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1332 139LP
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"Cappadonna, is an American rapper. He is a member of the hip-hop collective Wu-Tang Clan and is a member of the hip hop group Theodore Unit together with Ghostface Killah. Cappadonna's status as a Wu-Tang member or as a featured artist has varied throughout the years, while long referred to by both the group and fans as the 'Unofficial Tenth Member'. Cappadonna's first solo effort was 1998's The Pillage which debuted and peaked at number 3 on the charts and certified Gold. His follow-up -- 2001's The Yin and The Yang -- debuted at number 51 on the charts. Staying vigilant in his support of The Clan, he then featured on over 25 releases including classics from Raekwon, Method Man, and Ghostface."
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RANDB 184LP
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Keith Tippett was just twenty-one when his group recorded the first of these sets for BBC's Jazz Workshop on May 21st 1969, three months before the recording of his first album, You Are Here -- I Am There. Featured on side one is the three-part "Portishead Suite," which presents three stylistically different musical portraits of three generations of the Somerset town. The first is comparatively gentle and flowing but the second portrait is more insistent, its 5/4 tempo bringing to mind themes heard on early King Crimson albums. The third portrait has something of the Caribbean in its playful rhythms. "Hail Conquering Hero" can be heard on side two, and is described by Tippett as "a jazz study of war." None of these compositions have ever appeared officially in any form. Also included on side two are two tracks from Tippett's August 1970 session for BBC Top Gear that was advertised as by Keith Tippett & Heavy Friends.
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RANDB 185LP
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These two very different sessions involving John Surman and Mike Osborne have much in common. They both share a wonderful sense of liberation, of the joy of making music together and of finding collectively new ways of making jazz happen. And even more importantly, they speak volumes about the eclecticism and openness of British jazz in those years of the mid- to late-sixties and about the creative ambitions of John Surman. In the current absence in the market of his first LP, this is an essential purchase for Surman fans. Notes by Duncan Heining with suggestions from John Surman. These sessions have never previously appeared officially in any form.
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RANDB 188LP
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Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues is emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you've got Ronnie Scott's arrangement of "Last Minute Bossa Nova"; "Bang!," taken from Dick Morrissey Quartet's first session for the BBC's World Service, recorded around the time of the release of their first album Have You Heard? The version here is take two. "Early In The Morning" is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on "Jungle Soul," aka "Ca' Purange," plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.
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ACRSLP 1686LP
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"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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ACRSLP 1687LP
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"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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ACRSLP 1689LP
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"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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AR 181LP
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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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ATA 045CD
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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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ATA 045LP
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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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2LP
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AU 1031LP
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"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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BR 022RB-LP
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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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BR 025CD
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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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BR 025LP
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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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BTR 136LP
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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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2LP
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BJR 015LP
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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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BJR 123CD
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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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BJR 124LP
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LP version. With Flame Folclòre, Cocanha continues reclaiming Occitan folklore as a living, political and embodied space. For Lila Fraysse and Caroline Dufau, folklore is neither decoration nor nostalgia. It is a site of struggle, where narratives, identities and imaginaries are constantly renegotiated. Drawing from fragments of traditional Occitan music, the duo composes, reshapes and rewrites. Ancient melodies intertwine with original texts in a contemporary language that echoes both subversive Occitan memories and present-day struggles. The voice becomes a chronicle of now, a way of inhabiting the present. Driven by hypnotic polyphony and the deep pulse of stringed tambourines, the album embraces a minimal, physical and grounded aesthetic. Repetition acts as propulsion, dance as function. Cocanha's practice is collective by nature: to gather, to move, to fuel a joyful struggle around reclaiming the commons. Produced by Raül Refree, Flame Folclòre intensifies the dialogue between memory and transformation. Voices strike, revolve and respond, opening a circular space where folklore is no longer frozen but alive and burning in the present.
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BJR 125CD
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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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FAR 100HLP
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2026 restock. 180 gram exact repro reissue of this absolutely insular, deranged private press masterpiece. Previously reissued by Shadoks (with full color artwork, as intended). JW Farquhar recorded this on 4-track alone in his apartment in 1972 after ending a 10-year marriage. The songs are part of a "rock opera" and are "written as an outcry against the materialistic nature of the woman." "...it's a fascinating slice of ambitious, primitively lo-fi private press psych with an extreme lonesome/marginalized edge and some great fuzz and F/X. There are points where he gets into a whole schizophrenic exchange between two characters, one of whom talks in a weird fucked-up cartoon monster style, that almost makes you think of James Ferraro's 'Lamborghini Crystal' broadcasts but the rest of the album is just great basement/loner jams with a huge fucking chip on their shoulder, just the way we like 'em." --Kicktokill
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BB 391LP
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2026 restock; LP version. Reissue, originally released in 1973. There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co. cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band's nearest and dearest as The Faust Party Tapes -- and how you wish you'd been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning. "Flashback Caruso" brims with Byrds-ian jangle and Syd's psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of "J'ai Mal Aux Dents" sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of "Two Drums, Bass, Organ", a mutant funk workout which rivals Can in an all-German dance off. The progressive and symphonic "Dr. Schwitters", dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of "Elerimomuvid", charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz ("Hermann's Lament") before taking slight respite in the beauty of "Rudolf Der Pianist" and "I've Heard That One Before". The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of "Stretch Out Time", "Der Baum" and "Chère Chambre", which return to conventional song structure, albeit in the group's typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the album.
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CR 187LP
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2026 restock. South African pianist and composer Abdullah Ibrahim (aka Dollar Brand) featuring Hamiet Bluiett (baritone sax) and Don Cherry (trumpet). Exact repro, originally released in 1977.
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NEXUS 001LP
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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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CSR 203LTD-LP
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2026 restock, last copies. White vinyl version. Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail.
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LP
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CRYPTMETA 037LP
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Crypt of the Wizard presents Ginger Wizard's The Curious Flora and Fauna of the Ancient World. In the 2010s, in a record store in Prague, the Ginger Wizard discovered a copy of Bo Hansson's Lord of the Rings LP. Although initially unfamiliar with the record, the reference to Tolkien's masterwork and the incredible cover art drew him in and, rather fittingly, sent him off on a journey of discovery that would reshape his creative trajectory. Years later while working in cassette tape manufacturing, Ginger Wizard noticed that most fantasy-inspired music fell into two camps: metal and dungeon synth. With little interest in the former, but intrigued by the latter, he began writing a few songs imagining a beautifully packaged and tactile cassette tape. So began the Ginger Wizard's own mythological discography. Drawing inspiration from Popol Vuh and the inclusion of vocals lent by Protomartyr's Joe Casey and Jakob Battick, a new more cinematic sound began to emerge. Now comes The Curious Flora and Fauna of the Ancient World marking a step into something stranger while still channeling the spirit of Bo Hansson. These songs bloom, creep, and shimmer like forgotten plants under distant suns while rooted in something real and organic. Inspired by the myths of nature rather than heroic quests, it's an album that feels alive, equal parts archaeological dig and psychedelic garden.
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