tin. Gold co-curates the record label and concert series Flood Music. Chicago saxophonist/multi-instrumentalist Dustin Laurenzi has developed a personal approach to improvisation and composition that has garnered the attention of the city's creative music community. Laurenzi's music is inspired and informed by jazz, folk, and improvised music. His inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago's vibrant music scene and beyond.
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3LP
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WRWTFWW 122LP
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$50.00
PREORDER
RELEASE DATE: 4/24/2026
WRWTFWW Records presents The Gentle People's Soundtracks for Living (Expanded Edition), the ultimate lounge/chill out classic from 1997, reborn! Available as a limited-edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve. When The Gentle People first glided into the mid-'90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of '50s/'60s easy listening and exotica and gently smuggled them into 1990s club culture. Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely -- blissful and heavenly," as one contemporary review put it. The Gentle People -- Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink -- began in early-'90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. This expanded edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived. Crucially, "Journey" appears here in its original version, "Gentle Instrumental" and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene. Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe -- a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.
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12"
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WRWTFWW 123EP
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$32.00
PREORDER
RELEASE DATE: 4/24/2026
WRWTFWW Records releases The Gentle People The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. This is an exclusive four-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before -- a must have for all the gentle fans!
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MAG
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5060135763930
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$11.00
PREORDER
RELEASE DATE: 5/1/2026
32-page magazine. Signed, numbered and blind stamped. To celebrate 50 years of punk, 1976-2026, Mal-One has put together a limited-edition punk magazine showing his works so far. One hundred limited edition numbered, signed and blind stamped copies will be produced in six volumes. The Punk Times magazine was an old project that evolved into this format. The set takes readers through Mal-One's works to date, punk exhibitions, record releases and limited art prints with punk being the inspiration for these works.
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Book
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9780952840626
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$16.00
PREORDER
RELEASE DATE: 5/1/2026
A4 paperback, 120 pages. Written by Agent Provocateur. The second in Retro's series of book relaunches is one of the original books on The Jam. The Jam one of the most important British groups of all time, crashed on the scene with the Punk Explosion, but soon found their own niche. Charting consistently from 1977's In The City debut to 1982's "Beat Surrender" single, the book details the groups worldwide releases with over 200 color and black and white illustrations, The Jam 7" worldwide release chart, and a detailed timeline of the bands history and list of gigs and appearances up to the bands split in 1982. The Jam are one of the UK's most loved bands and have been surely missed but more importantly not forgotten. The Jam were very much a vinyl orientated phenomenon that consisted of great artwork. So sit back and enjoy their story through their releases around the world. Over 200 pictures of rare and deleted releases throughout the world Plus history of the band and list of gigs and appearances.
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LP
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AALP 2784LP
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$18.50
PREORDER
RELEASE DATE: 5/1/2026
Sugar Minott -- a Jamaican artist who came on the scene in the late '60s who impacted the blueprints for the rise of the dancehall style music worked for Studio One, Exterminator, and many others. An artist who was affiliated with many labels. Here he is, produced by P. Burrell. Fine yardstyle dubs and melodies. Personnel: Dean Fraser - horns; Robbie Shakespeare - bass; Sly Dunbar - drums; D Dennis - keyboard; Stephen "Cat" Collin's - guitar.
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LP
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BE 1011LP
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$29.50
PREORDER
RELEASE DATE: 5/1/2026
For more than three decades, Go Hirano has developed a quietly enthralling sound world on the peripheries of the Japanese underground. Emerging in the 1990s, Hirano released three albums with the revered PSF Records label and established himself as an artist with a unique sense of melody and atmosphere that was both entrancing and intimate. His work, largely recorded at home and in the field, de-emphasized technical perfection in favor of an unvarnished immediacy that imbued the quiet moments of daily life with a dreamlike splendor. On The Habit, Hirano brings together recordings that span decades of his playing the piano and other instruments on a daily basis. The core of the album was recorded in 2020 at Pianola Records in Tokyo, while other pieces draw from recordings dating as far back as the late 1980s. Through this span of years, a coherent vision emerges, marked by patient, subtle engagement with repetition, space, and resonance. Hirano works with a restrained palette -- piano, pianica, wind chime, percussion, and synthesizer -- to develop simple melodic figures that gradually shift in harmony and texture. Spacious piano chords expand through soft synthesizer tones. Near-imperceptible rhythmic frameworks intertwine with tranquil phrases that drift and merge with the sounds of the world around them. This synthesis of music and the environment in which it is created is critical to Hirano's approach. Rather than isolating the music from its surroundings, he embraces the atmosphere of the moment, the room in which each piece is played, capturing the subtle sounds and artifacts of the artist's daily experience and the surrounding natural world. For Hirano, these "imperfections" are pathways to vibrant, living expression. While he may share affinities with Ryuichi Sakamoto, Hiroshi Yoshimura, and even Brian Eno, Hirano's dedication to "initial, unadorned expression" and processing the environment through his own particular filter sets him apart. The Habit reveals a meditative, melodic language unfolding over the decades and within the many spaces of a life in music marked by a unique warmth and beauty. Co-released with Conatala label, Japan. Mastered by Makoto Oshiro. Lacquers cut by Rashad Becker, Clunk Studio, Berlin. Pressed at Optimal Media, Germany. Artwork by Yukiko Ikeda. Design by Rob Carmichael, SEEN. Produced by Peter Kolovos, Conatala, and Rie Hirano.
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LP
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BEWITH 200LP
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$49.00
PREORDER
RELEASE DATE: 5/1/2026
Gap Mangione's monumentally influential Diana In The Autumn Wind. They said it could never be done. And with good reason. Be With has spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades. It's unarguably the most sought-after album for J Dilla/Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar, and Talib Kweli. But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation. Gap's story is told in his words alongside rare photos across a sumptuously designed two-page insert and, to augment this deluxe edition further, it's all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements -- rock, big band jazz, solo improvisation and "classical" music -- into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music." Under the watchful eye -- and extremely attentive ears -- of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much-needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.
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CD
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BJR 123CD
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$16.00
PREORDER
RELEASE DATE: 5/1/2026
With Heat, Société Étrange extends its work around repetition, groove and cyclic structures, shaping an instrumental music that is both hypnotic and enveloping. Without any radical shift, the Lyon-based trio subtly moves towards more melodic and more cinematic forms, revealing warmer, more textured and sometimes more luminous atmospheres. Formed by Antoine Bellini (electronics), Romain Hervault (bass) and Jonathan Grandcollot (drums), Société Étrange builds here a more diffuse trance, driven by generally slower tempos than on Chance (BJR 075CD, 2022). Organic drums interact with drum machines and layers of synthesizers, while the bass carries both pulse and melodic lines. The music breathes more, leaving space for silences and micro-variations, and unfolds as an immersive listening experience. With Heat, the band explores a strange form of instrumental pop, without formats or choruses, nourished by an imaginary close to soundtracks and narrative electronic music. A warm and hypnotic album, where repetition becomes texture, tension turns into atmosphere, and each track draws its own sonic landscape.
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LP
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BJR 123LP
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$29.50
PREORDER
RELEASE DATE: 5/1/2026
LP version. With Heat, Société Étrange extends its work around repetition, groove and cyclic structures, shaping an instrumental music that is both hypnotic and enveloping. Without any radical shift, the Lyon-based trio subtly moves towards more melodic and more cinematic forms, revealing warmer, more textured and sometimes more luminous atmospheres. Formed by Antoine Bellini (electronics), Romain Hervault (bass) and Jonathan Grandcollot (drums), Société Étrange builds here a more diffuse trance, driven by generally slower tempos than on Chance (BJR 075CD, 2022). Organic drums interact with drum machines and layers of synthesizers, while the bass carries both pulse and melodic lines. The music breathes more, leaving space for silences and micro-variations, and unfolds as an immersive listening experience. With Heat, the band explores a strange form of instrumental pop, without formats or choruses, nourished by an imaginary close to soundtracks and narrative electronic music. A warm and hypnotic album, where repetition becomes texture, tension turns into atmosphere, and each track draws its own sonic landscape.
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7"
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BJR 45039EP
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$17.50
PREORDER
RELEASE DATE: 5/1/2026
For the second time, the Geneva-based duo Cyril Cyril hands the microphone to the Syndicat du Futur. Behind this small group campaigning for a better future are Jeannot and Marilou, Zoé, Marlowe and Lenaïs -- the respective children of Cyril (Yeterian) and Cyril (Bondi). Two years after La Météo/Le Monde Embêtant, the crew is back. The voices have grown and changed, but the sharp perspective remains, and the adult world had better watch out.
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LP
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BNSD 098LP
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$24.00
PREORDER
RELEASE DATE: 5/1/2026
Oceanine, Jolanda Moletta's third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won't want to come up for air once you've been pulled under. Representing a musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth's cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within everyone. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, "We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth." Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta's artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.
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LP
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CREP 114LP
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$28.50
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RELEASE DATE: 5/1/2026
One of the longest standing figures amidst the Discrepant wolfpack, the unstoppable alias of sound collector Laurent Jeanneau returns to the fold after Tanzania II (CREP 098LP) with this 2.0 update of the celebrated The Lisu sort-of-mixtape released way back in 2014. Based on recordings of music from the Lisu communities in China and Thailand captured on site, this mix shows Gong more like a selector or DJ, restricting electronic processing to a bare minimum in order to convey different histories, places and timeframes within the same mesmerizing continuum. A respectful and deeply vivid evocation of all the richness and diversity found among the different strands of lisu music, from ceremonial vocal incantations through a chibeu string instrument "processed" in loco through saturated street speakers to moments of pure poetic radiance, The Lisu flows gracefully with the keen sense of wonder and knowledge of one of this century's most thoughtful and insightful sonic travelers.
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LP
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EDGE 043LP
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$29.50
PREORDER
RELEASE DATE: 5/1/2026
Call it soulful dream pop, proto-trip hop, or downtempo jazz -- Tender Rain is the follow-up LP to the successful This Is album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s. The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn, percussion by Corinna Ludzuweit, and the final touch -- Lisa Ohm's remarkable vocals. Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum. On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?," singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. Together with This Is and Curacao Blue, Tender Rain forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.
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CD
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EMEGO 326CD
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$17.50
PREORDER
RELEASE DATE: 5/1/2026
It has been twenty-five years since the seismic events of 2001 -- when twin towers collapsed under terrorist attack and Coventry's sonic insurgent Russell Haswell launched his inaugural salvo on the original Mego label with Live Salvage 1997-2000. The intervening era has delivered unrelenting turbulence: protracted wars, institutional corruption, a global pandemic, the resurgence of fascist currents, rampant media distortion, and omnipresent surveillance. For Haswell, a lifelong admirer of 1970s and 1980s dystopian cinema, the verdict is unequivocal: "Science Fiction is now!" In the face of this darkening reality, Let It Go arrives as both acknowledgment and antidote. This new full length on Editions Mego extends an olive branch through defiant sonic diversity -- an unpredictable mosaic that embraces everything from propulsive rhythms to radical abstraction and enveloping ambience. True to Haswell's core practice, the material draws from the same tactile, free-improvised electroacoustic framework that powers his live sets: immediate, powerful and unscripted. The album weaves reverent echoes of 1990s Detroit techno's hypnotic pulse and the abrasive, metallic edge of the Birmingham sound into fractured generative territories. Haswell returns to his computer-generated origins while integrating his recent modular-synthesis experiments. During a residency at the Bergen Centre for Electronic Arts (BEK) in Norway, he harnessed the latest GRM Tools suite to conjure the volatile, "rapidly fluctuating pitched sounds" that characterized Iannis Xenakis' late electronic works -- resulting in pieces such as "Fall 3" and "Fall 2," where instability becomes a form of vitality. The tracks "Exit Downwards" and "The Anxieties Of Our Time," whilst reflecting the currents of the release, also offer surprisingly melodic patterns over jagged rhythms. The wryly titled "Thu 25 Dec 2025," (recorded in Glasgow after a solitary post-Christmas-lunch walk home) is a vast drone which evolves according to the random walk model -- known more evocatively as the drunken walk -- each sonic step veering unpredictably, mirroring the disoriented lens of contemporary existence. Let It Go is liberation. Amid the cacophony of crumbling certainties, Haswell deploys a full arsenal of resistance: kinetic drive, disorienting rupture, quiet refuge, raw aggression, and tentative hope. In an age where dystopia has shifted from fiction to lived fact, this music asserts that possibility endures.
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LP
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GONE 212LP
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$24.00
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RELEASE DATE: 5/1/2026
"A Dublin-born, stylistically-restless but fundamentally punk troubadour, Stefan Murphy emerged in the early '00s under the moniker The Mighty Stef, which became a full-band concern around 2007, wrapped up in 2016, and was followed by a short stint as Count Vaseline. Then, in 2019, Murphy met a gentleman by the name of James Mechan, who happened to be Stiff Little Fingers' guitar tech. Mechan wanted to record Murphy at his Nashville studio. Those plans were derailed by the pandemic but not forgotten when Murphy moved to Nashville in 2022. Work commenced, the pair were joined by Ryan Sweeney (of Cheap Time) on drums and Eli Steele (Sweet Knives) on lead guitar. The result was The Sleeveens, named after an Irish slang for 'trixter' -- not the earthly type responsible for a plastic Aztec death whistle on your exhaust pipe but rather the otherworldly one that temporarily vanishes the keys to the vehicle. The Sleeveens' debuted on 7-inch with 2023's 'Give My Regards To The Dancing Girls' on Sweeney's Sweet Time label and 'UFO's' b/w The Four Tops' 'Bernadette' on Interstate 94 Recordings in 2024, followed by their fantastic self-titled LP on Dirtnap Records the same year, which gained traction on independent radio thanks to bangers like 'Metallica Font' and 'Aretha Franklin.' An official Gonerfest 22 inclusion, the band has also shared stages with G.G. King, Schizophonics, Total Hell, TV Crime, The Chats, The Lemonheads and many others. National Anthem should and could comfortably sit on the proverbial shelf of rock history next to all-timers with titles like Even Serpents Shine, Eternally Yours, All Rise, Setting Suns, Radios Appear, Nobody's Heroes, Sorry Ma, I Forgot To Take Out The Trash, and Rocket To Russia."
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LP
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HR 047LP
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$27.00
PREORDER
RELEASE DATE: 5/1/2026
The compilation expands the circle of artists participating in the compilation series. It primarily presents underdogs from the local independent music scene in the German Rhine-Ruhr region and, to a lesser extent, from Berlin, Brighton, Brisbane and Hamburg. Original tracks and remixes. A stylistically diverse compilation of electronic music ranging from downtempo and dub to electro, Italo disco, leftfield and Krautelektronik. Featuring Marly Lüske, ZOiD, The Visitor, TG Mauss, Oehlmann Rix, Daniel Decker, Solo & Wolfsdorf, Championne Mondiale, Neumatic Parlo, Johenson, Kaspar van de Water, and Kai Angermann.
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CD
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KRANK 252CD
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$18.00
PREORDER
RELEASE DATE: 5/1/2026
"'I wanted to try / And go very far.' These are the first words on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago. Heartbroken and reflective, Ana Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures. Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on 'Berceuse in A-flat Minor, Op. 45,' making each word count. On 'Keepsake' meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self-pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. 'Untitled II,' the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP. Purring over a brushy, decelerated rhythm and funereal piano, Roxanne glances the edge of a hot spotlight, cutting through the stage smoke with her glassy evocations. And when she interprets the Robert Schumann's lied 'Stille Tränen' on 'One Shall Sleep,' she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th-century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout 'Cover Me,' Roxanne shifts the pace and the mood on 'Atonement,' lifting her voice into a gentle lilt."
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LP
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KRANK 252LP
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$29.00
PREORDER
RELEASE DATE: 5/1/2026
LP version. "'I wanted to try / And go very far.' These are the first words on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago. Heartbroken and reflective, Ana Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures. Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on 'Berceuse in A-flat Minor, Op. 45,' making each word count. On 'Keepsake' meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self-pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. 'Untitled II,' the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP. Purring over a brushy, decelerated rhythm and funereal piano, Roxanne glances the edge of a hot spotlight, cutting through the stage smoke with her glassy evocations. And when she interprets the Robert Schumann's lied 'Stille Tränen' on 'One Shall Sleep,' she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th-century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout 'Cover Me,' Roxanne shifts the pace and the mood on 'Atonement,' lifting her voice into a gentle lilt."
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LP
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LDM 011LP
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$28.00
PREORDER
RELEASE DATE: 5/1/2026
Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors. The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.
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LP
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MOM 069LP
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$32.00
PREORDER
RELEASE DATE: 5/1/2026
Modern Obscure Music presents The Bubble of Love, a new collaborative album by Pedro Vian together with Ustad Nawab Khan and Naved Nawab Khan -- the 9th and 10th generation of a distinguished santoor lineage from Rajasthan, India. Recorded during an intense week of sessions at Pedro Vian's studio in Barcelona, the album captures a rare and concentrated encounter between traditions, generations, and sonic languages.
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CD
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NR 138CD
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$16.00
PREORDER
RELEASE DATE: 5/1/2026
"Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth -- one that marks the first new steps of resolve and resilience. An Undying Love For A Burning World is an epic album of colossal hypnotism -- beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band's own and a true kindred spirit. Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis' cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression. The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland."
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Cassette
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NR 138CS
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$16.00
PREORDER
RELEASE DATE: 5/1/2026
Cassette version. "Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth -- one that marks the first new steps of resolve and resilience. An Undying Love For A Burning World is an epic album of colossal hypnotism -- beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band's own and a true kindred spirit. Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis' cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression. The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland."
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2LP
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NR 138LP
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$42.00
PREORDER
RELEASE DATE: 5/1/2026
Double LP version. Color vinyl. "Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth -- one that marks the first new steps of resolve and resilience. An Undying Love For A Burning World is an epic album of colossal hypnotism -- beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band's own and a true kindred spirit. Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis' cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression. The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland."
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CD
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RM 4264CD
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$17.50
PREORDER
RELEASE DATE: 5/1/2026
A note from Will Long: "When you're creating something loosely referred to as 'art' with another person, you're mining the depths of minds and experience, searching connections with pasts, each of us producing from a different place. Communication exists as unspoken and simultaneous, more carnal than collaborative, and dwelling rather than saying. You may miss that, wrapped up fantasies of perfectness and lovesick doves. Youth, how fleeting and naive. "Created by commission for the University of California at Irvine as a sound companion for an exhibition of 13 different 14th Century manuscripts. The original pieces existed as 13 different parts for each individual piece of art. Or so the origins of the original release in 2009 on Students of Decay state. What seemed real was a myriad liquor haze, fabrication, or imagination. Embellishment is equivalent to invention, and that moment when you can't tell the difference between dreams or reality (I surely can't remember which is which now) is important -- and must be noted. I remember pouring over 14th century art, utilizing unauthorized library passes, and being witness to the trajectories of two individuals on divergent but somehow-crossing timelines. Originally recorded in 2007-2009 (?) by Danielle Baquet and Will Long, with backpacked gear, garage photography, sleepless nights and skipped work. I brought the tape and made the loops, she brought the laptop and the pen and paper. Try to look at it like this. Recorded in stereo, then split into two tracks for each left and right channel, reversing one side and adding reverse reverb, and the other long reverb and then reversing. Making each stereo again, then putting back together and blending each left and right together to make a stereo track again. This was an age of hybrid experiments between analog tape loops and digital processing, to render a new path, for better or worse. Somehow this correlated with a pad of scribbled poetry -- whether original or quoted (one can never tell), a few random phone numbers, and the omnipresence of long-toed shoes in the 14th century paintings. 'How befitting, like Georgia O'Keefe's flowers.' What all comes down to is this -- that sometimes those paths of yours and theirs cross for a time -- and only for a time, and in that time, you're there in that same place. It doesn't mean that you know the other person, or that you ever will. But maybe, just maybe, you'll be looking for the same thing at that moment, and that's what you've shared, in many different ways, in different directions; backwards, equivocally."
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CD/BOOK
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RM 4270CD
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$22.50
PREORDER
RELEASE DATE: 5/1/2026
A note from Lawrence English: "In late 1975, Annea Lockwood realized her composition World Rhythms. It represents one of the first creative works exploring the potentials of field recordings in a multichannel setting. It is a landmark work and a composition that, on its 50th anniversary, has gently carried forward over the decades, but arguably now is only starting to come into true focus, and be understood for exactly how revolutionary it was. World Rhythms was a work concerned with a practice of sustained listening into the world, and beyond. It expanded outward from many of the compositions and themes Annea Lockwood had been exploring since the 1960s. It sought to take those learnings and apply them to a new set of terrains and circumstances. Moreover, it suggested a sensing of sound that was drawn from profound curiosity, matched only by patience. In 2019, I reached out to Annea and started a conversation about a revisitation of World Rhythms. My initial proposition was a simple one: a re-issue that was remastered and touched up, reflecting Annea's thoughts on the piece in this moment. The conversation quickly spun outward though, and before long Annea had asked if I might be interested to revisit the master tapes with the thought that the work could be revived and prepared for performance presentations going forward into this century. On listening to the materials, during the period of restoring the audio from the original master tapes, I was struck by the profound dynamism of the recordings. Each of the sound-fields held an attentive flux, a rhythmic pulse that was breathing. Each one a story of the pulses of the world, and our universe, that spoke to a possible reading of reality that sits in excess of our everyday capacities. A poetics of pulse if you like. Here then is the result of those conversations and also the presentations of the piece that followed -- several of which Annea has overseen herself. On this newly rendered imagining of World Rhythms, new relations, listening paths and ways of exploring her sound-fields are brought into focus. The core of the piece remains, a prioritized zone of listening, but emerging from deep within it new sonic formations emerge, a reminder of the dynamism of our energetic world and its surroundings." Composition by Annea Lockwood; gong performed by Vanessa Tomlinson and Annea Lockwood; mix realized by Lawrence English. Design by Traianos Pakioufakis; essay by Lawrence English.
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CD
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SC 067CD
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$16.00
PREORDER
RELEASE DATE: 5/1/2026
"Two giants of alternative/experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham, and Urge Overkill's hit single 'Girl, You'll be a Woman Soon' for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms, and John Zorn's Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music's long tail, the keystone of the explored tension between rock and noise."
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LP
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SC 067LP
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$26.00
PREORDER
RELEASE DATE: 5/1/2026
LP version. "Two giants of alternative/experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham, and Urge Overkill's hit single 'Girl, You'll be a Woman Soon' for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms, and John Zorn's Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music's long tail, the keystone of the explored tension between rock and noise."
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LP
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SC 067X-LP
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$29.00
PREORDER
RELEASE DATE: 5/1/2026
LP version. Color vinyl. "Two giants of alternative/experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham, and Urge Overkill's hit single 'Girl, You'll be a Woman Soon' for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms, and John Zorn's Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music's long tail, the keystone of the explored tension between rock and noise."
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LP
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SP 039STD-LP
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$31.50
PREORDER
RELEASE DATE: 5/1/2026
Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album Through Time. Since their last full-length LP, Low Distance (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland's piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin's deep atmospheric worlds. There's a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe. The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, "Further", a hypnotizing piece submerged in layers of strings and drones. The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment. Full-tone artwork; includes printed inner; includes download code.
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12"
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SYNAPTIC 012EP
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$25.00
PREORDER
RELEASE DATE: 5/1/2026
Six tracks. Six undeniable hits. Science can't explain it. Four dazzling pdqb originals: pop-infused disco house transmissions where retro dreams collide with absurdly modern groove technology and hyper-modern circuitry. Hooks everywhere. Basslines that flirt shamelessly with eternity. Rhythms that know exactly what they're doing. And then Roman Flügel arrives at the party. With two remixes of such dubby, technoid magnificence that they bend the laws of physics wherever they're played.
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CD
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TAO 020CD
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$13.00
PREORDER
RELEASE DATE: 5/1/2026
"Wellspring presents the arrival of a powerful new voice in creative music, unrelenting in passion and invention, while always transmitting a deeply empathic grace. Masterful composer-improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass). Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a no wave battle-stance, the Brooklyn-based virtuoso drops a volcanic sonic statement with grand humanist goals. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self. At times, she sounds like she can halt armies. Wellspring is a call for society to come together. How the Seoul, South Korea-born 34-year-old came to be the centuries-old zither's leading -- and perhaps only -- practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power."
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LP
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TAO 020LP
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$25.00
PREORDER
RELEASE DATE: 5/1/2026
LP version. "Wellspring presents the arrival of a powerful new voice in creative music, unrelenting in passion and invention, while always transmitting a deeply empathic grace. Masterful composer-improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass). Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a no wave battle-stance, the Brooklyn-based virtuoso drops a volcanic sonic statement with grand humanist goals. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self. At times, she sounds like she can halt armies. Wellspring is a call for society to come together. How the Seoul, South Korea-born 34-year-old came to be the centuries-old zither's leading -- and perhaps only -- practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power."
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LP
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TU 018LE-LP
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$34.00
PREORDER
RELEASE DATE: 5/1/2026
"Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album Dream Temperature, he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output. A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon. Dream Temperature sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channeled through the laptop as the core processing chamber for added textural components and field recordings. A free floating and heavy emotional resonance marks Dream Temperature from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time. Dream Temperature is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged."
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CD
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WWSCD 121CD
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$18.00
PREORDER
RELEASE DATE: 5/1/2026
Hot on the heels of the Tokyo Bliss and Funk Tide sets, Tokyo-based DJ Notoya delivers Tokyo Pulse, a new juicy selection of funk and modern soul recorded in Tokyo in the '70s and '80s. Most tracks here are making their debut outside of Japan and the album, like its predecessors, has been designed by Manuel Sepulveda (Optigram) and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by Nippon Columbia Records and remastered for vinyl by Colorsound in Paris. Tokyo Pulse's lush funk selection open with the nocturnal groove of Naomi Chiaki's "Yoru E Isogu Hito," recorded in 1978. The track perfectly sets the mood with its laid-back tempo and late-night atmosphere. From there, Yumi Murata's "Ranhansha" (1979) brings a funkier touch, before the mellower funk of L-E-V-E-L's "Bagdad No Atari Nite" signals the stylistic shift toward the early 1980s. Side one closes with GAM's "Lake In The Forest," an elegant reggae-inflected piece from 1980, played by several musicians from the cult Arakawa Band. Side two opens with a leap into the late 1980s via Nami Shimada's "Mitsumeteirunoni," a superb mid-tempo electro-funk track. This is followed by the earthy folk-soul of Bread & Butter's "Memory," originally released in 1974 on Blow Up Records, and featuring a who's who of Japanese music, including Haruomi Hosono, Ray Ohara, Tatsuo Hayashi, and Shigeru Suzuki. Keyboardist Minoru Koyama's instrumental "After Image" adds a cinematic, fusion-leaning dimension, while Chikara Ueda & The Power Station's "Island Cuckoo," released in 1979 on Denon, injects a cool dose of Brazilian-tinged funk energy. The compilation closes with Higurashi's superb funk-folk track "Anata Wa Doko Ni Irundesuka," a reflective 1974 recording that brings the journey to a quietly emotional conclusion. Taken as a whole, Tokyo Pulse offers a vivid snapshot of Tokyo's evolving groove landscape, embracing a wide diversity of sounds that move fluidly between funk, modern soul, folk, reggae, electro, and jazz-inflected pop. Carefully curated by DJ Notoya, the album captures the subtle shifts in style, production, and mood that defined nearly fifteen years of Japanese music and stands as a new addition to Wewantsounds' ongoing series exploring Japan's rich musical heritage, reaffirming Tokyo's place as a city with a uniquely refined and forward-thinking musical pulse.
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LP
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WWSLP 121LP
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$33.00
PREORDER
RELEASE DATE: 5/1/2026
LP version. Hot on the heels of the Tokyo Bliss and Funk Tide sets, Tokyo-based DJ Notoya delivers Tokyo Pulse, a new juicy selection of funk and modern soul recorded in Tokyo in the '70s and '80s. Most tracks here are making their debut outside of Japan and the album, like its predecessors, has been designed by Manuel Sepulveda (Optigram) and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by Nippon Columbia Records and remastered for vinyl by Colorsound in Paris. Tokyo Pulse's lush funk selection open with the nocturnal groove of Naomi Chiaki's "Yoru E Isogu Hito," recorded in 1978. The track perfectly sets the mood with its laid-back tempo and late-night atmosphere. From there, Yumi Murata's "Ranhansha" (1979) brings a funkier touch, before the mellower funk of L-E-V-E-L's "Bagdad No Atari Nite" signals the stylistic shift toward the early 1980s. Side one closes with GAM's "Lake In The Forest," an elegant reggae-inflected piece from 1980, played by several musicians from the cult Arakawa Band. Side two opens with a leap into the late 1980s via Nami Shimada's "Mitsumeteirunoni," a superb mid-tempo electro-funk track. This is followed by the earthy folk-soul of Bread & Butter's "Memory," originally released in 1974 on Blow Up Records, and featuring a who's who of Japanese music, including Haruomi Hosono, Ray Ohara, Tatsuo Hayashi, and Shigeru Suzuki. Keyboardist Minoru Koyama's instrumental "After Image" adds a cinematic, fusion-leaning dimension, while Chikara Ueda & The Power Station's "Island Cuckoo," released in 1979 on Denon, injects a cool dose of Brazilian-tinged funk energy. The compilation closes with Higurashi's superb funk-folk track "Anata Wa Doko Ni Irundesuka," a reflective 1974 recording that brings the journey to a quietly emotional conclusion. Taken as a whole, Tokyo Pulse offers a vivid snapshot of Tokyo's evolving groove landscape, embracing a wide diversity of sounds that move fluidly between funk, modern soul, folk, reggae, electro, and jazz-inflected pop. Carefully curated by DJ Notoya, the album captures the subtle shifts in style, production, and mood that defined nearly fifteen years of Japanese music and stands as a new addition to Wewantsounds' ongoing series exploring Japan's rich musical heritage, reaffirming Tokyo's place as a city with a uniquely refined and forward-thinking musical pulse.
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Book
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9783907236666
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$65.00
PREORDER
RELEASE DATE: 5/5/2026
Hardcover, 656 pages, 500 color images. 28 × 21 cm. "A massive photographic archive of Lee 'Scratch' Perry's legendary recording studio. A 600-page tribute to one of the most famous locales in music history, Black Ark is a detailed inventory of photographs and writings from the Black Ark Studios in Kingston, Jamaica, where producer Lee 'Scratch' Perry created music from 1973 onward. The eclectic and constantly evolving decoration of the studio provides an enduring visual counterpart to Perry's expansive musical catalog. From mural paintings to shape-shifting assemblages of records, instruments, found objects, posters and newspaper clippings, the artworks layer upon one another as they intertwine with the studio building itself. Perry created his own dense and diverse world in which to work: memorialized in this volume before the Black Ark disappears for good. The photographic documentation of the studio in the spring of 2021 was supplemented by efforts to secure and preserve Perry's works, objects and recordings as part of a joint project with the Smithsonian Institution in Washington, DC. Black Ark reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the development of this publication until his death in August 2021. The book closes with memorial essays from Ishion Hutchinson, David Katz, Kodwo Eshun, and John Corbett. Lee 'Scratch' Perry (1936-2021) was a musician and producer best known for pioneering the dub genre in the 1970s. He worked with well-known Jamaican artists such as Bob Marley and the Wailers, the Heptones, the Congos, and Max Romeo. In 2003 he won a Grammy Award for Best Reggae Album."
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LP
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12XU 176LP
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$24.00
PREORDER
RELEASE DATE: 5/8/2026
"The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut. The Sleeves is a somewhat counter intuitive take on the guitar/vocal duo formula, though it's not nearly as simplistic as 'the space between the notes' -- it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented."
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LP
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ACRSLP 1686LP
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$26.00
PREORDER
RELEASE DATE: 5/8/2026
"There are perhaps few characters in the history of popular music who were as mysterious, as they were brazen than Aleck Ford, AKA Sonny Boy Williamson II. The true story of Sonny Boy Williamson II remains shrouded in mystery and uncertainty, and it seems this was Ford's intention, but to what ends, nobody can say. One thing is certain though -- he was one of the all-time greats of the harmonica, a bone fide bluesman, talented and charismatic in equal measure. His influence cannot be overstated. The first incarnation of the band that would become the Rolling Stones was named after him: Little Boy Blue and the Blue Boys; B.B King described him as 'the King of the harmonica;' and maybe there would have been no Howlin' Wolf, or Elmore James without Williamson's mentorship and support. The British Blues explosion of the late 1960s certainly owed much to Williamson and his compatriots. This carefully curated collection of this colorful and charismatic performer's work showcases just why he was one of the true legends of blues music. Interestingly, he was inducted into the Blues Hall of Fame in 1980, the same year as Sonny Boy Williamson I. It seems fitting that even in death and in honors they were inextricably linked. This collection hones in on his work that took the world by storm during his tenure with Trumpet and Checker in the 1950's and early '60s from his iconic 'Eyesight For The Blind' through to 'One Way Out.' It is a true celebration of one of the most mysterious characters in music."
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LP
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ACRSLP 1687LP
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$26.00
PREORDER
RELEASE DATE: 5/8/2026
"They called him the Originator for a very good reason. Bo Diddley was the foremost bridge between blues and rock 'n' roll, facilitated in no small part by his 'Bomp ba-bomp bomp, bomp bomp' sound, the famous 'Bo Diddley beat.' He was a master of invention too, inventing his name, his persona and style, and his own guitar. Put simply, he was one of those artists whose importance and influence as a pioneer of popular music far outweighed the commercial and chart success he enjoyed during his career. With just nine U.S. R&B and two Pop chart successes across a career spanning five decades, Diddley was not exactly a hit-making machine. But his legacy is such that echoes of his music pervade rock, pop and hip-hop to this day. This LP revels in Diddley's guitar genius and features 16 of his greatest and most iconic tracks including 'I'm A Man,' 'Diddley Daddy,' 'Pretty Thing,' 'Mona,' 'Say Man' and 'Road Runner.' Once he had scored his first No. 1 with 'Bo Diddley' the shape of popular music changed forever. His influence is clear to see, through some of the work of artists -- and Diddley devotees -- like Buddy Holly, the Rolling Stones, Johnny Otis, Cliff Richard, The Who, Bruce Springsteen, U2, and George Michael. Every time a song uses the 'Bomp ba-bomp bomp, bomp bomp' motif, Diddley's legacy lives on."
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LP
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ACRSLP 1689LP
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$26.00
PREORDER
RELEASE DATE: 5/8/2026
"John Lee Hooker, known as 'The King of the Boogie' and 'the Boogie Man,' was a true blues icon. Quality rather than quantity is the key to Hooker's singular success. He did not have a huge number of hits in the R&B chart, but those that did make a major impact would provide some of the key musical architecture for future blues and rock artists. When he came to prominence in the late '40s, he was playing blues in a way that was regarded as somewhat spare, his dark repetitive vocals supported only by his amplified guitar and his stamping foot. His was no overnight stardom. Having paid his dues over many years, once he started recording, he did so prolifically. This fine collection of his earlier songs demonstrates Hooker's blues virtuosity while at the same time establishing his work as a signpost to a deeper understanding of the British Blues explosion. It features a host of early hits including the iconic No. 1's 'Boogie Chillen'' and 'I'm In The Mood,' alongside 'Hoogie Boogie,' 'Hobo Blues,' 'Crawlin' King Snake,' 'Dimples,' 'No Shoes,' and, naturally, the timeless 'Boom Boom.'"
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LP
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AR 181LP
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$28.00
PREORDER
RELEASE DATE: 5/8/2026
Named after the Latin word for the humble house spider, Oonops started his career as a club DJ in the early 2000s and has been collecting and playing strictly vinyl ever since. In 2013, he started his own radio show Oonops Drops, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, Oonops finally founded his own sustainable music label bearing the eponymous name. Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favorites and rare gems discovered through his extensive community of like-minded collaborators. Featuring Lamp, Nautilus, Nova70, 45trio, Kazumi Kaneda, Kutiman, Hover, Pat Van Dyke, Emapea, HF International, ShinSight Trio, Groove Train, Golden Throat Note, and Mariko Nakabayashi.
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12"
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AUS 211EP
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$22.50
PREORDER
RELEASE DATE: 5/8/2026
Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties. Swedish artists pbeatgirl and Joakim Åhlund and Jockum Nordström feature on one track each Axel Boman has brought playful charm to the underground for nearly two decades. His colorful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.
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2LP
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BJR 015LP
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$35.50
PREORDER
RELEASE DATE: 5/8/2026
La Contra Ola, the cult compilation showcasing the treasures of Spain's 1980s synth wave and post-punk scenes, is finally back in stock on Les Disques Bongo Joe. Originally released in 2018, this anthology quickly became a must-have for fans of analog sounds and avant-garde music, capturing a period of raw creativity and cultural upheaval in post-dictatorship Spain. This compilation pays tribute to visionary artists like Aviador Dro, Esplendor Geométrico, and Derribos Arias, who redefined the boundaries of punk and electronic music with a DIY aesthetic and unmatched intensity. With industrial rhythms, synthetic experiments, and minimalist melodies, La Contra Ola immerses listeners in the vibrant underground of 1980s Spain -- a scene where artistic expression flourished after decades of censorship. This reissue celebrates the legacy of these pioneers and their lasting influence on contemporary electronic and post-punk music. Whether you're discovering this gem for the first time or you're a longtime fan, La Contra Ola remains an essential work, standing at the crossroads of musical history and counterculture. Featuring Esplendor Geométrico, Zombies, Derribos Arias, TodoTodo, El Humano Marrano, El Aviador Dro Y Sus Obreros Especializados, La Fura Dels Baus, Línea Vienesa, Diseño Corbusier, Tres, Derribos Arias,Los Iniciados, Lavabos Iturriaga, Ovifornia SCI, De Picnic, and La T.
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LP
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BTR 136LP
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$28.00
PREORDER
RELEASE DATE: 5/8/2026
The Bolbec duo return with their sophomore album Foutu Félin, a richly cinematic collection of instrumental music that unfolds like an imaginary soundtrack, melodic, tactile and transportive. The record is inspired as much by the cut-and-paste production techniques of Portishead and the Beastie Boys as by the legendary composers of le cinéma français and il cinema italiano. Following directly from their debut Victime De L'aube, Foutu Félin feels like a continuation rather than a departure, a second reel instead of a reset. Axel Concato and Barth Corbelet each wrote five pieces independently, deliberately exploring as instinctively and introspectively as possible before reshaping their embryonic ideas together into bigger, brighter compositions, uncovering hidden humor along the way. Cinema remains Bolbec's primary language. Barth points to Alberto Iglesias as a key influence, while Axel draws inspiration from the melodic logic of film scores from the '60s to the '80s, where characters carried themes and melody mattered as much as atmosphere. In contrast to contemporary soundtrack trends that prioritize texture over tune, Bolbec consciously foreground melody, harmony and rhythm in search of a personal musical signature. Much of Foutu Félin was sketched at home before being taken to Fish Factory Studio in the UK, where musicians were encouraged to interpret and improvise freely. Performances were then carefully edited and reshaped, closer in spirit to cut-and-paste production than traditional jazz recording. Feel consistently took priority over technical perfection. Returning players Tim Giles, Riaan Vosloo, Ross Stanley, and Gareth Lockrane are joined by saxophonist James Allsop, whose contribution became a defining surprise, notably on "Ponto Final." Additional recordings were completed in Rouen, with final mixes by Axel mastered by Sean Joseph in Bristol, whose sense of warmth and acoustic space helped shape the album's sound. Ultimately, Foutu Félin confirms Bolbec's identity. Music that feels like the beginning of a story. Less theatre, more cinema. Close your eyes, the film is already rolling.
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LP
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BYR 055LP
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$28.00
PREORDER
RELEASE DATE: 5/8/2026
Yes, Zillas On Acid and Babystar have returned to the studio, and they have released their new single "It's Really Easy (To Spend A Lot Of Money)". But what do they sound like? As aficionados of Girl Chat Room will know, the band's chug-pop style combines jaunty basslines, tight drum machine programming, and sage observations on modern life (the ease of depleting your bank account), and this new track is no exception, even incorporating some whistling, and a wild tempo change.
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2LP
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CORTIZONA 035LP
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$38.50
PREORDER
RELEASE DATE: 5/8/2026
A year after PINGPONG, the 2LP compilation with unearthed music from 1980-2000 by Walter Verdin, Cortizona presents Minimalize Your Reworks, a collection of 12 reworks and interpretations of the 1981 composition "Minimalize" Verdin originally created for a video art installation. 12 totally different versions by 12 musicians, producers, DJ's and artists blowing the dust of this visionary track Verdin made at night in the studios of the audiovisual services of the university, somewhere in the Belgian city of Leuven. Minimalize Your Reworks features contributions from a wide range of musicians: Peaking Lights delivers a motorik manifesto for lost '80s kids with nostalgia for coin up games at a desolated Luna Park. Stripped down demented disco to keep the heartbeat in a trance. Jlin injects the old school vibe with a shot of firing future footwork reshaping it in a dazzling abstract bass buzzer. Céline Gillain sculpts Verdin's mantra into a brand-new story dribbling between deadpan bubblegum dance hall and tongue in cheek wordy rappinghood. A slow burning technicolor dream fading into a throbbing new ecstatic reality is maybe the best way to describe Transistorcake's translation of the original composition. Electronic body music of a Blade Runner generation chasing a Stranger Things reality in an upside -down world: Sagat's version explores new horizons for sure. Beton Brut goes for the short sharp shock and flips Walter's analogue tape advice into an insane grimey gabbercore classic for the year 2525. That's around the same time era where you can find the spirit of Legowelt's goofy robotic interpretation of "Minimalize": Star Trekking across the universe, boldly going forward with the vocoder and the 808 until everyone's dancing or at least moving their feet. Together with his vintage echodeck, Ossia exploring and pushing dub and Mego boundaries here. DJ Marcelle takes bass to another level in her "Space Invaders Remix," deconstructing and splicing sound into a new form of what could be an anchor point for inzane Johnnies testing and fine-tuning their boombox car sound system. Patrick Stevens slams your brain with an industrial stomper - banging like a 1984 anthem The Hafler Trio knocks on the doors of perception and enters your sonicsoul with hidden subliminal messages like only Andrew McKenzie can. Annelies Monseré transcends cosmic minimal frequencies from another dimension into an unknown maximalized spectrum. Just with her voice and harmonium she delivers acoustic shoegaze and a hauntingly hypnotizing mantra of 8 minutes and 10 seconds.
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LP
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ENJ 9221LP
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$24.00
PREORDER
RELEASE DATE: 5/8/2026
"The album was also included in the book 1001 Albums You Must Hear Before You Die. Water From An Ancient Well features the pianist/composer with a very strong septet. Such superior musicians as tenor saxophonist Ricky Ford, altoist Carlos Ward, baritonist Charles Davis, and trombonist Dick Griffin are heard at their most creative and emotional on these eight Ibrahim originals. Many of the melodies are among Ibrahim's finest compositions."
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3LP
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FEED 2602LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition. Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music. Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track "I Feel Space" has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as "Boney M Down" and "Lovesick." Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025. 180gram heavyweight 3x12" vinyl. Includes OBI strip. Features original artwork by Ole Martin Lund Bø and original liner notes by Daniel Wang.
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2LP
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FIELD 040LP
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$43.50
PREORDER
RELEASE DATE: 5/8/2026
The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalizes on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing. The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album -- field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon -- a unique release that holds its own space comfortably, The Setting Sun is a profound benchmark in a stellar discography.
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LP
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INT 093LP
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$29.50
PREORDER
RELEASE DATE: 5/8/2026
Copenhagen-based DJ and producer Anastasia Kristensen presents her debut album Bestiarium Sombre, a vivid and cinematic techno work shaped by UK bleep, jungle and dubbed IDM influences. Known for headlining major clubs and festivals worldwide and for releases on Houndstooth, Turbo and Arcola, she now delivers a cohesive long-form statement on Intercept, home to artists such as Tsepo, Coloray, DJ Aya and Ineffekt. The album follows an anthropomorphic concept where each track embodies an animal, creating a distinctive narrative world with strong visual identity. This vinyl edition arrives as a limited transparent yellow marbled pressing housed in full-color artwork. Designed for both peak-time DJs and collectors, it combines dancefloor impact with strong shelf presence.
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KEPLARREV 023LP
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$29.50
PREORDER
RELEASE DATE: 5/8/2026
Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources -- fingerpicked guitar, plaintive banjo, muted accordion tones -- subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album's title. Tracks such as "Pattern For a Pillow" and "Amidst Things Uncontrolled" articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity -- fluttering guitar lines, reedy accordion tones -- briefly break the surface before being absorbed back into the field. Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia -- a reminder that electronic music's most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)
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LP
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KK 143LP
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$30.50
PREORDER
RELEASE DATE: 5/8/2026
On Dreams '24/'25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary. The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells' dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances. For Dreams 2025, Aby Vulliamy -- one of Yorkshire's best kept musical secrets -- takes over vocal duties. In mid-2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal. The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, "Mackenzie's Return," was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album's blend of humor, strangeness and quiet melancholy. Dreams '24/'25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination. The album is accompanied by a striking cover artwork by Annabel Wright.
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CD
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LY 009CD
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$16.00
PREORDER
RELEASE DATE: 5/8/2026
Caterina Barbieri and Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point. At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri's work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform. Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing.
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LP
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LY 009LP
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$29.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Caterina Barbieri and Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point. At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri's work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform. Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing.
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LP
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MIA 063LP
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$31.50
PREORDER
RELEASE DATE: 5/8/2026
Pepijn Caudron, aka Kreng, transports you through the swirling darkness and into the unknown with Wormhole, his first album in over a decade. What does a trip towards another world sound like? The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L'Autopsie Phénoménale de Dieu (2009) and Grimoire (2011). Starting with "You Are Here", the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios. Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door... Gatefold sleeve; includes download code; edition of 500.
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Cassette
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MR 493CS
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$12.00
PREORDER
RELEASE DATE: 5/8/2026
With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US Northwest at the same time. Theirs is the same DNA shared by The Sonics, Rocket From The Tombs, The Cramps, and Black Lips. This release compiles all their recordings, including some later rarities available here on cassette for the first time.
"I'd never heard Los Saicos until a few days ago but had experienced the Wau y Los Arrrghs!!! version of 'Demolición.' Whilst appreciating the inherent wildness, I never for a minute considered that the original could have been even more deranged. More importantly, this snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles. I hear direct links to both The Stooges, The Crampshere, and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. The unhinged nature of the song title is one thing but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and kicks in the call of the wild. The individuals have no other option than to just go with it. I asked Erwin how aware he and his friends were of what was happening in Britain and the US at the time and here's what he had to say: 'We knew the Beatles, they were our idols. We heard the Rolling Stones after recording 'Demolición' and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. The titles and themes are more humorous than violent and actually, the only song that talks about violence is 'El entierro de los gatos.' However, we thought of ourselves as bad boys and that must have been a driving force. After Los Saicos I wrote some really violent stuff, but I would not play it now and I don't think I was comfortable playing it then either.'" --Lindsay Hutton
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2LP
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MR 499LP
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$41.00
PREORDER
RELEASE DATE: 5/8/2026
As a follow-up to Munster's previous work reissuing the recordings of Pau Riba, a key figure in Catalonia's counter-culture and music scene, the label now presents Juguetes De Época Y Cajas De Cerillas -- Singles y Rarezas: Primera Epoca (1967-1969). This collection brings together songs taken from rare releases in his discography -- such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, Folk 2 (1968) -- as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!" -- versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details. The album also includes an extensive booklet featuring detailed liner notes and photographs of the artist.
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7"
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MR 7397EP
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$15.50
PREORDER
RELEASE DATE: 5/8/2026
Debut EP from 1969 by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album Gusano mecánico. Includes versions of "Born to Be Wild" by Steppenwolf, "Fire" by The Jimi Hendrix Experience, and "Sunshine of Your Love" and "Tales of Brave Ulysses" by Cream. First-ever vinyl reissue.
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7"
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MR 7398EP
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$15.50
PREORDER
RELEASE DATE: 5/8/2026
Second EP from 1970 by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album Gusano Mecánico. Includes a new funky version of "Born to Be Wild" by Steppenwolf, as well as three original compositions by the band. First-ever vinyl reissue.
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LP
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NP 059LP
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$29.50
PREORDER
RELEASE DATE: 5/8/2026
Hélas collects 15 songs from the repertoire of Neoboris, an infamous Bordeaux/Pau duo highly active in the late '90s and early '00s. Drawing on direct punk, wave, rave culture and "Variété Française" influences, Hélas functions as a perfect time capsule of a very specific era and mood: a boy-and-girl duo celebrating their love for boys, in melancholy and beauty.
"I met Boris in the early '90s. I was a hardcore raver and sang in various punk bands in Bordeaux. Boris was more romantic and had grown up with new wave and goth. He was a natural-born singer-songwriter. We shared a deep passion for Elli et Jacno, Taxi Girl, or Mathematiques Modernes. We started giving wild concerts across our region in the South West of France and gradually playing everywhere all the way to Paris. Boris' untimely death in 2008 was a shock. Today, I still perform Boris' songs everywhere I can because I just want to preserve his spirit. Singing with him then, now, and forever." --Eve Dequidt, 2025
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2LP
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OSTGUT 038LP
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$54.00
PREORDER
RELEASE DATE: 5/8/2026
After a six-year hiatus, Efdemin returns with Poly -- his fifth studio album, released on the recently revived Berghain-affiliated label, Ostgut Ton. As the title suggests, Poly explores multiplicity: of rhythm, texture, style, and emotion. Across eleven meticulously sculpted textures, the album weaves a multidimensional web of sonic references, nodding to the origins of techno while pushing resolutely into uncharted terrain. Poly feels like an afterglow -- of decades on the dancefloor, of restless sonic exploration, and of a profound connection to the spaces and communities that have shaped Efdemin's sound. Over the course of 60 minutes listeners are taken through different territories and landscapes of sound. Mysterious and swirling, abstract and droning textures over at times fast and stoic rhythmic concepts. Sometimes the sunlight breaks into the opaque and mysterious soundscapes before the pulse is taken over and sucks listeners back straight into the club. The overall tone of Poly is mild and playful, introvert and at times dreamy. The music is rich in sonic expression and breathes the spirit of musical concepts that have been refined over the course of decades. What Sollmann has condensed here feels like a culmination of his multilayered and polyphonic personality situated between club, museum, studio and academy. The album cover features a striking photograph of a human ear by renowned German artist Isa Genzken. Known for her radical visual language, Genzken's work here functions as a metaphor for deep listening. The ear symbolizes the layered complexity and immersive quality of the music on Poly -- an invitation to perceive sound in all its depth, fragility, and force and unlock it's potential to unite different voices in a distorted reality.
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CD
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PL 195CD
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$18.00
PREORDER
RELEASE DATE: 5/8/2026
Finally back in print! Originally released by EMI's Pathé Marconi imprint in 1969, People in Sorrow -- a 40-minute work by the four-piece lineup of Roscoe Mitchell, Joseph Jarman, Lester Bowie, and Malachi Favors -- has long been unavailable on vinyl and CD, and then only in hard-to-find European and Japanese issues. It is arguably the finest and most ambitious of the 14 studio albums recorded by the Art Ensemble during their 23-month sojourn in France, which launched the American group internationally. People in Sorrow can be viewed as the culminating event in the Art Ensemble's inventive and revolutionary approach to collective improvisation, counterpoising clamorous free-blowing intensity with expanses of hushed conversation on the group's immense arsenal of "little instruments." Fully licensed from Warner Music, and augmented with new liner notes by veteran U.S. music journalist Chris Morris, this release marks the long-awaited return of the record that Chicago-based writer, curator, and label operator John Corbett calls "one of the most luminous albums of creative music ever made." This edition faithfully recreates the first French Pathé-Marconi pressing of People in Sorrow (1969), which originally featured black graphics on a light (white or off-white) background and red Pathé-Marconi labels, rather than the yellow cover seen on later issues. The vinyl LP (PL 195LP) includes an inlay with detailed liner notes, while the CD Digipak comes with a 12-page booklet containing the same material. The album has been newly remastered by Moritz Illner (duophonic), who also handled play Loud!'s acclaimed reissue of the Art Ensemble of Chicago's Les Stances à Sophie.
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LP
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PL 195LP
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$31.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Finally back in print! Originally released by EMI's Pathé Marconi imprint in 1969, People in Sorrow -- a 40-minute work by the four-piece lineup of Roscoe Mitchell, Joseph Jarman, Lester Bowie, and Malachi Favors -- has long been unavailable on vinyl and CD, and then only in hard-to-find European and Japanese issues. It is arguably the finest and most ambitious of the 14 studio albums recorded by the Art Ensemble during their 23-month sojourn in France, which launched the American group internationally. People in Sorrow can be viewed as the culminating event in the Art Ensemble's inventive and revolutionary approach to collective improvisation, counterpoising clamorous free-blowing intensity with expanses of hushed conversation on the group's immense arsenal of "little instruments." Fully licensed from Warner Music, and augmented with new liner notes by veteran U.S. music journalist Chris Morris, this release marks the long-awaited return of the record that Chicago-based writer, curator, and label operator John Corbett calls "one of the most luminous albums of creative music ever made." This edition faithfully recreates the first French Pathé-Marconi pressing of People in Sorrow (1969), which originally featured black graphics on a light (white or off-white) background and red Pathé-Marconi labels, rather than the yellow cover seen on later issues. The vinyl LP includes an inlay with detailed liner notes, while the CD Digipak (PL 195CD) comes with a 12-page booklet containing the same material. The album has been newly remastered by Moritz Illner (duophonic), who also handled play Loud!'s acclaimed reissue of the Art Ensemble of Chicago's Les Stances à Sophie.
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12"
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PLAYRJC 134EP
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$28.50
PREORDER
RELEASE DATE: 5/8/2026
Tim Paris stands, not at the center, but as a narrator. As someone who knows that the voice is an attitude. "That Boy" is not a pose, but a mirror, ironic, direct, vulnerable. Paris moves between new wave house and club, always aware that identity is never fixed, but formed in the moment. This remix record is not a gathering of names. It is a situation, four perspectives on the same question: What does it mean to exist in sound? This cover of "That Boy," featuring Foremost Poets, created by Konstantin Fürchtegott Kipfmüller, a visual artist at the Hochschule für Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing inspiration from the urban environment, Kipfmüller transforms traces of decay, weather, and time into abstract narratives that, like the music of Tim Paris, Roman Flügel, Abe Duque and Red Axes, unfold meaning layer by layer.
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CD
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RELTIME 004CD
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$16.00
PREORDER
RELEASE DATE: 5/8/2026
The secret multi-instrumentalist album Tiger Tundra by Rico Friebe from 2022 finally gets a release.
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CD
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ROTOR 039CD
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$23.50
PREORDER
RELEASE DATE: 5/8/2026
Certainly one of the greatest UFOs in the history of music, Cromagnon and their 1969 concept album Orgasm were the precursors of what was to come thirty years later: industrial, metal, and experimental music bathed in improvised experiments on LSD. "The project couldn't be smooth, otherwise humanity would be lost. There's room for computers, but the soul is gone." Cromagnon is: Brian Elliot , Austin Grasmere, Salvador Salgado, and The Connecticut Tribe. Brian, Bob and Sal were responsible for lyrics, and Brian was the biggest contributor. Bob, Vincent, Peter, Gary, and Louie all helped create the music (writing chord changes etc.)
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CD
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ROTOR 082CD
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$23.50
PREORDER
RELEASE DATE: 5/8/2026
Feu! by MKB Fraction Provisoire, recorded in 1993, reissued 30 years later. Featuring Jac Berrocal, MKB Fraction Provisoire (Messageros Killers Boys) is the variable-geometry musical project of filmmaker and writer F.J. Ossang, founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll. "This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year."
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LP
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ROTOR 082LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. First time vinyl reissue. Feu! by MKB Fraction Provisoire, recorded in 1993, reissued 30 years later. Featuring Jac Berrocal, MKB Fraction Provisoire (Messageros Killers Boys) is the variable-geometry musical project of filmmaker and writer F.J. Ossang, founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll. "This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year."
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CD
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ROTOR 088CD
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$22.50
PREORDER
RELEASE DATE: 5/8/2026
Infini is an encounter between Marc Hurtado, known for his duo project Étant Donnés created in 1977 from the French experimental and industrial music scene, and Mark Cunningham from the New York No Wave scene since the late '70s, under the entity Mars. Infini was born in 2020 and completed in 2023, and this particular project is a kind of 360° astral voyage at the speed of light, swept up in the grace, madness, fire and kaleidoscopic whirlwind of the telescoping of the two artists' burning souls. Against a backdrop of Mark Cunningham's trumpet, bass and guitar, Marc Hurtado lays down his noisy drones and bewitching voice, a moment of sealing and construction of an edifice whose stones seem to be cut and refined like real diamonds. The atmosphere is psychedelic, cosmic, vaporous and blindingly dark. Infini is the sound of blood, the blood of sound, a shattering mirror of fire, a wave of light in the sky, a path, a voice, a silence, a cry. Marc Hurtado: vocals, sounds; Mark Cunningham: trumpet, guitar, bass.
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LP
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ROTOR 089C-LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. Silver-grey and black vinyl. Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano.
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LP
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ROTOR 089LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano. Black vinyl.
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2LP
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ROTOR 090C-LP
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$70.00
PREORDER
RELEASE DATE: 5/8/2026
Double LP version. Dark ice color vinyl version. Gatefold sleeve. An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such.
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2LP
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ROTOR 090LP
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$52.50
PREORDER
RELEASE DATE: 5/8/2026
An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such. Black vinyl.
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LP
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ROTOR 091C-LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. Dark crystal color vinyl. New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside".
"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.
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LP
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ROTOR 091LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside". Black vinyl.
"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.
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12"
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RS 078EP
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$17.50
PREORDER
RELEASE DATE: 5/8/2026
Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL, Twice Like Rice. It's a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. Ansboy is a fresh alias for the Grammy-nominated producer and mixdown engineer, Robert Etherson, a staple in the Scottish scene with an international touring repertoire. "GC" is a peak-time breaks-infused trancey-heater -- a master class in building dancefloor tension. Things spin towards a darker percussive focus on the more intense "Twice Like Rice". On the B-side, things return to blissful euphoria with "Virgil" -- a warm up dub-techno ballad, before the emotional release of "Subculture Closure"-inspired "Carter 21".
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CD
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SAM 004CD
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$19.00
PREORDER
RELEASE DATE: 5/8/2026
Green Wagon is the culmination of a musical collaboration between three friends from diverse backgrounds. Recorded in 2012, this album marks the first trio project by Guadeloupe pianist Jonathan Jurion, accompanied by his drummer friend, 2025 Victoires du Jazz winner Arnaud Dolmen, and Cuban bassist Damian Nueva. The title Green Wagon evokes a shared space, a kind of sonic vehicle where Caribbean, Afro-Cuban, and modern New York jazz influences intersect. Each piece is an exploration of the roots and rhythms that unite the three musicians, blending tradition and innovation. The compositions, both personal and collective, allow for great freedom of improvisation, creating a fluid and organic musical flow. Through Green Wagon, Jonathan, Arnaud, and Damian weave an intimate, sincere musical conversation deeply rooted in their respective histories. The album is a bridge between cultures, a creative encounter full of energy and emotion. Thirteen years later, Arnaud Dolmen's Samana Production label finally releases this superb album.
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LP
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SF 132LP
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$26.50
PREORDER
RELEASE DATE: 5/8/2026
Recorded live on location, this is a style of music unlike anything you have ever heard before and the first album of the Himba people's music ever released from northwest Namibia. From the album's producer and recordist, Ian Brennan: "The Namib desert is the oldest in the world. Therefore, the driest. Italian-Rwandan photographer, Marilena Umuhoza Delli and I had come to record with possibly the most photographed people on earth, the Himba -- to listen rather than gaze at them as if on display. To share their voices as a counter to their visual objectification, particularly the inappropriate eroticization of the women who customarily go topless throughout daily life. We had to stress multiple times that we did not want the musicians to don touristic tribal costumes -- quite possibly the first music project in history that urged performers to cover-up rather than pleading with artists to expose more flesh. But it was to no avail. When the assigned hour arrived, the men all ditched the baseball caps and soccer jerseys that they routinely wear. And for the women, the reality is that they almost without exception keep their torsos bare, even in winter. We had to acquiesce. Forcing the issue would have only been the flipside of inauthenticity. The featured, traditional instrument is the Cattle Gun. It's rarely found these days and therefore, costly. Made from the lengthy horn of an Oryx and coated in mud, it is blown, resulting in a breathy, rattled tone. Via the use of live looping on three of the album's tracks, psychedelic vocal tapestries were created as if snatched from the ever-shifting skies that enshrined the valley from all sides. But even more esoteric results arose from members cupping hands over mouth to create chorusing and flanging effects sans electricity or gear. Rather than 'primitive' or traditional, the Himba music making is imbued with innovation and timelessness.' Limited edition pressing of 500 vinyl copies with four-page color insert including photos of the musicians and liner notes by Grammy-award winning producer and author, Ian Brennan.
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LP
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TARTALB 028LP
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$29.50
PREORDER
RELEASE DATE: 5/8/2026
Space Ghost returns with Dance Planet (Be Free Edition), a remastered, recut and expanded edition of his beloved 2022 album. Featuring refreshed artwork, newly remastered audio, and a brand-new digital remix package from not even noticed, RAMZi, Crystalline Reality, and Space Ghost himself, this is the definitive version of a modern house classic. Rooted in uplifting, soulful 4/4 traditions inspired by forebears like Larry Heard and Blaze, Dance Planet flows effortlessly between ambient reflection and warm, driving club cuts. The remaster brings added depth and clarity -- from the lush swells of "Afterglow" and the tripped-out breaks of "Dream Weaver" to the R&B-tinged groove of "UFO." Dancefloor staples like "Back To The Source" and "Soul Shower" retain their warmth and punch, while "Emotional Healer" and "Be Yourself (Motivational Mix)" continue to deliver Space Ghost's signature affirmation: don't be afraid to be yourself, don't be afraid to let go. Pressed on 140g black vinyl with new artwork and including a download code for the full extended album plus remixes. A timeless, feel-good house LP -- restored and expanded for collectors and selectors alike.
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CD
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TR 608CD
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$16.50
PREORDER
RELEASE DATE: 5/8/2026
After releasing their first studio album in 2025, more than 40 years after disbanding, The Loft return with their second record. Badges, featuring ten tracks, captures what defined The Loft then and what continues to define them today. As pioneers of an entire genre, they have nothing to prove -- neither to themselves nor to anyone else -- and that ease and quiet confidence resonate through every song on the album. The record features ten new songs, recorded at producer Sean Read's (Dexys, Edwyn Collins, Iggy) Famous Times studio in Hackney and is released on the Tapete Records label. The Loft notoriously split up mid-set at the Hammersmith Palais 40 years ago after climbing to the top of the indie charts and are now releasing their second album of new material following on from the Top 20 vinyl chart success of 2025's debut, Everything Changes Everything Stays The Same. The original four members, Pete Astor, Dave Morgan, Bill Prince, and Andy Strickland have produced an album that continues, and moves forward, the story of The Loft, the band that helped define the sound of the Creation label and the emerging Indie genre. Badges has a sound that comes from a band who've been together, touring and playing consistently over the past two years -- relaxed, vibey, assured.
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LP
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TR 608LP
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$26.00
PREORDER
RELEASE DATE: 5/8/2026
LP version. After releasing their first studio album in 2025, more than 40 years after disbanding, The Loft return with their second record. Badges, featuring ten tracks, captures what defined The Loft then and what continues to define them today. As pioneers of an entire genre, they have nothing to prove -- neither to themselves nor to anyone else -- and that ease and quiet confidence resonate through every song on the album. The record features ten new songs, recorded at producer Sean Read's (Dexys, Edwyn Collins, Iggy) Famous Times studio in Hackney and is released on the Tapete Records label. The Loft notoriously split up mid-set at the Hammersmith Palais 40 years ago after climbing to the top of the indie charts and are now releasing their second album of new material following on from the Top 20 vinyl chart success of 2025's debut, Everything Changes Everything Stays The Same. The original four members, Pete Astor, Dave Morgan, Bill Prince, and Andy Strickland have produced an album that continues, and moves forward, the story of The Loft, the band that helped define the sound of the Creation label and the emerging Indie genre. Badges has a sound that comes from a band who've been together, touring and playing consistently over the past two years -- relaxed, vibey, assured.
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2LP
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TRESOR 380LP
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$38.50
PREORDER
RELEASE DATE: 5/8/2026
TYGAPAW (aka Dion McKenzie)'s first full-length album on Tresor Records, is titled Together You Gather All Power Applied Worldwide. An acronym of its creator's name, TYGAPAW's third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. The album unfolds as the latest chapter in TYGAPAW's ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics. With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like "M32 Riddim" and "Helicopter hovers over my Crown Heights Apartment" feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW's vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW's native land, Jamaica, an important reminder that the past will always inform the future. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW's youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music. In the opening track, "Can I Live", Precious Okoyomon's words feel like the beginning of a ritual. Ms. Carrie Stacks continues this thread of support in "Don't Panic" with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of "Exorcise the Language of Domination", in which Julianna Huxtable's spoken performance complements the various movements and tones of the music. London's SUUTOO contributes the album's only musical collaboration on "B2B". The album closes out with a double hit of emotion in the form of "Effects of Resistance" and "Black Trans Masculine Experience". The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community. The latter piece, an instrumental version of the piece which featured on the IMMIGRANT EP (2025). Gatefold sleeve; includes download card.
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LP
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VAMPI 354LP
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$28.50
PREORDER
RELEASE DATE: 5/8/2026
Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope, Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. The Power of Love (1971) by Joe Acosta was one of them. Puerto Rico born Joe Acosta was committed to pursuing a career in salsa and Latin jazz, with piano as his primary instrument. In 1969, Acosta started his first real band, Joe Acosta And His Empresarios, with whom he recorded a self-titled LP. By 1970-71, Acosta was getting more gigs, playing dances three or four nights a week at popular venues. It wasn't long before manager and booking agent Richie Bonilla signed him to his talent agency and secured a contract for Acosta to record The Power of Love on Ghetto Records. The album is about a range of amorous emotions, from obsession to disillusion, new romance to breakups, lust to affection. Though an English-language title and romantic ballads sung in English were a somewhat odd choice for a hard salsa LP from El Barrio, recorded during a period in which Latinos were rediscovering their sociocultural roots, these were conscious creative decisions by Acosta that have stood the test of time. The record is now beloved among both salsa dura fans for the tough up-tempo numbers and with the West Coast lowrider "souldies" crowd for its sweet and slow Latin soul track "I Need Her." Back in the day, the song spent 21 weeks on the Billboard Latin Top 10. While the bulk of the selections allow dancers to get their groove on to tasty piano and guitar solos, percussion workouts, and tough trombone moña mambo sections, one track stands out for being exceptionally short and fast: "Bendita Ilusión," that remains a favorite of salsa dancers today. According to Acosta, the success of "I Need Her" encouraged Fania Records' Jerry Masucci to come knocking but, since the bandleader was already under contract to Ghetto, and Febo didn't agree to a buyout, nothing happened. Vampisoul is now reissuing The Power of Love once again thanks to a collaboration with Now-Again Records. This release includes an insert with liner notes.
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LP
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VAMPI 355LP
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$28.50
PREORDER
RELEASE DATE: 5/8/2026
Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. From Ear to Ear (1971) by La Fantástica was one of them. Orquesta La Fantástica was led by tenor saxophonist, vocalist, and composer Samuel "Sammy" León, who hailed from Brooklyn. His 11-piece orchestra of local musicians featured a rather unique sound, which combined piano and vibraphone with a brass section of two tenor saxophones and a pair of trumpets. They were signed to Ghetto Records by Bataan's business partner George Febo after being blown away by both the band and the overwhelming reaction of the crowd at the Village Gate. La Fantástica had all original tunes, with modern arrangements and a típico feel. Most importantly, they were fortunate to have vocalist Rafael "Ralphy" De Jesús, aka Chuleta and From Ear To Ear greatly benefited from his contributions. From Ear To Ear is composed exclusively of heavy-hitters, including the beguiling English-language psychedelic soul slow-burner "Latin Blues." "Con Quién Andas," a hot salsa banger beloved by DJs and collectors alike, features killer saxophone and trumpet riffs with an interplay worthy of Puente or Machito. Though "Ya No Te Quiero" and "Telegrama" are breakup songs, they function as swinging dance floor ass-shakers with heavy percussion breaks and crazy horn riffs. The band's origins as an instrumental outfit are further displayed by a couple of vocal-free workouts that close out the album: "M&M," a guaguancó rumba jam session dedicated to the band's discoverer, Maisonave, and "Sassie," a Latin jazz suite that flies through a number of captivating sections with different rhythms, tempos, and arrangements. One aspect of the release that has inspired discussion and conjecture is its psychedelic album art. It was designed by an employee at Sanabria's design studio, Charlie Rosario. They wanted something more-colorful and hip that would grab the public's attention. Rosario's surrealistic illustration, with its disembodied ears, rainbows and multi-colored female head floating amongst the clouds, was perfect. Vampisoul is now reissuing From Ear to Ear thanks to a collaboration with Now-Again Records. The release includes an insert with liner notes.
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7"
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VAMPI 45121EP
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$15.50
PREORDER
RELEASE DATE: 5/8/2026
The end of the dictatorship in Spain ushered in a period of openness that included a kind of sexual revolution, in which the female body was shown nude in magazines and films in a way that had never been seen before. Susana Estrada -- model, actress, and singer -- became one of the country's most popular sex symbols after appearing in numerous films of the so-called "cine de destape" (softcore Spanish cinema of the '70s). Meanwhile, Josep Llobell was a Catalan musician, composer, and producer who pioneered the introduction of cosmic disco and Italo sounds to Spain. Bringing these two figures together gave birth to this erotic disco project. Amor y libertad, their LP released in 1981 on the Sauce label has since become a cult recording within the international cosmic disco scene. From this album, Vampisoul have selected two of its finest tracks to be reissued for the first time on a 45.
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2LP
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VON 019LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
Von present Kino Variants 1967-1986, the first-ever collection to illuminate the vast body of work created by the Uzbek composer Rumil Vildanov during the second half of the 20th century. Offering a rare glimpse of liberated creative spirit operating behind the Iron Curtain, this engrossing double-LP provides an unprecedented immersion into the work of one of the most celebrated composers from Uzbekistan, often described as the "Ennio Morricone of Central Asia". Comprising a startling range of electronic and electroacoustic experiments, evocative chamber works and orchestral works, and more discrete instrumental efforts -- all created to accompany moving image -- totaling an incredible 82 pieces in total, this remarkable sonic journey into Vildanov's inner world and towering talents. Beginning in 1964, when he was first asked by the director, Elyor Ishmuhamedov, to compose the music for one of his films, Vildanov became "obsessed with making music for cinema" and remained deeply connected to the field for the rest of his life -- collaborating with prominent filmmakers, including Eldor Urazbaev, Ali Khamraev, and Shukhrat Abbasov. It is Vildanov's sonic contributions to film, around which Kino Variants 1967-1986 narrows its focus, illuminating the composer's striking range and diverse touchstones. The collection begins with 29 "Abstract Variations" of various durations, rendered on a range of instruments -- synthesizer, harp, harpsichord, and timpani, among numerous others -- in solo and multi-instrumental combinations, utilizing both purely acoustic and electroacoustic approaches. The second side of the collection offers an immersion into Vildanov's "Orchestral Variations", which move between constrained and encompassing scales of instrumental combination. Retaining a strong sense of cohesive vision within their diversity, Vildanov elegantly moves between the use of avant-garde tonal dissonance and lush melodic sensibilities. The second LP of Kino Variants 1967-1986 is dedicated to two thematic groupings, "Rubab Variations" and "Titles Variations". The first stands among the most culturally revealing bodies of work in the collection; centering the focus upon Vildanov's compositions for the rubab, a lute-like stringed instrument played in parts of Central and South Asia. "Titles Variations", the collection's fourth and final side, comprises 19 pieces that expand and further illuminate the range of Vildanov's musical explorations, the majority of which date from the final decade of the composer's life. Printed inner sleeves; edition of 300.
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LP
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VSP 003LP
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$35.00
PREORDER
RELEASE DATE: 5/8/2026
Vasopressin presents On the Edge of the Outside, collecting four works by Nurse With Wound -- three composed in response to texts by Kafka, Tzara, and Forneret, one previously unreleased -- on vinyl for the first time. Electroacoustic abstraction, minimalist drones, and grimy ambience. Vasopressin's second installment of their dedicated series bringing Nurse With Wound's contemporary output to vinyl -- and it is, if anything, even more extraordinary than what came before. On the Edge of the Outside gathers three works previously issued as 3" CDs alongside literary editions published by the French imprint Lenka Lente, each "conceived in intimate response to literary texts -- yet entirely self-sufficient as autonomous sonic experiences": "Kafka's Parachute" (2017), composed in dialogue with Franz Kafka's "Rapport à une Académie"; "On the Edge of the Outside" (2020), drawn from Tristan Tzara's "Minuits pour Géants"; and "We Are the Dead Men" (2025), accompanying Xavier Forneret's "Le Diamant de l'Herb". To these is added "None and a Star Stand (Untitled Lament)", a piece whose origins remain close to the same Lenka lente orbit -- appearing here, as does the entire collection, in its vinyl debut. Across two sides, the record maps a vast and quietly staggering emotional and sonic terrain. "Kafka's Parachute" opens proceedings with howling recitations and a knotted palette of electroacoustic abstraction, channeling something close to concrete poetry in its most visceral, unsettling form. The second side then opens with "None And A Star Stand" -- a breath of grimy, luminous release -- eleven minutes of shifting textures that feel restless and alive without ever resolving into event, before "We Are The Dead Men" descends deeper still, unfurling at glacial pace through overlapping drones and harmonics of rare, disquieting beauty. The closing title track moves from ripping feedback through swirling resonances and sparse piano tones before dissolving back into abrasion, completing a journey that feels as much literary as sonic. Featuring Steven Stapleton alongside collaborators Colin Potter, Andrew Liles, Matt Waldron, James Worse, and Quentin Rollet, On the Edge of the Outside stands as proof that after nearly five decades, Nurse With Wound remains one of the few forces in music genuinely capable of making the world sound like somewhere you have never been before. Issued by Vasopressin, the Milan-based label founded by Matteo Moschettoni. Black vinyl.
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LP
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WJLP 088LP
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$29.50
PREORDER
RELEASE DATE: 5/8/2026
Vladislav Delay, primarily known as a highly regarded electronic music innovator, steps ahead with his acoustic jazz quintet, releasing vd5 on We Jazz Records. Echoing the forward-looking vd musical vision always ahead of the curve, the new album does not fit into any specific category, forging a path of its own across the 10 tracks. Recorded at Candybomber Studio in Berlin, the album brings vd together with Maria Bertel, Lucio Capece, Derek Shirley, and Max Loderbauer. This is shape-shifting, elastic music that exists left of any given timeline. Based in Hailuoto in Northern Finland, Vladislav Delay has never fit into any preset mold as an artist. His prolific, at times mythical output has elevated him to a veritable legend status in all music cycles appreciating a unique artistic voice. Be it his forward-reaching recent releases as Vladislav Delay on his own Rajaton imprint, his Ripatti alias, or playing metallic percussion with the Moritz Von Oswald Trio, Vladislav Delay always has "a sound". And that sound is ever-evolving, as his new jazz album shows. What "jazz" is this? There are certainly liquid elements there in the mix, not unlike the ones heard on previous vd productions. Then again, this is acoustic quintet music by and large, but not any specific kind we have ever heard before. Isn't that the whole point of "jazz"? Whatever came before is a springboard, not a limitation.
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Book
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9781633451766
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$22.00
PREORDER
RELEASE DATE: 5/12/2026
Paperback. 150 pages. "One of the towering figures of 20th-century art holds forth on his controversial life and career in a previously unpublished set of interviews. Over six sessions between September 1951 and November 1952, Marcel Duchamp sat down with collectors and gallerists Harriet and Sidney Janis for a wide-ranging conversation about his inspirations and working processes, and his many opinions on the workings of the modern art world and its histories. The Janises, owners of the influential Sidney Janis Gallery, were ardent supporters of modern art and close friends with Duchamp. Harriet, an accomplished author, led the interviews with an eye toward writing a monograph on Duchamp, though this was never realized. Now, this previously unknown chronicle is available for the first time through the efforts of Carroll Janis, Sidney and Harriet's son. Under Harriet's expert guidance, Duchamp holds forth on his artistic philosophies, his career, his friends, his rivals and his lifelong obsession with chess. He provides an inside look at some of his most famous works, from his controversial 'Readymades' to 'The Large Glass.' Contextualized with illustrations, annotations and an introduction by Carroll Janis, this publication is a rich treasure trove of information on one of the 20th century's most controversial, groundbreaking and larger-than-life artists. Marcel Duchamp (1887-1968) dismantled the boundaries of what constitutes a work of art. Although he began his career as a painter, Duchamp was also a curator, conservator, art advisor, professional chess player, writer, inventor and celebrity. Following the completion of his conceptual masterpiece, 'The Large Glass' (1915-23), he abandoned traditional artmaking altogether. Today he is best known for his 'Readymades' -- ordinary objects such as a urinal or bicycle wheel, elevated to works of art -- which challenged traditional aesthetics and redefined authorship."
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DVD
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LIB 2190DVD
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$17.00
PREORDER
RELEASE DATE: 5/12/2026
DVD is NTSC. Region Code: 0. "In 1971 several dozen African American soul, jazz, and gospel artists embarked on a journey that would change the lives of everyone involved. They traveled from New York City to Ghana, West Africa to take part in a 13-hour concert entitled Soul to Soul. The concert was a celebration of 14 years of Ghana's independence from British rule. For most of these artists it was their first trip to Africa. For the African American musicians, this was a journey about personal roots, the ancestral homeland, history, discovery, loss, pain and joy. Directed by Academy Award winner Denis Sanders the concert film/documentary had a limited theatrical run in 1971. It now returns restored with the original edit reconstructing each scene using high quality 2K transfers from the original film elements, which were shot in the 4:3 aspect ratio. The soundtrack has been digitally remastered. Soul to Soul is an electrifying concert film that features its players at the peak of their powers. The Ike & Tina Turner Revue deliver fiery renditions of 'River Deep-Mountain High,' 'Soul to Soul,' a cut specifically written for this concert; and Otis Redding's 'I've Been Loving You Too Long.' Wilson Pickett, the most popular American artist known to West Africans at the time, delivers a rousing finale of 'In the Midnight Hour,' 'Funky Broadway,' and 'Land of a 1000 Dances.' Gospel/Soul family group the Staples Singers were on hand to perform 'When Will Be We Paid' and 'Are You Sure.' Les McCann and Eddie Harris introduced many to jazz via spirited performances of 'The Price You Gotta Pay to Be Free' and 'Hey Jorler,' the latter featuring local Ghanaian artist Amoah Azangeo. Santana, with guest percussionist Willie Bobo was the wild card. The group only had one African American member but given its reliance on Afro-Cuban and Latin American rhythm constructs played the most African-sounding music of any with 'Black Magic Woman'/'Gypsy Queen' and 'Jungle Strut.'"
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BLU-RAY
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LIB 2193BR
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$26.00
PREORDER
RELEASE DATE: 5/12/2026
Blu-Ray, NTSC format. Region Code: 0. "In 1971 several dozen African American soul, jazz, and gospel artists embarked on a journey that would change the lives of everyone involved. They traveled from New York City to Ghana, West Africa to take part in a 13-hour concert entitled Soul to Soul. The concert was a celebration of 14 years of Ghana's independence from British rule. For most of these artists it was their first trip to Africa. For the African American musicians, this was a journey about personal roots, the ancestral homeland, history, discovery, loss, pain and joy. Directed by Academy Award winner Denis Sanders the concert film/documentary had a limited theatrical run in 1971. It now returns restored with the original edit reconstructing each scene using high quality 2K transfers from the original film elements, which were shot in the 4:3 aspect ratio. The soundtrack has been digitally remastered. Soul to Soul is an electrifying concert film that features its players at the peak of their powers. The Ike & Tina Turner Revue deliver fiery renditions of 'River Deep-Mountain High,' 'Soul to Soul,' a cut specifically written for this concert; and Otis Redding's 'I've Been Loving You Too Long.' Wilson Pickett, the most popular American artist known to West Africans at the time, delivers a rousing finale of 'In the Midnight Hour,' 'Funky Broadway,' and 'Land of a 1000 Dances.' Gospel/Soul family group the Staples Singers were on hand to perform 'When Will Be We Paid' and 'Are You Sure.' Les McCann and Eddie Harris introduced many to jazz via spirited performances of 'The Price You Gotta Pay to Be Free' and 'Hey Jorler,' the latter featuring local Ghanaian artist Amoah Azangeo. Santana, with guest percussionist Willie Bobo was the wild card. The group only had one African American member but given its reliance on Afro-Cuban and Latin American rhythm constructs played the most African-sounding music of any with 'Black Magic Woman'/'Gypsy Queen' and 'Jungle Strut.'"
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CD
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ATA 045CD
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$16.00
PREORDER
RELEASE DATE: 5/15/2026
Fresh off the back of the successes of Work Money Death, The Flying Hats, and The Library Archives: Volume 4, ATA Records presents The Karman Line by Outer Worlds Jazz Ensemble. When musicians are on tour conversations naturally turn to music. Whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod, and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape. The moods of the album are varied yet share a sense of reverence and exploration. On "Karmen Cantala" and "All Is," Chip's flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. "Low Orbit" takes things in a funkier direction, with Steve Parry's horn arrangements (including the unusual instrumentation of bassoon, French horn and tuba) channeling 1970s Quincy Jones and the loping swagger of Archie Shepp's "Mama Too Tight." "The Celestial Matari" and "Molecules" recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane's masterpiece The Elements, and "Earthly Elements" gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef's Psychicemotus and Roland Kirk's Blacknuss.
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LP
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ATA 045LP
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$31.50
PREORDER
RELEASE DATE: 5/15/2026
LP version. Fresh off the back of the successes of Work Money Death, The Flying Hats, and The Library Archives: Volume 4, ATA Records presents The Karman Line by Outer Worlds Jazz Ensemble. When musicians are on tour conversations naturally turn to music. Whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod, and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape. The moods of the album are varied yet share a sense of reverence and exploration. On "Karmen Cantala" and "All Is," Chip's flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. "Low Orbit" takes things in a funkier direction, with Steve Parry's horn arrangements (including the unusual instrumentation of bassoon, French horn and tuba) channeling 1970s Quincy Jones and the loping swagger of Archie Shepp's "Mama Too Tight." "The Celestial Matari" and "Molecules" recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane's masterpiece The Elements, and "Earthly Elements" gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef's Psychicemotus and Roland Kirk's Blacknuss.
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LP
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BANG 187LP
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$27.00
PREORDER
RELEASE DATE: 5/15/2026
For the first time on vinyl, Bang! Records brings you The Earth Is Shaking, the third album by The Hydromatics -- a transatlantic high-energy rock and roll unit powered by Detroit legend Scott Morgan (The Rationals/Sonic's Rendezvous Band) and Amsterdam cult-hero Tony "Slug" Leeuwenburgh (Loveslug). Originally released in 2007, this record captures the band leaner, rougher and fully locked-in: big riffs, street-level groove, zero filler, and that unmistakable Detroit soul-grit that Morgan owns like nobody else. And here's the headline for rock and roll die-hards: Kent Steedman (The Celibate Rifles) is on guitar -- bringing bite, melody and attitude, plus extra sonic spice (yes: theremin) and production muscle. The result is The Hydromatics at maximum voltage, moving confidently into their own songs while still carrying the Motor City flame. Highlights include the swaggering "Streets Of Amsterdam," the barroom punch of "Standin' At The Juke," and the epic ride of "Detroit Leaning."
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12"
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BARN 128EP
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$22.50
PREORDER
RELEASE DATE: 5/15/2026
Over the last two decades, The Field has refined a language of repetition that feels not assembled but uncovered. On this five-track EP for Studio Barnhus, the Swedish producer's first solo release in eight years, The Field returns to the sonic architecture that defined his seminal debut From Here We Go Sublime, but with a (dare we say Studio Barnhus-esque) looseness that allows the structures to breathe. Tracks like "In Our Dreams" and "333 706" move forward on meditative chords, harmonies stretching their reach until the tracks feel elated by their own momentum. The B-side tilts the frame. "Another Day" introduces some melodic immediacy, folding a tender vocal presence into The Field's glittering matrix of sound, softening the grid without dissolving it. "Now You Exist" is a grand finale radiating with restrained euphoria.
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CD
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BB 504CD
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$16.50
PREORDER
RELEASE DATE: 5/15/2026
On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes -- of course maintaining their signature rhythmic groove, which on Schemes is simply more buoyant and less insistent. Schemes is also characterized by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With Schemes, Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. The songs on Schemes are like beads hanging on a string. Each one distinct, yet connected. Swinging in a warm breeze. Catching the light from different angles. The album begins with "Beads," with a funky stabby synth drives the song, which nonetheless maintains a hazy ambivalence. "Klove Twin" begins with tiny bells emanating some foggy substance intoxicating the band into a mid-tempo shuffle with some brash brush strokes. "Scrap Metal" might be the genre. "Snowflakes" are enjoying a summer dance, layers of synth melodies intertwined. "Marble Upset" plays with memory, activating recollections of present past, a slowed down rave, faint images, glimpses and gasps. "Via de me," big city, nocturnal lights, an ambient pop take. It may be really quiet, still there are better things to do than to sleep. Leading to "Fenix": Leo Garcia just happened to be in Berlin for a concert. The old friend from Buenos Aires built his euphoric vocal melody impromptu over a noisy urban field recording. The bird rising up out of the ashes, fighting the miseries, towards the light. It is a protest song of the unusual kind. The home stretch is "Tar," where some cicadas continue in a similar spirit, tiny animals having a night on the tiles. The smell of tar in the sun, soft and deep black, in sharp contrast with the background of gently curved hills, pastel-colored, asking what it takes to live peacefully together. The cover artwork by Luzie Meyer mirrors this spirit: A dialogue of sorts, on a string, a psychoanalytic dance. Ideas clash, yet disputes are solved amicably.
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LP
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BB 504LP
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$26.00
PREORDER
RELEASE DATE: 5/15/2026
LP version. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes -- of course maintaining their signature rhythmic groove, which on Schemes is simply more buoyant and less insistent. Schemes is also characterized by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With Schemes, Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. The songs on Schemes are like beads hanging on a string. Each one distinct, yet connected. Swinging in a warm breeze. Catching the light from different angles. The album begins with "Beads," with a funky stabby synth drives the song, which nonetheless maintains a hazy ambivalence. "Klove Twin" begins with tiny bells emanating some foggy substance intoxicating the band into a mid-tempo shuffle with some brash brush strokes. "Scrap Metal" might be the genre. "Snowflakes" are enjoying a summer dance, layers of synth melodies intertwined. "Marble Upset" plays with memory, activating recollections of present past, a slowed down rave, faint images, glimpses and gasps. "Via de me," big city, nocturnal lights, an ambient pop take. It may be really quiet, still there are better things to do than to sleep. Leading to "Fenix": Leo Garcia just happened to be in Berlin for a concert. The old friend from Buenos Aires built his euphoric vocal melody impromptu over a noisy urban field recording. The bird rising up out of the ashes, fighting the miseries, towards the light. It is a protest song of the unusual kind. The home stretch is "Tar," where some cicadas continue in a similar spirit, tiny animals having a night on the tiles. The smell of tar in the sun, soft and deep black, in sharp contrast with the background of gently curved hills, pastel-colored, asking what it takes to live peacefully together. The cover artwork by Luzie Meyer mirrors this spirit: A dialogue of sorts, on a string, a psychoanalytic dance. Ideas clash, yet disputes are solved amicably.
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LP
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BR 022RB-LP
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$31.50
PREORDER
RELEASE DATE: 5/15/2026
Red color vinyl. Third album from Sheffield folk artist blending traditional songs and original compositions to remarkable effect. 180gram heavyweight black vinyl with download code and gatefold sleeve. On his new album Wasteland, Jim Ghedi has created something huge. Intense, brooding, bold, at times apocalyptic, and remarkably vast. A profoundly bold sonic statement that is some of the most rich, far-reaching and ambitious work that Ghedi has created to date -- pushing the boundaries of what folk music can be. Recorded over two years at Tesla Studios in Sheffield, with David Glover engineering and producing, it also features a wide cast of musicians such as David Grubb (fiddle), Daniel Bridgwood-Hill (fiddle), Neal Heppleston (bass), Joe Danks (drums), Dean Honer from I Monster (synths), Cormac MacDiarmada from Lankum (vocals), Ruth Clinton from Landless (vocals), and Amelia Baker from Cinder Well (vocals). Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues. As with previous albums, such as 2018's A Hymn for Ancient Land and 2021's In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. Lead single "Wasteland" is a stunning piece of work that while rooted in an environment being corrupted and broken. The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.
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12"
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BYE 002EP
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$21.50
PREORDER
RELEASE DATE: 5/15/2026
Allein by Quarks is a timeless piece of German electro-pop culture that captures the nostalgia of Berlin's wild and spaced out 2000s like no other. Originally released on the duo's third album Trigger Me Happy, the single was later released as a 12" with two massive remixes that were only available on vinyl. Whether it's Sascha Funke's haunting minimal techno masterpiece or Swayzak's colorful and electrifying banger -- both remixes leave no doubt that this 12" will bring goosebumps and tears of joy to every dance floor until the end of time!
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12"
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CLR 139EP
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$23.50
PREORDER
RELEASE DATE: 5/15/2026
Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the Schema EP. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels. Schema opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are offset by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged. On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework.
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LP
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ELA 006LP
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$30.50
PREORDER
RELEASE DATE: 5/15/2026
Elations Recordings presents Terra Ignota, the long-awaited new full-length album from elusive Melbourne-based fusion ensemble Krakatau. Terra Ignota marks a return and an epochal shift for the group, a deep exploration of possible sonic spaces and a portent of things to come. In the years since 2016's cosmic jazz funk-prog-spiritual 12" Tharsis Montes/Apogean Tide, Krakatau have worked on refining their craft as instrumentalists and writers, expanding further into the world of jazz and fusing influences from world folk musics, contemporary jazz, and the European post-minimalist music of the 1980s and early '90s. Terra Ignota, literally translated as "Unknown Land", takes its name from the cartographer's notation for uncharted territory, the blank spaces on maps where knowledge gives way to imagination and speculation, gesturing towards the group's studio explorations and search for new sonic worlds in the years spent developing the record. The results are a diverse yet unified combination of sounds and influences across five tracks that see Krakatau drawing closer to the independent underground "world" jazz scene of the 1980s than anything contemporary. The album opens with the digi-minimalism and fourth world atmospherics of title track "Terra Ignota", a percussion heavy Latin fusion sound in "Birds of Passage", and melancholic ambient saxophone and synthesizer duo "In Memory". Three-part epic "Cosmetic Surgery" journeys through a long, complex post-minimalist arrangement into Latin fusion and contemporary jazz, followed by the contemplative ECM-styled acoustic quartet closer "Trial in Absentia". The album features significant contributions from saxophonist Rob Vincs, former Victorian College of the Arts head of Jazz and Improvisation and a collaborator with Australian musician Brian Brown; layered percussion and wordless vocals from Brazilian percussionist and esteemed songwriter Alcides Neto; and a guest performance from trumpet player Reuben Lewis on the title track.
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LP
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EMV 003LP
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$35.50
PREORDER
RELEASE DATE: 5/15/2026
Never heard of Canberra's Samuel D. Rich, who rocked our nation's capital for approximately a mere 18 months circa 1973-74? No? That's OK. Up until about a year ago, nor had Eminent Vinyl. They -- they were a band -- played with a host of luminaries of the day -- everyone from The Aztecs, Stevie Wright, Buffalo, Hush, and Bakery to Mackenzie Theory and beyond, recorded this album then split up. Through a rather bizarre chain of events, these unreleased recordings landed in Eminient Vinyl's lap from band member Geoff Rosenberg, and now there is this incredible LP, Theme of Discontent. The group's sound was caught somewhere between the Oz-Prog of Spectrum, Mackenzie Theory, and Kahvas Jute, mixed with the acid-rock guitar flash of Santana and the psychedelic funk groove of early Chicago (minus the brass, and substitute it with a whole lotta flute, thanks). The band had some serious chops and an abundance of terrific original material, so they went into a studio in early 1974 and laid down an hour of tracks. By later in the year, they were no more, though the music was kept on a Betamax(!) tape and transferred to CD a couple of decades ago. Had they stuck around, they would have slotted into the Mushroom or Infinity stables nicely. Eminent Vinyl has taken the best 45 minutes of songs, had them remastered by Mikey Young and housed the release in an incredible package, complete with an informative four-page booklet designed by Luke Fraser. Fun fact: Canberra resident and law student, Peter Garrett, was such a big fan of the band that he tried out as their singer (he didn't get the job, but subsequently did pretty well in other pursuits). Theme of Discontent is a remarkable discovery for lovers of Australian rock of yore: completely unknown '70s music from the nation's capital ripe for listening in 2026.
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CD
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EZRDR 216CD
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$15.00
PREORDER
RELEASE DATE: 5/15/2026
"Lauren Lakis makes songs that are steeped in darkness, but inside of them is a sense of hope. They are propelled by the possibility of emerging on the other side feeling less alone and fully transformed. On her debut album Deadlights, she conjures a shifting reality -- one defined by both distortion and clarity. Indebted to shoe gaze and '90s alt rock, its 10 tracks are filled with ethereal vocals, melodic guitars, and a heavy low end. It's inspired by groups like Deftones and Hole, powerful bands that explore the emotional bottom but are able to rise from the depths. Lakis was born in Baltimore, where she was raised by her single mother. As she grew up, she lost multiple family members and friends to addiction. She became an actor and a photographer, trying to capture the human experience with each endeavor. Her travels led to stints living in Prague and Tokyo, before she moved to Los Angeles. In 2016 she endured a horrible breakup, and then her mother was in a car accident that left her paralyzed. Though Lakis was already singing in a band at the time, these life-altering events motivated her to focus on writing and recording her own music. 'When you're in a place of total surrender, you are able to get out of your own way and finally do the thing you want to do,' she says. After the car accident, Lakis's mother's health deteriorated, and Deadlights was recorded over the last year of life, with Lakis frequently travelling back to Baltimore to care for her. Despite these circumstances and the recurring theme of loss in its songs, Lakis doesn't consider Deadlights a grief album. Instead it captures what's possible when you survive the worst reality you can imagine. 'That loss, the experience of going through the absolute worst thing, there's a freedom in that,' she says. 'There's a liberation in that where I almost feel invincible.'"
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LP
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EZRDR 216LP
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$29.00
PREORDER
RELEASE DATE: 5/15/2026
LP version. "Lauren Lakis makes songs that are steeped in darkness, but inside of them is a sense of hope. They are propelled by the possibility of emerging on the other side feeling less alone and fully transformed. On her debut album Deadlights, she conjures a shifting reality -- one defined by both distortion and clarity. Indebted to shoe gaze and '90s alt rock, its 10 tracks are filled with ethereal vocals, melodic guitars, and a heavy low end. It's inspired by groups like Deftones and Hole, powerful bands that explore the emotional bottom but are able to rise from the depths. Lakis was born in Baltimore, where she was raised by her single mother. As she grew up, she lost multiple family members and friends to addiction. She became an actor and a photographer, trying to capture the human experience with each endeavor. Her travels led to stints living in Prague and Tokyo, before she moved to Los Angeles. In 2016 she endured a horrible breakup, and then her mother was in a car accident that left her paralyzed. Though Lakis was already singing in a band at the time, these life-altering events motivated her to focus on writing and recording her own music. 'When you're in a place of total surrender, you are able to get out of your own way and finally do the thing you want to do,' she says. After the car accident, Lakis's mother's health deteriorated, and Deadlights was recorded over the last year of life, with Lakis frequently travelling back to Baltimore to care for her. Despite these circumstances and the recurring theme of loss in its songs, Lakis doesn't consider Deadlights a grief album. Instead it captures what's possible when you survive the worst reality you can imagine. 'That loss, the experience of going through the absolute worst thing, there's a freedom in that,' she says. 'There's a liberation in that where I almost feel invincible.'"
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CD
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GB 184CD
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$16.50
PREORDER
RELEASE DATE: 5/15/2026
The iconic Saharan rock band's sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence. Songs of resistance, community and longing. Music for this moment. For two decades, Tamikrest's music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means "connection" or "union" in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channeling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means "voyage" or "journey," shows just how far the band have come. Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat's co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label -- one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric 'Momo' Maurel, who joined a year later. Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altın Gün's engineer/mixer Jasper Geluk. Recording took place over ten days in October 2025 at Jasper's Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic. Thematically, Assikel continues Tamikrest's exploration of exile, displacement and assouf -- that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. This is, in short, music that only Tamikrest can make. Featuring Ibrahim Ag Alhabib.
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LP
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GB 184LP
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$32.00
PREORDER
RELEASE DATE: 5/15/2026
LP version. The iconic Saharan rock band's sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence. Songs of resistance, community and longing. Music for this moment. For two decades, Tamikrest's music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means "connection" or "union" in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channeling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means "voyage" or "journey," shows just how far the band have come. Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat's co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label -- one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric 'Momo' Maurel, who joined a year later. Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altın Gün's engineer/mixer Jasper Geluk. Recording took place over ten days in October 2025 at Jasper's Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic. Thematically, Assikel continues Tamikrest's exploration of exile, displacement and assouf -- that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. This is, in short, music that only Tamikrest can make. Featuring Ibrahim Ag Alhabib.
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LP
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ITR 424LP
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$24.00
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RELEASE DATE: 5/15/2026
"Primitive Ring consists of Bert Hoover (bass/vocals), Charles Moothart (guitar/vocals), and Jon Modaff (drums). The Los Angeles power trio formed in September 2024 when Hoover and Moothart came together seeking a new creative outlet. In 2025, the band released four 7"s on four different labels (Greenway, In the Red, Reverberation Appreciation Society, and Fuzz Club UK). They hauled amps and drums into bars to hone the sound of the newfound brotherhood that is Primitive Ring. Rock and roll is in its essence a primal experience, and the name reflects that. Three individuals collide and egos rattle, shedding layers and growing new limbs. Archetypes flash to the rhythm of a freight train and the crown is passed hand to hand like a good luck charm, symbolic and communal. Rock and roll is for the people and Primitive Ring is for the taking. Primitive Ring is 11 tracks coming in just under 42 minutes. It was recorded by Mark Rains in December of 2025 at The Station House in Echo Park. The album is the genesis story of a lightning bolt flashing in the eternal drama of creation and destruction. The album showcases the distinct writing styles of each member, but the overall aesthetic is a woven tapestry demarcating the timeless meridian. The record is the spawning of a collective vision. This is something we all share, and we must remind one another how electric humanity can be."
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12"
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KLN 027EP
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$27.00
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RELEASE DATE: 5/15/2026
Martinou reshapes "Schwarm" into fluid sound currents and a glowing, hypnotic arpeggio. Intimate yet euphoric, it's a slow-burning dream. He and Harald Björk first connected through Myspace in 2008. Martinou has since released on Nous'klaer and Mule Musiq, among others. Gregor Tresher revives Sniper Mode with sharp 808 electro -- minimal, deep, precise. Björk reworks his Cocoon Recordings release into a deeper, more spacious trance journey. A staple in his live sets and championed by Ida Engberg and John Digweed, it returns stripped, atmospheric and hypnotic. AD is the deeper alias of Alexi Delano, a key figure since the SVEK era. His version drifts through nocturnal Stockholm -- dubby, cold, immersive.
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12"
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LIR 012EP
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$20.50
PREORDER
RELEASE DATE: 5/15/2026
Water Sign is the debut EP from producer and instrumentalist John Silas: a five-track suite that moves fluidly between peak-time dance and inward reflection. Deeply aligned with the open-eared ethos of NYC's Love Injection Records, the release channels house and jazz into an emotive personal chronicle shaped by movement, memory, and community. Water Sign reflects Silas's trajectory -- from a childhood steeped in Soul Train, coming of age with hip hop, to MPC craftsmanship, his Detroit musical family and present-day Brooklyn -- into a deeply personal record equally suited to discerning DJs and deep listeners. Featuring Patrice Scott, Marquinn Mason, and Domenica Fossati.
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LP
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LSSN 103LP
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$30.00
PREORDER
RELEASE DATE: 5/15/2026
"Extinction Burst is the new invocation in album-form by Guttersnipe, Leeds' premier and pre-eminent Xenofeminist crisis-energy rock) duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst is the most-full, hi-definition lurid dream-mare yet spewed out by Uroceras Gigas and Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst follows 2018's My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026's Guttersnipe are evolved, mutated by eight years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with Tristwch Y Fenywod, Nape Neck, Petronn Sphene, and Yexxen, to name a few. On Extinction Burst, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low-end attack. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas's guitar and synth storm is by-now similarly an instantly recognized tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it's an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalize, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality."
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12"
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MSK 016EP
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$19.00
PREORDER
RELEASE DATE: 5/15/2026
MASK Records founder ZentaSkai joins forces with Berlin-based creative Laura Merino Allue under the name Cuddling Monsters, a project centered on analog processes and tactile sound design. Debuting in March 2024, the project explores Detroit-infused house, dub techno, and minimal soundscapes shaped by raw texture and spatial depth. Working exclusively with analogue instruments, the duo prioritize warmth, imperfection, and presence over polish.
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12"
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MSK 017EP
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$19.00
PREORDER
RELEASE DATE: 5/15/2026
Berlin-based producer ZentaSkai returns with Analog Assets Vol. 04, a four-track vinyl-only EP focused on analog texture, dub-inflected atmospherics, and disciplined techno structure. Active since 1997 and operating Mask Records and its parent label, Zaijenroots, from his Berlin studio, he continues to refine a sound shaped by spatial control and steady, architectural pacing. Tracks unfold patiently, elements are introduced with intent, and nothing feels excessive. Featuring Laura Merino Allue.
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LP
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PING 095LP
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$33.00
PREORDER
RELEASE DATE: 5/15/2026
Following their 2024 debut La grande accumulation (PING 086LP), Anadol (Gözen Atila) and Marie Klock return with Manivelles. Hailed by The Quietus as a duo that pushes each other to "greater heights of oddness," the pair produces an undefinable mix of folk, kraut, and pop nested inside expansive organ-based arrangements. The album's nine tracks emerged from intensive improvisations in Paris and Istanbul, brought to life with an odd mix of tools: from Prophet-5 and Jupiter-6 synths to mechanical Pianet clatter and even a salad spinner repurposed as a drone. Klock's French lyrics navigate the miniature and the cosmic, exploring the small tragedies of everyday life -- botched holiday gatherings, lingering heartbreak or the absence of a loved one. Born from a moment of catharsis during an Istanbul earthquake that ended a period of writer's block, the record draws its material from lived experience and a lasting friendship. Its title, Manivelles -- meaning "cranks" -- hints at the musical partners' creative penchant for generating songs through friction and playful contradictions. From the shouted pastiche of "Symposium" to the sparse synth pulses of "Une grande tragédie polonaise," it's an album with a wonderfully wonky heart that sounds like faint signals from a beautifully failing transmitter. For Fans of: Bruce Haack, Leonora Carrington, Véronique Vincent & Aksak Maboul, Dominique Guiot, Aline Kominsky-Crumb, Albert Marcoeur Quentin Smirhes, Deux Filles, Woo, Le Zerep, Philippe Katerine, Dominique André.
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2LP
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PLUSPLUS 004LP
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$35.50
PREORDER
RELEASE DATE: 5/15/2026
Congolese-Austrian musician, painter, and filmmaker Kimyan (formerly Kimyan Law) combines sound and visual design in an impressively direct way to create a comprehensive artistic experience. He takes an open, intuitive approach to his compositions, connecting the resonances of traditional instruments and rhythmic patterns from Central, North, East, and Sub-Saharan Africa with sophisticated production techniques. Kimyan's new album, Coloria, in which he explores the concept of timbre in a multifaceted way, marks the pinnacle of his artistic development to date. For his live-concerts, Kimyan relies on the organic element of playing, using instruments such as electronic drum pads and MIDI controllers. This gives his pieces a spontaneous, physical presence on stage that goes far beyond mere reproduction and makes his performances a lively interplay between improvisation and structure. In conjunction with his self-designed artwork and videos, corresponding audiovisual worlds are created in which cultural influences and identities, moods and timbres shine together radiantly. Kimyan's works tell stories in many colors, yet always in one language: his own.
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LP
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POL 015-2026LP
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$28.00
PREORDER
RELEASE DATE: 5/15/2026
"Part of the early independent music movement that started in the late 1970s, K. Leimer and his label Palace Of Lights occupies a special and respected niche among electronic, experimental and ambient genres. His work is included in the Cherry Red Noise Floor compilation series and his early cassette work is featured in the critically acclaimed VOD box set American Cassette Culture. 'I've always wanted to produce an album centered on the muted depth of sadness the piano offers, and this is almost that.' In nearly all his music, Leimer has relied on the density and layering of multiple timbres and voices to shape his compositions. With very few exceptions all the voicing on Atrophies for Piano originates from piano. Composed and recorded over a two-year period, the atrophies occupy sparse, gap-filled stillness, disassembled melody and patterns, and fluctuating, uncertain drones. Aided occasionally by treated strings, each piece seeks out edges of imminent collapse and harmonic decay. Six dark New Classical settings populate an atrophied sonic landscape possessed by an energetic melancholy. Issued on 180gram white vinyl and various digital formats, Atrophies for Piano was mastered by Taylor Deupree with cover photography by Tyler Boley."
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CD
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R 143CD
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$16.00
PREORDER
RELEASE DATE: 5/15/2026
Meeting By Chance is a project by Marcin Cichy, one of the founders of the legendary duo Skalpel. Beyond his work with his home formation, Marcin also gained international recognition through his collaboration with the late Lil Peep on their joint EP Changes. His new album as Meeting By Chance reveals another side of Cichy's musical imagination. While Skalpel became known for transforming jazz samples into cinematic downtempo soundscapes, this project moves closer to ambient, IDM and classical electronic music. The title hints at its central theme: the way time bends, stretches and slips away from perception. Musical sequences loop like fragments of memory; rhythms appear and dissolve; melodies emerge from misty layers of synthesizers. At times the music evokes the cinematic worlds of Vangelis or Brian Eno, while elsewhere one can hear echoes of the subtle minimalism of Susumu Yokota and Ryuichi Sakamoto, alongside contemporary cinematic electronics in the spirit of Oneohtrix Point Never. "Too Far" captures the character of the album particularly well. A looping piano motif intertwines with vocal samples, ambient textures, a deep bass pulse and almost jazz-like drums. The result is spacious and luminous -- electronic music that, despite its digital tools, sounds strikingly organic and intimate. This sense of "breathing" music is one of the most distinctive elements of the record. The drums feel lively and tactile, never mechanical. Cichy's music unfolds like a sequence of images -- like photographs placed side by side, where meaning emerges in the space between frames. It is no coincidence that the project's name comes from the famous 1970 photographic series by Duane Michals, in which two men pass each other in a narrow street, only to turn around moments later, as if they had recognized one another too late. Time Deception ultimately becomes more than a collection of tracks -- it is a meditation on memory, technology and the strange elasticity of time, where machines seem to breathe with an almost human rhythm.
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LP
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R 143LP
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$29.50
PREORDER
RELEASE DATE: 5/15/2026
LP version. Meeting By Chance is a project by Marcin Cichy, one of the founders of the legendary duo Skalpel. Beyond his work with his home formation, Marcin also gained international recognition through his collaboration with the late Lil Peep on their joint EP Changes. His new album as Meeting By Chance reveals another side of Cichy's musical imagination. While Skalpel became known for transforming jazz samples into cinematic downtempo soundscapes, this project moves closer to ambient, IDM and classical electronic music. The title hints at its central theme: the way time bends, stretches and slips away from perception. Musical sequences loop like fragments of memory; rhythms appear and dissolve; melodies emerge from misty layers of synthesizers. At times the music evokes the cinematic worlds of Vangelis or Brian Eno, while elsewhere one can hear echoes of the subtle minimalism of Susumu Yokota and Ryuichi Sakamoto, alongside contemporary cinematic electronics in the spirit of Oneohtrix Point Never. "Too Far" captures the character of the album particularly well. A looping piano motif intertwines with vocal samples, ambient textures, a deep bass pulse and almost jazz-like drums. The result is spacious and luminous -- electronic music that, despite its digital tools, sounds strikingly organic and intimate. This sense of "breathing" music is one of the most distinctive elements of the record. The drums feel lively and tactile, never mechanical. Cichy's music unfolds like a sequence of images -- like photographs placed side by side, where meaning emerges in the space between frames. It is no coincidence that the project's name comes from the famous 1970 photographic series by Duane Michals, in which two men pass each other in a narrow street, only to turn around moments later, as if they had recognized one another too late. Time Deception ultimately becomes more than a collection of tracks -- it is a meditation on memory, technology and the strange elasticity of time, where machines seem to breathe with an almost human rhythm.
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LP
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SHOUT 006LP
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$23.50
PREORDER
RELEASE DATE: 5/15/2026
Welcome to another chapter of rare and off-kilter tracks conceived in the bloody era of Reaganomics. Classic statement from Texas heroes Hugh Beaumont Experience and Bobby Soxx & Teenage Queers (led by Bobby Calverley, vocalist of influential punk band Stickmen With Rayguns) mix with the urgent new wave style of Phoenix own Killer Pussy or the more out rock vein of Anti-Band (with Jimmy Leach of historical Dangerhouse act Eyes). Venturing further with The Pudz addictive power-pop and Rock Bottom & The Spys wild synth-punk (with founding member of Zolar X Stephen Della Bosca on guitars), this compilation shows a darker side of the American underground with a host of hard-to-find contributions. Also featuring Adaptors, Men In Black, The Cold, Non Compos Mentis, Active Ingredients, The Pudz, The Boners, Dv8, Deprogrammer, Rock Bottom & The Spys, International Q, The Gigolos, and Lost Cause.
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CD
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STR 079CD
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$15.50
PREORDER
RELEASE DATE: 5/15/2026
Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation. Later that year, with a record deal on the table and future classics such as "God! Show Me Magic" and "Hangin' With Howard Marks" already making up the SFA's set list, the band's path following "two years of chaos" was set. In the album's liner notes, singer, Gruff Rhys writes: "It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure." By summer they'd joined Oasis, Primal Scream, and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of. The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances. The vinyl version of this release (STR 079LP) compiles the tracks from their two earliest EPs originally released by Ankst, whilst the 22 track CD features further unreleased and unheard bonus tracks from this early era. The vinyl release comes with a copy of the CD in a slim card wallet. CD includes booklet.
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LP
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STR 079LP
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$37.50
PREORDER
RELEASE DATE: 5/15/2026
LP version. Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation. Later that year, with a record deal on the table and future classics such as "God! Show Me Magic" and "Hangin' With Howard Marks" already making up the SFA's set list, the band's path following "two years of chaos" was set. In the album's liner notes, singer, Gruff Rhys writes: "It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure." By summer they'd joined Oasis, Primal Scream, and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of. The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances. The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst, whilst the 22 track CD (STR 079CD) features further unreleased and unheard bonus tracks from this early era. The vinyl release comes with a copy of the CD in a slim card wallet. CD includes booklet.
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LP
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SWA 168LP
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$26.00
PREORDER
RELEASE DATE: 5/15/2026
"San Diego's Mrs. Magician has always bent surf music and punk into something delightfully off-kilter -- sun-soaked, hook-heavy power pop with a lyrical fixation on life's darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band's place in Southern California's underground lineage. Now, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl's Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty -- an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted. These songs feel less like a declaration of dominance and more like a celebration of fragility -- an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-'70s power pop through a distinctly Californian lens -- warm, melodic, and irresistibly alive."
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LP
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SWA 169LP
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$26.00
PREORDER
RELEASE DATE: 5/15/2026
"Sultans Ghost Ship LP was originally released on Sympathy For The Record Industry in 2000. While RFTC looked for a new drummer, Speedo (armed with an 8-track tape machine and three microphones) devised yet another alias as 'Slasher' and concocted this primordial ooze of moped scuzz, punk rock and roll. Ghost Ship was met with enthusiasm by those seeking blistering relief from the weak, whiny, wretched and wimpy wannabes du jour. The sound is full on, straight ahead with only starting gates and finish lines between songs. The band played some shows around California and would slightly evolve on their second LP Shipwrecked. Ghost Ship is Sultans at their most thuggish and hairiest. Taking inspiration from Australia's Chosen Few, Ramones, bootlegs, Misfits bootlegs and then challenging themselves to be as thrifty and impatient as possible, the songs are intentionally brief, similar and burly. After this was recorded these tapes lay dormant in a shed for over 20 years. When the tapes were recently unearthed it revealed unreleased songs recorded after Ghost Ship yet before the band's follow up LP Shipwrecked. Some of these songs would later be absorbed by RFTC and re-recorded. These songs are included here as bonus tracks and offer no relief to the record's unrelenting pace."
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LP
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TOYT 198LP
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$23.50
PREORDER
RELEASE DATE: 5/15/2026
The new Nu Genea? A real band on Toy Tonics that plays dance music! Drums, bass, percussion, keys... no samples, no computers. Kymono bring together house, Italian pop, Brazil, and jazz. They have amazing skills as musicians, as songwriters, and they rock hard live. It sounds a bit '70s, but also it sounds so post-digital or as some say: organic. It's a band for the lo-fi heads and the people who like groove on a dancefloor. One song features Italian legend Alan Sorrenti on the mic. The rest has a few Italian vocals, which makes it so unique and charming that it will appeal not only to funky house music fans but also to lovers of the current jazz scene.
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LP
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VEF 091LP
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$27.00
PREORDER
RELEASE DATE: 5/15/2026
A stunning fusion of soul, jazz, hip hop, and funk from Spain's most exciting artists presented in volume five of Sampladelia series. From dancefloor anthems to deep, soulful grooves-pure contemporary fire. The Groove Family kicks off the compilation with a dancefloor banger, while Carlos Abril takes listeners on a soulful journey, and producer Blunted Soul dives into instrumental hip hop infused with funk. From Jerez, Maestro Mutante delivers a distinctive sound full of contemporary soul, while Sr. Zambrana blends jazz, hip hop, and Japanese influences. Smart K., from Vigo, brings his signature Spanish-sung R&B, and guitarist Juanma Montoya proves that soul-funk and flamenco accents are a perfect match. Karmasound mixes jazz with electronic textures, MrFoxMad pays an elegant tribute to Roy Ayers, and Malage delivers a killer track for the dancefloor. Laboca joins Flavia Beaká with experimental, conscious hip hop, and to close the compilation, Pablo Torti represents the new wave of Spanish contemporary jazz. Enjoy this new volume of Sampladelia series! Remixes by Marte, Slowlee, and Escandaloso Xpósito.
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2LP
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AU 1031LP
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$35.00
PREORDER
RELEASE DATE: 5/22/2026
"On what would have been Arthur Russell's 75th birthday, Audika Records presents a remastered/redux double vinyl rerelease of the much-beloved compilation Love Is Overtaking Me of Arthur's folk, pop, and country songs including 'Planted a Thought,' 'Close My Eyes' and 'I Couldn't Say It To Your Face.' Originally released in 2007 the redux edition includes new masters from a recently found pristine tape reel and was remastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Revised artwork by Molly Smith with extensive liner notes from Arthur's partner Tom Lee. Over twenty years ago, Audika Records began compiling and releasing the exceptionally varied, long sought-after music of Arthur Russell, and in the process has succeeded at helping the beloved, late artist find the broader audience he always believed he would reach. A new generation of listeners and critics has come to appreciate Russell as a visionary and an influence upon a broad range of today's most compelling musical artists. While much critical and popular affection for Russell's music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings now heard on Love Is Overtaking Me, along with songs recorded with various incarnations of The Flying Hearts, a group formed by Russell and Ernie Brooks whose shifting lineup included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon, and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty, and Bright & Early. Compiled from over eight hours of material, Love Is Overtaking Me reaches back further to Russell's earliest compositions beginning in 1973 and spans forward to his very last recordings, made at home in 1991. Several of the songs featured prominently in Matt Wolf's now herald 2008 film Wild Combination: A Portrait of Arthur Russell."
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CD
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BORNBAD 195CD
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$15.50
PREORDER
RELEASE DATE: 5/22/2026
Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd. In 1975-76, French music was, as almost always, in a sorry state; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one. In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their grueling shifts at the factory. It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and -- crucially -- a very healthy sense of rebellion. Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the rookies tried to cover a few standards, songs that often were an integral part of their lives. But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one's small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. Pantone silver metallic cover. Includes booklet with liner notes by Eric Tandy (Olivensteins) in French and English.
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LP
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BORNBAD 195LP
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$24.00
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RELEASE DATE: 5/22/2026
LP version. Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd. In 1975-76, French music was, as almost always, in a sorry state; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one. In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their grueling shifts at the factory. It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and -- crucially -- a very healthy sense of rebellion. Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the rookies tried to cover a few standards, songs that often were an integral part of their lives. But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one's small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. Pantone silver metallic cover. Includes booklet with liner notes by Eric Tandy (Olivensteins) in French and English.
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LP
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BR 192LP
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$33.00
PREORDER
RELEASE DATE: 5/22/2026
Buh Records presents Selva Selva, the debut album by Wayku, a project led by guitarist and researcher Percy A. Flores Navarro, originally from Tarapoto, in the Peruvian Amazon. The album centers the electric guitar, blending traditional jungle sounds with contemporary approaches to explore new textures, rhythms, and expressions. Wayku emerged in late 2022 after Flores's previous project Motilones de Tarapoto. It reflects a dialogue among Amazonian music, rock, and jazz, while also drawing on Brazilian music, tropical rhythms, and other popular expressions from the jungle. The sound feels organic and evolving, rooted in tradition yet open to modern languages. According to its creator, the album seeks to renew the Amazon's repertoire by adapting it to contemporary sonic languages. Selva Selva weaves three strands of Amazonian popular music: sounds and instruments recorded in ethnographic archives, traditional folk ensembles, and tropical jungle bands. Flores Navarro's ethnographic research in Indigenous communities of San Martín and Loreto has profoundly informed Wayku's vision. His compositions interlace narratives of Indigenous resistance with traditional aesthetics, modern harmony, electric instrumentation, and symphonic elements, balancing formal exploration with cultural commitment. Across eleven tracks, Selva Selva offers a journey through native communities while reflecting the cosmopolitan realities of Amazonian cities. Songs such as "Carnaval en la selva" and "Por la marginal reimagine pandilla," a festive Amazonian genre of lively rhythms, flutes, percussion, and community ties. Wayku projects pandilla into the present, amplifying its vitality with contemporary arrangements. This work continues a lineage dating to the 1970s, when tropical Amazonian bands incorporated electric guitar into pandilla, creating the form now known as electric pandilla. Wayku revives and expands that language, asserting a discourse that empowers Amazonian musicians and raises the visibility of their work on broader stages. Selva Selva was recorded between January and March 2024 in Morales, San Martín, with Michel Paredes on bass. Flores performed the rest and handled recording and digital mastering. Vladimir Ivanov completed analog mastering and Gonzalo de Montreuil produced the artwork. The album is released by Buh Records, supported by the Peruvian Ministry of Culture's 2023 Cultural Stimulus Grants.
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LP
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BR 195LP
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$33.00
PREORDER
RELEASE DATE: 5/22/2026
Souvenir, the debut album by Lima-based shoegaze band Sueño Púrpura, marks the culmination of a process that began in mid-2022, when guitarists Rodolfo Ontaneda and Christian Ortega -- after years exploring instrumental rock with their project Parahelio -- decided to change course and work on songs shaped by other influences: the enveloping noise of My Bloody Valentine, the melodic sensitivity of Yo La Tengo, and the expansive rawness of post-rock. Shortly after, Jandy Torres (vocals), José Andrés Lezma (bass), and Juan Camba (drums) joined, completing the lineup that has now recorded their first album. From the very beginning, their live performances quickly established them as one of the revelations of Lima's emerging shoegaze scene, which in recent years has gained new momentum and introduced a wave of fresh bands. Their shows, intense and cathartic, revealed a new sensibility within the local scene. Souvenir opens with "Sueño Púrpura," a statement of intent where dense guitars and a delicate yet intense voice condense the essence of shoegaze. The album then unfolds in different directions: "Granate," featuring spoken word passages and guitars that expand into a melodic and atmospheric build; "Luz Inerte," combining the harshness of a corrosive delivery with an instrumental development charged with tension, traversed by a voice that contrasts with the rawness of the guitars -- a hallmark across several tracks; and "La Niebla," which delves into a more guitar-driven, enveloping side. "El tiempo es una flor" embraces an expansive instrumental development, built on emotional crescendos, before arriving at "Mora," an extended closing piece in two movements where repetition and hypnosis open up the band's psychedelic and krautrock dimension. In this diversity of approaches, the album resonates with one of the most visible tendencies in contemporary shoegaze: its intersections with post-rock, post-hardcore, and psychedelia, particularly prominent in emerging Latin American scenes. Souvenir navigates this territory in its own way, unfolding a journey that moves from melodic intimacy to guitar-driven catharsis and expansive trance, consolidating Sueño Púrpura as one of the most distinctive voices in this new generation. Souvenir is released via Buh Records, available digitally and in a limited vinyl edition. It was recorded and produced by Rafael Carranza at Enrique Delgado Montes Studios, mixed by Carranza himself, and mastered by Aldo Gilardi. Artwork and design were created by Rodolfo Ontaneda, with photography by Brenda Lizarzaburu. All music and lyrics were composed by Sueño Púrpura.
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LP
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BR 198LP
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$33.00
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RELEASE DATE: 5/22/2026
En la orilla is the debut album by Sebastián Rojas, a composer and musician born in Mexico City. After years of playing in various bands and collaborative projects, Rojas embarks on a solo journey where the song format expands with unexpected turns, immersive atmospheres, and unconventional arrangements. In the early 2020s, luck seemed to turn against him: the pandemic cut short a tour with his former band just as they were about to take off; he returned from Berlin with no money, and his mother fell gravely ill. In the midst of that chaos, he fell in love. That love helped him rebuild, and together with producer Hugo Quezada, he shaped En la orilla. The album narrates the passage from emotional shipwreck to a new sense of stability, through songs that explore introspection, longing, and vulnerability. The album finds its path somewhere between experimental song, synth pop and balladry. Each piece is woven with synthesizers, melodic bass lines, and saxophones that emerge like emotional flashes. There's a strong melodic sensibility and an intimate tone that allows the sounds to unfold with freedom. Echoes of artists like Arthur Russell and Robert Wyatt can be felt, as well as the nocturnal spirit of Neil Young's On the Beach. Mexican bolero forms -- Pedro Infante, Álvaro Carrillo, Los Panchos -- drift in more subtly, alongside traces of 1980s sentimental pop, with figures like Luis Miguel or Miguel Bosé appearing more as emotional references than stylistic ones. From Cuba, his father's homeland, the music of Benny Moré lingers as an early imprint on his musical memory. Highlights include "Demasiado pronto" and "Pulmón del trópico," the latter inspired by a verse from Roberto Bolaño. The album's emotional range is amplified by the production of Quezada, a key figure in Mexico's independent music scene. Also contributing are Américo Hollander (The Americojones Experience) on bass and Emiliano Tinajero (Demencia Infantil) on saxophone.
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LP
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BR 199LP
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$33.00
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RELEASE DATE: 5/22/2026
Buh Records presents the release of Respuestas, the new album by Chilean sound and transdisciplinary artist Nicole L'Huillier, based in Berlin. Her work centers on the exploration of sound and vibrations as materials for reflecting on agency, collectivity, and vibrational imagination. This approach has taken shape through sound sculptures, immersive installations, experimental devices, performances, compositions, and more. Respuestas originates from Resonaciones, an exhibition by L'Huillier conceived in collaboration with Francisca Gili and guided by Karen Urcia, a Mochica healer and cultural activist. Presented at ifa Gallery Stuttgart, with curatorship by Bettina Korintenberg and Carolina Arévalo, the exhibition revolved around the activation of whistling vessels from the Moche culture, safeguarded at the Linden Museum, to bring forth an immersive soundscape in constant transformation. The album Respuestas gathers this process, compiling recordings made with contact microphones, electromagnetic sensors, and listening devices designed by the artist herself. The vibrations of the vessels expand in dialogue with recordings of planetary tremors, environmental oscillations, visitor contributions, and AI-mediated reinterpretations created in collaboration with musician and engineer Manaswi Mishra, forming a dynamic sound field that resonates across past, present, and future. The result unfolds as a laboratory where fragments, noises, and textures are organized into dense, reverberant layers. In the spirit of musique concrète and sound collage experiments, L'Huillier weaves together heterogeneous materials that, through interlacing and transformation, generate an immersive listening experience highlighting the materiality of sound and its ability to open new perceptual spaces. Sounds emerge and submerge, as if circulating between visible surfaces and hidden depths. Based on a principle of reciprocity, Respuestas proposes listening as an act of mutual transformation. Each piece becomes an exchange -- a call and response -- connecting ancestral imaginaries with contemporary technologies, opening possibilities for new forms of sonic inquiry and continuity. Respuestas is released by Buh Records in digital and vinyl formats. All compositions by Nicole L'Huillier. Produced and mastered by Juan Necochea. Experiments and AI system by Manaswi Mishra. Art and design by Stoodio Santiago Silva.
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LP
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BR 201LP
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$37.50
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RELEASE DATE: 5/22/2026
ALGOL is a new electroacoustic trio formed by Christian Lillinger (Germany), Elias Stemeseder (Austria), and Camilo Ángeles (Peru). The project was born during a collaborative tour and recording sessions in early 2024, between Mexico City and Guadalajara, and has since expanded with performances across various cities in Europe and Latin America. Conceived as an open system of real-time sonic construction, ALGOL operates at the intersection of composition, improvisation, and electroacoustic experimentation. Its music articulates a language that integrates percussion, piano, flute, and synthesizers. Each member contributes a distinct universe: Lillinger, German drummer and producer, is renowned for his highly structured rhythmic approach and his ability to reformulate the tradition of contemporary European jazz. Stemeseder, Austrian composer and performer, explores the intersections between the acoustic and the digital, moving between piano, spinet, and synthesizers. Ángeles, Peruvian flutist and composer, redefines his instrument through extended techniques, self-built aerophones, and a microtonal sensibility that expands the boundaries of performance. Recorded at Estudios Noviembre (Mexico City) and finalized between Switzerland and Berlin, ALGOL's debut album employs electronic processes that extend the timbre of acoustic instruments. Structures emerge and dissolve within a continuum that challenges stylistic categories. Like the stellar system that inspires its name, ALGOL is a constellation in motion. Its music balances density and transparency, writing and indeterminacy, tradition and rupture. In that point of equilibrium, its true nature is revealed. ALGOL's debut album is released by Buh Records, in digital format and as a limited vinyl edition. Mixed by Michael Brändli at Hard Studios (Winterthur, Switzerland) and mastered by Christian Lillinger at Plaist (Berlin, Germany). Artwork and design by Muriel Holguín. Gatefold sleeve.
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12"
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DSV 012EP
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$19.00
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RELEASE DATE: 5/22/2026
Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.
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LP
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FREUD 096L-LP
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$29.00
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RELEASE DATE: 5/22/2026
"'METALLIC K.O.' is the remarkable album of Iggy & The Stooges confrontational 'last ever gig' (until their reunion almost 30 years later). Effectively the fourth Stooges album with then brand new and unheard songs, it was released in 1976 three years after Raw Power while Iggy was in limbo. Soon after the gig Iggy checked into a mental hospital. The sound of kamikaze Iggy provocatively abusing his audience and then dodging eggs and bottles thrown by a biker gang enhanced Iggy's reputation in the embryonic punk scene as the Punk Godfather. Nothing like it had been heard before. It became a must-have album in the emerging punk scene and put Iggy & the Stooges back in the spotlight. This 50th Anniversary edition on limited transparent blue vinyl has the original LP track list. In the 2007 CD re-mastering, an original tape-speed error was discovered and corrected -- so now for the first time on vinyl the album can be heard at the correct pitch. The album contains Iggy Pop's story of the events surrounding the gigs as well as contemporaneous reports from Nick Kent, Giovanni Dadomo and Lester Bangs. An essential album in Iggy's history."
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2LP
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FREUD 143R-LP
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$41.00
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RELEASE DATE: 5/22/2026
"Fields of the Nephilim's Fallen revives the cult 2002 studio album from Britain's masters of gothic rock, now remastered and paired with a full bonus disc recorded live at Roskilde 2000. Pressed on striking transparent red vinyl and housed in a deluxe gatefold sleeve with new liner notes by acclaimed music journalist Mick Mercer, this 2LP set captures both the haunting atmosphere and immense live power that define Fields of the Nephilim's sound. The original Fallen sessions stand among the band's most shadowy and intense works, blending Carl McCoy's gravelly incantations with shimmering guitars and apocalyptic textures. The newly remastered edition restores their full sonic depth and clarity. The second LP, Live in Roskilde 2000, offers a rare, visceral document of the band's legendary stage presence."
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LP
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INT 090LP
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$26.00
PREORDER
RELEASE DATE: 5/22/2026
Dogma marks a new beginning for Coloray. As the name suggests, the project explores the endless search for meaning in a world that does not always offer one. Across 11 tracks, the artist reflects on queer romance, grief, youthful hope, and melancholic joy. Emotional, chaotic, and imperfect, Dogma mirrors both the artist and the messy reality of a life unfolding. Rather than forcing rigid structures, the album embraces looseness and human presence. Live recordings and improvised songwriting take center stage- every lyric was written in the moment, and the tracks remain intentionally raw to preserve their imperfections. In this way, the album is both personal and political. It calls for belief in keeping humanity alive and for dismantling the societal dogmas that push artists away from the core of their creative identity. Dogma is an honest journey of self-authorship, unfolding through the sounds of new wave, disco-punk, electro, and ambient music.
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LP
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OFNOT 005LP
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$30.50
PREORDER
RELEASE DATE: 5/22/2026
Shaped from fragile, emotionally charged piano motifs that distort, disappear and transform into dense, cinematic textures, CANALS is a debut that's finely matured, the result of years of friendship and growth. Italian artist Vanja Sturno and Montréal-based Belgian-Spanish composer Pablo Geeraert (aka Sanea Ima) have worked together extensively on various projects up until now, but CANALS is their first official release as a duo. Having both studied music academically, the pair were eager to work more intuitively, so applied their well-honed set of skills to sound that, instead of fitting into a conceptual box, reflected more personal experiences. Back in 2023, Geeraert travelled to Rome to support his friend at a difficult time and, during the trip, received some bad news of his own. The complicated feelings unconsciously surged through a series of delicate Ryuichi Sakamoto-inspired piano improvisations and a new project began to coalesce. They didn't realize it at the time, but once the record was finished, Sturno and Geeraert began to understand that the entire process had been a form a joint catharsis - a release of pressure. They were able to function so effortlessly and swiftly because they had already provided the space for each other to resonate emotionally and the music flowed from that point. On the first segment, Sturno and Geeraert's initial recordings can be perceived most nakedly, the melancholy, Satie-like phrases floating peacefully for a moment before the tranquility is agitated by stormy distortions and swelled into thick waves of harmony. The piano provides the record with its emotional anchor, offering focus and clarity as multi-dimensional noise wells up around it before inevitably dissipating, leaving gentle, unadorned sounds once again. And the familiar instrument is reshaped into a wheezing artificial organ on the animated "CANALS III," punctuated by percussive, tape-warped pitch fluctuations that seem to bite into its very essence. Gauzy acoustic granulations snowball into a powerful, bass-heavy crescendo on the fourth part, setting the tenor for the album's second half. But after the crushing "CANALS VI," possibly Sturno and Geeraert's heaviest track, a brief tremolo-heavy vignette that ripples through experimental rock and ambient music's braided history, the duo clear the air with a jazzy diversion, introducing soft woodwind blasts as a palate cleanser before an epic, widescreen finale. It's an album that's best absorbed as a whole, a vortex of ritualistic, rhythmic repetitions that Sturno and Geeraert appropriately refer to as "spiral listening."
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LP
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THRILL 501Y-LP
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$27.00
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RELEASE DATE: 5/22/2026
Color vinyl. "Legendary band Lightning Bolt's Wonderful Rainbow is one of the most quintessential albums to come from the underground in the last 20 years. Included in lists like Pitchfork's '200 top albums of the 2000s' and the book 1001 Albums You Must Hear Before You Die, Lightning Bolt's seminal record solidified their place as pillars of the underground community. Wonderful Rainbow saw the duo of Brian Chippendale (drums/vocals) and Brian Gibson (bass) being compared to the likes of Slayer, Ornette Coleman, and early Boredoms, and captured the bristling, immeasurable energy of their mythical live shows, which continue to astonish audiences today. The album's now iconic artwork (drawn by Chippendale) mirrors the music's curious and exhilarating blend of chaos, noise, intense beauty, and childlike wonderment. Lightning Bolt paved the way for countless artists who followed them, cracking the noise-rock and underground scenes wide open with an album as frenetic and violent as it is overflowing with joyful abandon."
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CD
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THRILL 654CD
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$14.50
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RELEASE DATE: 5/22/2026
CD comes with a 12-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"
"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times
"Folk guitar genius" - Stereogum
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LP
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THRILL 654LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Comes with a full 12x12 4-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"
"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times
"Folk guitar genius" - Stereogum
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LP
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THRILL 654X-LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Green color vinyl. Comes with a full 12x12 4-page color booklet with detailed track information, and extensive liner notes from Anderson. "Marisa Anderson's music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson's music lives in conversation with tradition. The Anthology of UnAmerican Folk Music is drawn from nearly one thousand songs culled from the private record collection of the late Harry Smith. For this record, Anderson works on music from places that the United States has been in conflict with since 1970: Southeast Asia, the USSR and the Arabic and Islamic regions of the world. In Volume 1 Anderson presents her own deeply personal iterations of nine songs from the Anthology. Composed, transcribed and arranged through a process of trial and error, deep listening and research, Anderson charts a musical course from Afghanistan to Vietnam via Yemen, Cambodia and Turkmenistan. Interpretations of compositions from Pakistani qawwali and Syrian taqsim are played with Anderson's deft and practiced hands. Each piece on the album stands as a dialogue between Anderson and the original source recordings, refracted through the prism of her unique musical lens. Anderson's contribution to this dialogue ultimately invites the listener to join her in asking: 'Who are the people we've been told in our lifetimes are 'unamerican?'' What have we lost or been denied access to in the fallout from that label?"
"[A] musician working out emotions physically, instinctively, with her fingers on the strings." - The New York Times
"Folk guitar genius" - Stereogum
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CD
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THRILL 657CD
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$14.50
PREORDER
RELEASE DATE: 5/22/2026
"Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."
"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire
"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum
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LP
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THRILL 657LP
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$25.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. "Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."
"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire
"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum
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LP
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THRILL 657X-LP
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$27.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Opaque turquoise color vinyl. "Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning avant-folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence. The inspiration for Heavy Water is rooted in fiddler Courtney Werner's work as an ecologist in rural South Carolina. Werner explains: 'The town of Ellenton, South Carolina was the largest of the towns displaced in 1952 by the U.S. federal government to build the Savannah River Plant, which produced radioactive materials for U.S. nuclear weapons during the Cold War. The former site of Ellenton was dedicated to the extraction of 'heavy water,' whereas other areas of the plant focused on manufacturing weapons-grade plutonium and tritium within nuclear reactors. Heavy water is chemically altered to be denser than normal water and is incredibly expensive and time-consuming to synthesize, requiring 52 gallons of river water to produce one fluid ounce. Its denser properties made it valuable for use within the nuclear reactors on the site.' The pieces of Heavy Water address the loss of community and untold ecological fallout of invasive, irreversible actions. A verdant countryside often mythologized in American vernacular as a respite or refuge in reality is forever tainted, a dynamic whose emotional impact is captured in the compositions."
"While it's easy to peg their influences, the band's lively performances and ear for rich sonorities affirm that Weird America is in good hands." - The Wire
"North Carolina's Magic Tuber Stringband have emerged as a force in the realm of traditional Appalachian folk music. Fiddler Courtney Werner and 12-string guitarist Evan Morgan create music that drones back through the centuries but feels current and alive." - Stereogum
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LP
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TRACK 077T-LP
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$29.00
PREORDER
RELEASE DATE: 5/22/2026
"Heartbreakers L.A.M.F.: The Found '77 Masters is the definitive edition of one of punk rock's most infamous and beloved albums -- finally heard as it was meant to sound. Recorded in London in 1977 by the ex-New York Dolls pairing of Johnny Thunders and Jerry Nolan, L.A.M.F. became legendary not only for its snarling energy and classic songs but also for its supposedly 'muddy' mix -- an audio flaw that dogged every release for decades. The mystery began when Track Records collapsed and the original master tape vanished, forcing later reissues to rely on remixes and outtakes. That changed in 2020, when a forgotten 'Copy Master 12.7.77' was discovered in the archive of Track Records director and co-producer Danny Secunda. The tape revealed a crystal-clear mix of L.A.M.F. -- just as the band and producers originally intended. Though none of the original Heartbreakers lived to hear it, this rediscovered version restores the full punch, swagger, and grit of the 1977 sessions. Pressed on limited transparent vinyl and housed in a printed inner sleeve featuring photos by Roberta Bayley and liner notes by Simon Wright."
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CD
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UTR 177CD
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$13.50
PREORDER
RELEASE DATE: 5/22/2026
For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience. Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge. On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange. Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence. The band's current lineup reflects both longevity and openness. Sharp and Keith remain the band's primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album. Musically, the album expands the band's palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages. Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production's spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.
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2LP
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UTR 177LP
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$39.50
PREORDER
RELEASE DATE: 5/22/2026
Double LP version. For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience. Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge. On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange. Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence. The band's current lineup reflects both longevity and openness. Sharp and Keith remain the band's primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album. Musically, the album expands the band's palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages. Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production's spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.
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CD
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WJCD 093CD
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$16.00
PREORDER
RELEASE DATE: 5/22/2026
Lau Nau (Laura Naukkarinen), Linda Fredriksson, and Matti Bye enter the We Jazz Records realm as Kiri Ra!, a trio that creates their sound slowly, in a process of improvisation and discovery. Filtered through the musicians' long-standing friendship and collaboration, Kiri Ra!'s music is a testament to the joy of creation and invention. Their sound together draws from each of the artists' work before, while creating new world of sound. Their music is about letting go and being free to take in the even softest whisper and the most minute sonic particle to complete a mosaic filled with beauty. Kiri Ra! follow their own path with courage, showing how letting go can create new worlds. From Kiri Ra!: "This music does not try to be anything. No pre-determined references, we get into our recording sessions without any verbal communication. It's more like a state of mind where we are not trying anything, we just see what happens. We create a moment that is unexpected and doesn't have any locked direction. We are not trying to be anything, We are existing together. This music was made with a lot of time. We drank coffee and tea. Played. Enjoyed pulla and cookies. Played a bit more. We talked. We were slow. It took 10 years to combine the right pieces for the album. We were not in a hurry. Keywords: air, space, love, time, rest, electronic, synthetic, organic, warmth, wood." RIYL: Linda Fredriksson "Juniper", Lau Nau, Matti Bye, Laraaji, Laurie Spiegel, Joanna Brouk, Nala Sinephro, ambient, abstract electronic music.
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LP
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WJLP 093LP
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$29.50
PREORDER
RELEASE DATE: 5/22/2026
LP version. Lau Nau (Laura Naukkarinen), Linda Fredriksson, and Matti Bye enter the We Jazz Records realm as Kiri Ra!, a trio that creates their sound slowly, in a process of improvisation and discovery. Filtered through the musicians' long-standing friendship and collaboration, Kiri Ra!'s music is a testament to the joy of creation and invention. Their sound together draws from each of the artists' work before, while creating new world of sound. Their music is about letting go and being free to take in the even softest whisper and the most minute sonic particle to complete a mosaic filled with beauty. Kiri Ra! follow their own path with courage, showing how letting go can create new worlds. From Kiri Ra!: "This music does not try to be anything. No pre-determined references, we get into our recording sessions without any verbal communication. It's more like a state of mind where we are not trying anything, we just see what happens. We create a moment that is unexpected and doesn't have any locked direction. We are not trying to be anything, We are existing together. This music was made with a lot of time. We drank coffee and tea. Played. Enjoyed pulla and cookies. Played a bit more. We talked. We were slow. It took 10 years to combine the right pieces for the album. We were not in a hurry. Keywords: air, space, love, time, rest, electronic, synthetic, organic, warmth, wood." RIYL: Linda Fredriksson "Juniper", Lau Nau, Matti Bye, Laraaji, Laurie Spiegel, Joanna Brouk, Nala Sinephro, ambient, abstract electronic music.
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CD
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WWSCD 116CD
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$18.00
PREORDER
RELEASE DATE: 5/22/2026
Wewantsounds continues its extensive reissue program of Meiko Kaji's early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse -- famous for her starring roles in Lady Snowblood and Stray Cat Rock -- was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji's signature mix of Japanese pop and groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki's cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. Japanese actress Meiko Kaji has become a worldwide cult icon, partly thanks to Quentin Tarantino, who heavily based his Kill Bill films on the 1973 revenge classic Lady Snowblood. While her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kayōkyoku (pop) and enka, the "Japanese blues." Kaji approached the record with an actress's sensibility, treating each cover as a dramatic role. The tracklist is anchored by two highlights: the funk-infused arrangement of "Ginza No Cho" (Ginza Butterfly) and Kaji's iconic rendition of "Tokyo Nagare Mono" (Tokyo Drifter). While the latter was famously the theme for Seijun Suzuki's 1966 cult yakuza film of the same name, Kaji's version brings a modern, 1970s feel to the melody. Throughout the record, traditional themes are infused with contemporary grooves, blending lush orchestrations with funky basslines to create a hypnotic, cinematic atmosphere that is uniquely her own. Reissued in its full glory for the first time and remastered by Teichiku in Tokyo, Otoko Onna Kokoro No Aika is a welcome new addition to the Wewantsounds Meiko Kaji reissue campaign, which is sure to please all of her fans worldwide.
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LP
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WWSLP 116LP
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$33.00
PREORDER
RELEASE DATE: 5/22/2026
LP version. Wewantsounds continues its extensive reissue program of Meiko Kaji's early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse -- famous for her starring roles in Lady Snowblood and Stray Cat Rock -- was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji's signature mix of Japanese pop and groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki's cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. Japanese actress Meiko Kaji has become a worldwide cult icon, partly thanks to Quentin Tarantino, who heavily based his Kill Bill films on the 1973 revenge classic Lady Snowblood. While her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kayōkyoku (pop) and enka, the "Japanese blues." Kaji approached the record with an actress's sensibility, treating each cover as a dramatic role. The tracklist is anchored by two highlights: the funk-infused arrangement of "Ginza No Cho" (Ginza Butterfly) and Kaji's iconic rendition of "Tokyo Nagare Mono" (Tokyo Drifter). While the latter was famously the theme for Seijun Suzuki's 1966 cult yakuza film of the same name, Kaji's version brings a modern, 1970s feel to the melody. Throughout the record, traditional themes are infused with contemporary grooves, blending lush orchestrations with funky basslines to create a hypnotic, cinematic atmosphere that is uniquely her own. Reissued in its full glory for the first time and remastered by Teichiku in Tokyo, Otoko Onna Kokoro No Aika is a welcome new addition to the Wewantsounds Meiko Kaji reissue campaign, which is sure to please all of her fans worldwide.
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LP
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BALMAT 021CD
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$16.00
PREORDER
RELEASE DATE: 5/28/2026
Laurence Pike's Possible Utopias for Jazz Quintet represents a search for freedom, potentiality -- liberatory strategies that transcend the ego and the solitary, atomized figure. But in this case, the album title is also a red herring, because there is no jazz quintet here -- just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits. And the results incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings -- including four albums for the Leaf label between 2018 and 2024 -- but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community's Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003 (FAITBACK 005LP); and even post-punk titans Liars, whom he joined in late 2018. Of his first album for Balmat, Pike says, "My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealized culture of the future, or even another world, utilize musical language when the conventions of style and marketing are no longer a factor in music making?" That inquiry, he says, connects to his "guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously." Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces, but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads. Pike's imaginary quintet is hardly without precedent; it's a continuation of concepts floated across Jan Jelinek's Loop-Finding-Jazz-Records (FAITBACK 001LP), Burnt Friedman's many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM's catalog in the late 1970s and 1980s.
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LP
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BALMAT 021LP
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$29.50
PREORDER
RELEASE DATE: 5/28/2026
LP version. Laurence Pike's Possible Utopias for Jazz Quintet represents a search for freedom, potentiality -- liberatory strategies that transcend the ego and the solitary, atomized figure. But in this case, the album title is also a red herring, because there is no jazz quintet here -- just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits. And the results incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings -- including four albums for the Leaf label between 2018 and 2024 -- but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community's Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003 (FAITBACK 005LP); and even post-punk titans Liars, whom he joined in late 2018. Of his first album for Balmat, Pike says, "My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealized culture of the future, or even another world, utilize musical language when the conventions of style and marketing are no longer a factor in music making?" That inquiry, he says, connects to his "guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously." Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces, but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads. Pike's imaginary quintet is hardly without precedent; it's a continuation of concepts floated across Jan Jelinek's Loop-Finding-Jazz-Records (FAITBACK 001LP), Burnt Friedman's many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM's catalog in the late 1970s and 1980s.
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LP
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DC 984LP
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$23.00
PREORDER
RELEASE DATE: 5/29/2026
"What lies beyond The Black Door? An essence of otherness in the form of Cole Berliner, breezing out a vibrant acoustic sequence of bucolic instrumentals, chasing an old-world sense of beauty, projecting equally into the ear of listener and non-listener! Listen, having lived life as an atheist-spiritualist and progressive pop composer/performer, Cole desired to find his own kind of devotional music, devoting himself to the cause that became this album. But it took more than that in the end. The Black Door required playing in aspects of traditional genre formats like 'country,' 'blues,' 'finger-style,' 'gospel,' 'soundtrack,' 'ambient,' and Cole is adept at them all, mixing and matching modes and vibes. Adding to that a cosmic spray of full circle/circus leap consciousness, The Black Door flew open! Initially conceived as solo acoustic guitar tunes, in the studio the songs demanded the dynamics of an acoustic ensemble (a departure from his work with Kamikaze Palm Tree and Sharpie Smile). This was key. The arrangements form intricate passages for acoustic, electric and lap steel guitars, acoustic/ electric bass, piano, drums, percussion, violin, viola, horns, woodwinds and synthesizers. Playing with Cole are violinist Laena Myers, along with Garret Lang, Dylan Hadley, Sofia Arreguin, Robert Earl Thomas, Michael Sachs, Sarah Safaie, Kilan Thorns, and Cesar Hernandez PLUS Cesar Maria, who mixed and co-produced with Cole. The music of The Black Door is honest modern folk -- west coast folk! -- with a rad amount of odd psyche laced within. A presence in the production ecosystem of ominous (but friendly) ghost theater, elegant framing for a perfectly civilized, surreal mystery and exquisite, acoustic folk-chamber puzzle. And lo! Cole Berliner's solo debut is rich-grained instrumental parlor music, organically growing on in the speakers and ears beyond, an album after Drag City's own hearts in the challenger tradition of Bert Jansch's Avocet, Marc Ribot's Saints and Jim O'Rourke's Bad Timing. As Cole brings a succession of new moods and qualities to the true spirit of the thing, The Black Door opens up an album-length sequence of musical transformation."
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LP
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FAITICHE 042LP
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$30.50
PREORDER
RELEASE DATE: 5/29/2026
Take Me, I'm Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter's faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I'm Yours is neither a typical Abrahams record nor a classic Jelinek album -- it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design. The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. "It started as an experiment, and over the past few years grew from a few tracks into this album," says Abrahams. He describes recording the basic material as a "tantalizing" process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams' voice. Jelinek heard something "fragile" in this voice, "moments of doubt and dark premonitions." He points to "Forever" as an example. "Alan's original song reminded me of classic vocal house, but his voice seemed to almost break," he says. "This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening." He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams' pieces, Take Me, I'm Yours functions as a dialogue between those two singular artists. Includes download code.
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CD
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FRVR 001CD
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$20.00
PREORDER
RELEASE DATE: 5/29/2026
Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).
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2LP
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FRVR 001LP
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$42.00
PREORDER
RELEASE DATE: 5/29/2026
Double LP version. Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).
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2LP + 10"
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FRVR 001LTD-LP
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$51.50
PREORDER
RELEASE DATE: 5/29/2026
Double LP version. Incldues bonus 10". Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).
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CD
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FRVR 002CD
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$20.00
PREORDER
RELEASE DATE: 5/29/2026
Striking the sweet spot between sampledelic downtempo and Earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humor. Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing, newly mastered from the original mixdowns. Also available as a limited edition, 4LP edition (FRVR 002LTD-LP) including bonus tracks plus an exclusive print of Catherine Brennand's watercolor painting that graces the front of the album. All editions also feature liner notes by veteran music journalist John McCready.
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3LP
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FRVR 002LP
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$51.00
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RELEASE DATE: 5/29/2026
Triple LP version. Striking the sweet spot between sampledelic downtempo and Earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humor. Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing, newly mastered from the original mixdowns. Also available as a limited edition, 4LP edition including bonus tracks plus an exclusive print of Catherine Brennand's watercolor painting that graces the front of the album. All editions also feature liner notes by veteran music journalist John McCready.
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4LP
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FRVR 002LTD-LP
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$63.50
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RELEASE DATE: 5/29/2026
4LP version. Striking the sweet spot between sampledelic downtempo and Earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humor. Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing, newly mastered from the original mixdowns. All editions also feature liner notes by veteran music journalist John McCready.
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CD
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GBVI 125CD
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$16.00
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RELEASE DATE: 5/29/2026
"Guided By Voices' last album Thick Rich And Delicious was lauded by NPR's All Things Considered and picked #1 on Magnet Magazine's Best Albums Of 2025. The single 'We Outlast Them All' from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: ''We Outlast Them All' could be our 'We Are The Champions' but it's not necessarily about us. It's about anyone who perseveres over a long period of time.' On Crawlspace Of The Pantheon: 'I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings. I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.'"
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LP
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GBVI 125LP
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$25.00
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RELEASE DATE: 5/29/2026
LP version. "Guided By Voices' last album Thick Rich And Delicious was lauded by NPR's All Things Considered and picked #1 on Magnet Magazine's Best Albums Of 2025. The single 'We Outlast Them All' from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: ''We Outlast Them All' could be our 'We Are The Champions' but it's not necessarily about us. It's about anyone who perseveres over a long period of time.' On Crawlspace Of The Pantheon: 'I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings. I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.'"
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12"
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HELLEX 016EP
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$21.50
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RELEASE DATE: 5/29/2026
Namae Koi -- AAVA (Artificial Audio-Visual Artist), voice without a body, child of cinema and code -- meets DJ Hell, godfather of electroclash, myth in motion. DJ Hell bends both tracks into something darker, sweatier, more physical. Koi stays crystalline. Watching. Whispering. Undressing the beat. A future duet with no fixed timeline.
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CD
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ICM 011CD
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$15.50
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RELEASE DATE: 5/29/2026
"The drones on this album were created using a Yamaha SY77 FM synthesizer from 1989. I have a special relationship with this machine -- it was the first 'big' synth I ever bought, and it has contributed to almost everything I've recorded over the past 30 years . . . The SY77 features six FM operators with multi-stage looping envelopes. I've always enjoyed crafting steady drones with it -- sounds that slowly evolve into something new over time. The output of the SY77 is routed through a Dynacord DRP 20 reverb and recorded into a DAW. For each piece, I recorded four tracks: one with a very low note, one with a medium-low note, one with a high note, and one where I played freely, following my intuition. The results were then edited and lightly processed to reduce excessive noise in certain sections. I also occasionally added reverb and pitch shifting, using my own custom algorithms. Signal to Noise - Volume II picks up where my 2004 album Signal to Noise left off, revisiting the same techniques and instrument twenty-two years later." --Robert Henke Cover photo taken by Robert Henke on February 1, 2004, at Joshua Tree National Park, CA, USA.
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LP
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JB 014LP
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$33.00
PREORDER
RELEASE DATE: 5/29/2026
Jazzybelle Records present the first vinyl reissue of Introspection by Luiz Bonfà (1972, RCA International) officially licensed to Sony and remastered by Colorsound Studio, in Paris. This 1972 masterpiece is a virtuoso album blending classical technique and Brazilian rhythms. Luiz Bonfá (1922-2001) is one of Brazil's most influential guitarists and composers. An iconic figure of the bossa nova movement, he helped introduce Brazilian music to the world in the late 1950s and 1960s. Bonfá achieved international fame for his work on Black Orpheus, a film that won an Academy Award for Best Foreign Language Film. Trained in classical guitar, he developed a highly personal style, combining technical precision with profound lyricism. His music bridges Brazilian rhythms, jazz harmonies, and classical sensibilities. Beyond his celebrated bossa nova works, albums like Introspection reveal a more intimate and introspective side of his art. First released in 1972, Introspection is considered one of Luiz Bonfá's finest and most accomplished recordings. Recorded almost entirely solo, the album reveals a rare intimacy, great precision, and intense emotional depth. Bonfá's virtuosity shines through in every note, blending classical technique with Brazilian rhythm with profound expressiveness. Long unavailable on vinyl, this reissue marks the first official release on this format in decades. Subtle, powerful, and timeless, Introspection stands as a quiet masterpiece of solo guitar music.
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LP
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LBR 157LP
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$35.50
PREORDER
RELEASE DATE: 5/29/2026
Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music scenes of Uruguay and Argentina from the 1960s to the present. Alongside Eduardo Mateo, he pioneered candombe-beat during his time with the legendary band El Kinto. In the early 1970s, he fused Afrobeat with rock in the trailblazing group Totem and later helped define the distinctive jazz fusion sound of Opa -- collaborating with the Fattoruso brothers and Airto Moreira during his years in the United States. In the 1980s, Rada settled in Buenos Aires and assembled a powerhouse band featuring top talent from both Uruguay and Argentina. Together, they created a series of unforgettable albums that fused candombe with jazz and rock -- marking one of the most celebrated periods of his career. Adar Nebur, originally released in 1984, captures Rada and his band at their peak. Backed by a stunning horn section, they blend Latin rhythms with jazz, soul, and the new wave sounds of the '80s. Now, more than forty years later, this hidden gem is being released internationally for the first time.
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LP
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LBR 163LP
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$34.00
PREORDER
RELEASE DATE: 5/29/2026
Emerging from Montevideo's fast-evolving underground scene, Davus built his career by fusing irony, emotional honesty, and street-level storytelling with a sound rooted in trap and its subgenres -- plug, Detroit, and sexy drill. From early independent releases to major collaborations with leading figures of the Latin American urban movement, his work has consistently pushed beyond trends while remaining deeply connected to the pulse of his generation. This vinyl brings together key moments from across his catalog -- songs that trace his evolution from underground innovator to a defining voice of contemporary South American urban music. More than a collection, it stands as a cultural snapshot of a generation that found its sound, its language, and its attitude through Davus's ever-evolving artistry -- while simultaneously opening the door to a new chapter shaped by bold collaborations and cross-border creative exchange.
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CD
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LMS 1725744
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$16.00
PREORDER
RELEASE DATE: 5/29/2026
Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur, and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Their self-titled debut album revisits eleven of their favorite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analog electronica. The DoubleSpeak album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie, Laptop). Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. DoubleSpeak is the great human songbook, synthesized. Empathic vocals, bold arrangements and glowing analog electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement. Also features songs by Thomas Leer/Robert Rental and John Hartford.
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LP
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LMS 1725745
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$30.50
PREORDER
RELEASE DATE: 5/29/2026
LP version. Printed inner sleeve. Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur, and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Their self-titled debut album revisits eleven of their favorite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analog electronica. The DoubleSpeak album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie, Laptop). Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. DoubleSpeak is the great human songbook, synthesized. Empathic vocals, bold arrangements and glowing analog electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement. Also features songs by Thomas Leer/Robert Rental and John Hartford.
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CD
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MPD 057CD
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$20.50
PREORDER
RELEASE DATE: 5/29/2026
Musique Pour La Danse presents The Unreleased Themes From Hellraiser (Expanded Ritual) by Coil. Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hit cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted Coil fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, "they made his bowels churn." He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie. Nearly 40 years later, key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "Expanded Ritual" edition, reassembled into a standalone, possibly definitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell. Notes by Danny Hyde. Original artwork by Trevor Brown. For fans of pain and pleasure, Throbbing Gristle, lost horror soundtracks and haunted electronics.
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LP
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MPD 057LP
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$28.00
PREORDER
RELEASE DATE: 5/29/2026
LP version. Clear vinyl. Musique Pour La Danse presents The Unreleased Themes From Hellraiser (Expanded Ritual) by Coil. Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hit cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted Coil fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, "they made his bowels churn." He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie. Nearly 40 years later, key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "Expanded Ritual" edition, reassembled into a standalone, possibly definitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell. Notes by Danny Hyde. Original artwork by Trevor Brown. For fans of pain and pleasure, Throbbing Gristle, lost horror soundtracks and haunted electronics.
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LP
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NOTON 073LP
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$50.00
PREORDER
RELEASE DATE: 5/29/2026
Alva Noto's Wave Weave - Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai. The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan. At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques. Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills. LP is featured on picture disc vinyl. Includes premium gatefold sleeve with die-cut window and special finishing. Also includes an insert booklet (multiple panels/pages) presented in a cover sleeve with a satin ribbon detail.
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LP
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SPITTLEDD 014LP
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$26.00
PREORDER
RELEASE DATE: 5/29/2026
Italia Undiscovered Vol. 2 continues its journey into the most compelling sounds of the Italian underground disco scene. Bringing together veteran producers and emerging talents, this eclectic and forward-looking collection honors the legacy of Italian disco while embracing the evolution that followed the Italo Disco boom. A vibrant snapshot of contemporary disco made in Italy, rooted in tradition, driven by innovation, and crafted for the dancefloor. Only a few months after the debut of the first chapter, Italia Undiscovered returns with Volume 2, continuing its mission to spotlight the very best of the Italian underground disco scene. This new installment brings together veteran producers and emerging talents in a collective, eclectic, and forward-thinking project. Italia Undiscovered Vol. 2 is a sonic journey that pays tribute to the rich tradition of Italian disco while embracing the evolution that followed the Italo Disco boom. Blending contemporary grooves, retro influences, and bold experimentation, the compilation stands as a key reference point for those seeking authenticity, musical research, and pure dancefloor energy, a sonic manifesto that celebrates the past, captures the present, and looks toward the future of disco made in Italy. Featuring Rimini Metafisica, Italo Deviance, Fogli & Di Lello, Tengrams, Forklift & Saw, Disco Experience, Marta Paradise, and Deep Field.
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CD
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UOH 021CD
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$20.00
PREORDER
RELEASE DATE: 5/29/2026
"Mabe Fratti is a Guatemalan cellist, vocalist, and composer based in Mexico City, celebrated for her experimental yet deeply melodic work. Blending cello, voice, synthesizers, and electroacoustic textures, she builds songs that move between improvisation, ambient soundscapes, and off-kilter pop forms. Emerging from Mexico City's improvisational and experimental scene, she has become a key voice in contemporary avant-pop. Bill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice. Almost Waking: 'I had known about Bill's music for a while: since his 2017 release under his own name. I connected a lot with his music and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating! We bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me.' Guitar by Bill Orcutt, Cello and vocals by Mabe Fratti, Except tracks 1,3,4 and 6 that were written by Bill Orcutt & Mabe Fratti with contributions on the cello arrangement by I.La Católica. Recorded at Tinho Studios in CDMX and in the Living Room in San Francisco. Mixed by Santiago Parra. Mastered by James Plotkin. Special thanks to I.La Católoica who contributed with great aura, ideas and feedback at Tinho Studios."
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LP
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UOH 021LP
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$36.00
PREORDER
RELEASE DATE: 5/29/2026
LP version. "Mabe Fratti is a Guatemalan cellist, vocalist, and composer based in Mexico City, celebrated for her experimental yet deeply melodic work. Blending cello, voice, synthesizers, and electroacoustic textures, she builds songs that move between improvisation, ambient soundscapes, and off-kilter pop forms. Emerging from Mexico City's improvisational and experimental scene, she has become a key voice in contemporary avant-pop. Bill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice. Almost Waking: 'I had known about Bill's music for a while: since his 2017 release under his own name. I connected a lot with his music and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating! We bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me.' Guitar by Bill Orcutt, Cello and vocals by Mabe Fratti, Except tracks 1,3,4 and 6 that were written by Bill Orcutt & Mabe Fratti with contributions on the cello arrangement by I.La Católica. Recorded at Tinho Studios in CDMX and in the Living Room in San Francisco. Mixed by Santiago Parra. Mastered by James Plotkin. Special thanks to I.La Católoica who contributed with great aura, ideas and feedback at Tinho Studios."
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LP
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VAMPI 323LP
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$32.00
PREORDER
RELEASE DATE: 5/29/2026
In the early 1970s, Roy Ayers formed his own band: Roy Ayers Ubiquity. Its lineup included artists well known to funk and soul fans such as Bernard Purdie, James Mason, and Edwin Birdsong. This 1973 album presents Roy Ayers in the midst of a creative evolution toward a sound increasingly influenced by soul and funk, moving beyond the early phase of his musical career, which was more rooted in orthodox jazz. On Red Black & Green, he teams up with highly accomplished collaborators such as keyboardist Harry Whitaker, arranger and producer William S. Fischer, and Strata-East musicians Charles Tolliver and Sonny Fortune. Here, however, the latter two do not venture into the spiritual jazz sounds so characteristic of their own recordings; instead, together they embrace a sophisticated funk groove where Ayers showcases his extraordinary vibraphone talent. The album includes outstanding versions of "Ain't No Sunshine" and "Day Dreaming," as well as original compositions such as "Cocoa Butter," "Rhythms of Your Mind," and the superb title track, "Red Black & Green." After years out of print, Vampisoul are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers' career. Pressed on 180g vinyl.
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LP
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VAMPI 353LP
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$32.00
PREORDER
RELEASE DATE: 5/29/2026
Marcos Valle is one of those artists you simply can't overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn't stop there. He has continued recording fabulous albums over the following decades, right up to the present day. This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: "Samba de Verão." In addition to his work as a composer -- alongside his brother Paulo Sergio -- Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs. The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle's compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like "Preciso Aprender a Ser Só," the rhythmic 3/4 feel of tracks such as "Seu Encanto," and the powerful "Deus Brasileiro." First vinyl reissue in over 50 years! Pressed on 180g vinyl.
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Book
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9783959053204
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$60.00
PREORDER
RELEASE DATE: 6/2/2026
Delayed further... until June 2026.."Pioneering media artist and concrete poet Ferdinand Kriwet's 1971 cult artist's book in a facsimile edition. A monumental, three-volume encyclopedia of alphabetically organized images, Ferdinand Kriwet: Stars was first published by Kiepenheuer & Witsch in 1971. In the 1960s, German author and media artist Ferdinand Kriwet (1942-2018), inspired by concrete poetry and its interest in the visual quality of linguistic signs, began to approach the literary medium of the book in a new way. Imagining new ways of reading that resisted linearity, Kriwet experimented with alternatives, encouraging a rapid back-and-forth between the pages of the book and the texts and images on them. In Stars, he treats images like words and arranges them in alphabetical order in an epic encyclopedia format. For years, Stars has only been available, at considerable cost, in antiquarian book catalogs. This new facsimile edition of Ferdinand Kriwet: Stars brings Kriwet's pioneering vision and his seminal book back into print." 416 pages. 2.5 pounds. 5.50(w) x 8.75(h).
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5LP
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COR 060LP
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$130.50
PREORDER
RELEASE DATE: 6/5/2026
Continuing the celebration of 25 years of Cocoon Recordings, the label presents the second chapter of its anniversary project. 25 Years Cocoon Recordings: Volume Two again unites exclusive tracks from artists who have shaped the label's sound over the decades, alongside fresh contributions that reflect its evolving spirit. Across 15 tracks, the compilation highlights the richness and diversity of the Cocoon Universe. Marcel Dettmann, Audion, Roman Flügel, and Secret Cinema deliver signature tracks, complemented by longtime friends André Galluzzi, Dana Ruh, Petar Dundov, Pig&Dan, Gregor Tresher, Ricardo Tobar, Daniel Stefanik, and Funk D'Void. Recent additions to the Cocoon family over the past decade, including Emanuel Satie, Fango, Krystal Klear, Awen, Denis Horvat, Floyd Lavine, Matthias Schildger, and Gabriele Carasco, bring fresh perspectives and energy, resulting in a dynamic and multifaceted experience. Over 25 years, Cocoon Recordings has built a catalog of hundreds of releases, spanning 12-inches, albums, mix CDs, and iconic compilation box sets, always linking the label's history with the present. While techno and house remain at its core, the label continues to explore electronica, ambient, and other evolving electronic styles, following its own instincts and curiosity, with no boundaries and a love for venturing into beautiful, unexpected sounds. The luxurious 5x12" box set with spectral-reflective foil finish continues the anniversary presentation, cementing Cocoon's legacy as one of electronic music's most influential labels. The journey continues. The second volume unfolds. New sounds, discoveries, and the spirit of Cocoon shine brighter than ever.
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2LP
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ENDG 155LP
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$36.50
PREORDER
RELEASE DATE: 6/5/2026
To mark its 20th birthday, Lisbon-born label Enchufada is releasing A Lisbon Club Story -- 20 hand-picked tracks bridging bass, trap, grime and rave with baile funk, kuduro, batida, Afro-house and more dance-oriented styles. A mix of 12 archive selections and eight fresh cuts, the LP unites some of the boldest champions of Afro-diasporic and global bass music today, from household names in Portugal such as Buraka Som Sistema -- back with their first track in 12 years, DJ Marfox and Shaka Lion to new-gen dynamos like Vanyfox and international stars like Dengue Dengue Dengue and Mina. Twenty years ago, Enchufada was launched as a vehicle for the debut EP from Lisbon's then-emerging Buraka Som Sistema. Only 500 CD copies of From Buraka To The World were pressed at the time, each sleeve handmade using recycled paper sourced from various factories around Lisbon -- giving them a unique DIY look pieced together from adverts for baby oil and paint. The CDs flew off the shelves in a week, marking the start of a journey that would take in era-defining records like the M.I.A- assisted Sound of Kuduro and African Scream, and much more. Also features Bison & Squareffekt , Tusabe, Joss Dee, Shaka Lion, Vanyfox, Traz Agua, BLOQO, Branko, Pedro da Linha, Petty, Roulet, Djeff, DJ N.K., Dotorado Pro, Branko, Alex Rita & Bison, Nané, Pedro da Linha, and Deekapz. Gatefold sleeve.
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LP
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WWSLP 117LP
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$33.00
PREORDER
RELEASE DATE: 6/5/2026
Wewantsounds continues its Middle East reissue series with Assa'd Khoury's 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury's pioneering electronic keyboards. This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine, the album's producer, conducted by Mario Choueiry (IMA). Long a highly coveted find for DJs and vinyl collectors worldwide, Assa'd Khoury's 1978 album Electronic Touches Belly Dance has earned its cult status as one of the most sought-after instrumental LPs from the region. This release marks the very first reissue of the album, which has remained virtually impossible to find since its original pressing. Khoury (1953-2020), a Syrian virtuoso pianist, violinist, and leader of the Spring Band, bridged Levantine tradition with the cosmic, psychedelic textures of the late 1970s. As Dikraphone's Ahmed Khalil notes in his introduction, the music serves as "a sensory portal to a bygone Damascus, where a psychedelic Farfisa and mesmerizing rhythms create a unique groove" that remains remarkably fresh today. The album's history is tied to the legacy of the venerable Lebanese Chahine family. Mozart Chahine, son of the inventor of the quarter-tone keyboard, founded the Byblos label to champion music from the region. In an exclusive interview conducted by Mario Choueiry (IMA), he recalls encountering Khoury at his Damascus music store and recording the entire album in a single day. "The musicians were seasoned, much like jazzmen," Chahine reminisces, noting that the session captured a rare, immediate energy between the ensemble members. The musical journey spans the Arab world, offering electronic reinterpretations of Arabic standards and paying respect to Egyptian master Sayed Darwish. A cult classic that will surely please all Arabic groove lovers.
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LP
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BEAT 123LP
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$28.50
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RELEASE DATE: 6/12/2026
A selection of 14 face melting, demonic, tracks from the legendary Demo Sessions Vol. 1 to 7, by the masters of modern psychedelic rock. A fuzzed-out deep dive into the wild vaults of the Australian psych masters and a fascinating view into their exhilarating creative process. Includes heavy hitters from their repertoire presented in early mutation stages, instrumental versions, and other psychedelic candy for the growing fan base of this heavy psych squad. Includes an insert and eye-popping full-color art. Part of the Official Bootlegger initiative. Essential for fans of ass kicking modern psychedelic rock'n'roll.
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CD
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CC 025CD
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$15.50
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RELEASE DATE: 6/12/2026
For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit. Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès' music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence. The Portuguese and Brazilian concept of saudade -- a form of melancholic longing and nostalgia -- pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of lesser-known classics from the mid-century samba and bossa nova era -- originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves. The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straight-forward cover versions, allows Pailhès to invent a form of prosody and euphony that feels vibrant and unlike anything else in today's French chanson landscape. The French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès' piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso -- Kainã Do Jêje and Alberto Continentino -- joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo. With SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.
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LP
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CCS 142LP
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$32.00
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RELEASE DATE: 6/12/2026
LP version. For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit. Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès' music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence. The Portuguese and Brazilian concept of saudade -- a form of melancholic longing and nostalgia -- pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of lesser-known classics from the mid-century samba and bossa nova era -- originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves. The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straight-forward cover versions, allows Pailhès to invent a form of prosody and euphony that feels vibrant and unlike anything else in today's French chanson landscape. The French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès' piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso -- Kainã Do Jêje and Alberto Continentino -- joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo. With SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.
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GONE 213LP
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$24.00
PREORDER
RELEASE DATE: 6/12/2026
"Guitar Wolf returns to Goner Records! Goner's first release was Guitar Wolf's world-shattering noise rockabilly epic Wolf Rock way back in 1993, the beginning of the Goner label and the legendary Guitar Wolf! Many tours, many records, and many eardrums later, Guitar Wolf has returned for the latest, and greatest Guitar Wolf record yet -- More Jet. More raw, crunching guitar noise, frantic rhythms, and unpredictable screaming! More head-scratchingly-great song topics! The perfect blend of Link Wray/Ramones/Joan Jett/Cramps sound and attitude mixed with industrial-strength noise. Guitar Wolf never went away, yet they are back and better than ever on their original -- and forever -- home -- Goner Records!"
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2CD
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HHTE 027CD
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$13.50
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RELEASE DATE: 6/12/2026
Essex-based psych-folk trailblazers The Owl Service celebrate 20 years with a new career-spanning 2CD set. The Owl Service started life in 2006 as a solo bedroom project for multi-instrumentalist Steven Collins, but it soon blossomed into a global collective with a rotating cast of singers and players that was as hard to keep up with as their sprawling discography. Apart from a brief alliance with Southern Records and a handful of releases on Static Caravan, Reverb Worship, and Fruits de Mer, they've been fully self-sufficient for their entire 20-year history, cementing their position as perennial alt. folk outsiders. The tracklisting here draws heavily from the band's early self-releases and compilation appearances, and also includes a selection of choice cuts from their three acclaimed studio albums. The story is brought right up to date with several more recent tracks, which have seen a prolific return to recording largely inspired by the arrival of new singers Dorothy Chappell and Rebecca Leivers. The album also includes one new and exclusive recording, a version of the traditional song "Brigg Fair." The music here shifts from fairly traditional folk, through faithful 1970s vintage folk-rock, to doom-laden folk-horror inspired psych-folk, all of it handled with an impeccable touch that's always respectful towards the band's many diverse influences.
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2xCassette
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MR 350CS
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$22.50
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RELEASE DATE: 6/12/2026
Los Demenciales Chicos Acelerados is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double-album rock opera in the vein of Quadrophenia by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial Nazi pictures on the front and back covers. Eskorbuto were equaling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. Although Los demenciales... came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with a different cover. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". The album contains new versions of a few previous tracks such as "Ratas rabiosas" and "Enterrado vivo" plus the studio version of "Más allá del Cementerio". For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.
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LP
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MR 503LP
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$31.50
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RELEASE DATE: 6/12/2026
Reissue, originally released in 1960. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ), and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP Glue on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beat melodies, Jimi Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. Glue is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Recommended if you like similar classic bands such as Traffic Sound, We All Together, Black Sugar, and Telegraph Avenue. 180 gram vinyl LP in tip-on jacket and insert with liner notes.
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LP + 7"
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MR 504LP
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$35.50
PREORDER
RELEASE DATE: 6/12/2026
Reissue, originally released in 1971. In 1970, after four fantastic singles under the name New Juggler Sound, the Peruvian band formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ), and Manuel Cornejo (drums) changed their name to Laghonia and recorded their debut LP Glue for the MAG label. It was an album influenced by the British rock of the era to which they added fiery guitars full of fuzz and wah-wah, the omnipresent and hypnotic Hammond organ sound and Latin American percussion and rhythms. A perfect mix of the British beat melodies of the mid-60s, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. Laghonia returned to the studio in 1971 to record a new LP for MAG. Packaged in a clearly psychedelic gatefold sleeve designed by the band's drummer, Manuel Cornejo, Etcétera shares all the elements of the first LP although on this occasion the compositions, while keeping their immediacy and featuring strong melodies and choruses, have a more complex structure, ranging from psychedelia to progressive rock through superb dark King Crimson-esque passages and shining moments of pastoral folk. 180 gram vinyl LP in tip-on jacket, includes bonus 7" single and insert with liner notes.
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7"
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MR 7400EP
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$15.50
PREORDER
RELEASE DATE: 6/12/2026
Caleb Quaye only released one single in the sixties under his own name, but what a record it is. Released on Philips in June 1967, "Baby Your Phrasing is Bad" boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal. On the other side, "A Woman of Distinction" is only fractionally less freaky with treated vocals and a short but gracefully-executed guitar solo. Contrary to hearsay, rumors and guesswork, it can be confirmed that Elton John did not play on the session. However, shortly afterwards, this same core lineup, with Caleb producing, recorded an album with Elton, Regimental Sgt Zippo, a superb psychedelic pop work that remained unreleased until 2021. A master class of shimmering, surrealistic '67 British psychedelia that is widely considered a holy grail of the genre. Reissued for the first time.
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OKNR 010LP
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$39.50
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RELEASE DATE: 6/12/2026
A deliberate sonic and emotional architecture that doubles down on intensity to shatter and rebuild the listener in one unrelenting wave. Third album from System Olympia, following acclaimed releases like New Erotica Collection LP (2023) and Delta Of Venus LP (2020), solidifying her as a bold, self-produced voice in electronic and Italo-disco-inspired music. Released on Okay Nature Records (her own independent label), fully written, recorded, produced, and mastered by System Olympia herself.
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VAMPI 370LP
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$28.50
PREORDER
RELEASE DATE: 6/12/2026
Soogie (1969) was Willie Rodríguez's first album for Mary Lou Records. Mary Lou Records, at that time, was also one of the labels in the right place at the right time, just before Fania smashed almost all the competition. The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). This is remarkable, as it hardly includes boogaloo, which was still prevalent during those years, yet already on the way out. According to Bobby Marín, its musical director said, "we didn't call it salsa at the time; it had no name. It was mambo or música movida, they used to call it on the radio." The first tune, "My Dog Soogie"' which provides the title for the recording, is a playful guaracha about a dog. The following track is the wildly popular "La Puerta del Dolor." "El Chivo" (the goat) is a spicy guaracha, which changes into a son montuno-guajira. "Grande" is a guaguancó, followed by "Los Callos de Dolores," also a delightful guaguancó. Then comes the ballad "Porque yo te Amo," a monster hit of the sixties by popular Argentine singer Sandro. Next, there is "Al Compás del Güiro," a guaguancó, with the delicious chorus that goes "cómo va, cómo va, cómo va, mi güiro cómo va." "Paul's Thing" is an instrumental guaguancó, with engrossing sax solos. Finally, the smashing, extended descarga "Salsa con Willie Rodríguez." A reissue of a rare and in-demand 1969 salsa gem after decades unavailable! Includes an insert with liner notes.
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2LP
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VAMPI 371LP
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$37.50
PREORDER
RELEASE DATE: 6/12/2026
Manongo Mujica (drums, percussion), Jean Pierre Magnet (tenor saxophone), Julio "Chocolate" Algendones (percussion), and Enrique Luna (electric bass) founded Perujazz in 1984. All four already had embarked on diverse musical ventures when they formed the band. Mujica had played as a jazz drummer and also with the psychedelic rock group Los Mad's and then as an experimental music percussionist. Jean Pierre had been a multi-instrumentalist in Traffic Sound and saxophonist in several jazz ensembles. "Chocolate" had been part of the Afro-Peruvian ensemble Perú Negro and was one of Chabuca Granda's percussionists of choice. His meeting with Manongo Mujica in 1981 was the beginning of series of collaborations, blending African influences and avant-garde jazz percussion. Meanwhile, in Chile, Enrique Luna had been a member of several fusion ensembles and, together with Manongo, set up the improvisation band Solos at the end of the '70s. They were part of the new musical scene in Lima, strongly influenced by the cultural climate of the 70s, by Chabuca Granda and his innovations in criollismo, as well as by neofolk and nueva canción, all under the nationalist politics of the government of General Juan Velasco Alvarado. The '80s ushered in a period of democratic transition and during the early years of the decade a new generation of fusion artists thrived. Perujazz managed to hold its ground and soon led the way in the avant-garde jazz scene. Inspired by jazz fusion from the '70s, they mixed cajón drums and Afro-Peruvian, Andean and jungle sounds with jazz, rock and funk in a powerful blend full of groove and psychedelia. During an early tour in Europe, they recorded in Italy an LP entitled Verde Machu Picchu, it was released in 1987 though it wasn't widely distributed. In those years, Perujazz would journey far and wide, becoming one of the most original Peruvian ensembles and also one of the most international in scope. Since then their line-up has gone through multiple changes and today the band members are Manongo Mujica, Jean Pierre Magnet, Andrés Prado, Pudy Ballumbrosio, and Julio Zavala. En Vivo 2023 Gira Europea portraits the essence of their 2023 European tour. Music, sweat, and elation flowed as the band gave their all, transmitting their energy with every note. Those of us who can hear hints of huayno, tondero, or festejo in their playing are moved by these echoes.
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7"
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VAMPI 45120EP
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$15.50
PREORDER
RELEASE DATE: 6/12/2026
Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. In 1965, he joined the line-up of artists on Discos Fuentes' payroll. After some years releasing music on different labels, Landero returned to Discos Fuentes in 1979 with the album Bailando Cumbia. The two cumbias included on this 45 have been taken from this rare and never-reissued LP. They became popular rebajadas (slowed down cumbias) in the Mexican sonidero scene and have not been previously available on 45. Reissued for the first time.
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LP
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AKENAT 007LP
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$27.00
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RELEASE DATE: 6/19/2026
A mind-blowing collection of '70s pinoy hard rock, fuzzed out rockers, hard glam and face melting guitar madness. Hard-rocking gems from the golden years of Philippines rock, from 1971 to 1978. Includes notes on the amazing bands included. Get ready for an ass-kicking trip through the amazing hard rock'n'roll made in '70s Philippines. Featuring Juan de la Cruz Band, Hot Dog, Judas, Anak Bayan, Maria Cafra, Sampaguita, Joey Smith, and Wally Gonzalez.
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LP
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BMV 771699LP
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$38.50
PREORDER
RELEASE DATE: 6/19/2026
Best known as one half of Kiasmos alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer. As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date -- Inert. The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.
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LP
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GR 040LP
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$28.50
PREORDER
RELEASE DATE: 6/19/2026
The Mantecas represent one of the finest concentrations of experience and talent in Latin and jazz music ever to be based in the UK. A pure uplifting Latin jazz music celebration. Limited edition 250 copies: not-to-be-missed! Recorded at different locations in London during 2025/26. On their fabulous fourth album, The Mantecas (formerly Manteca) have moved the needle all the way in the direction of Latin jazz (or jazz latino). In their early years, the London-based eight-piece played a mix of salsa, Cuban timba, boogaloo, Latin funk and descarga (jazzy, improvised Latin jam session), with plenty of vocals, strictly geared for the dance floor. Along the way, the jazz-descarga aspect emerged as a stronger force, though all sorts of other ingredients, from afrobeat to Afro-Cuban, cumbia to samba, ebbed and flowed throughout. Although there's nothing new with the concept of doing an album of instrumental Latin tracks in a jazz mode that's still dance-friendly (Machito, Sabú Martínez, Tito Puente, and Tito Rodríguez all waxed jazz latino albums like that long ago), what's new here is The Mantecas' very fresh and confident interpretation of the idiom. And while they share something in common with the accessible, danceable Latinized soul jazz of someone like Mongo Santamaría or Willie Bobo, as well as the Afro-Cubop roots of Chano Pozo, they also bring to mind the more jazz-oriented improvisational legacy of Pozo's amigo Dizzy Gillespie, which is reflected in The Mantecas' explorations of a handful of 20th Century modern jazz giants as they rework timeless classics by John Coltrane, Miles Davis, Oliver Nelson, and Wayne Shorter. For this release, all seven tracks are essentially Latin renditions of jazz standards or are Latin jazz originals. There's a mix of jazz and Latin rhythmic structures, instrumentation, arranging, and sensibilities at play, and it's a very natural sounding mélange. Like their previous albums, some of the tunes feature a club-ready blend of hot and cool, in a Latinized British acid jazz/soul jazz way.
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LP
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PALAZZO 014LP
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$32.00
PREORDER
RELEASE DATE: 6/26/2026
PNØ is the duo project of experimental vocalist Agnes Hvizdalek and techno innovator Jakob Schneidewind on electronics. They combine minimalistic musical structures with organic improvisations, pure vocal sounds with drum machines, synthesizers and effects that trigger and manipulate each other's output. Their vision for the future of music makes them explore crossing points between experimental and electronic dance music. Their first album, Zakeri, was released in 2015. Since then, they have performed, among others, at ORF Musikprotokoll, Wiener Festwochen, Jazzwerkstatt Wien, Ottosonics, and de/semble.
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LP
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VPRL 4271LP
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$27.00
PREORDER
RELEASE DATE: 7/10/2026
"Classic Barrington levy album from 1984 restored and remastered for best ever sound. Features the hit singles 'Money Move' and the Jah Shaka sound system anthem 'Praise His Name.' Unavailable for 40 years, this is the first time ever released outside Jamaica. Sleeve artwork design by the great Jamaican illustrator Limonius. Solid all-star roots backing from Sly & Robbie, Lloyd Parks, etc. Recorded and mixed at Dynamic sounds and Channel One."
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