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viewing 1 To 14 of 14 items
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2LP
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AMI 058LP
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"Amish Records presents an expanded, gatefold 2LP version of P.G. Six's second album, The Well of Memory, originally released in 2004. This 2025 expanded edition has beautiful new artwork, reimagined by Meredyth Sparks and comes with a bonus LP entitled Lost and Live. The LP includes six previously unreleased songs from The Well of Memory sessions and a handful of live versions of songs from the album. Continuing many of the themes introduced on Parlor Tricks and Porch Favorites, PG Six's well-received first record, The Well Of Memory made further nods towards '60s folk artists like Bert Jansch, Pentangle, Incredible String Band, and John Fahey, while also fitting in with contemporary musicians like New York psych folk posterboy Devendra Banhardt, Anglo-folk traditionalist Alasdair Roberts, and West Coast psych guitarist Ben Chasny of Six Organs of Admittance. Pat's lyrics draw on narrative force, spinning mythology in abstract patterns that stretch moments of clarity between dreamlike sequences. His music, composed away from the bustle of the city in upstate New York, breathes as solemn spirituals."
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LP
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BB 125LP
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2025 restock; LP version. 180 gram vinyl pressing. Bureau B presents Flieg Vogel fliege by Hans-Joachim Roedelius, released by Sky Records in 1982. Flieg Vogel fliege (trans. "Fly Bird Fly") is the fifth installment of the "Selfportrait" series, with musical sketches and ideas recorded by Roedelius between the years of 1973 and 1979 on a Revox tape machine in his living room. In contrast to the previous self-portraits, which he left untouched, Roedelius revised these recordings and embellished them with further tracks. "Measured against its predecessors, however, the audio quality is notably superior on this edition. Roedelius clearly improved the sound of the old tapes in the process of compiling the pieces at the Erpel Studio in Vienna, also taking the opportunity to add a few tracks. Strictly speaking, these relatively complex multi-track recordings can no longer be bracketed together with the fleeting sketches as heard on the earlier albums. Now and again, they bear a resemblance to the character of the Cluster LP Sowiesoso. Having arrived in Austria following a protracted lean period, Roedelius finally had the chance to work in a studio which was not only well-equipped, but was also run by a kindred spirit sound engineer. The favorable working conditions, a myriad of new impressions and, by no means least, his personal happiness, saw Roedelius and his music flourish. This is discernable on Flieg Vogel fliege, even if only some of the music was created in his new adopted home. If complete insouciance, the acceptance of little musical mistakes and inaccuracies were symptomatic of the earlier self-portraits, then a mild formal rigor runs through this volume. Not that Roedelius allows this to hinder him in any way. The joy of playing and talent for improvisation celebrate a cheerful resurrection once again. His spontaneity and exuberance, the ability to express thoughts and feelings through music, none of this was lost. This confirms Flieg Vogel fliege as an authentic and undisguised Roedelius portrait. With a little patina, perhaps. But music by the same man today reveals exactly the same individual, perhaps a little wiser, and of course, some years older. And there you have it: Roedelius is and shall remain the merry fool from the jardin au fou." --Asmus Tietchens
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LP
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GUESS 236LP
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2025 restock. Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition. Recorded in 1970 but never released at the time, featuring future members of Roky Erickson's backing band Bleib Alien/The Aliens. Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson's first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi/horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found. It was through Mike Waugh's friendship with Elevators drummer John Ike Walton that Billy Miller and the band hooked up with the local label/studio Sonobeat, who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller's strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller's house on Castle Hill (west Austin). Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. It wasn't until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print. For this new edition, Guerssen tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney. Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration/remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.
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LP
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JPR 068X-LP
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2025 repress. "The Dead Boys debut studio album, Young, Loud and Snotty, was recorded and released in 1977 and quickly became one of the definitive US punk rock albums! Sourced from the original master tapes. Pressed at RTI for Maximum Fidelity. Rolling Stone -- Best Top 10 Punk Albums of all time. Black vinyl."
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LP
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KSLP 047LP
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2025 repress; LP version. Cornell Campbell's distinctive falsetto voice alongside his Rastafarian beliefs during the '70s gave him a musical style that added urgency and righteousness to songs that few other singers could match. This album was produced by Bunny Lee and released in 1983 on Vista Sounds. Engineered by King Tubby and Scientist and mixed at King Tubby's, Kingston, Jamaica. Cornell Campbell on vocals with The Roots Radics as a backing band. Members include: Sly Dunbar, Santa Davis & Ben Bow (drums); Brother Chris, Flabba Holt & Robbie Shakespeare (bass); Willie Lindo & Chinna (guitar); Keith Sterling & Jackie Mittoo (piano); Winston Wright & Robert Lynn (organ); and Sticky & Skully (percussion).
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LP+CD
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LR 349LP
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2025 repress. By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobim and the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave.
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2LP
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MENT 010LP
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2025 restock. Mental Experience present an expanded reissue of Ildefonso Aguilar's Erosión, originally released in 1985. Spooky, meditative soundscapes inspired by the desolate volcanic environment of Lanzarote (Canary Islands), created using Minimoog, Polymoog, vocal loops, and field recordings. Originally recorded in Germany in 1978 by Spanish painter/sound artist Ildefonso Aguilar, only a selection of the original recordings were released a few years later on a very rare limited edition cassette and LP. Erosión is a masterpiece of proto-ambient, isolationism, and minimal synth music. For the first time ever, Erosión is reissued here on double LP, featuring the complete recordings, as Ildefonso conceived it at the time. Master tape sound; Liner notes in English/Spanish by Frankie Pizá (TIU Mag); Includes download code. RIYL: Edgar Froese, Conrad Schnitzler, Cluster, Klaus Schulze, Michael Stearns, Steve Roach, Brian Eno, Cozmic Corridors, Pina.
"Canary Islander Ildefonso Aguilar is best known for his paintings and surreal photography of the desolate volcanic wastelands of his homeland. He was also organizer of concerts at the Jameos del Agua in Lanzarote, a regular event which has featured the likes of Michael Brook, Roedelius, Steve Roach, and numerous other luminaries of ambient and atmospheric music. But, for his own music Ildefonso has never gained the mass recognition he really deserves. Erosión, recorded in 1978, is certainly one of the most fascinating of synth albums I've heard. And, it's remarkable really, if you consider all the technological advances that have happened since, what with digital synthesizers and samplers, that this music created entirely on analogue synthesizers still sounds so fresh and original... Beautiful yet strange, unnerving yet calming. Even more so, at 1¼ hours, Erosión reveals itself as a grand conceived suite, as themes recur in an almost ghostly fashion, as tension builds upon tension, and threatens to explode, which it never quite does! Extraordinary all the way through." --Alan Freeman (Audion Magazine)
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CD
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MACD 007CD
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Merzbow, the pioneering Japanese noise project led by Masami Akita since 1979, remains a defining force in experimental electronic music. Celebrating its 20th anniversary, Scene -- originally a limited CD release on Waystyx in 2005 -- was reissued on vinyl in 2024, quickly selling out. Now, it returns as a remastered CD, featuring an exclusive bonus track from the original sessions, housed in premium SACD jewel cases, and accompanied by a new essay by Dr. Jamie Stephenson. A surrealist gem from Merzbow's mid-2000s "laptop era," Scene opens with the chaotic carnival energy of "Part 1," before dissolving into hypnotic layers of rhythmic drums, metallic clangs, distant bird calls, and atonal wind chimes shimmering in an otherworldly haze. A vital piece of Merzbow's ongoing analog and digital sound experiments, this CD reissue of Scene is limited to 300 copies, offering fans and collectors another chance to own this long-unavailable masterpiece. Artwork by Masami Akita. Design by Takashi Makabe.
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2LP
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PFR 035LP
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Limited 2025 restock. Poker Flat Recordings -- surely one of the most essential and influential labels of the past couple of decades, treat us to something a little different -- and very, very special. Classic Jams reaches back to the roots, pulling out long-lost, forgotten gems -- the music that first inspired and invigorated a generation of electronic producers and dancers including Steve Bug. Take a trip into the deep, jacking, acidic house and raw techno expressions that had a profound impact on the current Poker Flat roster -- from the late '80s up until the present. Most of these tracks are long since out-of-print on vinyl, and fetch considerable amounts on the second-hand market. Likewise, some have never been available digitally. Selected and compiled by label-boss Steve Bug, these are secret weapons for open-minded DJs, and a valuable document of house music's enduring legacy for the home listeners. Aquarius' warehouse anthem, "Jam to It Again," originally out on City Limits in 1990, still sounds like a jolt of adrenaline to the system. Likewise the obscure but stunning "Magique Noir" by Transcendence will no doubt ignite dancefloors in exactly the same way it did the first time around. Going even further back, Classic Jams also shines a light on Larry Heard's sublime "Never No More Lonely" under his Fingers, Inc. moniker, as well as the 1988 deep house bomb "Muzik" by Myoshi Morris, which appears in a brand-new exclusive Steve Bug edit. Other highlights include Swing City from 1992 with the pure NY house groove of "Make You Mine." Hundreds of contemporary producers are desperately trying to emulate this effortlessly pure house moment -- none come close. Yet it's not all from our U.S. cousins -- tracks that helped kickstart a movement in Europe also feature -- see VDT's "It's Just a Dream" featuring MC Valium -- essential techno from 1991 out of the soon-to-be-rave-homeland of Germany. Throw in other out-and-out lost classics from the likes of Big Baby, Springboard, and Vice, and you have a compilation that stands both as a testament to the enduring genius of house, and as an essential tool for rocking any party. Includes mp3 download code.
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CD
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ROG 141CD
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"These four musicians have all played with each other before. Just to name a few: two albums in duo for Joe McPhee and Michael Bisio, in addition of appearing in different other bands; Mat Maneri and Fred Lonberg-Holm, also recorded as a duo; Fred Lonberg-Holm is part of Joe McPhee's Survival Unit III with Michael Zerang and both are also part of Peter Brötzman's Chicago Tentet; Joe McPhee is within Mat Maneri Quintet in the album Sustain; Mat Maneri is within Michael Bisio's quartet on the album MBefore and both are part of Matthew Shipp's trio Chamber Ensemble on The Gospel According to Matthew and Michael. So, no need to say that they were already very familiar to each other. Almost four generations of musicians; four very strong musical personalities, four very rich musical careers and, above all, four musicians who know how much the confrontation of different ideas pushes music forward; and it is exactly what we had hoped from this band, that they find a common language richer than the sum of the individual languages of each of them, a coherent musical material that respect each personality without reducing the great diversity of their individual approaches. If there was no doubt at the outset that Joe McPhee, Mat Maneri, Fred Lonberg-Holm and Michael Bisio would be able to make a great recording, eventually, they have done much more, finding original forms and producing an album on which the diversity of the pieces in no way detracts from the cohesion of the whole -- quite the opposite, in fact."
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LP
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VL 900105LP
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2025 restock. Fear is the first of John Cale's three studio albums for Island Records, all of which were released in a period of just over a year. During this time Cale was also producing records for other artists, working on albums such as Horses (1975) by Patti Smith, one of the most influential of all proto-punk records. In addition to his lead vocals on Fear, Cale also played keyboards, guitars, viola, violin and bass, and was joined by Fairport Convention's Richard Thompson, Roxy Music's Brian Eno and Phil Manzanera, and other artists who were signed to Island at the time. "Gun" features an unusual two-man guitar solo from Manzanera and Eno, with the latter using a synthesizer to process the former's guitar playing in real-time. Includes two bonus tracks, "Bamboo Floor" and "All I Want Is You." 180-gram vinyl.
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LP
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VL 900112LP
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2025 repress. Too Much Too Soon, the second studio album by the legendary New York Dolls was first released in the spring of 1974. The record was laid down in New York with producer Shadow Morton. Morton, known for his work with the Shangri-Las, was brought in to the project by David Johansen despite (or perhaps because) Johnny Thunders wanted to produce the album. Though their self-titled debut with Todd Rundgren at the helm had received high praise from critics, the Dolls didn't like Rundgren. And Rundgren had little respect for the Dolls. Thunders and Johansen thought Rundgren's production watered down their sound. Rundgren was no fan of the group's raucous sound and attitude, to the point that he's even alleged to have yelled at them "get the glitter out of your asses and play!" With Morton behind the boards Too Much Too Soon incorporated many of his trademark production techniques, familiar to Shangri-Las fans, mainly his use of sounds effects such as gunshots and highly present female backing vocals. Too Much Too Soon was well received by critics and fans who praised the band's raw sound and felt that it was improved by Morton's production. Over the years the New York Dolls legacy has only grown larger.
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LP
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WWSLP 031LP
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2025 repress; LP version. Obi; includes four-page insert. Wewantsounds present the first official release outside of Japan for The Mystery Kindaichi Band's The Adventures of Kindaichi Kosuke, originally released in 1977. The "imaginary" soundtrack to the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best '70s Japanese Funk musicians, the album is pure undiluted disco funk. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaichi. The fictional character was born in 1946 with Yokomizo's first novel in the series and solved mysteries until the late '70s under Yokomizo's pen before the death of the writer in 1981. Yokomizo's novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though. The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game Wizardry. For the album, he assembled a supergroup of some of the best Tokyo funk and city pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 Joe Henderson In Japan album, drummer Jun Moriya, who is on Joe Hisaichi's cult Wonder City Orchestra album (1982), percussionist Tadaomi Anai who played with disco singer Eri Ohno, trumpeter Koji Hadori who's featured on Haruomi Hosono's Pacific album (1978). Also present on the album are saxophonist Takeru Muraoka who plays on many Tatsuro Yamashita cult albums including For You (1982) and Spacy (1977), Kimiko Yamauchi (koto) who's on Akiko Yano's landmark 1976 album Japanese Girl (WWSCD 017CD/WWSLP 017LP), and last but not least, French hornist Koji Yamaguchi who plays on Yazuaki Shimizu's Kakashi (1982). Together they lay the funk on ten instrumentals filled with pure disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene. Remastered from the original tapes. Faithfully reproduced original artwork; Artwork by renowned illustrator Ichibun Sugimoto. New introduction by Anton Spice.
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2LP
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WWSLP 040LP
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2025 repress; double LP version. Tokyo Dreaming is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. Wewantsounds have teamed up with journalist and Japanese music expert Nick Luscombe. The selection mixes electro, synth-pop, funk, and ambient and includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. Nippon Columbia, one of Japan's oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late '70s, became a hotbed for Tokyo's new generation of pop artists eager to experiment with ambient, electro, and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time. Tokyo Dreaming starts with "The End of Asia" by Ryuichi Sakamoto from his 1978 ground-breaking debut Thousand Knives Of... (WWSCD 024CD/WWSLP 024LP, 2019). The track became a staple of Sakamoto and Yellow Magic Orchestra's live shows and was even re-recorded by the group for their 1980 album X Multiplies. The track is followed by Mariah's cult Armenian folk flavored synth pop classic "Shinzo No Tobira" (1983). Chika Asamoto's "Self Control" (1988) and Jun Fukamachi's "Treasure Hunter" (1985) are perfect songs in the synth-pop canon, while Yumi Murata's rendition of Akiko Yano's "Watashi No Bus" and Hitomi "Penny" Tohyama's "Rainy Driver" both from 1981, move closer towards the slicker, funkier sound of city pop. Tokyo Dreaming superbly showcases the breadth of '80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata's dub-infused "Room" from 1980, Kazumi Watanabe's discoid "Tokyo Joe" (1980) and Juicy Fruits' techno pop song "Jenie Gets Angry". The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu's "Semi Tori No Hi" and Shigeo Sekito's ambient-jazz masterpiece "The Word II" from his highly sought-after album Kareinaru Electone (The Word) Vol.2 (1975). Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future. Album designed by famed London-based designer Optigram. Also features Yumi Seino, Kyoko Furuya, Kazue Itoh, Haruo Chikada & Vibra-Tones, and Colored Music.
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