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viewing 1 To 25 of 80 items
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LP
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AALP 046LP
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2025 restock; tracks by Scientist, Barrington Levy, Johnny Osbourne, Linval Thompson, Wayne Wade, Wade Brammer, Barry Brown, Sammy Dread, and Wailing Souls. Produced by Brad Osborne.
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LP
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CT 1027LP
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2025 restock. Reissue, originally released in 1984. Classic Rastafari/roots from Rasta militant Linval Thompson. On purple vinyl.
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CD
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VIRUS 072CD
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"Lard's Power Of Lard is over forty-four minutes of music by Jello Biafra and Ministry! Originally released in 1989."
"Jello Biafra and Ministry teamed up for this slab of wax. The title track is great. Imagine Ministry playing thrash, that's what it is. 'Hellfudge' sounds like Flipper meets Jerry Lee Lewis, the lyrics take a nice roundhouse power swing at Jimmy Swaggart. 'Time To Melt' is a cool dirge / death rock type of song, but it's too fucking long (almost twenty-five minutes). Overall this record is really good and Biafra fans won't be disappointed." --Thrashead, Flipside (Summer 1989)
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VIRUS 072LP
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LP version. "Lard's Power Of Lard is over forty-four minutes of music by Jello Biafra and Ministry! Originally released in 1989."
"Jello Biafra and Ministry teamed up for this slab of wax. The title track is great. Imagine Ministry playing thrash, that's what it is. 'Hellfudge' sounds like Flipper meets Jerry Lee Lewis, the lyrics take a nice roundhouse power swing at Jimmy Swaggart. 'Time To Melt' is a cool dirge / death rock type of song, but it's too fucking long (almost twenty-five minutes). Overall this record is really good and Biafra fans won't be disappointed." --Thrashead, Flipside (Summer 1989)
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VIRUS 072W-LP
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LP version. White color vinyl. "Lard's Power Of Lard is over forty-four minutes of music by Jello Biafra and Ministry! Originally released in 1989."
"Jello Biafra and Ministry teamed up for this slab of wax. The title track is great. Imagine Ministry playing thrash, that's what it is. 'Hellfudge' sounds like Flipper meets Jerry Lee Lewis, the lyrics take a nice roundhouse power swing at Jimmy Swaggart. 'Time To Melt' is a cool dirge / death rock type of song, but it's too fucking long (almost twenty-five minutes). Overall this record is really good and Biafra fans won't be disappointed." --Thrashead, Flipside (Summer 1989)
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7"
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VIRUS 142EP
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"Mexican grindcore fugitives who don't need no stinkin' badges pay tribute to the late Pablo Escobar and the Menendez Brothers. Originally released in 1994 by the Mexican extreme metal band rumored to be led by Fear Factory's Dino Cazares (guitar) and Raymon Herrera (drums). It was also rumored to include various members from Faith No More, Down By Law, and Napalm Death. Brujeria is a deathgrind metal band from Mexico formed in 1989. They are a group from Latin America notorious for the violent and the extreme. They are infamous for the terms 'Matando Güeros,' 'La Migra,' 'Marijuana y Brujerizmo.' Roadrunner records refused to release this! Why? Because it mentioned DRUGS! Gore? Debauchery? Satanismo galore? No problem! But This? Too much! Truly heartfelt tributes, as only Brujeria can put into words, for Pablo Escobar and the Menendez brothers. If you go out and pick up one 7" tribute to Pablo Emilio Escobar Gaviria (leader of the Medellin Cartel) and the Menendez brothers, then make sure this is the one you get. Or else. Fully authorized by Juan Brujo."
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CD
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BING 219CD
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"Chamber opera composer and singer Jane Sheldon goes big on Flowermuscle, yet every measure is hushed enough to capture a whisper. Using Rainer Maria Rilke's poetry, she explores the corners of a sonic space that feels both powerful and delicate, unfolding his words as sound expands in many directions all at once. With a pedigree including shows with John Zorn at the Louvre, Lincoln Center and the Barbican, and having recently completed a run of Sydney Chamber Opera's wild, new Gilgamesh, Sheldon brings the tools of the avant-garde to explore the lush sensuality of transcendent experience, working in close collaboration with Australian audio whiz Bob Scott. Flowermuscle's songs are colorful and diverse, in stark contrast to the super restrained palette of her last album which was also led by Rilke's poems. 'I felt with the last one that holding back was the natural response to what he wrote,' Sheldon says. 'We realized early on with this new album that we didn't want to play it safe this time and needed to push things. I'm most interested in the felt experience of altered states: I am a tree, lived in the privacy of those experiences, but Flowermuscle is much more about their vastness, about the possibility of feeling that you're in erotic resonance with everything else in nature.'"
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BANG 188LP
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Get ready for the rawest, dirtiest rock NYC has to offer! Taxidermy Girls, a band featuring legendary talents from Jon Spencer Blues Explosion, Television, Mercury Rev, Speedball Baby, and Five Dollar Priest, is back with a new LP that will blow you away. Rte 209 Blues delivers gritty, powerful sound straight from the streets of New York City -- pure, unfiltered, and full of that authentic underground energy. Once known as Taxi Girls, this band has evolved but still carries that rebellious attitude and raw edge that make them stand out. From gritty riffs to catchy melodies, each track is a trip through NYC's underground scene, where dirty, honest rock reigns supreme. Don't miss out on this release -- a record that proves the spirit of NYC's rock scene is alive and kicking stronger than ever.
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2LP
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BEWITH 164LP
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First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork. Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic. By the mid-1970s, Eastwood's musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status. Original copies of the 1971 vinyl release of Seeds exchange hands for high sums. This expanded 2LP contains an extra record, collecting nine rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours). With the long overdue deluxe reissue of this prized artefact, Be With hope to finally shine a light on the unheralded genius of Alan James Eastwood. Alan James 'Bugsy' Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release. Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and -- by all accounts -- it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins. Also featuring backing vocals from Marilyn Powell and jazz singer Josephine Stahl. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery. RIYL Nick Drake, Rodriguez, Richie Havens.
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LP
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BEWITH 181LP
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Norman Connors' Mr. C is a masterclass in sophisticated modern funk and boogie-infused soul that was way ahead of its time. Originally released in 1981, the album finds the renowned jazz drummer/producer at a creative crossroads, boldly diving deep into street-level boogie-funk without losing his soulful, jazzy touch. What once might have puzzled jazz purists now delights soul/funk aficionados; it has quietly become a cult favorite and now, nearly 45 years later, Mr. C sounds fresher than ever. Brimming with infectious heavy funk, lush arrangements and soul-stirring performances, it's an album that flirts with perfection, ensuring its enduring significance in the boogie/jazz-funk-soul canon. From its opening moments, Mr. C makes one thing clear: this is Norman Connors at his funkiest. The majority of the album is a straight-up party: think dancefloor-ready beats complemented by punchy horn riffs and slick early-'80s boogie vibes. There's heavy use of synths and drum-machines, demonstrating Connors' gleeful embrace of contemporary funk trends. Each track shines in uniquely thrilling fashion, showcasing Connors' versatility and happy knack for blending genres whilst crafting unforgettable melodies. Lush string accents and horn stabs weave through funky basslines, while the vocals (handled by a young Beau Williams) soar with gospel-tinged emotion. Over four decades later, it endures as a masterpiece. The fusion of Caribbean rhythm elements into an R&B context demonstrates Connors' willingness to experiment with global sounds while keeping things soulful and danceable. Bringing a real quiet storm swagger, "Sing a Love Song" slows the tempo ever so slightly into a sexy, swaying jazz-funk gem, featuring a young Glenn Jones on lead vocals. The arrangement is elegant, built on warm keys and an undeniable groove. The celestial "Love's In Your Corner" is all about soulful uplift. Featuring the legendary Jean Carn's powerhouse vocals soaring over a brass-kissed driving funk, it's an R&B burner. On release, Mr. C flew under the radar but time has been exceptionally kind to this record. DJs, collectors and soul connoisseurs alike have since rediscovered its magic. As ever, this crucial reissue has been lovingly remastered by Simon Francis, cut by engineer of the year Cicely Balston at Abbey Road Studios and pressed to perfection by Record Industry in Holland. Norman Connors was something truly extra. He was a visionary. And Mr. C is proof.
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LP
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BEAT 114LP
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Remastered recordings of these Northeast Wisconsin underground rock trailblazers, originally released on cassette in 1992. An obscure gem of powerful '90s music with one foot firmly planted in the American Midwest tradition of Twin/Tone Records bands like The Replacements and the other in loud, fiery, high energy rock'n'roll. Includes a fold out insert with the story of the band. Limited edition of 300 copies.
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LP
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CT 3995LP
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2025 restock of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).
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LP
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LPCT 185LP
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2025 restock. Rhythms played by The Aggrovators, including Carlton Barret, Sly Dunbar, Carlton 'Santa' Davis, Robbie Shakespeare, Aston Barrett and Tony Chin.
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12"
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COR 179ACOL-EP
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Color vinyl version. Known for his ability to create captivating, emotionally charged techno, Jonathan Kaspar returns to Cocoon Recordings with his third contribution Twofold. One, yet simultaneously two releases that once again showcase his extraordinary talent through condensed techno with a pinch of trance, weaving together driving rhythms and atmospheric textures in a way that feels innovatively progressive. Twofold: Ignite -- Drifting hypnotically, this might be the most fitting way to describe what Jonathan Kaspar unfolds here. The rolling percussion grooves seamlessly intertwine with the siren's spectral tone, gradually blending into the alchemy of "Yah" as it erupts into the mix. By the time the peak arrives, there's a raw intensity in the air -- the track seems to bend and stretch then drills and twists until it cracks, but never loses its sense of purpose and remains anchored in its deep, pulsating groove. On the flip side, "Silver Lines" stands as a counterpart, offering a contrast in both sound and atmosphere. With its minimalist arrangement, the track first nestles in gently, lulling the listener into its world -- only to tighten its grip as a synth sequence gradually opens its cut-off filter, slicing through the calm, drilling into the mind, and shifting the mood from tranquil to tense.
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12"
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COR 179BCOL-EP
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Color vinyl version. Known for his ability to create captivating, emotionally charged techno, Jonathan Kaspar returns to Cocoon Recordings with his third contribution Twofold. One, yet simultaneously two releases that once again showcase his extraordinary talent through condensed techno with a pinch of trance, weaving together driving rhythms and atmospheric textures in a way that feels innovatively progressive. Twofold: Fade -- Rooted in a minimalist rhythmic structure, "Power" takes listeners in a new direction, steadily building momentum as its energy billows upwards, with the intensity never wavering throughout. A large, dented, tinny tuba sounds imposingly as Jonathan blows louder and louder into the old thing, its raw, metallic tone instantly commanding attention. What an explosion in the break, leading listeners into a wild, almost chaotic energy, before Kaspar's meticulous attention to detail ensures that the shimmering synths feel perfectly placed, guiding to the absolute freak-out moment. After all the insanity, Jonathan Kaspar leads into a melodic, trancy after-hours mood with "1993," bringing a sense of release after the wild ride of the previous tracks. What a successful closing track to this outstanding release. With its melodic trance influences, it offers a soothing, almost nostalgic atmosphere, bringing a sense of calm and closure, a perfect moment of introspection and euphoria as the EP winds down.
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LP
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CNTR 011LP
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"London's The Lo Yo Yo was conceptualized by John 'Alig' Pearce in 1984 after his primary group, the deservedly legendary Family Fodder, went dormant. Soon enough a few others were enlisted to round out the quartet, including Mick Hobbs of The Work and Officer! fame, alongside friends Joey Stack and Carrie Brooks. The Lo Yo Yo took elements from their other groups and, in the tradition of somewhat like-minded acts like The Raincoats, Naffi and Amos & Sara, added a strong dub/reggae element. Shortly before their lone studio LP, which was recorded by Charles Bullen of This Heat fame, the band self-recorded a demo tape at home on an eight-track reel to reel, reissued here on vinyl for the first time by Concentric Circles. It is a wonder of DIY production with a rich and layered sound that belies their humble means. Although about half of the songs on the demo would wind up being re-recorded for the studio LP, the demo versions are radically different from what is heard on their proper album. There is a feeling of intensity to the demo that was missing from the LP, which had a noticeably cleaner fidelity and more subdued playing. Here the band plays with true force and determination, with Stack's socialist leaning lyrics taking on an extra sharp bite. Unafraid to show off their skills at writing irresistibly catchy pop songs, things are carried on by Alig's big bass sound and a barrage of polyrhythmic dueling drums and percussion. The Lo Yo Yo tapped into a truly special sound, perfectly exemplified on these recordings. Just when you think you've completed the puzzle of arty, dubby '80s post-punk, a stray piece is found on the proverbial floor, just waiting to be picked up. If you aren't dancing around the room by the end of this album, you need to visit the foot doctor. Concentric Circles is delighted to bring this barely heard, infectious album from The Lo Yo Yo to modern audiences for the first time."
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LP
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CREEPY 013LP
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"One of the Cramps' finest live albums. Recorded in Seattle in May 1982, it shows the band at its peak, with Kid Congo Powers joining the band on guitar, performing the best of their newly released Psychedelic Jungle. More tracks from the first album and some select '50s and '60s punk tracks."
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12"
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DE 316EP
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"Kinga struts to Dark Entries with Sexy Boy, a steamy Canadian pop gem. Inspired by gender-bending pop stars of the 1980s like Boy George and Janet Jackson, a young Tomas Fussey aka Kinga ditched his 'schoolboy appearance' to adopt an edgier, androgynous style. Immersed in Calgary nightlife, he became acquainted with sexy synthpop and disco songs like Madonna's 'Everybody,' Divine's 'Native Love,' and the Flirts' 'Passion' -- songs which still linger in his mind. In 1988 he teamed up with keyboardist Dan Madison and veteran producer Bob Gallo to make Elevator Operator and Sexy Boy. Kinga was surprised when the B-side 'Sexy Boy' garnered substantial radio play from CFNY in Toronto. In 1989, Amok Records backed a new 'Late Night Dance Mix' version of 'Sexy Boy.' Almost every part was re-recorded or remade, including Kinga's vocals. The new version surprised Kinga with its slick production and moody atmosphere. Sales were disappointing, but these deeper house-inflected grooves feel like the sound of our current moment. This release of Sexy Boy includes five different mixes, including the original 7" mix, three versions from the 12", and the previously unreleased 'TV Mix.' Sexy Boy comes sleeved in a reproduction of the original artwork and includes an insert with liner notes and lyrics, as well as an 8x10 glossy press photo of the sexy boy himself."
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CD
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DLC 006CD
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In Last Blues, De la Catessen presents a mysterious folio of sonic snapshots, as much recaptured as composed, by Jon Dale's project, Moth, in Adelaide in the late '90s and early '00s. Listeners are invited to tune in to these liminal frequencies, to observe and inhabit them, and relish the glowing sensual overdrive of their manifestation. From the ready means and at-handedness of guitar, amp, and tape, a congruous but diverse selection of unnamed tracks emerge -- musical moments borrowed from oblivion with the as yet unfulfilled good intention of returning them. Their sounds evoke abstract polaroids of winter seascapes flecked with spare, brittle detail, or the scaly-winged flutterings of elusive nocturnal insects. Here, a homely hum like a vacuum cleaner on sunny childhood's weekend morning; there, suburban power lines buzzing gently in the mist. The last track of Last Blues is like a reverent vision of lava-flow for harmonium, the slow-motion eruption of a single chord, which echoes in the mind for hours. Last Blues comes from somewhere that doesn't exist anymore, and shows listeners something that may never have happened there.
"Jon Dale collapses old dichotomies (such as organic vs. inorganic and heavy vs. light) into a pure horizon of tone with only guitar and a little harmonium. Sonically, it makes me think of a middle point between if Organum snuck into the studio to remix Glenn Branca, and what I imagine the electric synapses firing off in Raymond Roussel's brain would've sounded like if committed to wax cylinder. Which is to say, it sounds rad." --Ben Chasny, Six Organs Of Admittance
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CD
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DLC 016CD
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"It's music where nothing happened. It's the kind of music somebody might write in Adelaide, Australia. Nothing happened." --Morton Feldman
Theatre is De la Catessen's second venture into the archive of Jon Dale. Originally released in a tiny CD-r edition of 50 copies on Tristes Tropiques in 2019, Theatre now reappears in an edition of 150 glass-mastered CDs. Theatre sees Jon Dale eschewing the hearthwarm drones of his previous album on de la Catessen, Last Blues, and dwelling upon an elusive aural concept: a limbo. Theatre hums with an occupied silence, heightened by scattered expectant sounds: a door opens or closes; muffled voices murmur nearby. As almost nothing continues to happen, the listener occupying the silence seems to hover at the edge of (non)existence. It's tempting to classify Theatre as a purely conceptual listening experience, or to compare it to listening to someone who is in the quiet act of listening to something else, just out of earshot. But at its heart, Theatre is a simple and elegant manifestation of the dichotomy that dynamizes minimalism: how little of something -- versus how much of nothing -- must be.
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CD
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DLC 018CD
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"Light is the vehicle of the community -- of the universe. All that is visible clings to the invisible. That which can be heard to that which cannot -- that which can be felt to that which cannot. Perhaps the thinkable to the unthinkable. Like ourselves, the stars float between illumination and darkening in turn -- but even in the state of darkness we are granted, as they are, a consoling, hopeful glimmer of companion stars that are luminous and illuminated." --Novalis, Traktat vom Licht
Amir Farid returns to De la Catessen Records with the premiere recordings of Traktat vom Licht/Variations on a Minuet by Mozart -- the second volume in an ongoing survey of endearingly quixotic piano music by Adelaidean composer Raymond Chapman Smith. In this new collection, following on from 2023's Nachschriften/Ländler (DLC 013CD), pianist Amir Farid sheds further light on a fruitful period of Chapman Smith's work, in which he utters in a uniquely mellifluous voice a beautiful old language recognized by so many but spoken by so few. Chapman Smith's musical journey, through Sydney's experimental scene of the early '70s, to his study with Australian modernist doyen Richard Meale, and his leadership of the notorious ACME New Music through the '90s, has led him to -- of all places -- the green pastures of nineteenth century German romanticism, where he invites listeners to join him in thoughtful spiritual contentedness through the current phase of his craft. The title of Chapman Smith's 26-part Traktat vom Licht is borrowed from a cycle of 26 poetic-scientific-metaphysical fragments by Novalis, a crucial voice in the formulation of the first phase of German Romanticism. Written in 2006 as an acknowledgement of the 250th anniversary of Mozart's birth, Variations on a Minuet by Mozart takes the theme from the first piece in Mozart's catalogue -- his K1, written when he was five years old -- and turns it through a set of twelve variations.
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CD
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DLC 022CD
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Benaud Trio celebrate their 20th anniversary year with the release of Oblivion on De la Catessen Records. Oblivion is their sixth studio album since bursting into the world in 2005 with the irresistible fusion of playfulness and professionalism that has characterized their career. Oblivion boasts all the pizazz that made Benaud Trio's previous albums like Mixtape (ABC Classic) and Bohemian Rhapsody (Melba Recordings) so popular, framed by a thoughtful selection of pieces that showcases them at their electrifying best. Chick Corea's modern classic "Spain" leaps out of the timeless classical melody of Rodrigo's "En Aranjeuz con tu Amor," in a fiery arrangement for piano trio by Nicholas Buc. "Closer" by Mark Isaacs was originally created for jazz quintet, and appears here in a warm and lyrical adaptation that sees Benaud Trio carrying its smooth sensibilities into the classical realm. Their readings of Piazolla's "Cuatro Estaciones Porteñas" and "Oblivion" are a smoldering account of his stylistic crucible of tango, jazz, and classical music. Benaud Trio have long been known for their alchemy onstage, fusing disparate qualities together: endurance and youthfulness; sincerity and lightness; playfulness and insight. In Oblivion, Benaud Trio are in their element, exploring fusion of the musical kind, through pieces by composers who share some of the same rare qualities as them.
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DG 006CD
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"The twelve tracks on Abomination Revealed At Last are a hypnotic, maniacal, and propulsive attack on the senses -- a fitting reaction to a world suffering from genocide, environmental collapse, state-sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez, and John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums)."
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DG 006LP
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LP version. "The twelve tracks on Abomination Revealed At Last are a hypnotic, maniacal, and propulsive attack on the senses -- a fitting reaction to a world suffering from genocide, environmental collapse, state-sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez, and John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums)."
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DG 006X-LP
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LP version. Color vinyl. "The twelve tracks on Abomination Revealed At Last are a hypnotic, maniacal, and propulsive attack on the senses -- a fitting reaction to a world suffering from genocide, environmental collapse, state-sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez, and John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums)."
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