News & Events

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 09/29/2025

we also accept orders via FAX at 781 321 0321

and via mail:
FORCED EXPOSURE / 60 Lowell Street / Arlington, MA 02476 / USA

for more information about shipping or ordering
please refer to our FAQ

direct any questions to This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

PRICE: $20.00

CAT #: BNG 001BK

FILE UNDER: Misc

2025 reprint. Originally published in 2014. "The story of Jackson C. Frank is tragic. The victim of a school fire in his youth, struggling with homelessness and mental illness throughout his life, half-blinded in old age before his death in 1999, Frank met continuous obstacles. And yet he enjoyed a shining moment with the release of Jackson C. Frank on Columbia Records in 1965. The album would go on to be seen as one of the greatest folk albums of the decade -- maybe of all time -- and its opening track 'Blues Run the Game' has become a standard covered by hundreds. Jim Abbott's book is the result of years of research piecing together evidence, relations and apocryphal stories from Frank's life. It is also part memoir, as Abbott cared for Frank through the final decade of his life. Their friendship was fraught with difficulties, which Abbott portrays with the honesty of a journalist. In doing so, he draws a portrait of a uniquely gifted songwriter, blessed with talent and besotted by demons. At 250 pages, Abbott's memoir shows a flawed and caring individual whose struggle was best depicted in his songs. Following the release of Jackson C. Frank: The Clear, Hard Light of Genius, Ba Da Bing will release three volumes of Jackson C. Frank: The Complete Recordings in early 2015, compiling work from throughout his life, including unreleased material." 250 pages; paperback.

 

PRICE: $35.00

CAT #: BEWITH 094LP

FILE UNDER: ROCK

2025 repress. Be With Records present a reissue of Jay Richford and Gary Stevan's Feelings, originally released in 1974. Since its original release on Italian label Carosello in 1974, Richford and Stevan's Feelings has been described as the greatest library record ever released more than once. It's a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres. As the story goes, these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn't use their real names on the original release for legal reasons. But Torossi himself later both clarified and confused the tale further by explaining that fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on Feelings. Infectiously funky, deliciously melodic and with impeccable, elegant production, Feelings record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso. The record's first side lifts off with "Flying High", soaring brilliant and shimmering with funk licks, menacing strings, and swaggering horns. The string-drenched cop-funk of "Going Home" raises the tempo with quick-fire bass lines and killer electric guitar. "Walking In The Dark" positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano, and more filthy wah-wah. "Fighting For Life" is another funk-fueled workout built around an effortlessly relentless drum track. The loping, open drum break that guides the much-loved "Feeling Tense" is filled out by heavy bass gloss, swirling strings, and ominous horns. "Running Fast" is a fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. "Loving Tenderly" envelops you in warm, velvety night-time vibes with easy listening horns and slinky strings. The pace picks up on the electrifying "Fearing Much" where strings dart around deep bass, buzzing guitars, and another funky drum break. The lush, melancholic "Being Friendly" is another easy beauty, all warm Rhodes and strings. The climactic "Having Fun" rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings, and triumphant horns. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and more make Feelings one of the finest instrumental soul LPs of the '70s, if not of all time. Remastered for vinyl by Simon Francis and cut by Pete Norman. Remastered from the original tapes.

 

PRICE: $43.50

CAT #: BEWITH 132LP

FILE UNDER: JAZZ

The Keith Tippett Group's Dedicated to You, But You Weren't Listening is a landmark in cutting edge fusion/avant-jazz. A vital and profoundly adventurous jazz-rock record that still swings hard, it was first released on Vertigo in 1971. Original copies are now very tricky to score and, as most of you really should know, it's aged ridiculously well. The stunning gatefold jacket fully restores Roger and Martyn Dean's original, arresting album artwork to complete this must-have reissue. Alive and bursting with a joyful energy that has to be heard to be believed, Dedicated to You, But You Weren't Listening flirts with perfection. It's truly magical and forever essential. A brilliant jazz pianist, composer, arranger and bandleader "who could make the outlands of modern music feel like the most hospitable of places" (The Guardian), Keith Tippett's second album is oft-regarded as his Canterbury album. Indeed, not only does he draw heavily on Soft Machine members past, present and future but the album title itself archly references a Soft Machine composition. Ray Babbington handles bass alongside Neville Whitehead and the drums are shared between Brian Spring, Robert Wyatt, and Phil Howard. Gary Boyle is on guitar whilst the great percussionist Tony Uter is enlisted for his conga and cow bell expertise. Elton Dean on alto saxello, cornetist Marc Charig and Nick Evans on trombone round out this quite stunning ensemble. Dedicated to You, But You Weren't Listening presents a collective of superhuman musicians enjoying themselves in the studio. The sheer exuberance of the performance is totally infectious. It's wild, energetic, atmospheric and, bluntly, bordering on chaotic at points. In a word, it's beautiful. This Be With edition of Dedicated to You, But You Weren't Listening has been re-mastered from the original Vertigo master tapes, Simon Francis' mastering working together with Cicely Balston's cut at Abbey Road Studios to weave their usual magic with these wonderful recordings.

 

PRICE: $29.00

CAT #: BAF 18044LP

FILE UNDER: ROCK

"After multiple highly successful horror and Halloween releases on CD, Bear Family Records now offers the first vinyl LP on the subject. Teutonic or Slavic accents, screams, shrieks, chain rattles, howls, and a variety of terrifying rockers and shockers! Including Screamin' Jay Hawkins, Virgil Holmes, Rod Willis, Casey Jones & The Governors, The Monotones, Jack & Jim, and other. Extensive liner notes by horror expert Roland Heinrich and careful re-mastering round off the first shocking experience on vinyl. The label compiled ten tracks from the already haunting house-party-hot tracks and dug-up four other long-lost but longing-for-life limb shakers. This record exploits it all -- everything your warped brain desires! So, invite your friends, let your hair down, and get charged by the electrical spirit of the 'man' himself."

 

PRICE: $26.50

CAT #: BORNBAD 051LP

FILE UNDER: ROCK

2025 repress. French indie-rock band La Femme is a conundrum -- an episodic band with various faces. La Femme was born during the X years in Biarritz, France, when Sasha and Marlon started composing music on their guitars and recording it onto Garage Band. Together they ride surfboards, pianos and synthesizers as they explore various styles from '60s y?-y? French pop to California surf music. Marlon moved to Paris, and there he met Sam, who played bass. Together, they formed SOS Mademoiselle along with Olivier Peynot, and played vintage French rock, as Sasha was practicing his scales in reverb surf band Les Redoutables. Sasha then joined his friends in Paris, where they discovered French cold wave and synth pop, Marie et les Gar?ons being one of their favorites. They polished a style that could be described as one of the following: surf-wave, bizarre-wave, strange-wave, weird-witch-wave, silly mental-wave or psycho-tropical Berlin. Joined in 2010 by drummer No? and female singer Cl?mence. La Femme formed its first live roster in a few days and took shape that same year with its first anthem, "Sur la planche," a song that was made to be hummed and whistled while riding a surfboard. Later on, La Femme released their second EP, Paris 2012. Soon joined by fancy rhythm drummer Nunez Ritter von Merguez aka La Sauterelle and singer Clara Luciani, as well as a whole roster of female singers, they now present their debut album Psycho Tropical Berlin where rock, pop, rococo Bauhaus, as well as influences from Kraftwerk and Elli & Jacno conjoin just to please you. Printed innersleeves.

 

PRICE: $16.50

CAT #: BB 489CD

FILE UNDER: ELECTRONIC

Schnitzler's collaborations with Wolf Sequenza aka Wolfgang Seidel occupy a special place in his vast musical output. They brought him closer to pop music than ever before or since, with the possible exception of Berlin Express and Auf dem schwarzen Kanal. Following Consequenz and Con 3, Consequenz III is now the third album to be released from this phase of his work."Consequenz III follows on directly from the two previous albums. Once again, the pieces sound almost like pop music, once again they are rhythmically and harmoniously structured, once again they are between three and four minutes long. And once again, they are not 100% pop music, but rather a balancing act between strict, abstract seriality and contemporary electronics: no melodies, no vocals, and it's up to each listener to decide whether the pieces are danceable. Rather, the eleven pieces are rhythmic ?tudes or finger exercises, especially for Seidel, who once again plays with incredible precision, as if he were a sequencer himself. It is not for nothing that Schnitzler gave him the pseudonym Wolf Sequenza for their joint productions. Musicians such as Wolfgang Seidel continue to lend Schnitzler's sonic universe additional radiance. The fact that the pieces on Consequenz III have already been released in 2006 by the Japanese label Captain Trip under the title Consequenz 2 + was probably only noticed by very few Schnitzler fans outside Japan. Only a small number of the limited edition ever reached Europe, and sold out in no time. Consequenz III therefore reissues material that was previously known only to a few. And there's no end to it: Schnitzler left behind music that was either only released in very small editions (e.g. on cassettes or CDRs) or has never been released at all. There is still plenty to discover in the various archives. Will we ever get to know the 'whole Schnitzler'? I don't think so." --Asmus Tietchens, 2025

 

PRICE: $26.00

CAT #: BB 489LP

FILE UNDER: ELECTRONIC

LP version. Schnitzler's collaborations with Wolf Sequenza aka Wolfgang Seidel occupy a special place in his vast musical output. They brought him closer to pop music than ever before or since, with the possible exception of Berlin Express and Auf dem schwarzen Kanal. Following Consequenz and Con 3, Consequenz III is now the third album to be released from this phase of his work."Consequenz III follows on directly from the two previous albums. Once again, the pieces sound almost like pop music, once again they are rhythmically and harmoniously structured, once again they are between three and four minutes long. And once again, they are not 100% pop music, but rather a balancing act between strict, abstract seriality and contemporary electronics: no melodies, no vocals, and it's up to each listener to decide whether the pieces are danceable. Rather, the eleven pieces are rhythmic ?tudes or finger exercises, especially for Seidel, who once again plays with incredible precision, as if he were a sequencer himself. It is not for nothing that Schnitzler gave him the pseudonym Wolf Sequenza for their joint productions. Musicians such as Wolfgang Seidel continue to lend Schnitzler's sonic universe additional radiance. The fact that the pieces on Consequenz III have already been released in 2006 by the Japanese label Captain Trip under the title Consequenz 2 + was probably only noticed by very few Schnitzler fans outside Japan. Only a small number of the limited edition ever reached Europe, and sold out in no time. Consequenz III therefore reissues material that was previously known only to a few. And there's no end to it: Schnitzler left behind music that was either only released in very small editions (e.g. on cassettes or CDRs) or has never been released at all. There is still plenty to discover in the various archives. Will we ever get to know the 'whole Schnitzler'? I don't think so." --Asmus Tietchens, 2025

 

PRICE: $20.00

CAT #: CAP 114CD

FILE UNDER: WORLD

After two self-produced EPs, Sarah Maison (2018) and Soleils (2021), and the EP Karma (2021) with Anoraak, French singer, musician, author, composer, arranger, and producer Sarah Maison finally unveils her first album, Divad, the fruit of four years of creation. Sarah opens up, tackling personal themes through an exploration of the soul and existential questions. She also ventures into more autobiographical subjects such as melancholy, derealization, the search for meaning, and the breakdown of romantic or friendly relationships: often through coded language but always with a touch of humor. Divad is a manifesto of artistic independence, boldly and uncompromisingly fusing French chanson, Egyptian music, '70s disco, synth-pop, and English pop. Her influences draw on musical history while reinventing it, bringing together Alan Vega and Martin Rev, the '70s Egyptian band Al Massrieen, the king of Iranian psychedelia Kourosh Yaghmei, as well as Brigitte Fontaine and Fran?oise Hardy. Each track is a cinematic tableau, where the artist's theatrical voice, both imperious and vulnerable, carries an intimate narrative with universal overtones. Co-produced with Steve Surmely (sound engineer) and Timot?e P?dron (sound designer), the album blurs the lines and asserts an artist who defies categorization. Throughout these twelve tracks, listeners witness a rebirth, with Sarah fully embracing her character as a dark, grandiose, and tragicomic diva straight out of a Dario Argento film, a sort of tribute to her Italian muses. Danceable, elegant, and elusive, Divad is a flamboyant work that reflects Sarah Maison's image: free, sunny, and daring.

 

PRICE: $29.50

CAT #: CAP 114LP

FILE UNDER: WORLD

LP version. After two self-produced EPs, Sarah Maison (2018) and Soleils (2021), and the EP Karma (2021) with Anoraak, French singer, musician, author, composer, arranger, and producer Sarah Maison finally unveils her first album, Divad, the fruit of four years of creation. Sarah opens up, tackling personal themes through an exploration of the soul and existential questions. She also ventures into more autobiographical subjects such as melancholy, derealization, the search for meaning, and the breakdown of romantic or friendly relationships: often through coded language but always with a touch of humor. Divad is a manifesto of artistic independence, boldly and uncompromisingly fusing French chanson, Egyptian music, '70s disco, synth-pop, and English pop. Her influences draw on musical history while reinventing it, bringing together Alan Vega and Martin Rev, the '70s Egyptian band Al Massrieen, the king of Iranian psychedelia Kourosh Yaghmei, as well as Brigitte Fontaine and Fran?oise Hardy. Each track is a cinematic tableau, where the artist's theatrical voice, both imperious and vulnerable, carries an intimate narrative with universal overtones. Co-produced with Steve Surmely (sound engineer) and Timot?e P?dron (sound designer), the album blurs the lines and asserts an artist who defies categorization. Throughout these twelve tracks, listeners witness a rebirth, with Sarah fully embracing her character as a dark, grandiose, and tragicomic diva straight out of a Dario Argento film, a sort of tribute to her Italian muses. Danceable, elegant, and elusive, Divad is a flamboyant work that reflects Sarah Maison's image: free, sunny, and daring.

 

PRICE: $26.00

CAT #: CS 012LP

FILE UNDER: ELECTRONIC

Requiescat Record is the new album by New Brutalism, a minimal rock quartet formed in Knoxville, Tennessee, in 1998. The band comprises vocalist Shane Elliott, guitarist/vocalist Matt Hall, bassist/vocalist David Basford, and drummer Carey Balch. The three-track release -- "088," "087" and "089," in keeping with their strict numerical naming convention -- was recorded in 2021 by the late, great Steve Albini at Electrical Audio, and mastered by Bob Weston at Chicago Mastering Service in 2025. For the band, "less is more" became a guiding principle -- channeled through an unwaveringly raw, direct, and honest approach to sound. Out of partly sound, partly aesthetic, mainly a thirst to build, New Brutalism performs on aluminum instruments built by the band members. They chose the material because it's lighter than steel, more consistent than wood, and easy to machine. Above all, it's precise -- and thereby, can produce precise music. In 2021, New Brutalism entered Electrical Audio to record Requiescat Record. Named after a Latin term meaning a prayer for the repose of a dead person, Requiescat Record retroactively became a dedication to Albini?s memory. The band acknowledges that so much of the aesthetic, interests and sounds they admired are a product of his influence and the circle of artists around him. His death instigated a state of urgency. A desire to act became more pressing, to strike more often, and usher in a new era of productivity. Shattered and kinetic, forged by time and tragedy, with god-given sonic quality, Requiescat Record may acknowledge the dead, but this music feels ever so alive.

 

PRICE: $23.50

CAT #: COSMR 041LP

FILE UNDER: ROCK

Featuring a young Don Henley (of future stars The Eagles) on drums, alternative-country band Shiloh formed while they were still at college in the late sixties. In 1969 they met Kenny Rogers, who encouraged them to go to Los Angeles to record their self-titled debut. Album highlights are found in three magnetic roots-rock numbers reminiscent of The Band: "Swamp River Country", "Left My Gal In The Mountains" and "Simple Little Down Home Rock & Roll Love Song For Rosie". While the three Henley-penned tracks -- "I'm Gone", "Same Old Story", "God Is Where You Find Him" -- would bear obvious resemblance to future Eagles material. A proto-Americana masterpiece finally resurfaced!

 

PRICE: $23.50

CAT #: COSMR 042LP

FILE UNDER: ROCK

Definition was the only album by the American psych folk band Chrysalis, released in 1968 on MGM Records. Together with their Velvet Underground label mates, Chrysalis, were considered pioneers of the art rock movement, thanks to their sublime vocal melodies and baroque arrangements -- ageless psych acid folk gems!

 

PRICE: $23.50

CAT #: DBQP 060LP

FILE UNDER: ROCK

2025 limited restock. April 30, 1967 recording of a Velvet Underground performance at The Gymnasium (424 E. 71st St) in New York City. It's Velvet's White Light/White Heat period in full gloom. In fact, it contains the first public performance of "Sister Ray" and the previously unreleased songs "I'm Not a Young Man Anymore," as well as the R&B number "Booker T." Mastered form recently sourced tapes not comparable with any previous versions.

 

PRICE: $26.00

CAT #: JACK 083CV-LP

FILE UNDER: ROCK

Color vinyl version. A fascinating glimpse into the creative mind of Pink Floyd's enigmatic founder, Madcap Cries compiles rare demos and outtakes from Syd Barrett's solo sessions.

 

PRICE: $22.50

CAT #: JACK 083LP

FILE UNDER: ROCK

A fascinating glimpse into the creative mind of Pink Floyd's enigmatic founder, Madcap Cries compiles rare demos and outtakes from Syd Barrett's solo sessions.

 

PRICE: $26.00

CAT #: JACK 084CV-LP

FILE UNDER: ROCK

Color vinyl version. The Jam, recorded live at Paris Theater, Regent Street, Paris, June 1st, 1978.

 

PRICE: $22.50

CAT #: JACK 084LP

FILE UNDER: ROCK

The Jam, recorded live at Paris Theater, Regent Street, Paris, June 1st, 1978.

 

PRICE: $9.00

CAT #: DKR 306EP

FILE UNDER: WORLD

"Clement 'Minkie' Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid-1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record Wickedness was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune 'Wickedness' at King Tubby's studio. In 1980, Clement revisited the great rhythm of 'Wickedness,' deciding to this time sing rather than deejay on the rhythm."

 

PRICE: $9.00

CAT #: DKR 307EP

FILE UNDER: WORLD

"Clement 'Minkie' Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid-1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record Wickedness was made. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, 'Every Time I Do My Thing.' In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm."

 

PRICE: $15.00

CAT #: DKR 313EP

FILE UNDER: WORLD

"Previously unreleased. Both sides with dub. A-side is mastertape mixes, B-side is the original early 1980s dubplate mixes. Comes in Bond Export company sleeve. Killer previously unreleased early 1980s Mighty Diamonds straight from producer Gussie Clarke, tuff steppers cut of the Heptones classic. This tune made the rounds on dubplate back at the time, but never ended up seeing release. On the A-side comes the mastertape mix, a hard but spare mix of this canon JA tune, that recalls the dry and heavy 1980 Taxi style. On the B-side comes the original dubplate mixes which were around on plate at the time, mixed down in proper plate style like you would have gotten from Slipe Road if you had the juice."

 

PRICE: $9.00

CAT #: DKR 314EP

FILE UNDER: WORLD

"After their epic run with Channel One beginning in the mid 1970s, the Mighty Diamonds moved to producer Gussie Clarke for a string of albums starting in 1979 and running thru the 1980s. Among the many great tunes from this run, the title track of their 1982 album The Roots Is There is simply one of the Diamond's best ever, and probably the most lyrically militant tune they ever made. This tune was never released as a single at the time, though new mixes were released as a single in 2017. Now, this release is presented on Music Works' original early 1980s dubplate label design, just like the original slate would have been adorned with."

 

PRICE: $15.00

CAT #: DKR 318EP

FILE UNDER: WORLD

"Better-than-before new edition of the long out of press previous 10" from 2014, now with something extra. This release corrals three excellent vocals that originally appeared on a couple different compilations. For this new 12" release, with 'Home To Africa,' instead of the cut from Wackie's Selective Showcase Vol. 1 LP as before, the tune comes in a different mix straight from the original session tape, plus a nice raw rhythm version, newly mastered by Bullwackie himself just for this re-release."

 

PRICE: $23.00

CAT #: DC 943LP

FILE UNDER: ROCK

"Drag City presents the reissue of hypnotic syncretic guitar duo Bill MacKay & Ryley Walker's recorded debut, Land of Plenty. And just in time for the 10th anniversary of the original release! Now, who remembers where they were in January 2015? Bill and Ryley don't need to, they've got Land of Plenty to remind 'em. That's when they made the record, but a scant year before, they barely knew each other! Once they met, though, they hit it off over mutual influences, like Albert King, Laura Nyro, Nick Drake, Bert Jansch, Ali Akbar Khan and Jimi Hendrix. They got to work. And play. A year later, they were loaded into The Whistler every single Friday night on the calendar in January 2015. A residency, so called, but these resident players had designed not simply to entertain each night, but also to record the pool of material they'd woodshedded together in the recent months. A record, of all new originals, recorded live. Then when they went back to review the tapes, they were reliving the dream! While the two of them are generally divided up by speakers, which is a groovy old-school way to have stereo sound, their shared headspace is a constant flow of ever-melding play, ranging across all sorts of genres and geographies from east to west and folding them immaculately into each other, whether in moments of transition or extended meditation. Listening out for each other as they're picking, these boys dance together and never land a foot wrong. Whether head-to-head with six-strings or with Bill picking up his Requinto, or Ryley picking up his 12-string, these performances sound rich. The live capture seems to enhance the sound in all sorts of unpredictable ways that activates with the chemistry in their playing, and ultimately serves to elevate Land of Plenty in its field!"

 

PRICE: $11.00

CAT #: DC 949CS

FILE UNDER: EXPERIMENTAL

Cassette version. "The successor to 2022's Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It's so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping's always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That's the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision'll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breaking through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you're floating, saltwater or helium-wise -- effervescent, effortless, elemental. An increasing sense of the Bajas' physicality -- what's ephemeral, what's mercurial, and what sits inside us after it's all over. This music was mostly written on the road. It's an unusual happening for Bitchin Bajas! They were open for it, though -- the landmarked Bajascillators kept them out there for a while, and when inspiration struck, there they rolling. When it was time to render it to tape and find the record there, they did the whole thing at Electrical Audio. Recording all together in the room there lent a sense of space, which they dug and captured as natural as possible. No reverb at all added after the fact. Everything that's there was in system, directed through the interconnects with cool hands. And once Inland See is flowing toward you, through the hi-fi, you feel it all in the air."

 

PRICE: $23.00

CAT #: DC 949LP

FILE UNDER: EXPERIMENTAL

"The successor to 2022's Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It's so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping's always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That's the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision'll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breaking through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you're floating, saltwater or helium-wise -- effervescent, effortless, elemental. An increasing sense of the Bajas' physicality -- what's ephemeral, what's mercurial, and what sits inside us after it's all over. This music was mostly written on the road. It's an unusual happening for Bitchin Bajas! They were open for it, though -- the landmarked Bajascillators kept them out there for a while, and when inspiration struck, there they rolling. When it was time to render it to tape and find the record there, they did the whole thing at Electrical Audio. Recording all together in the room there lent a sense of space, which they dug and captured as natural as possible. No reverb at all added after the fact. Everything that's there was in system, directed through the interconnects with cool hands. And once Inland See is flowing toward you, through the hi-fi, you feel it all in the air."

 

PRICE: $13.50

CAT #: DC 956CD

FILE UNDER: ROCK

"The shaman of the six-string is back. Waving his axe of choice, Sir Richard Bishop once again summons forth damnable truth and beauty on an all-new musical kamikaze run through histories both written and -- as of yet -- not commonly known. Since the dying days of the 20th century, the composer/player of spirited polytheistic guitar recitals including Salvador Kali, Improvika, The Freak of Araby, Tangier Sessions, and most recently, Oneiric Formulary has worked feverishly to wrench and wrangle all the music that has and can possibly fall out of the guitar from east to west. With Hillbilly Ragas, Sir Rick stretches his callused hands across the waters to draw diverse musics back to his shack with the gladiatorial bloodthirst and balance of gravitas and jocosity listeners can expect from him in every hot little moment of play. But there's more to be said than these merely glib rantings as to what happens when traditional music heads for the hillbillies:""There were a few different approaches I utilized for this release. First and foremost, I wanted to go back to basics, to strip away any excesses and keep it as simple as possible: one man, one acoustic guitar, no overdubs, no effects, no electricity. Taking several cues from the sounds most often associated with the so-called American Primitive guitar style, I wanted to avoid any traditional approaches and instead try something more-raw and aggressive, concentrating more on rhythm and movement as opposed to anything predictable or overly melodic, while also keeping my particular interpretive ideas about East Indian Raga in the mix. I've always felt that the majority of what is considered to be American Primitive music, while certainly based on historical American musical traditions, never really had any sounds that I personally thought of as being primitive -- it always seemed too orderly, too developed, and too safe? During the recording process I was envisioning an undiscovered mountain man or "hillbilly" who had remained hidden in his own private backwoods; one who never learned, or even heard about, any traditional musical canon that he was expected to work within. So what we have here with Hillbilly Ragas are nine pieces for solo acoustic guitar, each one representing a different excursion into the dark woods -- the untamed explorations of a musical loner, an outsider, maybe even an undesirable, embodying a peculiar folklore and turning it into sound -- creating his own folk music in the process. He's still out there, fueled by moonshine, his supernatural surroundings, and a fuck-all attitude!" --Richard Bishop, 2025

 

PRICE: $12.00

CAT #: DC 956CS

FILE UNDER: ROCK

Cassette version. "The shaman of the six-string is back. Waving his axe of choice, Sir Richard Bishop once again summons forth damnable truth and beauty on an all-new musical kamikaze run through histories both written and -- as of yet -- not commonly known. Since the dying days of the 20th century, the composer/player of spirited polytheistic guitar recitals including Salvador Kali, Improvika, The Freak of Araby, Tangier Sessions, and most recently, Oneiric Formulary has worked feverishly to wrench and wrangle all the music that has and can possibly fall out of the guitar from east to west. With Hillbilly Ragas, Sir Rick stretches his callused hands across the waters to draw diverse musics back to his shack with the gladiatorial bloodthirst and balance of gravitas and jocosity listeners can expect from him in every hot little moment of play. But there's more to be said than these merely glib rantings as to what happens when traditional music heads for the hillbillies:""There were a few different approaches I utilized for this release. First and foremost, I wanted to go back to basics, to strip away any excesses and keep it as simple as possible: one man, one acoustic guitar, no overdubs, no effects, no electricity. Taking several cues from the sounds most often associated with the so-called American Primitive guitar style, I wanted to avoid any traditional approaches and instead try something more-raw and aggressive, concentrating more on rhythm and movement as opposed to anything predictable or overly melodic, while also keeping my particular interpretive ideas about East Indian Raga in the mix. I've always felt that the majority of what is considered to be American Primitive music, while certainly based on historical American musical traditions, never really had any sounds that I personally thought of as being primitive -- it always seemed too orderly, too developed, and too safe? During the recording process I was envisioning an undiscovered mountain man or "hillbilly" who had remained hidden in his own private backwoods; one who never learned, or even heard about, any traditional musical canon that he was expected to work within. So what we have here with Hillbilly Ragas are nine pieces for solo acoustic guitar, each one representing a different excursion into the dark woods -- the untamed explorations of a musical loner, an outsider, maybe even an undesirable, embodying a peculiar folklore and turning it into sound -- creating his own folk music in the process. He's still out there, fueled by moonshine, his supernatural surroundings, and a fuck-all attitude!" --Richard Bishop, 2025

 

PRICE: $20.00

CAT #: DC 956LP

FILE UNDER: ROCK

LP version. "The shaman of the six-string is back. Waving his axe of choice, Sir Richard Bishop once again summons forth damnable truth and beauty on an all-new musical kamikaze run through histories both written and -- as of yet -- not commonly known. Since the dying days of the 20th century, the composer/player of spirited polytheistic guitar recitals including Salvador Kali, Improvika, The Freak of Araby, Tangier Sessions, and most recently, Oneiric Formulary has worked feverishly to wrench and wrangle all the music that has and can possibly fall out of the guitar from east to west. With Hillbilly Ragas, Sir Rick stretches his callused hands across the waters to draw diverse musics back to his shack with the gladiatorial bloodthirst and balance of gravitas and jocosity listeners can expect from him in every hot little moment of play. But there's more to be said than these merely glib rantings as to what happens when traditional music heads for the hillbillies:""There were a few different approaches I utilized for this release. First and foremost, I wanted to go back to basics, to strip away any excesses and keep it as simple as possible: one man, one acoustic guitar, no overdubs, no effects, no electricity. Taking several cues from the sounds most often associated with the so-called American Primitive guitar style, I wanted to avoid any traditional approaches and instead try something more-raw and aggressive, concentrating more on rhythm and movement as opposed to anything predictable or overly melodic, while also keeping my particular interpretive ideas about East Indian Raga in the mix. I've always felt that the majority of what is considered to be American Primitive music, while certainly based on historical American musical traditions, never really had any sounds that I personally thought of as being primitive -- it always seemed too orderly, too developed, and too safe? During the recording process I was envisioning an undiscovered mountain man or "hillbilly" who had remained hidden in his own private backwoods; one who never learned, or even heard about, any traditional musical canon that he was expected to work within. So what we have here with Hillbilly Ragas are nine pieces for solo acoustic guitar, each one representing a different excursion into the dark woods -- the untamed explorations of a musical loner, an outsider, maybe even an undesirable, embodying a peculiar folklore and turning it into sound -- creating his own folk music in the process. He's still out there, fueled by moonshine, his supernatural surroundings, and a fuck-all attitude!" --Richard Bishop, 2025

 

PRICE: $36.00

CAT #: EDNLP 1281LP

FILE UNDER: JAZZ

"Norwegian trumpeter and sonic architect Nils Petter Molvaer presents Khmer Live in Bergen -- a charged reinvention of his era-defining 1997 ECM release Khmer -- recorded in concert in 2023. Fused with live trip-hop beats, ambient haze and Nordic lyricism, Khmer Live in Bergen amplifies a new energy with deeper grooves, sharper edges and greater dynamic intensity, pushing the music into a rawer, driven by experience, control and creative vision. Performed with a newly expanded band and released on Edition Records, Khmer Live in Bergen captures the volatile electricity of Molvaer's live sound -- fluid, restless and saturated with feeling. The album is a powerful reminder that his sound remains vital, forceful and fully alive -- constantly evolving with greater clarity, depth and intent."

 

PRICE: $15.00

CAT #: ER 2003CD

FILE UNDER: HIPHOP

"After a five-year hiatus, Chuck D & Flavor Flav return to the scene with a new Public Enemy album, bringing their always insightful commentary over rugged and shapeshifting beats. From the opening diagnosis of 'Siick' all the way to the insanity of school shootings during 'March Madness,' the red, black, and green machine is back to clean up the scene."

 

PRICE: $29.00

CAT #: ER 2003LP

FILE UNDER: HIPHOP

LP version. "After a five-year hiatus, Chuck D & Flavor Flav return to the scene with a new Public Enemy album, bringing their always insightful commentary over rugged and shapeshifting beats. From the opening diagnosis of 'Siick' all the way to the insanity of school shootings during 'March Madness,' the red, black, and green machine is back to clean up the scene."

 

PRICE: $15.00

CAT #: YEB 7853CD

FILE UNDER: ROCK

"A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott Sharp has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno music. His collaborators have included Radio-Sinfonie Frankfurt; pop singer Debbie Harry; Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka. Elliott Sharp's Terraplane synthesizes the intersection of country and urban blues with Mississippi fife and drum bands, post-Mingus/Ayler jazz and the rhythmic force of the groove, from the shuffle to contemporary dance music. Up until I heard Sharp's original Terraplane, I had no clue that he could also play the blues. With his electric power trio, the original Terraplane incarnation, he blew through the generations, sliding like Robert Johnson in his kitchen, doing the Texas blues shuffle a la Stevie Ray Vaughan, and so forth. Sharp has an encyclopedic understanding of the blues guitar, including its voice-like phrasing, its elastic intonation, its tension and release, and the all-important 'cry.' He approaches improvisation from a jazz perspective without making the exercise the least bit academic." ----Nils Jacobson, Pop Matters

 

PRICE: $27.50

CAT #: FTR 809LP

FILE UNDER: ROCK

"Although it was the lead track on the Stones's eighth studio LP, Let it Bleed, the song 'Gimmie Shelter' was not released as a single. Indeed, the single 'from' that album was the countrified non-LP track, 'HonkyTonk Women' backed with the corny chorale sluice of 'You Can't Always Get What You Want.' It was as though the Stones, knowing they would soon be pilloried on the cross of Altamont, wanted to have a way to try and dodge those nails by being able to claim they weren't even a rock band. Well, fuck them. 55 long years after the Stones's shameful retreat from their true identity, Jackie O Motherfucker has decided to try them in the court of public opinion, both for their jaundiced world view as well as the sheer cowardice of their presentation of facts. The simplest way for JOMF to proceed would have been to illuminate the ridiculous musical and philosophical inconsistencies inside their trademark song of 1968/9, 'Sympathy for the Devil,' but they chose to leave child's play to children. Instead, they took the four minutes and thirty seconds of 'Shelter,' divided it into thirds and created a set of music that explores the mathematical relationships between those segments and the three parts of a song which it reportedly inspired, The Stooges's 'Gimme Danger.' I've had the Calculus of the equation explained to me a couple of times by Tom Greenwood, the founding member of JOMF, but I get sorta lost in most number stuff more evolved than Trigonometry. My sense is that three improvised pieces on this album are musical meditations about the possible existence of a tripartite equivalent of Aristotle's Golden Mean. And while I totally believe in his as a concept, it doesn't really help to explain what the music sounds like, y'know? The three tracks are drawn from two live shows and one studio session, using a line-up resembling that on 2023's Manual of the Bayonet, the music here is largely-instrumental, reed-laced, and filled with the same glowing sense of direction this listener gets when I'm several acid sheets to the wind. Some parts collect themselves and repeat like small bursts of energy trapped inside a pyramid. When vocals do pop up, they sound like out-takes from the soundtrack to Kenneth Anger's Invocation of My Demon Brother, and submerge themselves in a murk of Egyptian dust. Some might compare JOMF's sound to the more abstruse out-takes from the Dead's Gizan shows of '78. But its commentary on the nature of musical forms reaches back further than that. I mean, remember -- the Dead pulled out of playing Altamont. I'm not sure JOMF would have done the same, but I'm sure they would have done something if they found themselves in the same situation. And it might well have sounded like this. As Bear always said, 'A trip in time saves nine.' Good thought, and as diggable today as it was back then. Hop on. This shelter is rolling. --Byron Coley, 2025

 

PRICE: $22.50

CAT #: GPM 800EP

FILE UNDER: ELECTRONIC

Repressed. This is another vital instalment of Get Physical Music's classic reissue series, which is now scheduled for a vinyl release. It features a track first released in 1994 and was also part of DJ Pierre's Wild Pitch: The Story album back in 2017. It comes with an Emmanuel Satie edit of the Ricardo Villalobos Dub and a stellar remix from South Africa's Jazzuelle, first released in 2017. DJ Pierre's name is forever synonymous with house music, particularly the acid sound he pioneered in the '80s. Staying true to the underground since then, he's consistently released vital tracks, innovated with his Wild Pitch style and now his Afro Acid label. Pierre continues to push boundaries with each new outing while this reissue proves that his earliest works are still some of house music's best ever. "What is House Muzik" is an almost 10-minute masterpiece that's perfectly designed for gritty warehouse spaces and comes complete with an anthemic vocal monologue. It's dark and distorted with monstrous kicks and oversized hi-hats, a frazzled lead synth line and a marching groove that is lit up with strobe-lit details to get hands in the air. The original also comes alongside an acapella version. Next up comes an edit from melodic master Emmanuel Satie, who takes Fellow Ricardo Villalobos's epic 36-minute "What Is Dub" version and splices it into a floor-friendly and perfectly paced seven-and-a-half-minute edit. Originally dropping in 2015, it now sees its way onto vinyl for the first time. Finally, South Africa electronic production don Jazzuelle drops a remix that lives up to its name with a dive into the deeper realms of acid.

 

PRICE: $23.00

CAT #: HHBTM 232LP

FILE UNDER: ROCK

"Originally released in 1999 on Merge Records, The Albemarle Sound, the third full-length LP by Brooklyn, New York's The Ladybug Transistor, exists just outside its fixed point in time and space. Perhaps the last great pop album of the 20th century, The Albemarle Sound is like few records from the turn of the millennium, its attention turned to the intricate arrangements of late 1960s pop and the strange and familiar environs of home. The notion of home is important to The Albemarle Sound, not just lyrically and thematically, but in the fact that the album was recorded, mixed and produced in a Victorian house in Flatbush named Marlborough Farms. The Ladybug Transistor was formed in 1995 as the home recording project of singer and trumpeter Gary Olson, and by 1999 the group had swelled to include siblings Jeff Baron (guitar) and Jennifer Baron (bass), Sasha Bell (keyboards and flute), San Fadyl (drums), and Julia Rydholm (violin), who lived together at Marlborough Farms, a home filled with instruments, recording equipment and a piano room where the group made demos. For the 25th anniversary of The Albemarle Sound, the record has been lovingly reissued on silver vinyl by Happy Happy Birthday to Me Records."

 

PRICE: $24.00

CAT #: SUBURBIA 055LP

FILE UNDER: ROCK

The game-changing second album from the clown princes of Midwestern cheese-punk, back on vinyl for the first time this century! Featuring hits from the soundtrack to the pop-punk summer of 1995 like "I Wanna Get To Third Base With You" and "Screamin' Demon Martians Ridin' Go-Karts in My Head," as well as the band's magnum opus, "(Do You Wanna) Grilled Cheese!" Also features songs about worms, eyeballs, and rollerbladers, as part of a balanced breakfast.

 

PRICE: $43.00

CAT #: HOS 749LP

FILE UNDER: ROCK

G.R. is the definitive true crime album classic initiated during the hunt for the Green River killer and completed after the capture of Gary Ridgway. Using criminal psychology techniques now a household name via Mindhunter, the artist entered the mind of the killer delivering a timeline of the slayings, motives and fantasies with a first-person ferocity so convincing to the point of crossing over into pop culture -- alongside books, databases, documentaries and films as a sonic reference point of America's most prolific serial murder case. The obsessive recording and research process spanning over several years from the perspective of the UNSUB successfully theorized his psyche with uncanny and accurate predictions prior to the suspect's apprehension with an almost supernatural foreshadowing, later proven during the trial in evidence and footage of Gary Ridgway's confessions. G.R. achieved such a level of believability that the mental toll took on the artist effectively ended the band. G.R. is a confrontational cautionary tale of "art imitates crime." Deathpile's G.R. contains devastating dense and flowing electronic synthesis mastery with naked vocals depicting graphic and disturbing lyrics not suitable for society whose authenticity has yet to be surpassed in power electronics two decades on. Originally appearing as a co-release between Hospital Productions and Force Of Nature in the first 100 releases on the label, as Hospital now approaches its thousandth release -- this 20+ year edition is presented with an expanded layout and unseen photos from the G.R. era when Deathpile was Jonathan Canady and David E. Williams. Black vinyl with interior print, lyrics insert, and massive poster with unseen photos from the time. Digital download included.

 

PRICE: $15.00

CAT #: JL 066EP

FILE UNDER: WORLD

"One of the most requested Jah Life releases, finally here. Killer 1983 Barrington Levy single, only ever released once on a UK 12 inch. These tunes also appeared on the Teach Me Culture album, sans dubs of course. Perfect new pressing from the original mothers, identical to the original. Play loud."

 

PRICE: $9.00

CAT #: DKR 305EP

FILE UNDER: WORLD

"An all-time favorite New York dancehall tune, finally back again. 20+ years ago, in a different era of reggae record collecting where there was little to no information to be found about so many '80s reggae records, the original 12" single of this one was a mythical tune. In fact, this one was on the earliest DKR wish lists, but all good things take time. Most followers know Junior's digital masterpiece 'Rampers Music.' But this one is his earliest and first tune, a heavy piece of a rub a dub cut at Munchie Jackson's Sunshine Studio in the Bronx, with Jackie Mittoo at the helm of the session. The original 12" was self-released by Junior on his own label in 1985. The lyrics are a great snapshot of mid '80s New York, a nod to all those making their way, for better or worse, thru the posses and cliques of the Jamaican scene of the day."

 

PRICE: $19.00

CAT #: GG 501CD

FILE UNDER: ELECTRONIC

"Asmus Tietchens is a sound artist and composer from Hamburg, Germany. He got interested in Musique Concrete by listening to a German radio program when he was 10 years old. In 1965, at the age of 18, Asmus started experimenting with tape loops and turned them into musical collages. Soon, the use of synthesizers was added. In 1980 his debut album Nachtst?cke, was released, produced by Peter Baumann of Tangerine Dream. This was soon followed by a series of albums of electronic pop music for the Sky label, home of many Krautrock bands. Tietchens often uses special source materials for his compositions such as water ('Seuchengebiete'), human voices ('Von Mund zu Mund'), paper ('Papier ist geduldig'). He is associated with the Industrial music scene through his collaborations and releases on labels such as United Dairies, Esplendor Geometrico or Dom Records. Tietchens never studied composition, he has no academic background, everything he does is self-taught or learning by doing. Achim Wollscheid is a media artist whose work over the past 20 years has been at the forefront of experimental music. He has performed and presented installation projects internationally. His work in sound has led to an interest in the relation between sound, light and architectural space, which he pursues through public, interactive and electronic projects. He is a founding member of Selektion, an organisation for the production and distribution of information systems. Achim also forms the collective S.B.O.T.H.I., derivated from research from the '40s: Sexual Behaviour Of The Human Infant, later renamed to Swimming Behaviour Of The Human Infant. Recently, when Asmus Tietchens needed space in his Hamburg flat, he went through boxes in his cupboard and found a recording credited to himself and Achim Wollscheid. It turned out to be an album originally recorded 20 years ago for the Ritornell label (Mille Plateaux) that was, for reasons unknown now, shelved and forgotten."

 

PRICE: $19.00

CAT #: GG 507CD

FILE UNDER: ROCK

"Zahgurim formed in 1983 and were early contributors to the industrial music scene associating with the Temple Ov Psychick Youth. They were invited by Konnex Records Manfred Schiek to record an album for his Berlin Atonal label resulting in Moral Rearmament produced at Julian Gilbert and Simon Crab's studio at the Old Ambulance Station on Londons Old Kent Road. It became Berlin Atonal's fifth release. Live performances at Dimitri Hegemanns pioneering Berlin Atonal festival with Psychic TV, Test Dept., Laibach et al were followed by appearances at TOPYs early rave Thee Fabulous Feast ov Flowering Light at Londons Hammersmith Palais in May 1985 and the ICAs Drastic Classicism season. Shortly afterwards Zahgurim members Paul Ackerley and William Vince co-founded the percussion group Left Hand Right Hand. In 2018 Klanggalerie re-issued Moral Rearmament and Zahgurim played their first live show in 32 years in Vienna. A live document of the performance Live at Klang 25 was released on Klanggalerie. It included a new recording: 'The Living Room.' That was picked up by Olf van Eldens' Rush Hour label for the interstellar funk compilation Artificial Dancers -- Waves of Synth curated alongside Chris and Cosey, The Human League and Clan of Xymox. I Can Feel The Fun came out first as a download only release on Nostalgia De La Boue as a response to Tristan Koreya's curiosity. He rightly suspected that years of musical shrapnel lay scattered on tapes and digital folders. Recordings continued to be made with the original analogue equipment in spontaneous takes, channeling the early period musical fascinations and featured original band members, associates and new ones who are at the age now that the original ones were in 1984. As the world is still in chaos, their ruthless take on it was necessary to retain the projects authenticity. Recordings were created in coastal Sussex between 2013 and 2023. All songs were created, mixed and performed by the Ackerleys."

 

PRICE: $19.00

CAT #: GG 518CD

FILE UNDER: ELECTRONIC

"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: 'Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream -- indeed even the glissando -- of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: 'I have to collect a volume of prose.' The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie.' Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega, and Genesis P-Orridge. Les Cent Jours Clairs was the group's sixth album and was originally released on Bain Total in 1984."

 

PRICE: $19.00

CAT #: GG 520CD

FILE UNDER: JAZZ

"By inevitable coincidence, a street vendor in Buenos Aires became an instrument of providence, when he compelled attention of Christof Kurzmann, sitting outside a coffeehouse. His merchandise were small books of Hispanic writers, and the chosen one that ended up in the buyer's pocket some eighteen years ago was a collection of poems by Argentinean poet Alejandra Pizarnik. Her works abound with music and sounds or absence of it, appreciating silence. For Kurzmann, this served as a sufficient reason to dive into her writings, which resulted in releasing El Infierno Musical: a tribute to Alejandra Pizarnik in the fall of 2011. El Infierno Musical was a quintet started back in 2008 thanks to a wild card given to Kurzmann as a birthday present by the organizers of Music Unlimited festival in Wels, Austria, which hosted its official premiere. For the 50th day of death of Alejandra Pizarnik Kurzmann brought El Infierno Musical back to life again, worked on new material and changed the line-up of the band in which only he himself and Ken Vandermark are left from the founding formation. Dave Rempis -- long-time friend on saxophone, as well as Chicago Symphony Orchestra member Katinka Kleijn who together with another great Chicago-Scene musician Lia Kohl share the role of the cellists in the band. And to round the fresh line-up off, young drummer, percussionist Lily Finnegan completes the newly created Sextet. The music brings a clear structure filled with improvised parts, masterly played by perfectly coordinated musicians, who take advantage of their miscellaneous musical histories and styles."

 

PRICE: $34.00

CAT #: LANR 059LP

FILE UNDER: WORLD

Fully licensed, all tracks remastered! When you name Barrington Levy, Roots Radics, and Scientist at King Tubby's studio, you can't go wrong. Produced by Hyman "Jah Life" Wright, Bounty Hunter captures the transition from roots reggae to early dancehall, blending deep rhythms with Levy's distinctive vocal style. A landmark album that defines an era and showcases the evolution of Jamaican music.

 

PRICE: $34.00

CAT #: LANR 060LP

FILE UNDER: WORLD

Fully licensed, all tracks remastered! Ken Boothe and Lloyd Charmers -- two soul-driven innovators -- deliver a bold statement. Each vocal cut is paired with a raw version: stripped to drum and bass -- raw, unfiltered. It's a format that would shape reggae's future. This is where it starts -- no filler, just foundation. Includes two bonus tracks.

 

PRICE: $28.50

CAT #: LR 337LP

FILE UNDER: ROCK

2025 repress. Originally released in 1968, Caetano Veloso's debut album did for Brazilian music what the Beatles' Sgt. Peppers did for rock & roll, giving birth to the soon-to-be Tropicalia movement, which fused Brazilian music with pop, psychedelia and social awareness (and Veloso's leftist politics actually earned him a stint in jail in 1968 for 'anti-government activity'). Veloso, nonetheless went on to become one of the most popular and influential Brazilian musicians of all time. Includes the genre-defining classics "Clarice" and "Soy Loco Por T?, Am?rica", "Superbacana", "Tropicalia" and "Alegria, Alegria". Now with bonus CD of the album and OBI "bookmark" Japanese style.

 

PRICE: $18.00

CAT #: MIG 3032CD

FILE UNDER: ROCK

"My Solid Ground was a German progressive rock band that was founded in R?sselsheim in 1968. Several lineup changes in its early years led to a change in the band's musical direction. In the summer of 1970, the band entered the studio for the first time and recorded the nearly 25-minute opus 'Flash.' The five musicians submitted this track to a band competition organized by S?dwestfunk as part of the popular program Pop Shop. They came in second, attracting the interest of the record industry and landing a contract with the progressive Bacillus label of the Frankfurt-based Bellaphon record company. In spring 1971, they recorded the LP My Solid Ground in Dieter Dierks' studios in Cologne, which was released in October of that year. My Solid Ground toured, played at festivals, and made television appearances. In the summer of 1971, they were invited to record another studio album with their own songs at S?dwestfunk in Baden-Baden. This album is available as bonus tracks on the re-release. In 1972, the band's lineup changed again, resulting in a complete reorientation of the personnel. Plans for a second My Solid Ground LP were made but never realized. The band broke up for good in 1974 after releasing only one album."

 

PRICE: $21.00

CAT #: MIG 3502CD

FILE UNDER: ROCK

"The debut album by Cologne-based psychedelic rock band Gomorrha was released in 1970 on the Cornet label, which was distributed by BASF. However, the band rejected the original German-language version and re-recorded the album with English lyrics and a new singer, Peter Otten. A year later, it was released under the title Trauma. In 1972, I Turned to See Whose Voice It Was followed on Brain, after which the four musicians went their separate ways. For example, Ali Claudi enjoyed worldwide success as a jazz and blues guitarist, working with artists such as Bill Coleman and Big Joe Turner. Composer and guitarist Ad Ochel became a successful architect and is delighted about the re-release of the three albums produced by Conny Plank on CD and in digital format. He recalls: 'Many critics wrote about the apocalyptic mood of our last LP. But when I look at the state of the world today, I am overcome by an uneasy feeling that often keeps me awake at night.'"

 

PRICE: $23.00

CAT #: MIG 3522CD

FILE UNDER: ROCK

"Nine Days' Wonder was founded back in 1966, when singer and frontman Walter Seyffer gave his band The Graves a new name. Like so many 'beat groups' in the mid-1960s, NDW started out as a cover band. The line-up changed constantly until the early 1970s, when the first more stable formation emerged with Walter Seyffer (vocals), Rolf Henning (guitar), Karl Mutschlechner (bass), John Earle (saxophone, flute, guitar) and Martin Roscoe (drums). In 1971, the quintet recorded their self-titled debut album, which was released in Germany on Bellaphon and in England on Harvest in the same year. In the summer of 1972, Nine Days' Wonder broke up at short notice; Walter Seyffer joined the psychedelic rock band Medusa, where he met bassist Michael Bundt. Since the quintet had only released one single on CBS, Nine Days' Wonder was reformed in December 1972. The new line-up consisted of four Medusa members (Seyffer, Bundt, guitarist Hans Frauenschuh and keyboardist/saxophonist Freddie M?nster) as well as drummer Karl-Heinz 'Hyanzintus' Weiler. In the summer of 1973, the second Nine Days' Wonder album, We Never Lost Control, was released on Bacillus/Bellaphon. In 1974, Rolf Henning returned. Sid Gautama replaced 'Hyanzintus' Weiler on drums. The third NDW album, Only The Dancers, was recorded at Chipping Norton Studios in the UK by Mike and Richard Vernon, with Dave Jackson from Van der Graaf Generator, among others. A year later, the personnel carousel spun again. With a new line-up, the last album Sonnet To Billy Frost was released in 1976, after which the band finally split up. Now, all four albums are being re-released under the title The Bacillus Years, remastered and including bonus tracks (the Maternal Joy aka NDW single 'Ticket to the North Pole / Fat,' 1971)."

 

PRICE: $27.00

CAT #: MORR 124LP

FILE UNDER: ROCK

2025 repress. Gatefold LP version. You don't need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new m?m album they do both at the same time. Smilewound is another example of the band's art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both. Sparser in sound than many of its predecessors, Smilewound is an airy, relaxed record. The m?m core duo of ?rvar and Gunni doesn't make you laugh out loud (except maybe for the quirky vintage arcade-sound-start of "When Girls Collide"), but it will make you smile often -- despite the heavenly voices singing about violence in one form or another in most songs. Musically, m?m's capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take "The Colorful Stabwound": an aguish drum 'n' bass piece and Smilewound gets close to a straight pop-song. Even that isn't very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or "Candlestick," which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colors every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with m?m on "Whistle," the main song in 2012 movie Jack & Diane. Recorded in, among other places, the band's practice space, an old Baltic farmhouse and on the kitchen table after dinner, the album was produced by m?m themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band's penchant for ambivalence -- in fact, that's part of the album's charm.

 

PRICE: $20.50

CAT #: OJO 25001BL-LP

FILE UNDER: WORLD

Black vinyl version. Milton Nascimento's 1969 Courage blends Brazilian music with jazz, marking his international debut. Featuring Herbie Hancock and arranged by Eumir Deodato, the album highlights Nascimento's emotive vocals and lush arrangements. A timeless introduction to one of Brazil's most unique voices.

 

PRICE: $22.50

CAT #: OJO 25001LP

FILE UNDER: WORLD

Color vinyl. Milton Nascimento's 1969 Courage blends Brazilian music with jazz, marking his international debut. Featuring Herbie Hancock and arranged by Eumir Deodato, the album highlights Nascimento's emotive vocals and lush arrangements. A timeless introduction to one of Brazil's most unique voices.

 

PRICE: $22.50

CAT #: OJO 25002LP

FILE UNDER: ROCK

Color vinyl. Released in 1972 on Kama Sutra, Hard Attack is a heavy rock burner from New York trio Dust. Packed with searing riffs, wild energy, and the powerhouse drumming of Marc Bell (later Marky Ramone), it's a raw, intense listen that still hits with full force. A true cult classic.

 

PRICE: $22.50

CAT #: OJO 25003LP

FILE UNDER: WORLD

Color vinyl. Groundbreaking Tropic?lia album that fuses Brazilian rhythms with psychedelic rock. Backed by the experimental band Os Mutantes, Gil blends tradition and rebellion in a bold, genre-defying sound. A vibrant snapshot of Brazil's musical revolution.

 

PRICE: $22.50

CAT #: OJO 25004LP

FILE UNDER: JAZZ

Color vinyl. Sleek, soulful hard bop from Duke Pearson at the top of his game. Hush! glides with understated swing and tight chemistry, driven by Donald Byrd's smooth, melodic lines. Cool, refined, and quietly captivating. An essential slice of early '60s jazz.

 

PRICE: $22.50

CAT #: OJO 25006LP

FILE UNDER: WORLD

Color vinyl. Legendary Egyptian vocalist and cultural icon, Umm Kulthum was known as "the voice of Egypt" and "Egypt's fourth pyramid." Released in 1961 on Parlophone, this is a stunning showcase of her unmatched vocal power and a cornerstone of 20th-century Arabic music. A national treasure with fans ranging from Bob Dylan to Youssou N'Dour -- essential listening.

 

PRICE: $20.00

CAT #: OR 043CD

FILE UNDER: ROCK

ICU Run is Camilla Sparksss' fourth full-length album, a record that marks her most ambitious and uncompromising work yet. With ICU Run, Sparksss pushes beyond genre boundaries, fusing hip-hop, experimental turntablism, dark wave, and industrial textures with sharp pop melodies and visceral, cutting vocals. Here, song structures are torn apart and reassembled into raw, pulsating compositions that challenge expectations while pulling listeners into their magnetic orbit. At its heart, ICU Run is a deeply personal album, a response to the passing of Sparksss' father, who spent his final months trying to escape the confines of an ICU. The record captures the extreme emotional terrain between life and death, threading chaos and harmony into a tragicomic, high-voltage sonic experience. Featuring Francesco Bianconi.

 

PRICE: $28.00

CAT #: OR 043LP

FILE UNDER: ROCK

LP version. ICU Run is Camilla Sparksss' fourth full-length album, a record that marks her most ambitious and uncompromising work yet. With ICU Run, Sparksss pushes beyond genre boundaries, fusing hip-hop, experimental turntablism, dark wave, and industrial textures with sharp pop melodies and visceral, cutting vocals. Here, song structures are torn apart and reassembled into raw, pulsating compositions that challenge expectations while pulling listeners into their magnetic orbit. At its heart, ICU Run is a deeply personal album, a response to the passing of Sparksss' father, who spent his final months trying to escape the confines of an ICU. The record captures the extreme emotional terrain between life and death, threading chaos and harmony into a tragicomic, high-voltage sonic experience. Featuring Francesco Bianconi.

 

PRICE: $15.50

CAT #: PFMI 105CD

FILE UNDER: ROCK

Perhaps it was a cold winter day or a warm summer night in Finland -- but it was around 2010. Someone came up with an idea to combine bluegrass, Finnish folk and rock/metal music. The outcome was and has since been Steve 'n' Seagulls. The kind of band you've never heard before but you do want to hear again. Hailing from Finland in Northern Europe -- this flock of musical energy keeps on going and flying faster than ever. Now, the sun lays its rays on the long-awaited fifth Steve 'n' Seagulls album -- The Dark Side of the Moo! Recorded and produced with the same crew as the previous one, Steve 'n' Seagulls have again found and torn down the limits of progressive bluegrass and newgrass. The album combines elements from genres that are hard to imagine together. Yet they meet and shake hands like old friends.

 

PRICE: $29.50

CAT #: PFMILP 105LP

FILE UNDER: ROCK

LP version. Perhaps it was a cold winter day or a warm summer night in Finland -- but it was around 2010. Someone came up with an idea to combine bluegrass, Finnish folk and rock/metal music. The outcome was and has since been Steve 'n' Seagulls. The kind of band you've never heard before but you do want to hear again. Hailing from Finland in Northern Europe -- this flock of musical energy keeps on going and flying faster than ever. Now, the sun lays its rays on the long-awaited fifth Steve 'n' Seagulls album -- The Dark Side of the Moo! Recorded and produced with the same crew as the previous one, Steve 'n' Seagulls have again found and torn down the limits of progressive bluegrass and newgrass. The album combines elements from genres that are hard to imagine together. Yet they meet and shake hands like old friends.

 

PRICE: $17.00

CAT #: ROG 145CD

FILE UNDER: JAZZ

"If you listen to nature, all the sounds are done in a confident way. I'm trying to do that. In these turbulent times, it may be worth reconsidering the few solutions offered by the art and know-how of improvisation, of the activity of improvisation. To do so, it may be necessary to start by deconstructing common sense; to start by taking improvisation not as an 'approximation' but as a method, a method of working collectively par excellence, for building situations in dialogue, in responsiveness and interactivity, in inclusiveness and, at the end, creativity. Improvisation is an articulated and articulatory knowledge, which coordinates orders and disorders more than it imposes an order. Improvisation is the art of conversation, of listening to each other, through all the particular languages of the forces at play, and through a common language that is always in the making. The air that comes out of a wind instrument, the one that comes out of the holes in a drum, the idea of this breath that expands, unravels, overlaps, becomes continuous, until it fades away. Roscoe Mitchell and Michele Rabia are made for each other, because they've always made everything audible in their respective music and improvisations. You can hear everything on the percussion of one, the slightest contact, the slightest clash, the slightest impact, and meteor showers on the resonant skins, on the resonant metals. The other's saxophones are like horns of plenty: the slightest breath, the slightest murmur, the slightest clamor, the scratches and welts. Together, they redefine the form and content of duets and dialogue, what exactly is a network connection and a disconnection; they rethink all forms of communication in music."

 

PRICE: $24.50

CAT #: RM 403-20LP

FILE UNDER: ELECTRONIC

A note from Lawrence English: "If I'm not mistaken, Ben Frost and I first talked about the ideas of what would become Steel Wound sometime in mid-2002. In the early '00s, Ben had been working on cut-up electronics, spilling over with floating rhythms, humming string samples and piano splices. It was a sound realized in part through the subversion of fruity loops and also owes a debt to Ableton Live which arrived in late 2001. His works to that point, gently saturated and bristling with a fizzy distortion at times, hinted at another sound world which would become his focused in the summer of 2002 and into 2003. Locking himself away at Johanna's Beach, a remote southern vantage along the Great Ocean Road in Victoria, he was able to record for the first time without a sense of constraint. This opening up of the sound palette brought with it an entirely new harmonic language that had been hinted at, but not realized, on previous recordings. With a simple restriction of instrumentation, the guitar as the palette, Frost unlocked a certain verticality to his working methods that holds light to this day. Steel Wound is, by design, a singular record in Ben Frost's discography. It's a recording born of particular conditions, but also of particular interests. It was the first time Ben had set himself up with a situation where saturation, volume and density were all something that could be realized in a space and a time, not as a process of post-production. To have sound operating in space is a thing of true beauty and moreover it allows for a certain unpredictability that is central to new discoveries. Working with a Fender Twin, often with the reverb dialed in at maximum, he found a language of shimmer and saturation, of compression and collision, that set the stage for a prolonged interest in how sound performs and is perceived at volume. It also is the first time that many of the tonal and melodic inflections that have come to be recognized as his compositional language are on display. Steel Wound, in my opinion, is a map to the future for Ben. It is a portal, a chance for new understandings to emerge and also to take hold and it's these learnings that have guided Ben's work in the subsequent years. Steel Wound remains a pulsing beacon in an ocean of noise that has been flickering for two decades now."

 

PRICE: $23.50

CAT #: SOW 060LP

FILE UNDER: JAZZ

Recorded at the Van Gelder studio in September 1965 and subsequently released on Blue Note, these five original tracks see the great alto saxophonist Jackie McLean at the head of a stellar quintet featuring Charles Tolliver or Lee Morgan on trumpet, Larry Willis on piano, Larry Riddle on bass and the marvelous Jack De Johnette on drums. This is highly energetic, hard swinging post-bop jazz at its best.

 

PRICE: $23.50

CAT #: SOW 061LP

FILE UNDER: JAZZ

The killer tandem of Lee Morgan and Clifford Jordan caught in full flight during these 1960 studio sessions. Here the two bop masters are backed by various rhythm sections featuring Barry Harris or Winton Kelly on piano, Bob Cranshaw or Paul Chambers on bass, Louis Hayes or Art Blakey on drums. A bunch of heavyweights for a solid Hard Bop album including compositions by Wayne Shorter, Milt Jackson, Elmo Hope and others.

 

PRICE: $9.00

CAT #: DKR 177EP

FILE UNDER: WORLD

2025 repress. "A mythical tune for all serious digital reggae collectors, finally reissued. The obscure Junior Khadaffy (various spellings!) released only a handful of tunes in the mid-late '80s, but all are fantastic. This one was cut for E&F Studios in the Bronx, ran by the late artist I-Plee. Stereo Fletcher happens to be family to I-Plee, producing several records by the artist for his own labels. But the works went both ways, and Stereo produced this one for release on E&F's in-house label. Slick but killer digital reggae, this one is reminiscent of the production style of Little Kirk's 'Weed Them Out,' a fantastic arrangement, great vocals and a complex head-nodding rhythm. The original press is extremely rare and the tune is simply too good to remain that way, so here it is, top top top shelf '80s digital, now available for all."

 

PRICE: $18.00

CAT #: STTT 001CD

FILE UNDER: ROCK

Second album by electro/post-punk trio from New York. Too raw to be pure electronic music, too mechanized to be straight rock -- a sound inspired by Public Image Limited and The Smiths as well as Bauhaus, Throbbing Gristle, Smashing Pumpkins, and Massive Attack. An adversarial network of ideas, electronic post-punk trio The Wants welcome the possibility that embracing friction can give rise to something cathartic and unexpected. Formed by Madison Velding-VanDam and Jason Gates in 2017, and with the addition of Yasmeen Night in 2021, The Wants' sound is defined by the push and pull of its members' processes: floating rhythms upheaving grounded songwriting, pulsing synths overwhelming live instrumentation. Their new record, Bastard, is an evolution of many of the seeds planted in their debut record, Container (2020), with a refined sense of acerbic emotional urgency and sonic experimentation. Drawing from a deep well of influences across decades and genres, The Wants forge an unlikely alliance of sounds that feels both radical and inevitable. Velding-VanDam channels both the raw power and snark of Public Image Ltd. and The Smiths' romance, while Gates draws intensity from bands like Bauhaus and Throbbing Gristle, and inspiration from experimental techno. Night's sound bridges inspiration from '90s alternative rock like Smashing Pumpkins and Garbage between the nocturnal trip-hop atmosphere of Massive Attack. The result sits in its own category, drawing favorable comparisons to early PIL and contemporaries like Model/Actriz while remaining distinctly their own beast.

 

PRICE: $29.00

CAT #: SV 136LP

FILE UNDER: JAZZ

2025 restock. "In the mid-'60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk', his delivery was radically aggressive and his tone blistering -- aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, 'It's not about notes anymore. It's a sound -- a feeling. The approach we're taking will discontinue the use of the word 'jazz.'' In Greenwich Village, Ayler's first LP on Impulse!, perfectly captures the Cleveland-born saxophonist's radiant intensity. Sourced from a pair of live engagements -- February '67 at the Village Theatre on New York's Lower East Side and December '66 at the Village Vanguard -- these recordings show an improved clarity in production and performance. Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are 'For John Coltrane,' a tribute to Ayler's mentor who would pass later that year, and 'Truth Is Marching In' where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect. Vibrant in sound and vision, Albert Ayler's In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years."

 

PRICE: $20.50

CAT #: SVVRCH 102LP

FILE UNDER: ROCK

My Boy Lollipop is the debut album by Jamaican singer Millie Small, capturing the infectious energy of the early ska movement. Driven by the global success of the title track, a genre-defining hit, the album delivers a lively mix of upbeat rhythms, playful melodies, and Millie's unmistakable high-pitched vocals. With a blend of ska, pop, and R&B influences, it's a vibrant showcase of the sound that helped bring Jamaican music to international audiences. A must-have for fans of classic ska and timeless feel-good tunes.

 

PRICE: $20.50

CAT #: SVVRCH 104LP

FILE UNDER: ROCK

Originally released in 1970, Tone Float is the only album by German rock band Organisation, a pioneering work that blends experimental rock with avant-garde soundscapes. Driven by hypnotic rhythms, unconventional instrumentation, and a freeform approach, the album explores the boundaries of sound with a mix of electronic textures and organic improvisation. A cult classic, Tone Float remains a fascinating snapshot of an era defined by musical innovation and fearless creativity.

 

PRICE: $20.50

CAT #: SVVRCH 107LP

FILE UNDER: ROCK

Live at K?kumeikan, Tokyo 1987 captures the raw, immersive power of Les Rallizes D?nud?s at their peak. Blending droning psychedelia, ear-shattering noise, and hypnotic melodies, this recording is a testament to the band's uncompromising approach to sound.

 

PRICE: $16.00

CAT #: GB 179CD

FILE UNDER: WORLD

The Slovenian avant-folk trio Sirom are back with a sonically and thematically expansive fifth album; a thrilling follow-up to their widely praised 2022 release The Liquified Throne of Simplicity (GB 120CD/LP). Navigating almost two dozen instruments (some of which they've handcrafted), and hypnotic compositions that often exceed ten minutes in length, Ana Kravanja, Iztok Koren, and Samo Kutin court patient, deep-dive listeners via intricately woven atmospheres, rhythms and sonics. In the Wind of Night, Hard-Fallen Incantations Whisper is arguably the sharpest evocation yet of the group's highly collective music process, enveloping rustic melodic folklore, outernational textures, non-linear song structures and dissonance, and a buzzing ambiance that can at times feel like an ecstatic ritual. Few experimental ensembles from the last decade have created an ouevre as singular and unmistakable as that of this far-sighted trio from the disparate landscapes of Slovenia. Sirom truly sounds like no one else. The band are more melodic and accessible here than they have ever been. The insistent grooves and trademark texture are still present, but there's a new-found sense of linearity that largely replaces the stacks of sound and detailed collages that have characterized their work to date. There is suddenly more air, allowing a string of sublime melodies, in "Curls Upon the Neck, Ribs Upon the Mountain" and "Hope in an All-Sufficient Space of Calm" in particular, to flourish. Everyone's still speaking, just not at the same time, but the drama level remains high. The resulting sense of space, of emergence and arrival, is certainly something a Tim Hecker or indeed Park Jiha fan would instantly recognize. This is as close as Sirom have ever got to a state-of-the-world, state-of-their-lives record. "We don't want to play something that sounds like it already exists," said Samo, and they still don't. File this under contemporary classical, imaginary folk or rural underground, file it under Slovenian, file it under anything you want. People will find this wonderful album regardless. Or perhaps, more probably, it will find them.

 

PRICE: $40.00

CAT #: GB 179LP

FILE UNDER: WORLD

Double LP version. The Slovenian avant-folk trio Sirom are back with a sonically and thematically expansive fifth album; a thrilling follow-up to their widely praised 2022 release The Liquified Throne of Simplicity (GB 120CD/LP). Navigating almost two dozen instruments (some of which they've handcrafted), and hypnotic compositions that often exceed ten minutes in length, Ana Kravanja, Iztok Koren, and Samo Kutin court patient, deep-dive listeners via intricately woven atmospheres, rhythms and sonics. In the Wind of Night, Hard-Fallen Incantations Whisper is arguably the sharpest evocation yet of the group's highly collective music process, enveloping rustic melodic folklore, outernational textures, non-linear song structures and dissonance, and a buzzing ambiance that can at times feel like an ecstatic ritual. Few experimental ensembles from the last decade have created an ouevre as singular and unmistakable as that of this far-sighted trio from the disparate landscapes of Slovenia. Sirom truly sounds like no one else. The band are more melodic and accessible here than they have ever been. The insistent grooves and trademark texture are still present, but there's a new-found sense of linearity that largely replaces the stacks of sound and detailed collages that have characterized their work to date. There is suddenly more air, allowing a string of sublime melodies, in "Curls Upon the Neck, Ribs Upon the Mountain" and "Hope in an All-Sufficient Space of Calm" in particular, to flourish. Everyone's still speaking, just not at the same time, but the drama level remains high. The resulting sense of space, of emergence and arrival, is certainly something a Tim Hecker or indeed Park Jiha fan would instantly recognize. This is as close as Sirom have ever got to a state-of-the-world, state-of-their-lives record. "We don't want to play something that sounds like it already exists," said Samo, and they still don't. File this under contemporary classical, imaginary folk or rural underground, file it under Slovenian, file it under anything you want. People will find this wonderful album regardless. Or perhaps, more probably, it will find them.

 

PRICE: $20.00

CAT #: VHF 141LP

FILE UNDER: ROCK

2025 restock; includes download code. "Part of a collaboration with Jack Rose's estate and Three Lobed Records to restore all of his LPs to print, VHF presents new vinyl editions of the celebrated guitarist's first three solo albums, newly cut by John Golden Mastering from the original source material. Originally issued on LP by Eclipse Records between 2002-04, these releases chart an eclectic, more experimental approach left behind as his technique and compositions became more refined and deliberate on later works like Kensington Blues. Rose's 2002 solo debut Red Horse, White Mule was a bit of an outlier in the underground gestalt at the time, coming just before the wave of releases from the new generation of Takoma- / Fahey-inspired players. Strictly a solo affair, Red Horse balances the epic, side-long raga of "Red Horse" against a second side of shorter pieces, including the ragged slide style of "The Colonel's Blues." The compositions and performances incorporate the new and the classic with a rough-hewn charm."

 

PRICE: $20.00

CAT #: VHF 142LP

FILE UNDER: ROCK

2025 restock; includes download code. "Part of a collaboration with Jack Rose's estate and Three Lobed Records to restore all of his LPs to print, VHF presents new vinyl editions of the celebrated guitarist's first three solo albums, newly cut by John Golden Mastering from the original source material. Originally issued on LP by Eclipse Records between 2002-04, these releases chart an eclectic, more experimental approach left behind as his technique and compositions became more refined and deliberate on later works like Kensington Blues. Recorded and originally released in 2003, Opium Musick is an eclectic collection with pieces for 12-string (the percussive and dark "Black Pearls"), 6-string, and lap guitar. The lovely raga-ish "Yaman Blues" features Mike Gangloff (Pelt, Black Twig Pickers) on tanpura, and echoes the extended modal work on Pelt's contemporaneous Pearls From The River. The near-ragtime of "Linden Ave Stomp" showcases Glenn Jones on his vintage Gibson in a jumping duet with Rose's lap steel. "Linden Ave" charted a path that Rose would determinedly pursue -- short ragtime and old-time influenced pieces (originals and classics), with all phrasing worked out to a perfectionist standard. The lovely "Mountaintop Lamento" was memorably used in Catherine Pancake's film about coal mining in Appalachia, Black Diamonds: Mountaintop Removal and the Fight for Coalfield Justice."

 

PRICE: $28.00

CAT #: VL 990359LP

FILE UNDER: ROCK

2025 repress. Seventeen Seconds was the second album by The Cure originally released in 1980. It was too bleak for bassist Michael Dempsey who left after hearing Robert Smith's demos. Smith went his own merry/miserable way in the end and the album is a fine example of their spindly proto-goth. It contains one of their finest moments in menacing single "A Forest" which exemplifies the dark nature of the material on the album.

 

PRICE: $35.00

CAT #: WWSLP 102LP

FILE UNDER: WORLD

Wewantsounds reissues Fairuz's classic album Chat Iskandaria released on Relax-in in 1987. The album sees "The Lebanese Diva" going back to her roots and interpreting classic songs by the Rahbani Brothers in her own style accompanied by hypnotic traditional orchestral arrangements. Coming with its original deluxe gatefold sleeve, the album -- curated by Mario Choueiry from Institut du Monde Arabe (Paris), who also wrote the liner notes -- has been newly remastered by Colorsound Studio in Paris. Fairuz is a living legend and one of the greatest divas of the Arab world. For more than sixty years, she has been at the heart of Arabic music, releasing landmark albums since the early '50s and performing on stages around the globe. Fairuz rose to prominence through her collaboration with the Rahbani Brothers (Assi and Mansour), a creative partnership that began in the 1950s and flourished through the 1970s, producing a vast repertoire of timeless songs that remain beloved across the Arab world and beyond. In the late 1970s, Fairuz shifted to a more modern sound with albums such as Wahdon (1979) and Maarifti Feek (1986), produced by her son Ziad Rahbani, blending jazz, funk, and other contemporary influences into her music. However, Chat Iskandaria, released in 1987, marks a return to her classic Rahbani sound, offering a more traditional yet captivating approach to Arabic music. The album sees Fairuz interpreting a selection of Rahbani Brothers compositions in their signature theatrical and orchestral style, with themes ranging from nostalgia and love -- including a heartfelt homage to the city of Alexandria -- to the passage of time, central motifs in much of their work the legendary poet Sa?d Akl contributes to two songs, "Min Rawabina Al Kamar" and "Fattehhon Alay." Unlike her more experimental collaborations with Ziad Rahbani, Chat Iskandaria stays firmly rooted in traditional Lebanese and Levantine musical aesthetics. Rich in melody and poetic imagery, it showcases Fairuz at her most evocative, supported by the refined orchestral arrangements that defined her golden era with the Rahbanis. Chat Iskandaria is a must-have for lovers of classical Arabic music and a poignant reminder of the enduring artistic bond between Fairuz and the Rahbani Brothers. Wewantsounds releases the album on vinyl for the first time since its original 1987 release, featuring its beautiful gatefold sleeve, remastered audio and a new bilingual introduction by Mario Choueiry (Institut du Monde Arabe).

 

PRICE: $15.00

CAT #: WH 389CD

FILE UNDER: JAZZ

"Mike Clark returns to Wide Hive with an amazing ensemble. Eddie Henderson on trumpet, Henry Franklin on bass, Craig Handy on saxophone, and esteemed artist and educator Patrice Rushen on piano. On nine new recording Mike again shows his versatility easily leading compositions that span straight ahead to funk and beyond."

 

PRICE: $34.00

CAT #: WRWTFWW 036LP

FILE UNDER: JAZZ

2025 restock; double LP version. Three-sided. WRWTFWW Records announce the official reissue of Motohiko Hamase's extremely rare live album Anecdote, recorded in 1987. This marks the sixth release from the Esplanade Series which focuses on the works of Yoshio Ojima, Motohiko Hamase, and Satsuki Shibano. Anecdote was recorded live June 12th, 1987 at Spiral Garden (Wacoal Art Center) in Aoyama (Tokyo) as part of the Eat Newsic Concert No.3. Motohiko Hamase on electric fretless bass, synthesizers, and computer programming, is accompanied by frequent collaborators Toshio Kaji on acoustic piano and synthesizers, and Yasunori Yamaguchi (of #Notes of Forestry fame) on acoustic percussions. The three-man band improvises around Hamase's unique repertoire of ambient and electronic music, reinterpreting pieces from his albums Reminiscence (STUDIOMUL 010CD/LP), Intaglio (STUDIOMUL 008CD/LP), and #Notes of Forestry. It's environmental and minimalist experiments with a jazz soul, three brilliant musicians flowing to blissful heights, and a beautiful testament to the '80s Japanese ambient scene that gave birth to seminal releases by Midori Takada, Satoshi Ashikawa, Yutaka Hirose, and many more. Essential. The live album came out on CD only in 1993 on Motohiko Hamase's Lung Records. It is now reissued in conjunction with his #Notes of Forestry and Anecdote albums. The album is sourced from original masters and available on vinyl (double LP) for the first time ever as well as on CD. It comes with liner notes from the artist.