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Recent Best Sellers
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SR 574CD
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DVD is NTSC format, region-free. Never released before. In 2009, the Triton venue (near Paris, France) was sold out to celebrate the 35th anniversary of Univers Zéro, an iconic band of the Rock In Opposition movement. These two exceptional concerts highlighted a radical and unique style of music, at the crossroads of new music and chamber rock, skillfully blending acoustic and electric instruments, as heard on the cult album Ceux du Dehors. Around Daniel Denis (drums, composition), Michel Berckmans (oboe, bassoon), and Andy Kirk (keyboards and guitar), three historical figures of the group, complemented by four other talented musicians, offered an intense multimedia show, intertwining a condensed version of key pieces from the repertoire with more recent compositions. These concerts were part of a key phase in which the band offered one of its most-accomplished line-ups, taking the opportunity to establish its sound and image. The line-up had undergone a few changes since its reformation in 2004, with Pierre Chevalier (from the band Présent) and a new bassist joining the ensemble. This highlight has now resulted in the release of a live CD/DVD, a precious testimony to the band's artistic resurgence and stage energy.
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WWSLP 112LP
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LP version. Wewantsounds presents the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan's leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan's music scene during the decade. Compiled by Nick Luscombe -- who previously curated Tokyo Dreaming for the label -- the set marks the first time Hitomi's music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny's work and its role in the evolution of Japanese funk and groove culture. Hitomi "Penny" Tohyama was one of the few female singers to fully embrace Japan's burgeoning funk and boogie movement of the 1980s. Born in Okinawa in 1957 and raised partly in California, she developed a cosmopolitan outlook that would shape her music. At a time when the country's pop scene was shifting toward slick, funk-oriented productions, Penny crafted a distinctive style that fused boogie, disco, and funk with her confident, soulful delivery. Her albums for Nippon Columbia recorded in the '80s capture this vibrant moment, combining sophisticated studio craft with the pulse of Tokyo's nightlife. The selection includes cult classics such as "Sexy Robot," "Love is the Competition," and "Instant Polaroid," with lesser-known gems such as "Exotic Yokogao" and "I Love You Shika Omoitsukanai." Together they showcase the singer's versatility, moving effortlessly between syncopated upbeat floorfillers and chilled mid-tempo grooves. While her music earned recognition at home, these releases were never widely available outside Japan and slowly became prized finds among DJs and collectors. Tokyo Funk Diva presents highlights from this catalogue for the first time in an international release. Compiled by broadcaster and tastemaker Nick Luscombe, the selection has been newly remastered and comes with Luscombe's liner notes, retracing Penny's career and her role in the evolution of Japanese boogie and disco. As he writes in the liner notes, "It's this deep musical craftsmanship -- both in the songwriting and performances -- that gives Penny Tohyama's work its lasting power. Her music feels as fresh and relevant today as it did when it was first released." With its mix of sharp production, irresistible rhythms, and Penny's unmistakable presence, Tokyo Funk Diva serves both as a long overdue introduction to one of Japan's original funk queens.
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LP
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FFL 101LP
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LP version. On "Cold Sweat," James Brown famously called to "give the drummer some." In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson's PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle. Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet's Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground. Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal's development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label. "We couldn't get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris," Jamal recalled in a Cadence interview with Ken Weiss. "Within a few weeks, I had a few articles and I did a record date. It didn't make me feel good about America." That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu's The Complete PALM Recordings, 1973-1974. Jamal's record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes's wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal's last word there were "The Creator has a master plan/drum dance to the motherland." "Give the vibes some" could be added to this programmatic statement.
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WWSLP 105LP
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LP version. Wewantsounds presents the release of Akiko Yano's cult 1979 album 7 O'Clock in Tokyo, recorded live in September 1978 at a pivotal moment in Japanese music history, just as Yellow Magic Orchestra was about to take the world by storm (Yano would tour the world with the group in 1979). Featuring a very funky Yano performance accompanied by Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi, plus Tatsuro Yamashita and Minako Yoshida, the album is presented outside Japan for the first time, with remastered audio, original artwork, and a four-page insert including new liner notes by Paul Bowler. Akiko Yano holds a unique place in Japan's musical history. Emerging in the mid-'70s while still in her early 20s, she quickly gained attention for her inventive songwriting, versatile singing, playful melodies, and genre-blending mix of pop, jazz, funk, and experimental sounds. Her influence has since reached far beyond Japan, earning her a devoted international following that includes Mac DeMarco, Clairo, and Jessy Lanza. By the late '70s, she had become closely connected with the members of Yellow Magic Orchestra, joining them on their first international tour in 1979. 7 O'Clock in Tokyo, captured live in September 1978, features Yano with a band including the three musicians performing a concert to support her third studio album, To-Ki-Me-Ki, just as YMO was preparing to take the world stage with their debut album. This performance offers a compelling snapshot of a pivotal moment in Japanese pop, when musical boundaries were being explored and new sounds were emerging. The concert highlights Yano's distinctive blend of Japanese pop and funk, with a superb rendition of "To-Ki-Me-Ki's" title track and "Katarun Kararan" from the same album, plus "Satchan," a playful piece performed with Yano accompanying herself on acoustic piano. The album closes with "Walk on the Way of Life," an eight-minute funky finale that brings the musicians together in a groovy performance, underlining both their versatility and the energy of the show.
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WRWTFWW 107C-LP
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2025 limited repress. WRWTFWW Records presents the first release from its new City Pop Series with Japanese singer, actress, entertainer, scholar and all-around legend Momoko Kikuchi's sun-drenched classic Ocean Side album, available as a limited-edition transparent vinyl LP in a heavyweight sleeve with obi. A cult classic among Japanese music collectors, Ocean Side was originally released in 1984 by mythical label VAP and features lush compositions and arrangements by J-Pop icon Tetsuji Hayashi (Mariya Takeuchi, Miki Matsubara, Omega Tribe, Junichi Inagaki). Momoko Kikuchi's city pop gem is a flawless mix of heartwarming beachside funk, breezy grooves, and silky-smooth vocals -- the feel-good music we all need in our life right now. The nine-track summer-is-forever adventure notably includes the ultra-funky megahit "Blind Curve," the fan-favorite title song, and the insanely romantic ballad "Futari No Night Drive." A vibrant reflection of summer in 1980s Japan, Ocean Side masterfully balances nostalgia and elegance, and provides part of the origin story for revered modern music genres such as chillwave, and future funk, and vaporwave. The official reissue licensed from VAP, Inc. is sourced from the original masters with an audiophile-cut by Sidney Meyer at Emil Berliner Studios.
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ST 2580LP
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2025 limited restock. "Smile (sometimes stylized as SMiLE) is the unfinished album by the Beach Boys intended to follow their 1966 album Pet Sounds. the project came to be regarded as the most legendary unreleased album in popular music history. The album was produced and almost entirely composed by Brian Wilson with Van Dyke Parks, both of whom conceived the project as a 'teenage symphony to God' It was a concept album that was planned to feature word paintings, tape manipulation, experiments with musical acoustics, themes of youth and innocence, and comedic interludes, with influences drawn from mysticism, pre-rock and roll pop, doo-wop, jazz, ragtime, musique concrète, classical, American history, poetry, spirituality, and cartoons. A mythology grew around the project, and its unfulfilled potential inspired many, especially those in indie rock, post-punk, electronic, and chamber pop genres."
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VAMPI 334LP
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This anthology of Los Wembler's allows listeners to appreciate the legacy of the iconic group from Iquitos, the most important city in the Peruvian Amazon which is only accessible by air or river, and their key role in the creation and revival of Amazonian cumbia. Los Wembler's emerged as a family band in the late 1960s in the Belén district of Iquitos and are regarded as pioneers of electric guitar-driven Amazonian cumbia from Perú. The selection of songs that make up this compilation dates from the period between 1972 and 1980, at the peak of the band's career. Songs such as "Sonido amazónico" or "La danza del petrolero" have become highly influential classics of the genre. Most of these tracks are reissued here for the first time after remaining unavailable for decades. Selva includes an insert with liner notes and photos. Pressed on 180g vinyl.
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BB 497LP
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LP version. By 1973, Faust had already rewired the circuits of German rock. Their first two albums had exploded traditional song form with a joyous disregard for continuity, coherence, or commercial appeal. The Faust Tapes, released earlier that year for 49p as a surreal sampler of their cut-and-paste genius, had earned them a curious British audience and the indulgence of Virgin Records. For a brief moment, it seemed as though Faust might finally play the game, just a little. What emerged instead was Faust IV, their most paradoxical work: accessible enough to lure listeners in, complex enough to keep them guessing. For the first time, the band left the rustic headquarters in Wümme, a former schoolhouse in rural Lower Saxony, stuffed with cabling, hand-built electronics, and limitless weed, and entered the professional confines of The Manor, Virgin's newly christened studio in Oxfordshire. Gone was the radical freedom of the commune. In its place: deadlines, engineers, and a rapidly dwindling budget. The sessions stretched on and grew increasingly fraught, yielding a mixture of fresh material and fragments drawn in from earlier experiments in Wümme. Faust IV is the result: part studio artefact, part salvage operation, part séance. Faust IV is uneven, restless, and full of contradictions, and that's exactly what makes it compelling. Its rough edges and loose threads sit right alongside moments of real focus, giving the sense of a band following ideas wherever they lead. Rather than polish things smooth, Faust left the seams visible, and the result feels all the more vital for it. Nearly half a century on, its spirit remains intact: mischievous, mysterious, and gloriously unfinished. If Faust had set out to build a new language, Faust IV shows them mid-sentence, trailing off, cracking jokes, then suddenly profound. Don't expect to follow the conversation, just keep listening.
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2LP
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CMR 009LP
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Double LP version. "Official expanded edition of Sun Ra's Saturn debut features an additional fourteen tracks of alternate versions and studio takes. The CD also contains four CD only bonus tracks. Liner notes were penned by avid fan Ira Kaplan of Yo La Tengo, as well as an essay from longtime Ra blogger Rodger Coleman (NUVOID Sun Ra Sundays). Vinyl gatefold jacket includes a 12x12 insert reproduction of the original LP jacket art. Recorded in 1956 and released in 1957, Supersonic Jazz is arguably the first long-playing album by Sun Ra and His Arkestra on his Saturn label. However, it was not recorded as a debut. Rather, the album was assembled from tapes recorded during a number of sessions at two Chicago studios (RCA Victor and Balkan), and several tracks had been released as singles before their inclusion on this album. (Sunny's first fully realized commercial album was 1957's Jazz by Sun Ra, produced by Tom Wilson on his short lived/soon to be defunct Transition label.) Prior to these sessions, Sunny was still arranging for the Red Saunders Orchestra and singer Joe Williams, in addition to arranging for and coaching doo-wop ensembles. As Sunny's ambitions achieved liftoff, the Arkestra coalesced, began building a repertoire (mostly of Ra's originals), and making forays into studios. Deciding it was time for commercial releases, Sunny and business partner Alton Abraham launched Saturn (sometimes called El Saturn) as a record company in 1956. As a first offering, Supersonic Jazz is a pinnacle Sun Ra release. While reflecting many prevailing bebop, Latin, and R&B conventions of the mid-1950s, it's evident that Sun Ra's musical voice and vision were starting to propel him away from the jazz mainstream. Biographer John Szwed finds on these recordings 'characteristics which seemed alien to swing, bebop, or the new, more soulful and hard-edged music which was coming to be called hard bop.'"
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WRJ 002LP
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2025 repress. "Regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.
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SE 4617X-LP
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2025 restock. "The album was produced by the band themselves, and issued in two different stereo mixes. The more widely distributed mix is the one done by MGM/Verve staff engineer Val Valentin. The other mix was done by Lou Reed, boosting his vocals and guitar solos, while reducing the level of other instruments. This version was dubbed the 'Closet Mix' by Sterling Morrison, because it sounded to him as if it had been recorded in a closet. The most dramatic difference is that the two versions use entirely different performances of 'Some Kinda Love', both taken from the same recording sessions."
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ABERRANT 004LP
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Limited 2025 restock. Disco divas, funky queens, and glam ladies in '70s and early '80s Taiwan! Due to its extremely complex history, Taiwan in the '70s saw the creation of some incredibly special music in which the sounds being created at the moment from the west collided with the special sensitivity of Taiwanese musicians, creating a delicious mixture you'll need to hear to believe. Taiwan Disco shines a light on the music created by Taiwanese women during those years ('70s and early '80s) to present a mind-blowing collection of songs with sounds ranging from wild funk to apace glam, exotic disco or fuzzed-out soul. Here's the ticket to some crazy Taiwan nights, get those dancing shoes ready, it's time to shake it! Features Wu Xiu Zhu (吳秀珠), Hua Yi Bao (華怡保), Cui Tai Jing (崔台青), Zou Juan Juan (邹娟娟), Chen Lan Li (陳蘭麗), Wang Xiang Ling (王祥齡), Tian Lu Lu (田路路), Liu Guan Lin (劉冠霖), Wu Xiu Zhu (吳秀珠), Luo Yan Li (駱豔麗), Yu San Shan (于三珊), and Zhang Bei Xin (張蓓心).
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CD
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SR 559CD
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Uzed is the fourth album by Belgian band Univers Zero. It was released three years after Ceux du Dehors, due to a change in line-up and a new repertoire, although the EP Crawling Wind had been released in the meantime. The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in "Célesta (For Chantal)," and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. With Dirk Descheemaeker on clarinet and soprano saxophone and the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. Uzed is entirely composed and arranged by Daniel Denis. The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out Uzed, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024. Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
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LP
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MTE 083LP
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Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS). After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo's #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside. One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band's more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams' love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow. Speaking to the history & the inspirations behind the album, Abrams offers: "We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school." Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon." The core NIS ensemble heard on Perseverance Flow always address Abrams' writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams' invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time. Refracting the band's signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once -- "energetically nutritious" (October 2025 Issue 500 The Wire) supernatural information society.
"Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears" (Abrams).
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CS 013LP
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LP version. A collaboration forged in the heart of the American Midwest, In The Earth Again unites Oklahoma City's noise rock institution Chat Pile with Texas/Oklahoma's visionary guitarist and composer Hayden Pedigo. What began as a casual split release idea spiraled into a thirty-six-minute album that threads their contrasting sensibilities into something entirely new. Pedigo's panoramic, primitive guitar, meets Chat Pile's industrial decay, creating a record that explores unknown emotional registers and atmospheric depth for both, In The Earth Again sounds like a post-apocalyptic transmission from rural nowhere. Instead of making concessions, the five artists work as a single unit, and each decision is made in support of the greater vision. The result is both intimate and expansive, a tribute to the modern wasteland. Cover art by Malcom Byers.
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CT 115LP
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2025 repress. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".
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2LP
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OP 031LP
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Pomegranates -- Nicolás Jaar's unofficial/alternative soundtrack to Sergei Parajanov's 1969 film The Color of Pomegranates -- was first released in 2015, and to highlight the 10-year anniversary Other People is reissuing the album on vinyl, with the first edition (a collaboration with the label Mana) having long been out of print. Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it's based, with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar's identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film's tracing of the coming of age of the young poet, Sayat-Nova. At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend's music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar's most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener. In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects.
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WWSLP 113LP
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Wewantsounds collaborates with cult musician Yusuf Mumin of the Black Unity Trio to unveil previously unreleased music from his personal archive. Following 2024's acclaimed Black Artist Group release, this new instalment continues to unearth hidden treasures from the Great Black Music tradition. Although the exact recording dates remain unknown, the music here is a powerful blend of serene spiritual jazz and fiery sonic intensity. All tracks have been remastered for vinyl by Colorsound Studio and the release also includes a two-page insert featuring new liner notes by Mumin and Pierre Crépon. In 1968, Yusuf Mumin was the blistering alto saxophone voice of the Black Unity Trio, who recorded the cult privately pressed album Al-Fatihah, one of the most sought-after albums in the genre. After extensive but unsuccessful searches for additional material by the group, Journey to the Ancient finally offers more unheard music from Yusuf Mumin. The album presented here draws from a selection of recordings preserved in Mumin's private collection, revealing previously unheard layers of his experimental vision. Mumin performs under both his own name and, when multitracking revelatory double bass parts, the pseudonym Dan Nuby. Born Joseph W. Phillips in 1944, Mumin became a key figure in Cleveland's radical free jazz underground of the 1960s. Deeply influenced by spiritual and esoteric traditions, Mumin was originally drawn to "outside" playing by the sonic explorations of Yusef Lateef. Shortly after Albert Ayler's U.S. recording debut with trumpeter Norman Howard, Howard and Mumin were co-leading a group in Cleveland. Mumin's legacy was cemented through his collaborations with Abdul Wadud and Hasan Shahid as the Black Unity Trio. The release includes a two-page insert featuring interview-based liner notes by Mumin and Crépon, offering fresh insight into the great history of the Cleveland scene. Journey to the Ancient continues Wewantsounds' mission to unearth the hidden treasures of such visionary jazz musicians, and it's an honor to finally present Yusuf Mumin's cutting-edge work for the first time after it remained unheard in the vault for decades.
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WRWTFWW 109LP
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WRWTFWW Records presents the limited-edition vinyl reissue of Natural Sonic, the groundbreaking 1990 environmental percussion album by Japanese composer and performer Yoshiaki Ochi. Long a hidden gem of the kankyō ongaku movement, Natural Sonic finally returns in its full analog glory, housed in a heavyweight sleeve with obi and carefully remastered from the original archives of Wacoal Art Center/Spiral's visionary NEWSIC label. Originally released only in Japan at the dawn of the 1990s, Natural Sonic is a mesmerizing exploration of earthly sound and rhythm -- a sonic tapestry woven from wood, water, and stone, and skin. Ochi, who at the time was the in-house composer and performer for world-renowned designer Issey Miyake, created a series of elemental pieces that blur the line between avant-garde percussion, ritual music, and environmental sound art. The result is both deeply physical and profoundly meditative -- an album that breathes with nature itself. Echoing the organic minimalism of Midori Takada's Through the Looking Glass and the ecological grandeur of Geinoh Yamashirogumi's Ecophony Gaia, Ochi's compositions open portals into primal landscapes, evoking forests, rivers, and stones in flux. Part of NEWSIC's celebrated experimental catalog -- alongside Yoshio Ojima's Une Collection des Chaînons, Motohiko Hamase's #Notes of Forestry, and Satsuki Shibano's Rendez-Vous -- Natural Sonic now finds new life for contemporary listeners seeking sound that feels both timeless and vital. A singular album of resonance and restraint, Natural Sonic is a treasure from the golden age of Japanese environmental music, finally available again over three decades later.
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FTR 812LP
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"46 years after I first heard Stare Kits on a cassette, they finally have an LP. About time! This NYC quartet's name often comes up in discussions of the No Wave era, which make sense. The members -- Angela Jaeger, Amy Rigby, Michael McMahon, and Bob Gurevics -- were all fans of the scene, and involved with various aspects of TR3, one of No Wave's pre-eminent showcases. UT played their first gig opening for Stare Kits. Rick Brown (Blinding Headache, Information, etc.) played guest sax with them. Julia Gorton used Amy as a photo model almost as often as she used Lydia Lunch, and so on. But despite such connections they were not a No Wave band. Stare Kits's music certainly use instrumental elements in line with No Wave's ethos, but these're part of a much larger mix. The band's basic approach is much rockier and punkier. Bob's guitar parts are more in the tradition of Quine and Reed than they are Lydian, the McMahon/Rigby's rhythm section is more primitive than martial, and Angela's vocals are goddamn melodic. Closer musical comparisons might be made to a various aspects of UK bands from Penetration to Wire to Deaf School to X-Ray Spex. There's a soupçon of a '79 UK DIY rattle to some of the tunes as well. But there is an ineffable something lurking in their collective soul that keeps Stare Kits's instrumental sound grounded in the NYC art-punk/street-rock continuum. Angela's vocals may resemble Penelope Houston's at moments but there's not much overt political content in Stare Kits's lyrics. An eclectic mix of elements? Yeah, and it sounds fucking great. The saga of Stare Kits was laid out pretty well in Angela's excellent book, I Feel Famous (Hat & Beard Press 2025) and was also part of Amy McMahon's equally dandy Girl to City (Southern Domestic 2019). Now's your chance to hear what their hubbub was all about." --Byron Coley, 2025
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DOARXXX
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Picture disc reissue of Current 93's Earth Covers Earth. "Remastered from the original, tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12" vinyl picture-disc comes in a full-color die-cut sleeve, which is printed on both the outside and inside. This is one of the second group of four reissues of the entire back catalogue of C93 on picture-disc, in the lead-up to the publication of my autobiography, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out." --David Tibet, Hastings, 3 June 2025.
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COSMR 043LP
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Mentioned on Julian Cope's essential guide Jap Rock Sampler, Food Brain released their debut album in 1970, gathering influences from prog, proto-hard and psychedelic music. By far a supergroup consisting of Shinki Chen (Speed, Glue and Shinki), Hiro Yanagida (Milk Time) and Hiro Tsunoda (Flied Egg), the band showed an incredible interplay on their nine instrumental pieces, generating a cult following aboard.
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CVSDLP 016LP
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Who was that masked man? This question is on many lips having seen and heard the Defiant Jazz episode of the hit TV show Severance, the one in which the show's protagonists are allowed a company dance party, accompanied by a light show and increasingly wild, funky, saxophone-driven music. The masked man? None other than Joe McPhee, Poughkeepsie, New York's best kept secret, one of the great figures of contemporary improvised music. A living legend looming large, you might say. And now a presence in households around the globe. This "taster" is more than a "best of" record. Defiant Jazz includes "Shakey Jake," the dance party track, a funky upsetter from 1970 that shimmies and rolls at the same time it builds and explodes. The vinyl-only compilation then moves across time, touching on another early track, the spiritual jazz classic "Astral Spirits," from the 1972 CJR LP Trinity and a 1983 version of the Sonny Rollins tune "Oleo" from the hat Hut LP of the same name, with psychedelic guitar outbursts courtesy of Raymond Boni. The second side opens with "I See You Baby Shakin' That Ass," a self-proclaimed "throwdown" with McPhee as emcee and flamethrowing saxophonist, fronting two bands, Cato Salsa Experience and The Thing. A dance floor jack-in-the-box for anyone unlucky enough not to have heard it yet. The program concludes with a sensitive tenor/drum duet between McPhee and Paal Nilssen-Love. The cover features previously unpublished vintage photos of McPhee. If you already know Mr. McPhee's music, this compilation is designed to fulfill, and if you're new to him, it will thrill and chill. Win-win.
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FFL 101CD
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On "Cold Sweat," James Brown famously called to "give the drummer some." In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson's PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle. Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet's Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground. Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal's development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label. "We couldn't get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris," Jamal recalled in a Cadence interview with Ken Weiss. "Within a few weeks, I had a few articles and I did a record date. It didn't make me feel good about America." That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu's The Complete PALM Recordings, 1973-1974. Jamal's record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes's wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal's last word there were "The Creator has a master plan/drum dance to the motherland." "Give the vibes some" could be added to this programmatic statement.
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VAMPI 329LP
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Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic "Unwind Yourself," a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s -- alongside iconic names like Lyn Collins and Vicki Anderson -- Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like "You Got to Have a Job" and the endlessly sampled "Unwind Yourself" have only grown in stature over the decades. Her album, It's My Thing, dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself -- who also contributed to most of the songwriting -- the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of "It's My Thing" -- a bold response to the Isley Brothers' "It's Your Thing" -- Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with "If You Love Me," a soul-soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like "Unwind Yourself." Decades later, It's My Thing continues to inspire, sampled by producers and treasured by collectors -- a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.
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PAL 094LP
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LP version. "Another Perfect Day is Bill Orcutt's first solo electric guitar record since 2017's eponymous Bill Orcutt. While that eight-year gap might not seem like a ton of time on the cosmic scale, it nonetheless represents a busy half-decade plus for Orcutt projects: a raft of improv collaborations, an acclaimed run of chopped and looped albums on Fake Estates, and the collision of Orcutt's computer and guitar music on Music For Four Guitars and How to Rescue Things, both on Palilalia. The undeniable alchemy of those latter mashups inspired not only a wider appreciation of Orcutt-as-composer, but also the resurrection of Orcutt-as-bandleader, as the Bill Orcutt Quartet hit the road in support of Four Guitars, Orcutt's first work with a proper score (courtesy of Shane Parrish). Here, he is wielding his trademark four-string rather than a mouse, running the neck rather than shuffling waveforms, blasting through Cafe Oto's tattered Fender Twin (the cover model for the aforementioned How to Rescue Things) rather than a pair of ancient NS-10s. Indeed, this 2023 performance at Oto, East London's finest music establishment, boomerangs back into the slashing chords and frenzied double- picking of the Harry Pussy years, tossing the gentler melodic glow of the last few solo records into the dustbin. In other words, this may be Orcutt's most overtly punk-rockist record since Gerty Loves Pussy, his first solo electric LP from a decade ago. It's an affirmation that Orcutt is above all a lead player -- angular runs scaling the heavens, ricocheting back to ground zero before climbing again. Orcutt builds tension with short phrases, repeated with slight variability until it seems like they'll never stop, finally slamming into a fresh line like the dawning valley at the crest of the mountain pass. Another Perfect Day is, ultimately, something of a solo guitar Nouveau Roman, an exhilarating run through melodic reiteration, impossible crescendos breaking into -- a moment rarely found on an Orcutt record -- soft, whisper-quiet tracer notes at the end of 'A Natural Death.' Another Perfect Day returns Orcutt to the immediacy of his earliest records while maintaining the melodic complexity, phrasing, and flow of a player, who's been going, what -- four-plus decades now? And when he taps his roots, it's a reminder of exactly what was so exciting about Orcutt's playing in the first place." --Tom Carter
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LP+CD
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LR 340LP
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2025 repress. Originally released in 1969, this album is one of the most significant in Brazilian musical history, spearheading the musical Tropicalia revolution lead by Brazilian legends Caetano Veloso and Gilberto Gil, not to mention Gal Costa and mutant rockers Os Mutantes. Not only were the artists experimenting with the music, they were also making a very strong political statement that spoke out very harshly against the military regime in Brazil at the time. This album helped land Veloso and Gil a brief stint in jail and eventually in political exile in the UK. Includes bonus CD of the album.
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2LP
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SV 104LP
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Double LP version. "Difficult as it may be to imagine, there was a time when Sun City Girls did not exist. Prior to the Bishop brothers teaming up with drummer/shaman Charlie Gocher to form SCG's classic trio lineup, there were various ad-hoc assemblages of local Phoenix-area freaks and weirdos -- groups which existed only long enough to play a single gig, open mic or house party before disbanding without a trace. Hatched from this milieu was Paris 1942, a short-lived band formed by guitarist Jesse Srogoncik that included Alan Bishop, Richard Bishop, and former Velvet Underground drummer Maureen Tucker. Paris 1942 would play only four shows in as many months, but between April and August of 1982, the band would gather several times a week in Tucker's living room, where the group feverishly wrote and rehearsed with a kind of quotidian discipline. While P42 didn't release anything during their brief tenure, a 7" EP and LP (both self-titled) surreptitiously surfaced on the Majora label in the mid to late '90s. Until now, those two titles -- as well as an appearance on Placebo's Amuck comp in late '82 -- would be the only documented evidence that this improbable, serendipitous and magnificent band ever existed. While those expecting P42's music to sound like a tantalizing combination of Sun City Girls' iconoclastic hoodoo havoc and the Velvets' primal drug-chug certainly won't be disappointed, Paris 1942 more often than not transcends even these nearly impossible expectations. Srogoncik's songs, in particular, are a revelation, displaying as much in common with the exuberant raunch of The Gun Club and the chapbook punk of Peter Laughner as they do any of the more obvious touchstones."
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DOARXXVII
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Picture disc reissue of Current 93's Imperium. "Remastered from the original, tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12" vinyl picture-disc comes in a full-color die-cut sleeve, which is printed on both the outside and inside. This is one of the second group of four reissues of the entire back catalogue of C93 on picture-disc, in the lead-up to the publication of my autobiography, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out." --David Tibet, Hastings, 3 June 2025.
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VAMPI 328LP
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Ranil is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside all the better-known iconic bands. He worked as a teacher, criollo guitarist, radio host, TV entrepreneur, and politician, but gained lasting fame as the founder of Ranil y Su Conjunto Tropical in the 1970s. By 1968, around the same time Los Destellos were making waves in Lima, groups like Los Wembler's de Iquitos and Juaneco y su Combo began electrifying cumbia in Iquitos. This new genre, dubbed Amazonian cumbia, exploded nationwide in 1973, thanks to hits by Juaneco y su Combo, Los Mirlos, and Los Wembler's. The success these bands achieved spawned dozens of other groups from the Amazon. Ranil, always a visionary, recognized the movement's potential and joined forces through his first single recorded on the Dinsa label in 1974. Unhappy with the contractual terms, he went on to found Producciones Llerena, the label on which he would release the rest of his discography. Over the years, Ranil y su Conjunto Tropical featured guitarists like Límber Zumba and Luis Nigro, while Ranil remained the lead vocalist and bassist for group. Zumba and Nigro had already played with other regional bands and written songs for groups like Los Destellos and Los Mirlos. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s, bringing together 14 tracks from the band's ten LPs. These records have always been hard to come by as, despite being recorded in Lima, they were distributed by Ranil from Iquitos. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk -- you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted.
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HJR 088LP
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Gospel melts into soul in this dazzling collection of sides originally released by the Chess subsidiary label Checker. Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel -- thumping bass and pounding drums, bluesy guitar and horns -- and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house; Morris Jennings, drummer on Curtis' "Superfly" and Terry Callier's "What Color Is Love." Louis Satterfield from The Pharaohs and Earth Wind & Fire. Ramsey Lewis' guitarist Byron Gregory; Phil Upchurch; Laura Lee; a protege of Willie Dixon; engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. Focused on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires' "Groovin' With Jesus," working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle's title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks' achingly timely choral call-to-arms, "Stand Up America, Don't Be Afraid"; the East St Louis Gospelettes' heart-stopping, fathoms-deep rendition of Bobby Bland's "I'll Take Care Of You." A beautiful gatefold sleeve; a full-color booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill. Also featuring The Meditation Singers, Charlie Brown, Martha Bass, The Williams Singers, The Faithful Wonders, The Salem Travelers, Power And Light Choral Ensemble, The Masonic Wonders, The Majestic Choir & The Soul Stirrers, The Jordan Singers, Lucy Rodgers, The Kindly Shepherds, The Inspirational Singers, The Bells Of Joy, and Stevie Hawkins.
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JB 007LP
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20th Anniversary Reissue. Remastered. Groundbreaking MPB/downtempo classic. Originally released in 2005, Céu introduced the world to a bold new voice in Brazilian music. Seamlessly blending samba, MPB, soul, and downtempo grooves, Céu delivered a debut that felt both deeply rooted and strikingly contemporary. With her smoky, understated vocal tone, she evoked echoes of classic bossa nova while pushing into new sonic territory -- covering Bob Marley's "Concrete Jungle" with Afro-Brazilian swing and layering in dub and electronica accents. Hailed for its elegance and quiet innovation, the album hit No. 1 on Billboard's World and Heatseekers charts, earned a Grammy nomination, and became the highest U.S. chart debut for a Brazilian female artist since Astrud Gilberto. Now celebrating its 20th anniversary, Céu returns remastered for vinyl -- a modern Brazilian classic reissued for a new generation of listeners. Includes classics: "Lenda," "Malemolencia," and "Concrete Jungle." Mastering by Colorsounds Paris.
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2LP
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PLZ 056LP
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Thank You For Almost Everything is the sophomore album for Headache, a collaboration between writer and poet Francis Hornsby Clark and music-producer Joseph Thornalley aka Vegyn. This new album follows on the surprise underground success of their debut: The Head Hurts But The Heart Knows The Truth, releasing on Vegyn's own PLZ Make It Ruins label. Since its release, Headache has built a dedicated global fanbase, with several fans even going so far as to get lyrics or the project's logo tattooed on themselves. Thank You For Almost Everything continues the original's distinct style of trip-hop/downtempo electronica but combining with its own unique (and now imitated) AI-voiced spoken word. For this new album, Headache steps away from the hum-drum of Blighty and instead focuses his gaze to sunnier shores. Recalling personal histories of ruffled hair and school cafeterias, ancient unsolved Albionic riddles, Rome's changing seasons and its poignant graffiti, arguments with girlfriends at luxury hotel beachfront restaurants, and what it truly feels like to be alive in this inscrutable but beautiful world. The project features a further collaboration with artist Cali Thornhill DeWitt who returns to design the packaging and cover for this new album. This double 12" vinyl release, like the first, includes the instrumental versions exclusive to the vinyl version. The album was mixed and mastered by Margo Broom at RAK Studios.
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DOARXXIX
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Picture disc reissue of Current 93's Lucifer Over London. "Remastered from the original, tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12" vinyl picture-disc comes in a full-color die-cut sleeve, which is printed on both the outside and inside. This is one of the second group of four reissues of the entire back catalogue of C93 on picture-disc, in the lead-up to the publication of my autobiography, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out." --David Tibet, Hastings, 3 June 2025.
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VAMPI 327LP
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A samba funk essential. This debut album from Jorge Ben's iconic backing band blends Brazilian rhythms, soulful vocals, and American funk energy into one unforgettable groove. Includes the hit single "Coqueiro Verde" along with standout tracks like "Meu País," 'Aleluia, Aleluia," and "O Canto da Ema." A timeless gem for fans of Brazilian soul, vintage funk, or global grooves. First time official reissue. Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role -- they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music. Formed in São Paulo's iconic Jogral nightclub, Trio Mocotó -- featuring Fritz Escovão, Joãozinho Parahyba, and Nereu Gargalo -- began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era. In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, Muita Zorra! (São Coisas Que Glorificam a Sensibilidade Atual). The record made an immediate impact, climbing the charts with the infectious single "Coqueiro Verde" and marking the start of a prolific period in the group's career. Muita Zorra! is a dazzling blend of styles -- mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio's vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat. This album isn't just a snapshot of a musical moment -- it's a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, Muita Zorra! is once again available and ready to take its well-deserved place in your collection.
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EFFICIENT 033LP
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Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman's approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry. Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it. Even within a contemporary framework, Raman's rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on "Seven," the playful raga Bahudari becomes both centerpiece and conduit, while on the traditional piece "Thunbam Nergayil," drawn from a Tamil poem, listeners hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed. Sivarajah's command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition "Guardian." He sustains tradition while extending it through layering and sound-spatialization. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture. Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.
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JB 008LP
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Originally released in 2009, Céu's Vagarosa is a landmark of 21st-century Brazilian music -- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound both timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu's ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben's "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album's closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu's ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album's rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.
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OUTS 001LP
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2025 restock. Warsaw was the planned debut album by the English post-punk band Joy Division, while they were briefly associated with RCA Records. Recorded in May 1978, it comprised eleven tracks now known collectively as the RCA Sessions. However, the band were disappointed with the label's post-production work and the deal fell through, the album being scrapped. Four of the songs recorded during the RCA sessions had previously been recorded at the end of 1977, and it was these older recordings that the band would release the following month as their debut An Ideal for Living EP.
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EJR 003LP
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A duo concert featuring universal artist and activist Moor Mother and Archie Shepp was planned for October 19, 2023, at the Enjoy Jazz Festival. However, a spinal disc operation on the then 86-year-old saxophone legend led to the cancellation of this eagerly awaited world premiere -- and to a spontaneous demonstration of respect. To honor the great Archie Shepp, one of the most influential intellectuals in jazz, an Enjoy Jazz all-star cast spontaneously recorded a tribute song during the festival -- organized by festival director Rainer Kern. The line-up consisted of Nicole Mitchell, the most important flutist in the history of jazz, as well as the Enjoy Jazz "Artists in Residence" for 2023 and 2024, Moor Mother (spoken word) and Nduduzo Makhathini (piano). In her lyrics, the poetess creates a powerful linguistic monument to Archie Shepp, whom she greatly admires, by playing with the titles of the saxophonist's legendary recordings (instead of with him himself). The title One For Archie is an allusion to Shepp's 1964 Impulse debut, Four For Trane, which, according to Jazzwise, is one of the "100 Jazz Albums That Shook The World." In her moving text, Moor Mother also celebrates Shepp's political and social commitment. The way Moor Mother rhythmically and aesthetically picks up on Shepp's unique playing style, which oscillates between rugged clarity and deep humanity, begins to improvise on it, and thereby creates new connections, is impressive proof of her masterful artistry. Her recitation is peppered with haunting dramatic climaxes that give listeners goosebumps due to their authenticity. The B-side features "They've Got A Plan," a song that is like a beacon. An intense and powerful invocation of "Agenda 2063," a master plan of the African Union to transform the continent socially, economically, and politically. Both tracks are available on vinyl for the first time.
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LP
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GUESS 273LP
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Psychedelic rock holy grail. Hailing from Tel Aviv, the Churchills blended Anglo-American psychedelia with Middle Eastern motifs. The band was in fact a cosmopolitan collective: vocalist Stan Solomon was Canadian, guitarist Robb Huxley came from England, while the rest of the group -- Haim Romano on guitar and mandolin, Michael 'Miki' Gavrielov on bass, and Ami Trebich on drums -- were all from Israel. Released in 1969, Churchills can be considered the first truly psychedelic rock album produced and released in Israel during the 1960s. At a time when Israeli music was dominated by folk and pop, the Churchills' English-language, fuzz-drenched, mind-bending sound and studio experimentation was wildly ahead of its time. Impossible to find in its original form, Guerssen presents a new vinyl reissue of such legendary album, sourced from the original master tapes. Includes eight-page insert with detailed liner notes by Mike Stax with input by original member Robb Huxley and rare photos.
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LP
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DMOO 001LP
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2025 repress. Destination Moon present a reissue of Françoise Hardy's self-titled album, originally released in 1962. Françoise Hardy became an international sensation during the early 1960s through her albums on Disques Vogue, the French jazz label that then began showcasing chanson. She signed to the label at seventeen after answering a newspaper advertisement recruiting unknown singers while she was a freshman at the Sorbonne, the B-side of debut single, "Tous Les Garçons Et Les Filles", brought her to the forefront of the yé-yé movement, mixing chanson with Anglophone rock and pop, and paving the way for this debut LP, which was lauded by the likes of Bob Dylan and Mick Jagger. This first offering is still arguably her best -- grab it now to understand why! Clear vinyl.
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2LP
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INCIENSO 029LP
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An intimate, mesmerizing record about loss and change, sorry i thought you were someone else is K-LONE's most personal album to date and his debut release on Incienso. Made after his father's passing, the album became a place of escape and reflection. It's a warm, hypnotic space to drift within.
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LP
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EFFICIENT 048LP
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Reintroducing Soar -- the alias of Christian Aebi, serial DIY taper and one-man orchestra from Langenthal, a fog-shrouded town in the Swiss provinces. Krautophobia, ambient lo-fi agriculture, analogue soul balm and slowspeed psych gelati-blitz cardboard pop only gesture towards the sound world he coaxed from his broken Tascam four-track recorder, in attics, churches, junkyards and at the kitchen table. The spark for Soar was likely time and space, somewhere in the autumn of 1994. Armed with a cable salad of '60s guitar/bass, fairground drums, mold-speckled organs and toy instruments, Aebi coaxed five albums, an unverified run of 25 cassettes, and a handful of gigs. Mostly issued through Zurich label Corazoo, the records arrived in hand-pasted sleeves, rough-cut reproductions of his teddy bear-fixated artwork that carried the same imperfect immediacy as the music. With Rudi Steiner, performances in galleries, clubs and halls bent into live sound-image happenings -- part installation, part film, part flea-market-instrument theatre -- invariably leaving the house engineers bewildered. At the time of his untimely death in 2021, Aebi remained a village secret, his music passed quietly between friends and local ears. Now, Swiss graphic designer and Ghost Riders compiler Ivan Liechti has pieced together a portrait from the afterglow, gathering tangled audio formats, paintings, illustrations, photographs and notebooks with his family, former label and peers. What emerges is a first glimpse of Soar's intimate cosmos -- brushing against Füxa, Spectrum, Dump, Stereolab, and King Crimson, but orbiting a dimension entirely his own.
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CD
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WWSCD 106CD
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Wewantsounds reissues French pop icon Brigitte Fontaine's landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. This special, approved by the artist, features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of "Il Pleut" recorded for France Inter/ORTF. The release also includes a 20-page bilingual booklet with introductions by journalist Jeremy Allen and Stereolab's Laetitia Sadier, essays by Brigitte Fontaine's biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos. Brigitte Fontaine needs no introduction. An inspiring figure in French music since the 1960s, she has long been revered by a wide array of musicians -- from Stereolab to Sonic Youth, Beck, and Jarvis Cocker. Originally released in 1968 on Pierre Barouh's cult Saravah label, Brigitte Fontaine Est Folle shattered conventions. Fusing Fontaine's lyrical brilliance -- tackling themes like death, social revolt, and female desire -- with Vannier's lush, funky arrangements, the pair created a work that was ahead of its time. The release offers a selection of rare and previously unreleased recordings, including demos -- recently unearthed by the album's composer, Olivier Bloch-Lainé -- instrumentals showcasing Vannier's skills, and a groundbreaking 1969 live rendition of "Il Pleut" recorded for France Inter/ORTF. This version features Malachi Favors on bass, forming a direct link to her next LP, Comme à la Radio, recorded with the Art Ensemble of Chicago. Rebellious, witty and timeless, Brigitte Fontaine Est Folle is a landmark work by an artist who not only redefined French pop but also expanded its boundaries on the international scene. This deluxe edition stands as a vital document of her enduring legacy and one of the most original voices in modern music.
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2LP
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LMS 1725595
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Double LP version. Yellow and magenta color vinyl. 2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.
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LP
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VAMPI 160LP
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2025 repress; LP version. Includes "Todo en La Vida", the track featured in the Netflix Narcos series, "an ode to patience propelled by a yearning riff that wouldn't have been out of place in a Gainsbourg perv-jam").
The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medellín which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medellín. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogotá, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.
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2LP
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PP 010LP
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"Four live versions of 'Eyes Of The World' pulled from wonderful quality audience tapes: 6/8/74, 2/3/78, 6/9/76, and 5/13/83. Hand screen printed psychedelic sleeves. Super limited press of 200 copies."
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LP
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ATA 018LP
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2025 repress; originally released in 2020. The Sorcerers began working on a new album during the winter of 2018 and it was during the writing sessions for this album that the concept for the LP began to take shape. The name for the album was taken from the title of a National Geographic article read by bassist Neil Innes and was used as the starting point for the entire concept. The library music scene of the '60s and '70s has always been an intrinsic part of the sound of ATA Records and so it made perfect sense to envisage the album as a soundtrack, given the cinematic quality of The Sorcerers music. Each track was written with a particular scene in mind and the music was then shaped in the studio to best reflect the essence of that scene. Drums, bass and percussion provide the solid foundation onto which flutes, bass clarinets, xylophones, and vibraphones add the atmospheric and melodic counterpoint, deftly weaving between one another to conjure up images of the unforgiving environment of the dense jungle, unknown eyes watching the protagonists of the imagined film as they make their way towards their ultimate goal, their pursuit by unseen assailants, the arcane mysticism of undiscovered cargo cultists and the ancient ruins of long passed civilizations.
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LP
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SOW 063LP
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First released in 1964, still under Blackwell's production for Island records, here is another gem of pure Jamaican soulful jazz by the great Ernest Ranglin. Backed again by a highly swinging rhythm section formed by Malcom Cecil on bass and Alan Ganley on drums, Ranglin moves through a series of catchy fast, mid and slow tempos including Latin flavors and ballad moods.
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2CD
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LMS 1725592
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2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands. To celebrate, London Records presents a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP. This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations. Double CD version includes 6-page, 4/4 digisleeve with 3 wallets, as well as 12-page booklet and marketing sticker. 2LP version comes in 140gr black vinyl (LMS 1725594), and yellow/magenta vinyl (LMS 1725595) with 5mm spine sleeve, 2 white dust inner sleeves, and printed 12" insert.
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