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LP
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BT 129LP
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Carrying on from recent archival releases from masters of Indian classical tradition such as Kamalesh Maitra and the Dagar Brothers, Black Truffle presents a previously unheard recording of a concert by Pakistani vocalist Salamat Ali Khan. Born to a musician family in Hoshiarpur in the northwestern state of Punjab, Khan moved with his family to Lahore in Pakistan after the 1947 partition of India, becoming a child musical prodigy. Khan was a master of the kyhal form of Hindustani classical vocal music, a style integrating influences from Middle Eastern musical traditions that gives the singer a great deal of improvisational freedom. Travelling widely across the globe from the 1960s until his death in 2001, Khan approached ragas performed in the kyhal style as expressive forums for risk-taking improvisation, enlivened by ceaseless ornamental invention. This remarkable recording was captured by Michael Hönig (of krautrock legends Agitation Free) in concert at Berlin's Neue Nationalgalerie as part of the MetaMusik festival in 1974. Khan, who is also heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither), is joined by Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. The lack of a familiar underlying tanpura drone gives this performance a weightless, floating quality, with all three of the musicians playing masterfully with the interaction between silence and the pulse propelling each section of the raag. Virtuoso tabla interjections at first barely state the tempo, and the interplay between musicians is so spacious that we hear scraps of audience noise and the squeak of the harmonium's mechanism in between the notes. Gradually picking up rhythmic definition and melodic complexity, after around fifteen minutes the music builds dramatically, with Khan letting out emotive yelps and swooping scalar shapes ranging across his full vocal range. Accompanied by stunning black and white concert photographs, the LP also contains a moving and entertaining recollection from acclaimed German musicologist Peter Pannke, looking back on his experience assisting Khan and his musicians in Berlin at the Metamusik festival (including a mouth-watering description of a feast cooked by the maestro himself). As Pannke describes in his account of attending the concert, the beauty and spiritual intensity of this music leaves the listener speechless.
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CTLP 193LP
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2025 restock. Johnny Osbourne with Meets Roots Radics 1980-1981 "Vintage". Osbourne is one of the most popular Jamaican reggae and dancehall singers of all time. His nickname is the "Dancehall Godfather". Roots Radics band features Lincoln "Style" Scott, Errol "Flabba" Holt, Eric "Bingy Bunny" Lamont, and more. Green vinyl.
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3x10" BOX
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LPCT 084-10
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2025 repress. "The original dub style: King Tubby treats Bunny Lee's productions. Comes as a triple 10" on colored vinyl, in a nice magnetically-sealed box."
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COSMR 034LP
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The summer of soul collides with the acid rock revolution in this 1969 opus originally licensed by MCA sub label UNI (roster of talented artists such as Strawberry Alarm Clock, Hugh Masekela and Fever Tree). The sole album by US power trio Fields is a majestic blues rock effort, arranged by cultish producer Gene Page (Blacula soundtrack, Aretha Franklin, Elton John, the Whispers, Gladys Knight, etc.). The short-lived Los Angeles band was clearly influenced by the likes of Cream and Vanilla Fudge and featured backing vocals from Motown/Northern Soul heroine Brenda Holloway, a clear sign of their eccentric vision.
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COSMR 035LP
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Dive deep into the realms of psychedelic soul with the one and only The Moon! Born in the summer of love, the band debuted in 1968 with this first album Without Earth. Surrounded by a clear Magical Mystery Tour feel, the group covers two songs off Colours (another obscure American group) debut album. "Brother Lou's Love Colony" in particular has little sitar flourishes fulfilling the idea of a serious homage to the Liverpool four. The remaining ten tracks are all originals with the solid hard rock groove "Got To Be On My Way," a tune notable for its liquid distorted guitar.
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COSMR 036LP
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Creatively visionary and groundbreaking on numerous terms, 1973's Os Tincoãs revolutionized Brazilian music by harmonizing Afro-religious singing, heavenly vocal harmonies, and frawing on Yoruba mythology, Samba, Capoeira chants and spiritual songs.
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2LP
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DRONE 027LP
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Death In Vegas returns with new album Death Mask, where disintegration, overload and total sonic immersion tell a personal tale. With dirty circuitry and rough-hewn textures at the fore, this is gritty, unpolished techno; an audio outlier that's full of personality, and a bold artistic statement. It's closer in DNA to the grainy growl of sunn O))), or the searing intensity of Underground Resistance at their fiercest, and as far from generic influencer business as you could possibly get. "I've been soaking in Ramleh's 'Hole In the Heart', the machine funk of Terrence Dixon's Population One, Jamal Moss' psychedelic techno jams, the stunning minimalism of Mika Vanio's Ø and Panasonic, the layered drones of LOOP, and drowning in the acid of TM 404." Broader inspirations are weaved into the album's fabric too; from his Thameside Metal Box studio and evocations of nautical ghosts, to lamentations for a broken world, to memories of a youthful Detroit pilgrimage, and the innocent fraternity of rave euphoria, there's a lot going on, acting as a chronicle of moments, and locations.
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LP
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FARO 251BLUE-LP
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LP version. Blue color vinyl. In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band's alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honors the profound legacy of their departed founders. Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band's musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums. Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra's" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s -- a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound. The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth's two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel's credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel's father, British jazz-funk royalty Jean Paul "Bluey" Maunick, of Incognito, to play guitar on a new version of Azymuth's eighties classic "Last Summer In Rio," in tribute to the song's composer, José Roberto Bertrami. Equally, "Samba Pro Mamao" is a new composition dedicated to Azymuth's beloved original drummer, Ivan "Mamão" Conti.
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LP
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FARO 251LP
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LP version. Black color vinyl. In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band's alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honors the profound legacy of their departed founders. Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band's musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums. Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra's" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s -- a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound. The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth's two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel's credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel's father, British jazz-funk royalty Jean Paul "Bluey" Maunick, of Incognito, to play guitar on a new version of Azymuth's eighties classic "Last Summer In Rio," in tribute to the song's composer, José Roberto Bertrami. Equally, "Samba Pro Mamao" is a new composition dedicated to Azymuth's beloved original drummer, Ivan "Mamão" Conti.
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LP
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FARO 251RED-LP
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LP version. Red color vinyl. In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band's alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honors the profound legacy of their departed founders. Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band's musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums. Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra's" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s -- a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound. The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth's two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel's credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel's father, British jazz-funk royalty Jean Paul "Bluey" Maunick, of Incognito, to play guitar on a new version of Azymuth's eighties classic "Last Summer In Rio," in tribute to the song's composer, José Roberto Bertrami. Equally, "Samba Pro Mamao" is a new composition dedicated to Azymuth's beloved original drummer, Ivan "Mamão" Conti.
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2LP
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KALITA 009LP
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2025 repress. Kalita Records unveil the first ever compilation focusing on the phenomenon of "Burger Highlife", a crossover of West African melodies with synthesizers, disco, and boogie that took over Ghanaian airwaves during the 1980s and beyond. Highlighting key recordings from genre-defining artists including Thomas Frempong and George Darko, as well as more obscure sought-after tracks by elusive bands such as Aban and Uncle Joe's Afri-Beat, Kalita come to the rescue of audiophiles, DJs, and music-lovers alike with Borga Revolution! The 1970s had witnessed an increased Western airtime and physical presence in Ghana introducing funk, soul, and disco sounds to the region. By the turn of the decade the country was also enduring economic turmoil, with rising poverty, military dictatorships, and long periods of enforced curfews (amongst other factors) making it impossible for artists to survive. As a result, many Ghanaian musicians with a broader outlook began to pursue their careers in the west, moving to both Europe and America in search of stardom. It was here that Ghanaian musicians developed a digitized version of highlife music which fully embraced Western contemporary music styles and newly introduced technology such as the Yamaha DX7 synthesizer and various drum machines. It is in this context in which the evolution of Ghanaian dance music and the emergence of "Burger Highlife" was born. With Borga Revolution!, Kalita endeavor to tell this story, with prominent and lesser-known musicians' accounts and documentary evidence providing a comprehensive understanding of this shift to the digital age. Also features Native Spirit, Wilson Boateng, Paa Jude, and Dr. K. Gyasi's Noble Kings. Includes 16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos. Gatefold sleeve.
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LP
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KRANK 189LP
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2025 restock. LP version. "'Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Ze dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. I'm still surprised by what I wound up with. It was the first time I'd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasn't recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.' -- Liz Harris"
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LP
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LIFE 061LP
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Tokyo playwright, director and artist J A Caesar sprang to prominence in the early '70s largely through his work with Shuji Terayama's Tenjo Sajiki Theatre, specializing in vaguely sinister music. The Kokkyou Junreika release, often considered Caesar's finest work, was culled from the five hours of music written for the original play distilled down to an album's worth of ageless chants, Buddhist mantras, heavenly invocations and fuzztone guitar vamps supported by Caesar's droning electric organ and the eerie female vocals of Yoko Ran, Keiko Shinko, and Seigo Showa. An album that sits comfortably alongside early Ash Ra Temple, Cosmic Jokers, and ATEM-period Tangerine Dream.
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6CD
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METAPHON 018CD
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Auryfa and Metaphon present Poly-Art Recordings 1976-1982, a lavish six-CD box set collecting Costin Miereanu's legendary series of self-published cassettes and LPs from 1982 and 1984. Culminating four years of meticulous work, this project breathes new life into these recordings, remastered from the original tapes by Stephan Mathieu and accompanied by restored artwork and a comprehensive essay by Vincent de Roguin. Born in Bucharest in 1943 and naturalized as a French citizen in 1977, Miereanu occupied a singular position within the French new music landscape -- one foot in the establishment, the other in a world of deeply personal, boundary-pushing creativity. Alongside his intricate orchestral works and demanding academic career, he also produced the semi-improvised solo performances and electroacoustic compositions featured in this collection. Drawing inspiration from Erik Satie, film soundtracks, semiology, Romanian folk and art music, Gilles Deleuze, avant-garde literature, Terry Riley, and atmospheric phenomena, these twelve pieces were crafted using an array of synthesizers -- Minimoog, Polymoog, PPG Wave, Prophet-10 -- supplemented by piano, organ, and a handful of other instrumental sources. Their textural palette and occasional whimsy bear affinities with 1970s meditative synth music, yet they eschew psychedelic excess or cosmic grandeur. Instead, they reveal a vibrant, nuanced complexity that becomes more apparent with each listen, rooted in Miereanu's extensive musical studies and commitment to the ideals of 1960s experimentalism. Within that period's context, this music ultimately sails in the same sonic currents as Harold Budd and Brian Eno's collaboration, and the output of David Behrman, Alvin Curran, or Laurie Spiegel. Originally released on Miereanu's own Poly-Art International/Records and initially met with limited attention, these recordings have since gained underground acclaim among new generations of listeners. They offer a rare synthesis of accessibility and formal ambition, reflecting Miereanu's unwavering pursuit of artistic freedom, a world away from the high culture dogmatisms inherent to the European modernist tradition. His wide-ran-ging associations -- from the spectralists (Horațiu Rădulescu, Tristan Murail, and Gérard Grisey) to mavericks such as Giacinto Scelsi, Luc Ferrari, and Walter Marchetti, as well as the French underground electronic music scene (including Philippe Besombes and Jean-Louis Rizet, who engineered much of this music, and Richard Pinhas) -- help illuminate his unique artistic position.
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2LP
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SS 091-92LP
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Double LP version. "Newest project by Specter, Brutus. All music by Andres Specter Ordonez. Illustration by Sean Linn. Graphics by Thomas Xu."
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2LP
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SS 100LP
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"The newest addition to the Sound Signature Catalog. This marks the 100th release on the label. The inspiration for Skin Breaker comes from years of watching sci-fi films. Howard Thomas has always been fascinated by them. As a huge fan of '80s beat tracks and '80s sci-fi, he aimed to blend those influences into this project. This project is a tribute to the sounds and styles that have inspired him."
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LP
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SS 101EP
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"In a world where it is easier than ever to say something, it is actually the hardest time to be heard. We are constantly bombarded by so much information and/or distractions that people can hardly be blamed for not tuning in. The box has been constructed to be safe, so why step outside it? The vibe shift is undeniable but everyone is free to choose which frequency to tap into. Music can be nourishment for the soul if you have the right ingredients. Even then you need the right chefs to cook it properly to be served. Meftah and Ideeyah have taken their time to create something that feels complete. Something intentional. Meditative. Another piece in the great chain of the African Diaspora. Where else but Detroit could something like this come from? A complete concept that is unabashedly of the present but still honors the past. This is soul music. Crafted with love for community, for heritage, for fulfillment. There was a method to the madness, a reason for the gradual formation of artistic merit that is presented to you now. This music contains a universal message if you can open your eyes and mind to it. Less talking, more doing. Go out there and be somebody again. Reclaim your light under the sun. Swing Low, Sweet Chariot. For Funk is its own reward, if you want it to be." --Turtle Bugg
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LP
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SOW 057LP
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Recorded in March 1958 and released a few years later on Prestige, this album sees John Coltrane, the young and future sax giant at the head of a quartet featuring two close partners from the Miles Davis band, pianist Red Garland and bassist Paul Chambers, and Art Taylor on drums. A super-tight, powerful backing band for Coltrane's early attempts to push the boundaries of the bop tradition. Trane's Reign consists of four long tracks including Jackie McClean's original "Little Melonae." A perfect introduction to the early reign of John Coltrane.
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CD
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SR 464CD
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Unreleased material composed by Bernard Parmegiani in 1992. Lac Noir - La Serpente is part of Emmanuel Raquin-Lorenzi's Lac Noir, a composite work inspired by a serpentine female creature or "snake-woman" that he saw in Transylvania in 1976, with a total of 33 pieces using various media, 24 by himself and 9 by other artists. All the materials used in Lac Noir were gathered on the land of the snake-woman between 1990 and 1992. The first coordinated broadcast ran from June to October 2019, like a theatrical display of media.
"At the end of May 1992, in Provence, in his Summer studio not far from the Montagne Sainte-Victoire, Bernard Parmegiani played the first musical moments he had worked on from the sounds he and Christian Zanési had collected in Negreni in October 1990. A few days after this listening session, on 4th June, I wrote him a letter. I didn't mean to take control of what was to become the ninth movement of his composition, but to share with him some of the resonances I had heard in what he had composed, which mingled with my dreams and memories of the Transylvanian snake-woman, and outlined possible concordances with the other pieces underway for Lac Noir. In the midst of the garish chaos of the fair and its spectacular stunts, there could spread out -- still, silent eye of the cyclone -- the long waters of a lake. Calm waters. Patches cool but sensitive as skin. Between the waters there flows and ripples, there shows up and dives again a snake-woman born of the still waters. A sweet, good serpent whose song -- strange and melodious, sensual, yet already tinged, as if bitten by the black depths, with bitterness; that of prescience, shading it with melancholy -- is her very undulation, the rings of which appear, together or in turn, the way translucent veins overlap, slither over one another in a moving braid of metamorphoses." (Extracts from notes by E. Raquin-Lorenzi)
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CD
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SR 561CD
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Founding work of minimalism, Music with Changing Parts is a piece with free instrumentation. The musicians choose which part to play among the eight staves of the score. At each indicated cue, the musicians can change part, which produces an abrupt change of instrumentation. While the music is based on a melodic material limited to a few notes that are repeated in patterns that expand or contract, the changes in orchestration refresh the listening experience by producing sonic contrasts. These techniques at work in Music with Changing Parts, written in 1970, will lead Philip Glass to renew his language and move from the monochromatic works that precede it to more dramatic works such as music in 12 parts and especially the opera Einstein on the Beach. When Philip Glass began rehearsing the piece, he was surprised to hear long notes when everything was written in eighth notes. After making sure that none of the musicians were playing held notes, he realized that the fact that the same notes were played by all the instruments in the ensemble produced, through a psycho-acoustic effect, a harmonic substrate of resonant frequencies. He then decided to add to the score the possibility of playing long notes to reinforce this effect. "For this recording, we chose to record first the eighth notes, then the long notes in re-recording. This utopian version, with each musician playing short and long notes at the same time (!), illustrates the minimalist aesthetic that plays with our perception and allows us to reconcile opposites and cultivate the apparent paradox of a music that moves forward without Moving and changes constantly while remaining the same." --Dedalus Ensemble
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2CD
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SR 563CD
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A unique artistic partnership. This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue. Neil Tennant: "I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams -- or nightmares -- while exposing the double standards of the ruling establishment. The lyrics I wrote for Sleep of Reason, in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the 'monsters' Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that."
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LP
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SSR 150LP
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LP version. Ruins/Zu is fusing the original core of Rome's ace Zu bassist Massimo Pupillo and saxophonist Luca T Mai together with drummer Yoshida Tatsuya, founder of the Japanese band Ruins.
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LP
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SSR 153LP
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LP version. In the summer of 2015, against the backdrop of the Italian Dolomites, a friendship between two European heavy underground bands was struck. Now, Roman psych-doom formation L'Ira Del Baccano and Tilburgian doom rock outfit Yama join forces in a musical collaboration: their split album Tempus Deorum, released on Subsound Records. The background is less picturesque, the bands see this international collaboration as an artistic response to emerging nationalistic navel-gazing. L'Ira's contribution comprises a drawn-out instrumental psych doom jam, in which they fully expand the concept of an ever-evolving song, taking a theme and leading it on a dynamic roller-coaster journey, reshaping it through the heaviness of doom, the tension, physicality, and psychedelia of improvisation, and the precision of progressive rock. Yama brings some of their doomiest tracks to the table and experiments with psychedelic drone elements, in collaboration with producer David Luiten (Autarkh). Tempus Deorum ('time of the gods') is not only an allegorical congregation of deities, it is a bastion for the confluence between two manifestations of psychedelic heaviness.
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LP
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SSR 153LTD-LP
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LP version. Black/green color vinyl. In the summer of 2015, against the backdrop of the Italian Dolomites, a friendship between two European heavy underground bands was struck. Now, Roman psych-doom formation L'Ira Del Baccano and Tilburgian doom rock outfit Yama join forces in a musical collaboration: their split album Tempus Deorum, released on Subsound Records. The background is less picturesque, the bands see this international collaboration as an artistic response to emerging nationalistic navel-gazing. L'Ira's contribution comprises a drawn-out instrumental psych doom jam, in which they fully expand the concept of an ever-evolving song, taking a theme and leading it on a dynamic roller-coaster journey, reshaping it through the heaviness of doom, the tension, physicality, and psychedelia of improvisation, and the precision of progressive rock. Yama brings some of their doomiest tracks to the table and experiments with psychedelic drone elements, in collaboration with producer David Luiten (Autarkh). Tempus Deorum ('time of the gods') is not only an allegorical congregation of deities, it is a bastion for the confluence between two manifestations of psychedelic heaviness.
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CD
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RELTIME 011CD
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Rico Friebe has more to tell to a whole generation and crafted a musical superlative for this in the guise of the sequel record Anthems For A Lost Generation 2. Includes ten new future pop songs that continue the stories from part one!
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