News & Events

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 02/09/2026

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: $28.50

CAT #: RANDB 175LP

FILE UNDER: ROCK

The Beatles played two shows at the Montr?al Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum's stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montr?al, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night. 1960's Records have done the best they possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through "A Hard Day's Night" so the last two songs of the show, "I Want To Hold Your Hand" and "Long Tall Sally" were not transmitted.

 

PRICE: $28.50

CAT #: RANDB 176LP

FILE UNDER: ROCK

Trevor Lucas and Gerry Conway were members of the folk-rock group Eclection, who released an album in August 1968 on Elektra Records. After the group disbanded in 1969, they formed Fotheringay with Lucas's girlfriend Sandy Denny, who had recently left Fairport Convention. The Fairports were recording mostly traditional folk material at this time and Denny left the group so that she could perform more of her own compositions. The BBC session on side one of this LP features songs from the first Fotheringay album and took place at the Playhouse Theatre on April 13th 1970. The songs on side two were recorded at BBC's Maida Vale Studios in November 1970. They are "off-air" recordings but the sound quality is still very good.

 

PRICE: $28.50

CAT #: RANDB 177LP

FILE UNDER: ROCK

Eclection's lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band's sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA. Comes with full recording credits and extensive sleeve notes. Recording quality very good/excellent throughout.

 

PRICE: $20.00

CAT #: WHYT 083CD

FILE UNDER: ELECTRONIC

New York-based artist James K returns with Friend. This album is full of electric pop anthems that blends ear-worming melodies with peak-time breaks, buzzing powerpunk guitars and a classic rave pulse, with K's signature enchanting vocals playfully spitting emotion. It's a hallucinatory pleasure, tearing through your body and mind. "Play" rushes with a rebellion of friends -- an electro fever daydream waking up everywhere you go. Hot off extensive tours worldwide, playing the likes of Pitchfork Festival, Dekmantel, iii Points, and Mutek, following in the footsteps of her last two critically acclaimed singles Friend comes on AD 93. RIYL: Cocteau Twins, Yves Tumor, Prodigy, Oklou, Grimes. Also available on transparent vinyl (WHYT 083TR-LP).

 

PRICE: $28.00

CAT #: WHYT 089LP

FILE UNDER: ELECTRONIC

Much of the Collide's sound is derived from an old Aria Pro II electric guitar from Leif's childhood, scratched up with damaged and unpredictable electrics. The record leans into this sense of things being broken or damaged -- and how sometimes things need to break in order for listeners to make sense of them -- reveling in, rather than resisting, unpredictability. Lush textures traverse the listener. across unexpected terrains.

 

PRICE: $28.00

CAT #: NMN 168LP

FILE UNDER: CLASSICAL

Alga Marghen presents two previously unpublished seminal works by Bill Fontana, "Suite For Toy Tape Recorder" from 1968, and "Wave Spiral" from the early '70s. These recordings come directly from the archives of Philip Corner who also curated this LP edition and contributed the liner notes. 1968: In the basement Music Room of the New School For Social Research, Philip Corner was teaching "Analysis of New Music," a class he inherited from Malcolm Goldstein and before him Richard Maxfield and of course all the way back to the famous founder John Cage, present in the spirit of living history. The "Suite For Toy Tape Recorder" was a series of little reels of 1 7/8" tapes, unique experiments by means of "working-with" and so "transcend" by "making use-of" those little cheap tape-recorders. A sensitive ear that listened to hum and hiss and all the other characteristic distortions; and recorded these materials via a kind of physical phonog?ne of musique-concrete perspective, his thumb's friction as the reel was running fast-forward in order to create tape loops in contrapuntual collision. Side B presents "Wave Spiral, for 5 Rin Gongs," a 21-minute blissful piece recorded in the early-'70s and first presented in Australia in 1977. This work shows how Bill Fontana's research evolved toward working with the distinct physical dimension of different frequencies. An exploration of how sound becomes simultaneously its own material and the force acting upon it. The piece unfolds as an investigation of how frequency itself becomes sculptural. Across its 21-minute duration, the rin gongs generate sustained waves that spiral outward and inward simultaneously, their overtones interacting with the listening space that Fontana would describe as a "definition of motion interacting with a particular acoustic environment." The spiral manifests itself here not through cycles within cycles of tape loop manipulations like on Side A, but through the acoustic behavior of metallic resonance in space. This sound is rendered as tangible phenomenon, frequency made visible through its physical impact on the listening environment. These recordings have remained unheard for decades, only existing in Philip Corner's archive. Their publication allows the world to trace the development of an artist discovering that to work with sound was to investigate its physical dimensions, to understand that frequency and space are inseparable, that sound sculpure begins not with installation but with the fundamental recognition that all sounds exist as waves interacting with architecture itself. Edition of 232.

 

PRICE: $28.50

CAT #: NMN 184LP

FILE UNDER: ELECTRONIC

Edition of 300. Includes 8-page booklet. In 1969, while American minimalism was consolidating into its most recognizable forms, Charlemagne Palestine was conducting solitary experiments with oscillators and sine waves that only now reveal their visionary scope. This was the New York of lofts and abandoned industrial spaces, of artists pushing sound toward its physical limits -- a city where the boundaries between music, performance art, and bodily endurance were dissolving. Battling the Invisible unearths two electronic studies from that crucial year, paired with rare 1972 B?sendorfer sessions -- a document that illuminates the passage from pure electronics to the keyboard as an instrument of prolonged ecstasy. "Low Sounds 3" opens the record with fifteen minutes of low frequencies that seem to emerge from the very foundations of the sonic edifice. There is no development in the traditional sense, but a static presence that gradually colonizes the listening space. Think Eliane Radigue's meditative drone work filtered through a raw, almost brutalist sensibility. "Sine Tone Study" on Side B extends this practice for nearly nineteen minutes -- sine waves overlapping, creating beating patterns, zones of interference explored with the patience of an entomologist. The two 1972 B?sendorfer fragments function as bridges toward the Palestine the world knows better -- the strumming ecstasies, the hypnotic accumulation of overtones, the piano as a vehicle for transcendence. Here the physical approach to the keyboard is already evident -- what he would describe as a "battle." This release is part of Alga Marghen's The Golden Research series -- a concept devised by Palestine himself around the idea of "perfect sound." The series focuses exclusively on completely unreleased archival materials, bringing to light legendary recordings that have never been heard before. The LP includes a 8-page interview conducted by Sumner Crane and Rudolph Grey in January 1979 at Palestine's NYC loft, with Arto Lindsay present, later redacted by Alan Licht. The insert is an anastatic reproduction of the original 12-page typescript. Unfiltered, explosive -- Palestine on violence, on the body as battleground, on his Brooklyn childhood. Essential reading.

 

PRICE: $22.50

CAT #: AHA 003CD

FILE UNDER: ROCK

This new album by Eric Random coincides with the start of the last Cabaret Voltaire tour, for which Eric joined as a member. The album marks a contrast to his most recent releases, less dance-oriented and with a darker pop tone and a cinematic, soundtrack-like atmosphere.

 

PRICE: $76.50

CAT #: AOR 003ST-LP

FILE UNDER: JAZZ

The definitive 2LP reissue of a landmark in British jazz fusion. Analogue October Records presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley's 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London's famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine's Journey to the Urge Within and Neil Ardley's Harmony of the Spheres, this third release confirms Analogue October as one of today's most meticulous and exciting reissue labels. Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a color of the spectrum. Ardley's composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who's who of the UK's vibrant 1970s jazz scene. For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley's score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley's vision. The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period. As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector's eye for detail and a deep respect for the music's legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums -- it also continues the label's mission to restore and celebrate the most vital recordings of the era.

 

PRICE: $50.00

CAT #: AV 783UHD

FILE UNDER: Misc

4K Ultra HD. Region code: 0. "In early 1980s New York City, independent filmmaker Charlie Ahearn and downtown artist Fred Brathwaite ventured uptown with the aim of capturing an exciting new underground scene that was happening in the South Bronx, a scene that featured graffiti artists, breakdancing b-boys and two turntables and a microphone. The result was Wild Style, and to many viewers it was their first glimpse of the musical and cultural phenomenon called hip-hop. In this unique hybrid of fiction and documentary, the story of lone graffiti artist Lee 'Zoro' Qui?ones trying to achieve success on his own terms is brought to vivid life with support by Fred 'Fab 5 Freddy' Brathwaite, Sandra 'Lady Pink' Fabara, and Patti Astor, and with historic music performances by such luminaries as Grandmaster Flash, Busy Bee, The Fantastic Five, The Cold Crush Brothers, and The Rock Steady Crew. To create the score, Chris Stein (Blondie) would collaborate with Brathwaite to produce the actual breakbeats to be used in the film, an inspired decision that would provide a source of obsession among crate diggers for decades to come. Endlessly sampled, imitated and debated, Wild Style is the truest portrait of the hip-hop scene during its early years, and remains one of the most important music films ever made. Arrow Films is proud to present Wild Style in an exclusive new 4K restoration with hours of brand-new bonus features, vintage interviews and featurettes."

 

PRICE: $19.00

CAT #: ATA 037EP

FILE UNDER: WORLD

ATA Records presents the latest release from The Flying Hats. Following the buzz surrounding their debut LP and the soft limited pre-release of "Blender," anticipation for this single has been huge. The Flying Hats return in phenomenal form with two previously unreleased cuts of the highest caliber. Both tracks strike hard somewhere between Kingston and New Orleans, as if The Meters were channeling Jackie Mittoo or Sound Dimension were jamming with Jimmy Smith.

 

PRICE: $35.00

CAT #: ATA 044LP

FILE UNDER: JAZZ

LP version. ATA Records present the new release by Work Money Death, A Portal to Here. This album continues WMD's exploration of spiritual jazz and the sounds and styles that evolved out of the '60s New Thing, particularly the recordings of Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on -- in many ways this record is a testament and tribute to Chris, his musicality and creativity. Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcerers keyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channeling that through his own unique 21st century musical perspective. The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough and Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear. Standout tracks are the second, "Dance of the Spirits," with a strong core of "Baptism and The Blues" and some lovely playing by Richards, and the third track, "Brother Earl," which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-'60s spirituality. A Portal to Here is a stunning addition to the WMD catalogue and a clear statement that the band continues to create and produce, whatever life throws its way.

 

PRICE: $17.50

CAT #: BTR 128EP

FILE UNDER: WORLD

Kutiman joins Batov Records' Middle Eastern Grooves series with explosive double-sider. The release features two essential, souk-fueled, psych-funk heaters: "Haraka" and "Khamsin." A prolific musical force, Kutiman delivers the goods on "Haraka" ("movement"), layering neck-snapping rock drums, irresistible psychedelic basslines, and haunting organ riffs, with microtonal-bending synths and tablainspired percussion. On the B-side, "Khamsin" ("heatwave") continues the trip with another heavy dose of Middle Eastern psych and funk, culminating in a blistering guitar solo in his signature Middle Eastern style by longtime collaborator Uri Brauner Kinrot (Ouzo Bazooka, Boom Pam), who also contributes beguilingly languid bass guitar riffs.

 

PRICE: $23.00

CAT #: BCD 17775CD

FILE UNDER: ROCK

"Bear Family Records provides the ultimate James Brown compilation! Revered as a pioneering soul and funk icon (not to mention as The Hardest Working Man in Show Business), James Brown would at first seem an unlikely subject for an entry in Bear Family's long-running Rocks series. But undeniable evidence that Mr. Dynamite proudly belongs in any pantheon of great and timeless rock and rollers defines this compilation (after all, the Rock and Roll Hall of Fame inducted him in 1986). During Brown's early years at Syd Nathan's Cincinnati-based Federal and King Records, Soul Brother Number One engaged in plenty of righteous rocking with his Famous Flames vocally backing him up, from the thundering jumpers 'I Feel That Old Feeling Coming On' and the Little Richard-inspired 'Chonnie-On-Chon' to a daffy Coasters-like 'That Dood It' and into the screaming testifiers 'I'll Go Crazy,' 'This Old Heart,' 'Think,' 'Good Good Lovin',' 'Dancin' Little Thing,' and 'Shout And Shimmy.' Along the way, he constantly invented and perfected new grooves and beats to anoint himself as the baddest R&B singer in the land while never allowing the sweat to dry from any stage he muscularly commanded. This collection offers 30 sizzling houserockers by The Godfather of Soul (or Funk -- take your pick) from his crucial primordial era, closing with his earth-shattering game-changers 'Papa's Got A Brand New Bag' and 'I Got You (I Feel Good),' which permanently shifted the axis of soul music with their singular funky vision. There are even a handful of Brown's all-too-often overlooked instrumentals, where he usually played drums or organ with his mighty band and grooved like a man possessed. Yes, James Brown could rock -- and this scintillating compilation contains the invaluable goods!"

 

PRICE: $29.50

CAT #: BS 001LP

FILE UNDER: EXPERIMENTAL

In 1934, Swiss engineers completed the Chandoline Hydroelectric Plant, channeling Alpine water through 16 kilometers of concrete pipe. By 2023, the turbines had stopped. The plant was empty, silent -- a cathedral to obsolete energy with perfect acoustics and nothing left to say. Christian Marclay saw an instrument. For the inaugural Biennale Son in 2023, the artist who made his name destroying vinyl in 1980s New York turned the entire hydroelectric system into a playable object. The concept: open a manhole 4.5 kilometers uphill, drop something in, wait for sound to travel through the mountain. Steel bearings didn't work -- too heavy, wrong frequency. So Marclay used golf and tennis balls donated by local clubs. The Valais School of Art rigged the turbine hall with microphones. Then the balls dropped. Seconds of silence. Then: tumbling, bouncing, accelerating through kilometers of concrete. Not one ball but many, building into something between avalanche and applause as they hit the hall below. Marclay directed remotely, releasing volleys like a percussionist striking a drum the size of a small town. The pipe amplified everything -- pure mountain reverb, no processing, just 1934 engineering singing its swan song. The recording, mixed with Alain Renaud, is the Biennale Son's first vinyl release. Side A features fifteen minutes of cascading spheres, industrial archaeology as living sound. Side B features an engraved portrait of Marclay. Unplayable. The performance happened once. The pipe spoke. That's enough. This is quintessential Marclay -- the artist who built the Phonoguitar (1983), scattered records to be crushed underfoot (Footsteps, 1989), won Venice's Golden Lion with The Clock (2011), collaborated with Sonic Youth and John Zorn, and has spent his career proving that everything is already an instrument. Mountains. Vinyl. Film. Time itself. You just need to know where to listen -- or where to drop the ball. Always the same question: what music do objects make when you know how to listen? Here, the answer is gravity plus concrete plus expired sporting goods equals something you've never heard before. Conduite forc?e means "penstock" but translates as "forced conduct" -- water compelled through pipe, sound through space, music from infrastructure. Limited edition. One pressing. No digital. Just the grooves and the ghost of Switzerland's hydroelectric past, pressed into vinyl like water in a sealed pipe. Mountains as instruments. Golf balls as notes. A decommissioned power plant's final performance, conducted by one of contemporary art's most inventive listeners.

 

PRICE: $31.50

CAT #: BS 091LP

FILE UNDER: WORLD

This album is both a musical and political document that tells the story of one of the most brutal massacres that took place in 1976 in a Palestinian refugee camp during the Lebanese Civil War. Pianist Gaetano Liguori, along with Giulio Stocchi and Demetrio Stratos (the legendary singer of the band Area), composed this album, a gut-wrenching blend of free jazz, poetry, and Mediterranean music. The first edition was released in 1978 and, after almost 50 years, unfortunately, nothing seems to have changed. This is the third edition of the album, and as with the previous releases, all proceeds will go to charity. This time, Black Sweat have chosen to donate the funds to UNRWA.

 

PRICE: $19.00

CAT #: BS 094CD

FILE UNDER: ELECTRONIC

In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluorescence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff and Nancy Hennings or Nada Himalaya's Deuter.

 

PRICE: $27.00

CAT #: BS 094LP

FILE UNDER: ELECTRONIC

LP version. In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluorescence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff and Nancy Hennings or Nada Himalaya's Deuter.

 

PRICE: $29.50

CAT #: BS 099LP

FILE UNDER: ELECTRONIC

At the end of the 1980s, Mariolina Zitta approached the world of natural sounds, studying musicology and developing a passion for speleology. Her encounter with Walter Maioli was fundamental, guiding and influencing her definitive research into sound archaeology and the primitive sources of musical acoustic phenomena. In these recordings Mariolina conducts a magical ritual as a cave priestess, celebrating the icons par excellence of the mysteries of the night: bats. The specific frequencies of the calls of these fascinating creatures are recorded with special detectors used by ecologists, and the result is an organic synthesizer. The fusion with the sounds of natural objects (stones, stalactites, logs, bone whistles, Tibetan bells, mouth bows, trumpet shells) and the vocal modulations of harmonic singing allow listeners to travel into a still unexplored sound dimension, through an evocative experience of total sensory listening. It is an arcane landscape filled with pure vibrations, magnetic resonances and aquatic sounds; an ancestral enchantment on the border between consciousness and dreams, a symbolic liturgy of primordial reverberations, echoes and whistles. Edition of 200 copies.

 

PRICE: $42.00

CAT #: BS 101LP

FILE UNDER: WORLD

"Gagaku" is the oldest of the Japanese performing arts, with a history more than a thousand years old. The term refers to Japanese classical music and dance, traditionally performed by families of musicians linked to the ancient Imperial court, and later passed down in Buddhist temple ceremonies and Shinto shrines. Shiba Sukeyasu, founder and director of the Reigakusha ensemble, descends from the Koma clan, whose origins date back to the end of the 10th century. These recordings partly reflect repertoires borrowed from Chinese music between the 5th and 9th centuries. The incredible variety of timbres of the instruments greatly amplifies the listener's exotic imagination: the eternal breath of the flutes (ryuteki and hichiriki) creates a sort of suspension of time, together with the hypnotic and hallucinatory atmosphere of the mouth organs (sh?). The meditative tone of the string instruments (bika and koto) that punctuate the voids and silences is impressive, as is the enigmatic percussion section, with the tolling of the gong (sh?ko) and the calibrated beats of the drums (taiko and kakko).

 

PRICE: $29.50

CAT #: BS 102LP

FILE UNDER: ELECTRONIC

Originally from Sicily but living in Basel, electronic composer Marco Papiro confirms his eccentric and multifaceted personality. The sound articulation of his analog synthesizers flows into in an artificial hyperrealism of great thematic and expressive variation. The tracks unfold between ascending cosmic moments, more ecstatic meditative tones, symphonic planetary floods, exotic Afrodelic and psycho-Andean drifts. Papiro synthesizes and converts echoes of acoustic wind instruments (oboe, recorders, bamboo flute), while the percussion lives on its own pulsating reality. The influence of certain folk traditions, as well as contemporary music, also suggests the more acoustic flavor of an ethereal minimalism (for voice and psaltery), making his music a continuous open sea of visions. Cover painting by Anton Bruhin printed on two different colored papers. Co-released with Les Giants.

 

PRICE: $22.50

CAT #: BORNBAD 072RP

FILE UNDER: ELECTRONIC

Reissue in white color vinyl. First time reissue of this French cold-wave/minimal-synth treasure. Originally released in November, 1981.

 

PRICE: $13.50

CAT #: BORNBAD 190CD

FILE UNDER: ELECTRONIC

Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician's life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender's is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably: Melchior is a perfect cover-boy, and his very existence has put our man back to work. They set a path for phat electronic ventures (and by the way, mostly English-speaking). Sub- continental bass and massive drums, heavy-footed and unabashed: as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on "UFO" and "Waiting for the sign": Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo also sent her "Postcard", more vapor than song, unreal musical cotton candy of arrangements. Domotic, who mixes and co-produces, gives a nice spin to "Count to 10," a hip-hop/kraut crossover with a BEAK> flavor. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys and vocals trio, with Melchior as guest. Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. Forever Pavot may have gone wild, but remains indebted vis-a?-vis the golden age of film music. Forebears deluxe Ennio Morricone and Franc?ois de Roubaix make Hitchcock-style cameos: discreet appearances that you'll watch out for. His new flirt is all but a toxic relationship. Melchior Vol. 1: the robo-bromance is not over yet.

 

PRICE: $12.50

CAT #: BORNBAD 192CD

FILE UNDER: ROCK

Jessica93, prodigal bastard of the glorious French squat scene, relocated on Born Bad. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That's where it gets tricky: every musical posse claims him. Grunge, sure, but Jessica doesn't indulge in necrophilia. His circuit is punk, he doesn't dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called 666 Tours De P?riph (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again. At the heart of this cultural pentacle painted by French weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO's gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the '90s. A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. The record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There's your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Sat?n, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language: French at last.

 

PRICE: $15.00

CAT #: BUDA 860411CD

FILE UNDER: WORLD

"Muluken M?ll?ss? leaves posterity with a clear idea of the level of sophistication and mastery that modern Ethiopian music had reached before it was crushed under the military-Stalinist boot of the Derg. Betraying the singer's extreme youth (he was not yet 18 at the time), his angelic voice fooled more than one listener into thinking they were hearing a female singer. It was Muluken who inaugurated the Ethiopiques series more than twenty years ago with H?d?tch alu, the B-side of his first single. He was not yet 22 when he released his last vinyl record on Kaifa Records (KF 39LP) in 1976, one of the last released in Ethiopia before the cassette became the dominant medium for music distribution. Ethiopia, 1976. For a year now, cassettes have been inexorably crushing the vinyl record market. Muluken Mellesse's 33 rpm album Muluq?n M?ll?s?, produced that year by Ali Abdella Kaifa on his Kaifa Records label, is historic in more ways than one. It is one of the last vinyl records released in Ethiopia, but more than that it is the absolute masterpiece of Ethiopian Groove -- and its swansong. It leaves posterity with a clear idea of the level of sophistication and mastery that modern Ethiopian music had reached before it was crushed under the military-Stalinist boot of the Derg -- the word that stands for the bloody revolution that had been underway since 1974."

 

PRICE: $15.00

CAT #: BUDA 860412CD

FILE UNDER: WORLD

"This is Ethiopia in the mid-1950s and early 1960s, on the eve of the blossoming, or rather the explosion, of Swinging Addis. Rock'n'roll, rhythm and blues, soul and twist had not yet burst onto the scene, and the atmosphere was still steeped in the post-war big band era, with Glenn Miller's 'In the Mood' enduring as a global anthem on a par with the Latin wave which was also popular at the time. But post-war joie de vivre was already there, with peace restored after the terrible Italian-Fascist invasion of 1935-1941. The redeployment of modern music was an integral part of the reconstruction. It was the young generation, parents of baby-boomers, who had the first taste of this resurrection before the baby-boomers themselves took over, definitively electrifying the soundtrack of the end of the imperial reign. It was stateless persons of Armenian origin, Kevork Nalbandian and, above all, his nephew Ners?s, who contributed to revolutionizing modern Ethiopian music. The great historical godfather of this music, it must be strongly emphasized, was an Armenian emigrant who had become deeply Ethiopianised. A riot of brass instruments, well-integrated discipline, relentless innovation and revolutionary teaching methods took care of the rest, starting in 1955. These outsiders, who composed two Ethiopian national anthems and a continental anthem (no less than the anthem of the OAU, the Organization of African Unity), were also and above all the true origin of what would become the Swinging Addis of the 1960s. Ners?s was granted Ethiopian nationality in 1957 for services rendered to Ethiopian music. With the essential contribution of Russ Gershon and the Bostonians of the Either/Orchestra, this recording represents the crucial modernist link that until now had been missing in the Ethiopiques."

 

PRICE: $16.00

CAT #: BSR 826CD

FILE UNDER: WORLD

"This debut album captures Massive Dread at an early stage of his career when he was starting to make a name for himself as a unique voice in reggae. The production has that classic late-'70s roots vibe -- deep basslines, steady drum rhythms, and dub influences mixed with Massive Dread's distinctive vocal style. The album contains a mix of vocal tracks and deejay toasting, showcasing Massive Dread's versatility. His style helped bridge the gap between the roots reggae era and the rising dancehall movement."

 

PRICE: $24.00

CAT #: CADIZ 315CD

FILE UNDER: ROCK

"Peter Murphy's initial foray into the music world was as the inimitable singer for the pioneering early-80's band Bauhaus, releasing a groundbreaking body of work that remains relevant and influential in the worlds of music and culture. Known as an innately charismatic and courageous live performer, Peter continues to grow his fanbase across continents and generations. He remains a commanding stage presence, a performer who reaches all eyes, hearts, and minds in the room and takes them on a sonic odyssey. In recent years, Peter has played to sold-out crowds all over the world. His live performances are an unmatched, alluring mix of enigmatic theatrics, artful guile, pure rock and roll swagger, and a voice that is evocative and transcendent. In 2024, Peter created his own label, Silver Shade, to release rare live performances and previously unreleased material. The third release on Peter Murphy of Bauhaus own Silver Shade label is an unreleased show from San Diego's 4th & B from 2000. The band features Peter's ex-Bauhaus bandmate Kevin Haskins on drums, Eric Avery from Jane's Addiction on bass, current Psychedelic Furs man Peter DiStefano on guitar and Doug De Angelis on keyboards. Peter himself plays acoustic guitar on some tracks. By 2000 Peter had a wealth of solo material to choose from which is reflected in the career spanning setlist. Digipack CD featuring an original painting by Peter Murphy."

 

PRICE: $47.00

CAT #: CADIZ 316LP

FILE UNDER: ROCK

Double LP version. "Peter Murphy's initial foray into the music world was as the inimitable singer for the pioneering early-80's band Bauhaus, releasing a groundbreaking body of work that remains relevant and influential in the worlds of music and culture. Known as an innately charismatic and courageous live performer, Peter continues to grow his fanbase across continents and generations. He remains a commanding stage presence, a performer who reaches all eyes, hearts, and minds in the room and takes them on a sonic odyssey. In recent years, Peter has played to sold-out crowds all over the world. His live performances are an unmatched, alluring mix of enigmatic theatrics, artful guile, pure rock and roll swagger, and a voice that is evocative and transcendent. In 2024, Peter created his own label, Silver Shade, to release rare live performances and previously unreleased material. The third release on Peter Murphy of Bauhaus own Silver Shade label is an unreleased show from San Diego's 4th & B from 2000. The band features Peter's ex-Bauhaus bandmate Kevin Haskins on drums, Eric Avery from Jane's Addiction on bass, current Psychedelic Furs man Peter DiStefano on guitar and Doug De Angelis on keyboards. Peter himself plays acoustic guitar on some tracks. By 2000 Peter had a wealth of solo material to choose from which is reflected in the career spanning setlist. Double red vinyl in an embossed sleeve with UV spot printing featuring an original painting by Peter Murphy."

 

PRICE: $24.00

CAT #: CADIZ 317CD

FILE UNDER: ROCK

"Peter Murphy's initial foray into the music world was as the inimitable singer for the pioneering early-80's band Bauhaus, releasing a groundbreaking body of work that remains relevant and influential in the worlds of music and culture. Known as an innately charismatic and courageous live performer, Peter continues to grow his fanbase across continents and generations. He remains a commanding stage presence, a performer who reaches all eyes, hearts, and minds in the room and takes them on a sonic odyssey. In recent years, Peter has played to sold-out crowds all over the world. His live performances are an unmatched, alluring mix of enigmatic theatrics, artful guile, pure rock and roll swagger, and a voice that is evocative and transcendent. In 2024, Peter created his own label, Silver Shade, to release rare live performances and previously unreleased material. Fantastic previously unreleased live show from 1990 makes up Volume Four of the Peter Murphy of Bauhaus Live series. The second of two shows that evening at Chicago's Metro with a young Nine Inch Nails supporting. On the back of the Deep album and the hit single 'Cuts You Up' Peter's star was very much in the ascendancy in the 'States. The band features Peter's long time co-writer Paul Statham on guitar and keyboards. Features David Bowie and Magazine cover versions. Digipack CD with cover artwork featuring an original painting by Peter Murphy."

 

PRICE: $47.00

CAT #: CADIZ 318LP

FILE UNDER: ROCK

Double LP version. "Peter Murphy's initial foray into the music world was as the inimitable singer for the pioneering early-80's band Bauhaus, releasing a groundbreaking body of work that remains relevant and influential in the worlds of music and culture. Known as an innately charismatic and courageous live performer, Peter continues to grow his fanbase across continents and generations. He remains a commanding stage presence, a performer who reaches all eyes, hearts, and minds in the room and takes them on a sonic odyssey. In recent years, Peter has played to sold-out crowds all over the world. His live performances are an unmatched, alluring mix of enigmatic theatrics, artful guile, pure rock and roll swagger, and a voice that is evocative and transcendent. In 2024, Peter created his own label, Silver Shade, to release rare live performances and previously unreleased material. Fantastic previously unreleased live show from 1990 makes up Volume Four of the Peter Murphy of Bauhaus Live series. The second of two shows that evening at Chicago's Metro with a young Nine Inch Nails supporting. On the back of the Deep album and the hit single 'Cuts You Up' Peter's star was very much in the ascendancy in the 'States. The band features Peter's long time co-writer Paul Statham on guitar and keyboards. Features David Bowie and Magazine cover versions. Double red vinyl in an embossed sleeve with UV spot printing featuring an original painting by Peter Murphy."

 

PRICE: $66.00

CAT #: TCM 062LP

FILE UNDER: ELECTRONIC

Transparent Turquoise/Black Vinyl. "Erika szob?ja was written and recorded between 2002 and 2005 and was self-released in 2005 in a couple of copies on CD-R. Italian label Ars Benevola Mater picked up the record and released in as a digipak CD a year later. In 2014 GSP from Russia re-launched the album again and now, 20 years after its birth, this is the first time the album is put on vinyl. For this occasion, two bonus tracks are added to the original material. It is a work brimming with emotion, vivid imagery, and cherished memories, a journey that has resonated even with the most devoted followers of Thy Catafalque. At the same time, it is an honor to collaborate with such a multifaceted artist as Tam?s K?tai, whose brilliance spans across a multitude of artistic realms."

 

PRICE: $11.00

CAT #: EDDA 060EP

FILE UNDER: ELECTRONIC

Standalone release of this killer 10" on orange vinyl for anyone who missed it. Featuring remixes by The Bug, D?lek and Object Object. Originally released as a digital double A side both lead tracks were chosen by the remixers and the results are like an electrical storm.

 

PRICE: $31.50

CAT #: DSDM 009LP

FILE UNDER: EXPERIMENTAL

LP, one-time edition of 200 copies, pressed to 180g black vinyl and housed in a pro-printed jacket, contained in a silk-screened PVC sleeve. Returning with one of its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello's Liminale, an astounding electroacoustic gesture of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, it stands among the most striking efforts to appear within the series to date. An aural bridge between two distinct generations of Italian experimental musicians, Liminale is the debut collaborative outing from the creative partnership of Luigi Turra and Elio Martusciello. Active within the context for roughly two decades, Turra (b. 1975) is a reductionist/electroacoustic composer, noted from his tense deployment of concrete and acoustic sources -- particularly small sounds and noises -- whose work threads the balance between silence, tactile auditory perception, and aleatoric music. Martusciello (b. 1959), on the other hand, is a musician and composer working across the fields of acousmatic and electroacoustic composition, sound installation, multi-media and audiovisual art, and computer music improvisation, who is widely celebrated for both his solo efforts and his collaborations with Eugene Chadbourne, Mike Cooper, Alvin Curran, Chris Cutler, Rhodri Davies, Iancu Dumitrescu, Michel Godard, Tim Hodgkinson, Lawrence D. "Butch" Morris, J?r?me Noetinger, Tony Oxley, Evan Parker, Z'EV, and others. A single, nearly 40-minute work, extending across the two sides of the LP, Liminale is an exploration of the liminal through sonic means. Unfurling like a labyrinth navigated in darkness, the piece's first half is marked by sparseness and restraint, as slow-paced guitar tones and harmonics thread silences and resonant ambience within a sprawling sense of space, delicately populated by tiny sounds, fleeting punctuations drawn from undeterminable sources, vocal utterances, and the unexpected appearance of intoxicating piano tones. As Liminale progresses into its second half, Turra and Martusciello enter a more densely populated notion of the in between. No less defined by the presence of space and mystery, discreet textures rustle and writhe within passages of pure concrete abstraction and a fragmented, stretched sense of musicality. Intimate, fragile, and achingly beautiful, Liminale, Luigi Turra and Elio Martusciello's debut collaboration, is a masterstroke in sound-craft and composition. Mastered for vinyl by Giuseppe Ielasi, Liminale is issued as the ninth entry in Die Schachtel's Decay Music series.

 

PRICE: $31.50

CAT #: DSDM 010LP

FILE UNDER: EXPERIMENTAL

LP, one-time edition of 200 copies, pressed to 180g black vinyl and housed in a pro-printed jacket, contained in a silk-screened PVC sleeve. Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Sergio Armaroli and David Toop's And I Entered Into Sleep, an astounding electroacoustic gesture of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, it stands among the most striking efforts to appear within the series to date. Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel's Decay Music series, Sergio Armaroli and David Toop's And I Entered Into Sleep, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno's Obscure Records in 1975, the groundwork toward which Decay Music's own efforts nod. David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, and numerous others, collaboration has always played a central role within Toop's singular practice. A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy's most noteworthy interpreters of composer's like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer. Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, And I Entered Into Sleep is "a sonic journey, a Proustian suggestion ? la Recherche, into the unconscious between electronic and acoustic sounds." Feeling almost subaquatic at times, each artist's markedly different sound-sources dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concr?te. And I Entered Into Sleep traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn.

 

PRICE: $40.00

CAT #: SPDM 027CD

FILE UNDER: SOUNDTRACK

5CD themed box set. Features OSTs from new horror and thriller movies. Featuring Basement's Glare, Luigi Seviroli, Vito Lo Re, and Maurizio Abeni. Following the restrictions caused by the imposed isolation, Basement's Glare have recorded and released their first single, "Red Zone," which deals directly with the issue of social distancing and its consequences. Subsequently, the duo decided to complete the recordings of the eponymous EP as previously scheduled, working mostly remotely. Digitmovies also presents on CD the original soundtracks, from the movies Io sono l'abisso and La ragazza nella nebbia. Finally, Digitmovies presents on CD the original motion picture soundtrack by Maurizio Abeni from the movie, directed by Sergio Stivaletti, Rabbia furiosa.

 

PRICE: $66.00

CAT #: SPDM 028CD

FILE UNDER: SOUNDTRACK

Digitmovies Collection Box: Thriller is a 5CD themed box set featuring soundtracks from Carlo Savina, Mario Bertolazzi, Stefano Torossi, Guido & Maurizio De Angelis, and Trans Europa Express. Carlo Savina's OST for Il Tuo Dolce Corpo Da Uccidere is presented for the absolute first time on CD. For this CD, Digitmovies were able to use everything that was found on the mono master tapes from the original recording session. Carlo Savina composed a recurring main score with a mysterious feminine voice which develops into a shake and is alternated with sometimes calm passages and sometimes violent noir and bossa nova lounge music. Mario Bertolazzi was a jazz musician who starred in TV programs from the 1950s. For The Silkworm, Bertolazzi composed a main score in music-hall style for Smeralda, the failed singer in the film, which is repeated with instrumental variations and also a vocal French version. This excellent OST has been released in its complete version on CD for the first time ever, using the master tapes in full stereo from the original recording session. Stefano Torossi composed a lounge-style score where the Noir side of the story is contrasted with a danceable shake. There are also plenty of romantic themes as well as an atmosphere of suspense typical of giallo films. For Digitmovie's CD we were able to access the master tapes in mono from the original recording session. This new revised CD version of Guido & Maurizio De Angelis' OST for Il Gatto Dagli Occhi Di Giada carries the top eleven tracks in stereo version (identical to the 1973 unpublished album and to the 1999 CD) and the following 22 tracks in mono version. Guido & Maurizio De Angelis composed an OST which was perfect for the scenes but which also has its own life outside of the movie, where a quite cheerful and pop main theme alternates with mysterious and suspended ones, at times with dark and frightening voices. Finally, Digitmovies reintroduces the remarkable progressive avant-garde rock soundtrack based on Antonio Bido's 1977 cult movie Watch me when I kill. Music is written and performed by Trans Europa Express. For this CD the label used the recording session's master stereo tapes. Its progressive style follows the band's origins.

 

PRICE: $40.00

CAT #: SPDM 029CD

FILE UNDER: SOUNDTRACK

4CD themed box set of horror movie OSTs. Featuring soundtracks from Giuliano Sorgini, Marcello Giombini, Franco Piersanti, and Carlo Maria Cordio. Giuliano Sorgini has composed a very macabre, avant-garde, and perfect score to describe the struggle between good and evil. The composer has created sonic dimensions with infernal tones, abstract bands, scary effects, which also feature the recognizable voice of Edda Dell'Orso, organ music to describe the figure of the exorcist priest, and Gregorian-flavored pieces. Using the master tapes from the original recording session (including the LP), Digitmovies was able to discover additional unreleased material, such as alternate versions of those included on the album. Marcello Giombini experimented with symphonic music, electronic music and also religious music with a rock beat during his career. For cinema he wrote numerous OSTs including the well-known ones from the Sabata Trilogy of Spaghetti Westerns. For this CD Digitmovies was able to use the mono master tapes from the original recording session. Digitmovies also presents, for the very first time in complete edition on CD, two Franco Piersanti's OSTs, one for the horror movie Spider Labyrinth, with Sergio Stivaletti's special effects, and one for the psychological thriller for TV Una prova d'innocenza. Carlo Maria Cordio is without any doubt a specialist of the genre. For this movie Cordio has written an orchestral -- electronic score with a very American sound concerning the instrumentation of the dissonant strings and of the brass clusters. The terrible murders are scored with a large number of mysterious, suspenseful and often gloomy motifs where the cleverness and creativity of Cordio give interesting results.

 

PRICE: $16.00

CAT #: CDNUY 026CD

FILE UNDER: ELECTRONIC

Pierluigi Foschi and Cosimo Fiaschi (URUBORO) met in 2017 in Siena and immediately began playing together, sharing a deep interest in musical improvisation. Over the years, they have collaborated in various ensembles, including Nicol? Faraglia's Sm?s Octet (Aut Records, 2019) and the Tabula Rasa Ensemble (Centripeta, 2024), performing in prestigious contexts such as the Micat in Vertice concert series by the Accademia Chigiana and at the Italian Cultural Institute in Berlin. Close Position marks their first project as a duo, premiered at Tempo Reale (TRK Sound Club, October 16, 2024). The live performance involves the use of samples, as the composed balances require multiple timbral layers to be active simultaneously. The closeness in pitch and the mimicry between instruments highlight the psychoacoustic phenomenon of beating: in fact, the auditory system does not allow people to hear two very close frequencies at the same time, but rather perceives first one and then the other, generating actual pulsations that exist only within the perceptual system of the listeners. The live performance therefore offers a subjective and unique experience for each individual, as it depends on the listener's position in space, as well as their focus and sensitivity.

 

PRICE: $28.00

CAT #: CREP 124LP

FILE UNDER: ELECTRONIC

Assembled by Pedro Alves Sousa, M? Estrela is a conjuration of ideas and obsessions around dub, leftfield dance phenomena and the hypnotic potential of urban somnambulance. In a levitating state, not exactly detached from the unease of these end times, Sousa surrounds himself by a number of accomplices from past and present endeavors to project a scrying mirror reflection of distinct languages of trance and liberation -- dub's space and infinity, jungle and footwork's broken shards, DJ Screws legacy perpetually reanimated via numerous slowed down anonymous versions on Youtube and the lyricism and fire of jazz. Temporarily a quartet, comprised of Sousa on saxophone and its electronic processing, Bruno Silva and Sim?o Sim?es on electronics and Gabriel Ferrandini on acoustic and electronic drums, after the departure of Miguel Abras, M? Estrela had in their 2022 debut album their first document of this ongoing process that's now continued with Tornada. Miguel Abras has since been replaced with Bruna de Moura and M? Estrela came back to being a five piece. Tornada deepens the symbiotic connection between those rhythmic, melodic and textural particles in a mutating flux of continuities and disruptions throughout seven tracks. Featuring the invocations of Elvin Brandhi in "All You Did," Tornada makes its way amidst harmonic specters, rhythmic debris that breathe for life and a certain, implicit idea of ritual that sustains itself liminally between the ethereal dissolution of time and the physical projection of space.

 

PRICE: $17.00

CAT #: ECD 2024226CD

FILE UNDER: JAZZ

"A remarkable ensemble of jazz innovators: Jukka Orma (guitar), Pepa P?ivinen (saxophone), Dimitri Grechi Espinoza (saxophone), Ville Rauhala (bass) and Simo Laihonen (drums), grouped up for Albert Ayler Reawakened, a bold homage to the free-jazz pioneer Albert Ayler. With new arrangements and original compositions inspired by Ayler's avant-garde legacy, the ensemble offers a fresh and powerful reinterpretation of his work, fusing deep improvisation with dynamic creativity. While this is a truly collaborative project, it also brings together two prominent figures in Finnish music history. Guitarist Jukka Orma, known for his groundbreaking work in rock and experimental music, has long been a pivotal figure in the Finnish music scene with his genre-defying sound. Saxophonist Pepa P?ivinen, a leading voice in the Finnish jazz scene, is celebrated for his exciting approach and fearless improvisation. Both artists have extensive histories in redefining the limits of jazz and contemporary music, and their collaboration with Espinoza, Rauhala and Laihonen creates an ensemble of seasoned musicians who each bring their unique voice to the table. Together, the ensemble taps into Ayler's spirit of freedom, chaos, and beauty, offering audiences an electrifying blend of modern creativity and a deep reverence for the pioneering free-jazz sound. Albert Ayler Reawakened reintroduces Ayler's music in a way that resonates both with the past and the present, inviting listeners into a rich, expressive soundscape."

 

PRICE: $20.00

CAT #: ECD 2025251CD

FILE UNDER: JAZZ

"Blight Music, the third album by drummer and composer Sam Ospovat as a bandleader, is an uncompromising statement that bridges the ecstatic freedom of avant-garde improvisation with the rhythmic vitality and melodic tension of the 1970s loft jazz scene. The album doesn't just nod to history -- it vibrates with it, reimagining past energies for a chaotic present. Recorded in a burned-out, graffiti-covered waterfront warehouse in Brooklyn's Bush Terminal, Blight Music captures more than just music. It captures atmosphere. Concrete pillars, soaring 20-foot ceilings, and the industrial remnants of New York's past created a reverberant environment where the city's monumental history, volatile present, and uncertain future all seemed to collide. That tension lives in every note -- raw, alive, unfiltered. The music itself is a high-wire act. It veers between exuberant melodic lines and unrelenting intensity, often suspending time through intricate polyrhythmic layers. Each composition is executed with fiery conviction by a transatlantic supergroup of improvisers --musicians known for their adventurous spirits and distinct voices. The core ensemble includes: Matt Mitchell (piano), who also contributes the album's liner notes, Tim Dahl (fretless electric bass), Finnish ECM legend Raoul Bj?rkenheim (electric guitar), Olli Hirvonen (electric guitar), Matt Nelson (tenor saxophone), Nick Lyons (alto saxophone), and Sam Ospovat on drums and compositions. Together, they form a unit that Ospovat has cultivated over several years, with performances across New York and Europe. The group took on a more permanent shape after Ospovat's nearly full-time move to Helsinki in 2022, evolving into a rare ensemble that defies national and stylistic borders."

 

PRICE: $24.00

CAT #: HWB 58145LP

FILE UNDER: WORLD

"Mima, the debut album from Kin'Gongolo Kiniata, is a fierce sonic outcry from the heart of Kinshasa. This five-piece Congolese Afro-punk band transforms the raw noise of the street into protest music using instruments made entirely from recycled materials -- metal plates, plastic bottles, scrap wire. Their name -- 'the crushing sound' -- refers to the clang of oil canisters in the dark days of city-wide blackouts, a perfect metaphor for their ability to turn hardship into energy, chaos into rhythm. Far from conventional love songs, Mima is unapologetically political and socially urgent. On tracks like 'Toko Lemba Te,' they denounce the endless war and humanitarian crises in the DRC, demanding dignity and peace for its people. 'Elengi Ya Ko Vivre' calls for the youth to abandon gang life in favor of rebuilding society. Their lyrics, sung in Lingala, give voice to stories rarely heard -- urban resilience, suffering, and the uncompromising hope of Kinshasa's people. Formed in 2019, Kin'Gongolo Kiniata's journey is rooted in persistence. After years of rehearsing in obscurity, they gained attention through a Boiler Room-style event and a session for KEXP at Trans Musicales. They draw inspiration from legendary Congolese acts like Konono N?1 and Staff Benda Bilili, with a lineup that includes Leebruno, Mille Baguettes, Ducap, Djino, and B?b? Ming? -- all multi-instrumentalists using custom, hand-built gear. With Mima, Kin'Gongolo Kiniata doesn't just create music -- they build a sound from necessity and transform it into resistance. Their album is a rallying cry, a celebration of the Kinois spirit, and a powerful addition to the global conversation on justice, survival, and the transformative power of sound."

 

PRICE: $27.00

CAT #: HOL 143LP

FILE UNDER: EXPERIMENTAL

Edition of 300 copies, embossed cover. Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there's a natural light sliding in from the three windows on your right side. There's no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here. Nicola Ratti: synthesizer, piano, whistling; Alessandra Novaga: electric guitar; Enrico Malatesta: percussions. Recorded, mixed and mastered by Giuseppe Ielasi, Monza, 26-27 February 2022. Special thanks to Centro d'Arte di Padova.

 

PRICE: $28.50

CAT #: HOL 146LP

FILE UNDER: EXPERIMENTAL

Edition of 250 copies, embossed cover. 1984. Inside the Rainforest Birdhouse at the Rio Grande Zoo, Patrick Lysaght played flute, strings, and percussion among 150 birds of 42 species. Not recording them. Playing with them. For 18 months the scientist (and artist) has been playing music (flute, strings and percussion) in the Rainforest Birdhouse at the Rio Grande Zoo in Albuquerque. This interactive environment, populated by 150 birds representing 42 species, has provided more than an interesting background for music; rather, the birds have contributed to the resulting compositions on an equal level with the musician. Complex clouds of point notes build to a rich density, as mutual interspecies stimulation assumes a path based on the excitement of chance and the probability of experience. The material on this record has been selected with emphasis on bird responsiveness and instrument variety within the aesthetic parameters of blending with and enhancing this unique sonic atmosphere. Mastered from the original tapes by Giuseppe Ielasi.

 

PRICE: $19.00

CAT #: HOO 001EP

FILE UNDER: ELECTRONIC

The first imprint on Sherelle and Naina's label Hooversound brings together Surrey based DJ /producer Hyroglifics and Detroit DJ/ producer Sinistarr for an exciting dancefloor-ready EP. BS6 sees two of the most consistent and exciting names in the underground electronic music scene joining forces on Hooversound's highly anticipated debut release. The EP has two collaborative tracks that stand by two solo tracks from each producer. Electronic pioneer and legend Scratcha DVA brings his GQOM and moody percussion on the official remix.

 

PRICE: $19.00

CAT #: HOO 007-8EP

FILE UNDER: ELECTRONIC

Nova Cheq and Samurai Breaks represent the best of Hooversound has to offer, for the first time released on vinyl. Nova Cheq's music is pure party fuel, Ghetto house styled jungle-juke pounders on Sherelle & Naina's Hooversound Recordings. Samurai Breaks is one of the UK Bass scene's best-kept secrets. A rich palette of influence shines through past productions, making nods to pioneering generations on the way to futuristic gunfinger euphoria.

 

PRICE: $19.00

CAT #: HOO 010EP

FILE UNDER: ELECTRONIC

Hooversound hits the ground running, introducing UK artist RAVETRX to the table with a heavyweight EP that's been doing the rounds on NTS, BBC Radio 6, and Rinse FM. If the first track is a raver's drive into the sunset, cruising through ecstatic trance vocals and euphoric jungle breaks, the rest of the A-side plants the listener right at the heart of the warehouse, where kick drums land chest first and hi-octane acid stabs fill the air. The B-side takes us deeper with eyes-down, knees-up techno slammers, with previous label collaborator Mani Festo making an appearance on 'Feels Good Inside.'

 

PRICE: $19.00

CAT #: HOO 011-6EP

FILE UNDER: ELECTRONIC

Prayer returns to Hooversound once again creating a melting pot of his influences. From classical, to jungle and breaks to ambient, Prayer has doubled down on his refusal to be pigeonholed into a stereotype. Prayer has always been one to push hard on the emotional front, and definitely brings this energy to this release. Having recorded original piano music from the age of 16, he's been able to create a distinctive sound that still yet blows expectations out of the park, with previous releases on Grade 10 and Black Acre as well as debuting on Hooversound in 2021.

 

PRICE: $19.00

CAT #: HOO 012EP

FILE UNDER: ELECTRONIC

Thugwidow & Bruised Skies land on Hooversound for a new EP, with remixes from Response and Denham Audio. THUGWIDOW is the ambient jungle project of Alex Lowther-Harris, who's sound is a formation of tastes, otherworldly guidance and obligation, evolving organically from nothing more than an adolescent love rebirthed in a new millennium. Bruised Skies (Matthew Heywood) creates layered, visual music that captures a melancholic isolated landscape, oceans of sound lapping against shores; guiding the listener.

 

PRICE: $19.00

CAT #: HOO 013EP

FILE UNDER: ELECTRONIC

Drumskull is the moniker of Joel Harrison, started during lockdown in 2020. In joining the Hooversound family, he again showcases his style of meshing jungle, footwork with deep house and breaks across two tracks. "Muscle Memory" also features two huge remixes from Nottingham's Lone and LMajor -- both making debuts on the label.

 

PRICE: $19.00

CAT #: HOO 014EP

FILE UNDER: ELECTRONIC

RAVETRX is back on Sherelle & Naina's Hooversound imprint, and it's a real headturner. RAVETRX sets the stage with sounds of a single airhorn and distant crowd before launching into a pounding groove. The title track snapshots a rave well underway: fresh off the M1 and checking out the usual suspects: speedfreaks stepping to white-noise kicks, teens screwfacing to rascally rave synths, and someone swaying wide-eyed to those happy hardcore piano lines. Just when you thought it couldn't get any heavier, Hooversound label-mate Nova Cheq finishes up the EP with a merciless gabber rework of 'On A Mission.'

 

PRICE: $19.00

CAT #: HOO 015EP

FILE UNDER: ELECTRONIC

Since Samurai Breaks took home the award for DJ Mag's "Best Breakthrough Producer" in 2021, he has been at the forefront of the UK 160+bpm explosion over the last few years. Now, Samurai Breaks returns on the Hoover imprint, flexing his unique fusion of genres that fits perfectly amongst the Hooversound roster. The EP includes Polo Lilli's debut on Hooversound, with a remix that takes you on a wild journey and perfectly rounds off the release.

 

PRICE: $19.00

CAT #: HOO 016EP

FILE UNDER: ELECTRONIC

Drumskull returns to Hooversound with a powerful new EP, featuring an official remix from Dwarde who makes his debut on the Hooversound imprint. Drumskull operates at the intersection of the aggressive sonics of modern jungle, footwork, breaks and the more soulful atmospheres of deep house, UKG and broken beat.

 

PRICE: $19.00

CAT #: HOO 019EP

FILE UNDER: ELECTRONIC

A familiar favorite, Deft steps up with his second EP on Hooversound, featuring a VIP remix of one of his original songs. Deft's hybrid artistic style of production sat perfectly within the launch of Hooversound as he went on to rise steadily within the underground electronic scene. Yip Wong aka Deft has been producing music for nearly a decade. Within that time he has crafted a signature style using elements of dance, cinematic sound design, hip hop, jungle, footwork and 140.

 

PRICE: $19.00

CAT #: HOO 022EP

FILE UNDER: ELECTRONIC

Two sought after artists, Deft and Manni Dee, combine their uniquely eclectic sounds on collaborative EP Swamp Season. The two producers play with different elements of club music and hip hop by blurring genres and throwing the rule book out of the window. The end result highlights how Deft and Manni Dee have excelled once again across five bass-fueled tracks which will expand your perspective on electronic music.

 

PRICE: $18.00

CAT #: HORA 021-2511CD

FILE UNDER: JAZZ

Witchess is an experimental concept album by drummer and composer Francesca Remigi, which blends music, spoken words, and political concepts together to explore themes of feminism, social justice, and historical memory. Drawing on the radical voices of Angela Davis and Silvia Federici, the album confronts the intersections of gender, race, and capitalism, tracing the roots of gender violence from witch-hunt to today's systemic economic inequalities. Through edgy compositions and spoken excerpts, the music calls for a feminism that is deeply intersectional and transformative, not merely inclusive. Each track becomes a sonic essay -- reflecting on the erasure of women, the colonial legacy of patriarchal violence, and the role of art and music in revolutionary movements. Combining improvisation with political urgency, Witchess offers not only a listening experience but a space for critical reflection and collective liberation.

 

PRICE: $28.50

CAT #: ICTUSRE 012LP

FILE UNDER: ELECTRONIC

In the summer of 1976, a peculiar album appeared in Italian record shops, its cover bearing no artist name, only the cryptic moniker Elektriktus. For the handful of listeners who encountered it before it vanished from circulation, the music posed a question that wouldn't be answered for decades: who had created this strange hybrid of jazz sensibility and kosmische synthesis, this music that seemed to emanate from somewhere between Cologne and Calabria? The answer was hiding in plain sight. Andrea Centazzo, by then a recognized figure in European free improvisation -- a percussionist who had shared stages with Steve Lacy, Evan Parker, and Derek Bailey -- had been leading a double life. Between 1973 and 1976, in the intervals between touring with Giorgio Gaslini's quartet (Gaslini would soon co-compose Dario Argento's Profondo Rosso with Goblin), Centazzo retreated to his farmhouse in Moruzzo and to studios in Pistoia, where he conducted experiments with Minimoog, Davolisint, and the GEM Rodeo 49, an Italian-manufactured synthesizer that had become essential equipment in the country's progressive rock underground. What emerged from these sessions was music that occupied a peculiar position in the taxonomy of 1970s electronic experimentation. PDU Records -- owned by the pop icon Mina and by the mid-seventies functioning as Italy's primary distributor for German avant-garde labels like Ohr, Brain, Kosmische Musik, Pilz, and Kosmische Kuriere -- recognized the value of what Centazzo had created. But there was a commercial calculus at work: the label's executives worried that Centazzo's established identity as a jazz percussionist would confuse the market for cosmic electronics, then in the process of consolidating as a genre distinct from both progressive rock and academic electronic music. The solution was to create Elektriktus -- a pseudonym that functioned as a conceptual portmanteau, fusing "electronic" with "Ictus," the name Centazzo would soon give to his own label and to his series of percussion works. The name suggested both electronic impulse and percussive attack, a synthesis that accurately described the music's character. For where German kosmische musik tended toward the infinite and the abstract, Centazzo's electronic music retained a tactile, almost physical quality.

 

PRICE: $28.50

CAT #: ICTUSRE 013LP

FILE UNDER: ELECTRONIC

In 2019, Andrea Centazzo discovered unlabeled tape reels in his mother's attic in Udine -- boxes assumed lost seven years earlier. What emerged from these deteriorating reels, transferred by engineer Sergio Tomasini during COVID lockdowns, was unexpected: unreleased recordings from the original Elektriktus sessions of 1973-76, alongside other archival materials including previously unknown collaborations with Steve Lacy and Evan Parker from the same period. Centazzo's solution was conceptually elegant: add contemporary digital electronics to the original analog Elektriktus recordings, creating temporal palimpsest in which the seventy-something composer engages in dialogue with his younger self. Crucially, his fundamental approach hasn't changed. "Making a 10-minute loop meant playing and overdubbing for 10 minutes!" This rejection of computer automation, this insistence on the hand-played and physically executed, links 2025 to 1975 through continuous methodology. Electronic Mind Waves Volume 2 operates in complex registers: contemporary electronics don't "update" the original recordings but exist in conversation with them. By overlaying 2025 digital work onto 1975 analog recordings, Centazzo creates proof that affinities between cosmic drift and percussive grounding were present in the original conception, waiting to be heard. This temporal doubling produces music that is neither nostalgic recreation nor radical revision but something more complex -- a conversation between past and present, between the composer who created these sounds in the mid-1970s and the artist who now understands their full implications.

 

PRICE: $29.00

CAT #: CLASSIC 103LP

FILE UNDER: ELECTRONIC

"KAKUHAN haven't released much, but what's out there is some of the most astonishing hybrid electroacoustic music that's emerged in the last few years. Owing as much to Autechre as it does to Arthur Russell, it's dizzyingly psychedelic music that flits between wild free improvisation and obsessive, micro-edited precision, unclassifiable rhythmic and tonal experimentation that nods to the renaissance era and the contemporary dancefloor sometimes in the same breath. And in 2023, not long after the release of their now-classic debut album Metal Zone, KAKUHAN were invited to perform live at Unsound in Krak?w. The duo were offered the opportunity to collaborate with a local artist, so after serious consideration decided on percussionist and musicologist Adam Go??biewski, a veteran improviser who's performed and recorded with everyone from Yoko Ono and Thurston Moore to Mats Gustafsson and Ken Vandermark. Hino and Nakagawa were struck by Go??biewski's unique tone and his very specific, immediately recognizable approach to drumming, realizing immediately that the collaboration would stretch their concept even further. 'Personally, I was looking forward to hearing how Hino's rhythmic sequences and Adam's percussion would interact,' says Nakagawa. But it's Go??biewski's interaction with his cymbals particularly that bridges a gap in KAKUHAN's sound, existing in the space between Nakagawa's cello and Hino's stuttering samples. In fact, the performance was so successful that the trio headed to Krak?'s KPD Studio shortly afterwards, dubbing an exclusive session with engineer Rafa? Drewniany that would become Repercussions. The session's vision is captured perfectly by the album cover, a painting from Polish artist Alicja Pakosz that shows a knife edge splitting a jet of water. It's the relative sharpness of Go??biewski's sound that defines this project, cutting through Nakagawa and Hino's well-worn musical rituals and creating something new in the process."

 

PRICE: $33.00

CAT #: INT 30421LP

FILE UNDER: JAZZ

"Stephan Micus is a musical globetrotter and multi-instrumentalist who has been exploring the diversity of sounds on the planet for almost five decades. Since the release of his debut album in the 1970s, he has recorded nearly 30 albums -- always on his own and with an impressive range of wind, string and percussion instruments from all over the world. As a self-taught musician, he has always been passionate about traditional and exotic instruments, which he not only explores in their original playing style, but also places in a completely new context using unconventional techniques. Over the years, Micus has developed an unmistakable musical language that has long since become his trademark. His soundscapes transport listeners to distant places and open up meditative spaces full of beauty and depth. They show that instruments from different cultures can blend together in harmony -- a musical vision that conveys hope and connectedness. With Behind Eleven Deserts, Stephan Micus presents a work of exceptional radiance. Originally composed in 1978, it combines the Balinese bamboo flute suling with the Indian sarangi, whose warm timbre is reminiscent of a cello. The sound spectrum is complemented by the Indian sitar and the Irish frame drum bodhran. The result is a multi-layered and timeless soundscape that transcends cultural boundaries and at the same time leads deep into meditative spheres. Now, Behind Eleven Deserts is being released for the first time in the INTUITION Master Series as a carefully remastered 180-gram vinyl edition by Intuition Music -- a masterpiece that, more than four decades after its creation, has lost none of its intensity and relevance."

 

PRICE: $19.00

CAT #: GG 514CD

FILE UNDER: JAZZ

"Fred Frith is one of the most important musicians of our time. He was born in Sussex, UK and now lives in California, USA. He first came to attention as one of the founding members of the English avant-rock group Henry Cow. He was and is also a member of groups like Massacre, Art Bears, Skeleton Crew, or Cosa Brava. Over the past 40 years Fred has collaborated with outstanding musicians like John Zorn, Tom Cora, Bill Laswell, Carla Kihlstedt, Henry Kaiser, Phil Minton, Brian Eno, The Residents, Marc Ribot, Lol Coxhill, Ikue Mori, Zeena Parkins, Derek Bailey, Anthony Braxton, Evan Parker, John Butcher, Laurie Anderson -- the list could go on much longer. In 1974 Fred Frith released his landmark album Guitar Solos, a glimpse into what he had been doing with his guitar. It was improvised and recorded within four days and presented an experimental and innovative way of playing the instrument. Frith relocated to New York and quickly became part of the downtown avantgarde scene, something he found very liberating as he could be himself instead of living up to what other people were expecting of him. Fred also started composing music for film, dance and theatre. After a few years in Stuttgart, Germany, Frith went back to the States where he is now professor of composition. In 1980, The Residents' label Ralph records released his album Gravity focusing on Frith as a composer, not improvisor. It features guests like Aksak Maboul, Lars Hollmer, Chris Cutler, or Catherine Jauniaux. In 2014, Frith took the album on the road again with a special line-up of musicians, the Gravity Band. The Gravity Band was the brainchild of Aaron Novik and Dominique Leone, who proposed joining their two groups together to perform this material. Klanggalerie are now proud to bring you a recording of this incredible group in action for the first time on CD. It features music from the shows in Nijmegen, The Netherlands and Moers, Germany."

 

PRICE: $33.00

CAT #: AD 10254LP

FILE UNDER: ROCK

"Martin Dupont, cult icons of France's 1980s new wave, return with You Smile When It Hurts -- their first studio album in over thirty years. Far from being a nostalgic exercise, the record reasserts their daring artistry, merging legacy and rebirth. Known for melodic minimalism, elegant melancholy, and pulsing electronics, the band has often been compared to Depeche Mode, New Order, or Joy Division, yet their singular identity has always set them apart. On this new album, they reinvent their sonic language, blending vintage synths with classical textures and luminous modern production. The result is a sensory journey where light and shadow converse, where poetry meets pulse, reaffirming their timeless relevance. Their influence extends across eras: sampled by Madlib, reinterpreted by Tricky, reimagined by Theophilus London, and remixed by DJs such as Marcel Dettmann. Tributes, reissues, and appearances in cinema and fashion underscore their resonance -- from Lucie Borleteau's Chanson douce to catwalks by Chlo?. Born in Marseille in the early 1980s and led by Alain Seghir alongside Catherine Loy, Brigitte Balian, and Beverley Jane Crew, Martin Dupont left a mythic legacy with tracks like 'Inside Out' and 'Just Because' before dissolving in 1987. Rediscovered through Minimal Wave reissues, their music captivated a new generation of underground and electronic enthusiasts. Today, Martin Dupont are reborn. Seghir and Crew, joined by Sandy Casado, Thierry Sintoni, and Olivier Leroy, embark on a world tour that affirms their unique ability to move and inspire. You Smile When It Hurts proves that their visionary sound has never been more alive."

 

PRICE: $24.00

CAT #: LIB 2109LP

FILE UNDER: ROCK

LP version. "When punk rock began exploding in the late 1970s, more than a few fans of the new music declared the only hope for rock and roll was to throw away its past and start over, but thankfully, a few people knew better than that. Dave and Phil Alvin were a pair of brothers from Downey, CA who'd been raised on a steady diet of what they called 'American Music' -- blues, rockabilly, country, jazz, swing, R&B, and early rock and roll. The Alvin brothers formed a band called the Blasters that approached the classic styles of the past with the energy and insouciance of punk rock, and their music taught a new generation that rock and roll was hard, wild, and manic fun even before it was called rock and roll. The Blasters, the album, is divided roughly half-and-half between originals and covers, and the classic tunes cover a broad enough spectrum to show off the full range of what the musicians could do, while Dave Alvin's songs were the work of a writer who knew how to tell a compelling story with strong characters in a few well-chosen words, married to melodies that rocked hard and sweet. Phil Alvin's vocals hit an ideal grace note between reverence and gonzo passion, and with Dave's guitar, John Bazz's bass, and Bill Bateman's drums turning up the heat behind him, the Blasters took the group's tough, heartfelt music and put it on plastic for the ages in near flawless form. (It didn't hurt that they also had some excellent guest musicians on board who later became full members of the band -- Gene Taylor on piano, Steve Berlin or baritone sax, and New Orleans R&B legend Lee Allen on tenor sax.) The Blasters wasn't the only great album this group would make, but it was certainly their best, catching them when they were still fresh but with just enough seasoning to bring out their best performances; it's practically impossible to imagine the roots rock scene of the '80s and onward existing without this album as a roadmap."

 

PRICE: $24.00

CAT #: LIB 2111LP

FILE UNDER: ROCK

LP version. "After releasing two strong albums for Slash, the Blasters had plenty of critical acclaim and a sizable hometown following, but they hadn't come especially close to landing a hit record, and on the 1985 album Hard Line, they overhauled their approach in the studio in hopes of creating something that sounded more contemporary. Producer Jeff Eyrich pumped up the sound of Bill Bateman's drums (and for a few tracks replaced him with Stan Lynch of Tom Petty & the Heartbreakers), Dave Alvin's guitar tone got thicker and harder and the emphasis was put squarely on new songs. 'Trouble Bound' and 'Help You Dream' showed Dave Alvin's gift for writing in traditional styles was as strong as ever. Alvin's songs took on a darker tone on Hard Line, especially the tale of a small town lynching, 'Dark Night,' the anti-Reagan rant 'Common Man,' and the busted romance of 'Just Another Sunday,' while the fiddle-led acoustic arrangement of 'Little Honey' serves the tune far better than the version X recorded on Ain't Love Grand (with co-author John Doe on vocals). Phil Alvin rarely had a better run as a singer as he did on this album, which finds him better controlled but just as impassioned and expressive as ever. And the closing track, the rollicking 'Rock and Roll Will Stand,' is a darkly funny appraisal of the music biz that shows the Blasters knew just what they were getting into by trying to scale the charts, and were prepared for the consequences. Hard Line proved to be the Blasters' final studio album with their original lineup, and while it sounds like an experiment that only partially succeeded, the best moments revealed they could move forward without losing what made them special, they held on to their principles far better than the vast majority of roots rock bands who figured a different producer might get them on the radio."

 

PRICE: $15.00

CAT #: LIB 2117CD

FILE UNDER: ROCK

"When punk rock began exploding in the late 1970s, more than a few fans of the new music declared the only hope for rock and roll was to throw away its past and start over, but thankfully, a few people knew better than that. Dave and Phil Alvin were a pair of brothers from Downey, CA who'd been raised on a steady diet of what they called 'American Music' -- blues, rockabilly, country, jazz, swing, R&B, and early rock and roll. The Alvin brothers formed a band called the Blasters that approached the classic styles of the past with the energy and insouciance of punk rock, and their music taught a new generation that rock and roll was hard, wild, and manic fun even before it was called rock and roll. The Blasters, the album, is divided roughly half-and-half between originals and covers, and the classic tunes cover a broad enough spectrum to show off the full range of what the musicians could do, while Dave Alvin's songs were the work of a writer who knew how to tell a compelling story with strong characters in a few well-chosen words, married to melodies that rocked hard and sweet. Phil Alvin's vocals hit an ideal grace note between reverence and gonzo passion, and with Dave's guitar, John Bazz's bass, and Bill Bateman's drums turning up the heat behind him, the Blasters took the group's tough, heartfelt music and put it on plastic for the ages in near flawless form. (It didn't hurt that they also had some excellent guest musicians on board who later became full members of the band -- Gene Taylor on piano, Steve Berlin or baritone sax, and New Orleans R&B legend Lee Allen on tenor sax.) The Blasters wasn't the only great album this group would make, but it was certainly their best, catching them when they were still fresh but with just enough seasoning to bring out their best performances; it's practically impossible to imagine the roots rock scene of the '80s and onward existing without this album as a roadmap."

 

PRICE: $15.00

CAT #: LIB 2119CD

FILE UNDER: ROCK

"After releasing two strong albums for Slash, the Blasters had plenty of critical acclaim and a sizable hometown following, but they hadn't come especially close to landing a hit record, and on the 1985 album Hard Line, they overhauled their approach in the studio in hopes of creating something that sounded more contemporary. Producer Jeff Eyrich pumped up the sound of Bill Bateman's drums (and for a few tracks replaced him with Stan Lynch of Tom Petty & the Heartbreakers), Dave Alvin's guitar tone got thicker and harder and the emphasis was put squarely on new songs. 'Trouble Bound' and 'Help You Dream' showed Dave Alvin's gift for writing in traditional styles was as strong as ever. Alvin's songs took on a darker tone on Hard Line, especially the tale of a small town lynching, 'Dark Night,' the anti-Reagan rant 'Common Man,' and the busted romance of 'Just Another Sunday,' while the fiddle-led acoustic arrangement of 'Little Honey' serves the tune far better than the version X recorded on Ain't Love Grand (with co-author John Doe on vocals). Phil Alvin rarely had a better run as a singer as he did on this album, which finds him better controlled but just as impassioned and expressive as ever. And the closing track, the rollicking 'Rock and Roll Will Stand,' is a darkly funny appraisal of the music biz that shows the Blasters knew just what they were getting into by trying to scale the charts, and were prepared for the consequences. Hard Line proved to be the Blasters' final studio album with their original lineup, and while it sounds like an experiment that only partially succeeded, the best moments revealed they could move forward without losing what made them special, they held on to their principles far better than the vast majority of roots rock bands who figured a different producer might get them on the radio."

 

PRICE: $29.00

CAT #: LIB 2180LP

FILE UNDER: ROCK

"Blues Hall of Fame vocalist Jimmy Witherspoon teams up with guitar hero Robben Ford at Hollywood's famed Troubadour in March of 1972. This never-before-released radio broadcast performance features nine tracks, including three Witherspoon originals plus classic songs from Willie Dixon, Sonny Boy Williamson, and Lieber and Stoller. This is one of the earliest recordings of Ford's extraordinary career, starting back in 1970 with Charlie Musselwhite and Witherspoon before joining Tom Scott's L.A. Express. He went on to shred with Steely Dan, Kiss, Yellow Jackets, Miles Davis and lead on 25 of his own albums. Here, blues vocalist Jimmy Witherspoon and blues guitarist Robben Ford are at the peak of their performing career during this 1972 recording, backed by a young but enthusiastic electric band that he had recruited after hearing them open for him in a club the previous year. With a fresh, young band in tow, one that was designed to capitalize upon the electric blues resurgence that had occurred in those years, Witherspoon delivers a set list that ran the gamut from his early hit single 'Ain't Nobody's Business What I Do' to a stampeding cover of the Jerry Leiber-Mike Stoller composition 'Kansas City.' Witherspoon is in a playful mood, frequently speaking to the audience. The set is filled with several other Witherspoon's most popular numbers, including 'Past Forty Blues,' 'My Babe,' and 'Spoonful.'"

 

PRICE: $24.00

CAT #: LIB 5209LP

FILE UNDER: ROCK

"One of the original early UK punk bands, 999 formed in London in December of 1976. Formed by lead singer Nick Cash (of pub rockers Kilburn and the High Roads) and guitarist brother Guy Days, the group were intact into the mid-1980s with band members Jon Watson on bass and Pablo LaBritain on drums. They're best known for their pop-punk classic tracks 'Homicide,' 'I'm Alive,' 'Nasty Nasty,' and 'Emergency,' which was voted one of the all-time best punk singles by Mojo magazine. The band toured the world throughout the later 1970s, making their way to the US on tours in 1978 and '79. On the 1979 tour they came through California, playing the famed Old Waldorf on July 2. That show was captured and recorded by KALX DJ and engineer Terry Hammer. The fifteen-track set makes its official release debut here with eleven on vinyl. Included are all of the band's best-known tracks at the usual fast-paced energetic style that 999 is most known for. The package includes liner notes from front man Nick Cash with rare photos from the time period. The vinyl version is pressed on limited edition color variant. A must have for punk rock fans and collectors."

 

PRICE: $19.00

CAT #: MIG 3512CD

FILE UNDER: ROCK

"It all began in 1966 with the band Just Us in tranquil Nordenham on the west bank of the Weser River, opposite Bremerhaven. Five young musicians performed in the region as The Macbeats, playing -- as the name suggests -- beat music and soon gaining a reputation as the 'Nordenham Rolling Stones.' But the Macbeats wanted to move away from beat and devote themselves more to blues, soul, and progressive rock. As 'Just Us' -- with guitarist Kralle Kravinkel now joined by Stefan Remmler as singer -- the band toured throughout northern Germany. They performed at Radio Bremen's studio and played for several days at the famous Star-Club in Hamburg. But then the member carousel began to turn: the band shrunk to a trio, moved to Hamburg, renamed themselves Cravinkel, signed a record deal with Phonogram, and released their eponymous first album Cravinkel in the winter of 1970. Although the band went on an extensive European tour with Frumpy and Spooky Tooth, the German press almost completely ignored the band and the album. Nevertheless, Cravinkel released the LP Garden of Loneliness two years after their debut album. Musically, they took a different direction: instead of short, catchy songs, the band now presented three expansive long tracks with a significantly more progressive and psychedelic touch. Unfortunately, even this album did not open up any promising prospects for Cravinkel. In the spring of 1972, their house in Volkmarst (in Northern Germany) burned down completely, destroying all of the band's possessions. Disillusioned, the musicians gave up and went their separate ways, some of which were very successful. Today, more than 50 years later, both Cravinkel albums enjoy cult status -- and not only in northern Germany. As a bonus, there is the single 'Keep On Running' and 'Mr. Cooley' from 1971 and a live recording of the previously unreleased Cravinkel track 'Scottish Pipe' from the All-Music-Fest 1971 at the Waldb?hne (Forest Stage) in Berlin."

 

PRICE: $18.00

CAT #: MIG 3552CD

FILE UNDER: ROCK

"In 1975, German prog rockers Eloy reached the absolute commercial peak of their career with a new line-up. Detlev Schmidtchen's atmospheric keyboard sounds played a decisive role in shaping the band's sound, while drummer J?rgen Rosenthal (formerly also with the Scorpions) provided the often-mythologically inspired lyrics. Between 1975 and 1979, they produced the successful masterpieces 'Dawn,' 'Ocean,' and 'Silent Cries and Mighty Echoes.' The double album 'Live,' released in 1978, was also a huge commercial success. However, as both Rosenthal and Schmidtchen felt that they were unable to fully express their creativity in Eloy, they left the band in 1979. The two now had to redefine their artistic identity and market themselves in the future. It was a long and sometimes difficult road. As border crossers between music and visual art, they created a new soundscape in 1980 with Ego On The Rocks, which differed from the galactic Eloy sound. Schmidtchen and Rosenthal created a collage of surreal and often bizarre soundscapes, which they mixed with modern, progressive rock music. Rock passages alternated with almost ambient sequences. What was originally planned as a trilogy unfortunately remained a vinyl release in 1981 with the album Alice In Wounderland. Plans to bring the ambitious work to the stage also failed. Detlev Schmidtchen and J?rgen Rosenthal ended their EGO project in 1982 and parted ways as friends. Acid in Wounderland is and remains a complex work of art, an outstanding and unusual album that, even after 45 years, doesn't sound dated or 'retro' in the slightest."

 

PRICE: $25.00

CAT #: MIG 3572CD

FILE UNDER: ROCK

DVD is region code 0. "While the global music scene was dominated by disco, punk, and new wave in 1977, two gifted musicians paid little attention to the trends of the day and instead pursued their own musical goals with determination. The young Robert Gordon (1947-2022) with his rockabilly-style Elvis quiff and charmingly smooth voice, and the 'old rocker' Link Wray (1929-2005) in his leather outfit. Wray reached number 16 on the Billboard Hot 100 in 1958 with the instrumental 'Rumble' as Link Wray & His Ray Men, and his music was used in many films such as Desperado, Independence Day, 12 Monkeys, Blow, and Pulp Fiction. Gordon and Wray released two albums in 1977 and 1978: Robert Gordon with Link Wray and Fresh Fish Special. They then went their separate ways and Gordon began working with English guitarist Chris Spedding. Live and on their two studio albums, Gordon and Wray mixed original compositions with original cover versions of Gene Vincent, Jack Scott, Eddie Cochran, Johnny Burnette and even Bruce Springsteen. On January 24, 1978, during their first European tour, the two musicians gave a session at Radio Bremen's studios for the program 'Musikladen Extra.' They were joined by Jon Paris (Johnny Winter's long-time accompanist) on bass and Anton Fig (Spider and Ace Frehley's Comet, among others) on drums. 15 tracks were retrieved from the station's archives in the very best picture and sound quality. A few days earlier, the tour group had also been in the Netherlands, among other places. The tapes of an entire concert from January 20, 1978, in Rotterdam still exist. Robert Gordon himself had arranged for the recording at the live club Eksit. There is also a video recording of the performance at the Paradiso in Amsterdam on January 21, 1978, which was commissioned by the record company at the time. This material is now presented under the title Rumble: Their First European Tour 1978 as the ultimate live documentation of the work of these two extraordinary musicians."

 

PRICE: $15.00

CAT #: MIG 730CD

FILE UNDER: ROCK

"Malesch, the debut album by Agitation Free, is a critically acclaimed 1970s krautrock masterpiece known for its unique blend of psychedelic, experimental, and Middle Eastern-influenced music. It features instrumental jams, spacey atmosphere, and electronic devices, creating a 'cosmic' soundscape with mesmerizing hypnotic rhythms. Reviewers highlight the album as a milestone in the genre, praising its 'meta-music' and originality while noting its experimental and sometimes 'trippy' nature. When the band came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free -- soon relegated to the not so flattering category of 'Krautrock' -- made musical forays into areas that few of their fellow German musicians had ever penetrated. At a time when most in Germany were still orienting themselves as closely as possible to Anglo-American musical formats, Agitation Free found a completely new and very original form of musical expression. Starting with their debut album Malesch, Agitation Free delivered a fascinating sound, influenced not least by the manifold impressions from a Near East tour. The band moved toward a form of meta-music, a weaving of exotic-sounding compositions. The album has been justly regarded as a milestone in the genre, especially abroad. Looking back, it's evident that the Agitation Free was one of the most important bands of the experimental circle known as the 'Berlin School,' and a career springboard for a whole slew of musicians. At the same time, this policy of changing personnel also meant risking that the band couldn't keep itself together over the long run. Agitation Free consciously took this risk in order to remain as close as possible to their own concept - free from commercial pressure or concessions to the latest trends and modes."

 

PRICE: $19.00

CAT #: MIG 91052CD

FILE UNDER: ROCK

DVD is region code 0. "Seven years after their formation, MAN from Wales performed at Rockpalast on April 17, 1975, with a set lasting just under an hour. At Studio L in Cologne, MAN, then consisting of the three founding members Micky Jones (vocals, guitar), Deke Leonard (guitar, vocals, keyboard, harmonica), Terry Williams (drums, vocals), and Martin Ace (bass, vocals -- with the band since 1970), played six songs. What was impressive about MAN was their musical 'live' performance with their very own 'Welsh' mix of rock, blues, country, folk, and a good dose of West Coast rock. Nevertheless, influences from (distant) Grateful Dead, but above all from the Californian Quicksilver Messenger Service, are unmistakable and also intentional. Martin Ace recalls: 'We were rehearsing at Sausalito Heliport (San Francisco) and John Cipollina came by at that time. We jammed together. We then played with John in Sacramento and at Winterland in San Francisco, and the others asked me if I wanted to join them on an already booked tour of Germany, which included a Rockpalast TV show in Cologne. So when we arrived in Cologne, we were pretty well rehearsed, and I hope you can feel that in this performance.' Even before the release of the highly acclaimed 1976 LP The Welsh Connection, there were again differences of opinion within the band. The album 'All's Well That Ends Well' was recorded during the farewell tour of 1977 through the USA, Europe, and North Africa. From 1983 onward, there were several attempts to reform MAN, but they never managed to match the success and quality of the 1970s. Drummer Terry Williams made rock history with Rockpile and Dire Straits from 1978 onward, Deke Leonard released solo albums (including the highly acclaimed 'Iceberg') and published books about the world of rock music."

 

PRICE: $18.00

CAT #: MIG 992CD

FILE UNDER: ROCK

"The band Agitation Free was formed in 1967 when two Berlin rock groups merged. In April 1972, the band, consisting of Lutz Ulbrich, Michael G?nther, J?rg Schwenke, Michael Hoenig, and Burghard Rausch, went on tour through Egypt, Lebanon, Cyprus, and Greece at the invitation of the Goethe Institute. The diverse impressions of this trip were reflected in their first album, Malesch. Through their extensive activities, the band gained steadily increasing popularity throughout Europe. Agitation Free performed in Munich in the summer of 1972 as part of the cultural program of the Olympic Games, toured France for two months in early 1973, played at the 'German Rock Super Concert' in Frankfurt in May, produced their second album, 2nd, and then went on tour through France and major German cities. Both SFB and WDR broadcast portraits and live concerts. In 1974, signs of fatigue began to spread within the band, leading to its temporary dissolution at the end of the year after a farewell concert. In retrospect, it became clear that Agitation Free was one of the most important bands of the 'Berlin School' and also served as a career springboard for several German musicians. Christopher Franke, for example, helped the band Tangerine Dream achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine Dream before becoming known as a film composer in Hollywood after releasing a solo album. Axel Genrich moved to Guru Guru and Burghard Rausch became a founding member of Bel Ami. Gustl L?tjens toured with Shirley Bassey and Nena and later found a large audience, especially in the USA, with his New Age band Living Mirrors. Lutz 'L??l' Ulbrich joined Ashra, worked with former Velvet Underground singer Nico, produced solo records in addition to theater music, and celebrated success with the 17 Hippies since the late 1990s."

 

PRICE: $29.00

CAT #: BT 5061LP

FILE UNDER: JAZZ

LP version. "Phil Seamen Meets Eddie Gomez is a jazz album by the Phil Seaman Trio, featuring the renowned bassist Eddie Gomez. Phil Seamen himself was lauded by Ronnie Scott as 'Britain's best jazz drummer.' The album showcases a selection of jazz standards, highlighting the interplay between Seamen's drumming and Gomez's bass work."

 

PRICE: $16.00

CAT #: MBT 061CD

FILE UNDER: JAZZ

"Phil Seamen Meets Eddie Gomez is a jazz album by the Phil Seaman Trio, featuring the renowned bassist Eddie Gomez. Phil Seamen himself was lauded by Ronnie Scott as 'Britain's best jazz drummer.' The album showcases a selection of jazz standards, highlighting the interplay between Seamen's drumming and Gomez's bass work."

 

PRICE: $41.00

CAT #: MOD 008LP

FILE UNDER: JAZZ

Double LP version "These unreleased 1970s sessions from legendary pianist/composer Michael Garrick, see him lead two groups of top Brit jazzers, who perform eight original compositions by Garrick that display his flair for combining emotive writing with modal jazz grooves The album is made up of two sessions recorded for BBC Radio 2 at Maida Vale Studios, from 1973 and 1978 that feature vocalist Norma Winstone, trumpeter Henry Lowther, saxophonists Art Themen, Tony Coe and Alan Wakeman, trombonist David Horler, bassists Dave Green and Jeff Clyne, and drummers Trevor Tomkins and John Marshall. The material, all composed by Garrick, includes some favorites from the classic LPs 'Troppo' and 'October Woman'. He wouldn't record the tracks 'River Running' and 'Galilee' until decades later, so this is the first time these '70s arrangements have been released. Whereas 'Robin's Rest' and the title track are exclusive to this album -- providing a fascinating insight into this uniquely talented artist. Garrick was at the forefront of British jazz from the mid-1960s until his death in 2011 aged 78. He was a key member of The Don Rendell/Ian Carr Quintet, composing the jazz gems 'Dusk Fire' and 'Black Marigolds' and released a series of seminal 1960s and 1970s LPs including Cold Mountain, The Heart is a Lotus and Black Marigolds. Remastered by Caspar Sutton-Jones at Gearbox Records, Late Autumn Sunshine is available as a 2LP set housed in a gatefold sleeve (a limited edition of 600 copies) and 'mini-LP' gatefold CD, with sleeve notes by Daniel Spicer (Jazzwise, The Wire). Late Autumn Sunshine celebrates Michael Garrick's memory and should introduce him to many new fans."

 

PRICE: $36.00

CAT #: MVLP 010LP

FILE UNDER: SOUNDTRACK

"Charles Band's Parasite (1982) soundtrack. Experience the post-apocalyptic desolation and terror of the 1982 cult classic, Charles Band's Parasite, on this new vinyl pressing! The chilling score, composed and conducted by the legendary Richard Band (known for Re-Animator, From Beyond, Ghoulies, Troll, and more), is now available on wax. This collector's edition features 'Parasitic Sludge.' Includes inserts featuring notes written by Richard Band himself. Bonus poster: a huge 24x36 fold-out poster of the film artwork."

 

PRICE: $21.00

CAT #: NW 90002LP

FILE UNDER: CLASSICAL

2026 restock. Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"

 

PRICE: $28.00

CAT #: OMM 560286LP

FILE UNDER: ROCK

2026 restock; LP version. Re-release of the second album by Annexus Quam, originally released in 1972. Transferred from the original master tapes and carefully remastered by HaG? Schmitz and Dieter Wegner. The timing was right: Five years earlier would have been too early, five years later would have been too late. But Annexus Quam from Kamp-Lintfort near D?sseldorf came along with the right music at the right moment. The seven-piece band formed in 1967 as Ambition Of Music; they were what was then called a "beat group". In 1970, working with a local trombone choir led to a dramatic change of direction. Trombone, clarinet, saxophone, scat-like vocals, various percussion, even a bicycle pump or a guitar played below the bridge found their way into the band. Annexus Quam, in a unique way, mixed two musical genres: rock and free jazz, but the group played both differently from what could be heard otherwise at that time. Elements of psychedelic rock with heavy organ sounds were combined with freely dabbed brass notes; at the same time the band was closer to Stockhausen's concept of "Intuitive Music" than to the expressive group improvisations of free jazz musicians. The genre names sound familiar, but Annexus Quam filled them with new meaning. There are hardly any formal structures in Annexus Quam's music, the musicians control the ensemble sound intuitively by concentrated listening to each other. But the free playing is not limitless. Not every musician always has to play at the same time, the breaks are also important here. Despite all the freedom, the pieces remain comprehensible. This is what makes them appealing still today.

 

PRICE: $28.00

CAT #: PD 042LP

FILE UNDER: SOUNDTRACK

The collaboration between Anthony Moore and filmmaker David Larcher began in the late '60s, at the start of both their respective careers and lasted many years. Following on from the 2024 release of the soundtrack to Mare's Tail (PD 041LP) (the first collaboration with Larcher) comes the release of the soundtrack to his second film, Monkey's Birthday. This LP is a condensation of the essence of this six-hour film. The sound is partly taken directly from the existing soundtrack and partly from stereo masters that have survived through the decades. Shot and edited between 1973 and 1975 this epic film moves through a variety of landscapes, both physical and abstract. It was filmed in various locations, starting in Germany and moving through Hungary, Romania and most substantially in rural Turkey. In large part this is a road movie that takes the filmed events and locations and uses them as sources for further experimentation. In much the same way, the location recordings made by Anthony Moore are used as raw material for creating much of the soundtrack, working from a battery powered studio in the back of his truck in this east bound convoy. The previously released excerpt, "Plains Of Hungary (ReR Quarterly Vol.2 No.1)" is included on this album in its rightful place among the collages of Islamic chant, field recordings, tape loops, jam sessions etc. Heathcote Williams is also in the mix reading from esoteric texts. Also feature, alongside various voices from the crew and general public, is a repeated theme using the looped cut up voice recordings from the two other members of Slapp Happy (Dagmar Krause and Peter Blegvad), who took to the road for part of this grueling journey. Comes with large four-sided insert. Numbered edition of 500.

 

PRICE: $25.00

CAT #: PLANUB 002LP

FILE UNDER: ELECTRONIC

Mimosa Pudica brings together two works by Luciano Maggiore, both conceived as live performances structured around the presence and behavior of an audience. In both cases, rhythmic and formal elements arise from acts of observation and listening: eye contact, involuntary sounds, shifts of attention, hesitation, withdrawal. Mimosa Pudica reconstructs the conditions of these works in the absence of an audience. The record operates as a displacement: a concert without spectators, a live situation deprived of the social geometry that normally sustains it. What remains is not the trace of an event, but the internal workings of the pieces -- listening as response, rhythm as a fragile negotiation, sound as the outcome of relational tension. Recorded during a residency at Nub Project Space, the two works are built through layered actions performed by a single body, yet assembled to suggest the presence of a full room. The result is neither a straightforward studio construction nor a live recording, but a deliberate ambiguity: a record that imitates the dynamics of a concert while suspending its most recognizable cues. In straight lines, an uncertain whistle unfolds against a cluster of sine waves, punctuated by rhythmic elements triggered by imagined exchanges of gaze. Circle on circle on circle on circle, where murmurs and percussive gestures respond to barely perceptible sounds, evokes a spatial situation in which listening replaces any visual reference. In both works, rhythm does not present itself as a fixed structure, but as something contingent, dependent, and reversible. Only 100 copies available for international distribution, with white-on-black printed artwork on the sleeve plus insert with score and liner notes.

 

PRICE: $28.00

CAT #: PRF 010EP

FILE UNDER: ELECTRONIC

"Bassoon-forward R&B from Egyptian-American producer Yousef El-Magharbel. It's one of those things that could get gimmicky real quick, but there's a distinctive hypnosis over 13 tracks that bleeds into another. Think: The Internet's all-too-cool-but-relatable R&B, Solange or Dirty Projectors' deconstructed soul, Chris Weisman's monotone croon over busy avant-pop." -- Lars Gotrich/Vikings Choice

 

PRICE: $17.00

CAT #: PRO 435CD

FILE UNDER: ELECTRONIC

"Here, in the luminous hush between breath and presence, Sentient Being unfolds. With a lush analog palette of sustained ambient currents, Steve Roach sculpts timeless textural worlds and atmospheres of immersive depth expressing the contours of an inner world where awareness thrives. The six tracks organically reveal the intimacy of present-moment perception and emotion. 'These pieces,' he says, 'explore consciousness through direct engagement. Rather than referencing the term in its philosophical context, 'sentient being' describes the experience of perceiving, encountering, and creating from one's own mindfulness. It evokes the subtle drift of deeper meditative states into the moment of now.' This is Roach at his most intimate and contemplative: sumptuous sonics and grounding immersive realms. Each piece rises out of silence, carrying emotional warmth and the shimmer of the ineffable; gentle companions, at once expansive and heartfelt, are shaped by a master of the audible arts. The music seems dreamed more than composed -- a current of consciousness where a place of knowing rises from within. Emerging from deep presence and surrender, it evokes the gentle pulse of awareness itself. The grace of sensing and reflecting allows the music to speak truths that words cannot reach. Here, sound is feeling. Here, attention has texture. Here, the invisible becomes tenderly audible. This is the sound of being awake inside your own existence."

 

PRICE: $11.00

CAT #: RIPS 010CD

FILE UNDER: ROCK

Pilot is the debut album from London quintet Miniseries. Channeling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread. Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub -- a musical nexus where burgeoning indie and Americana scenes collide -- where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock. When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland. Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless.

 

PRICE: $28.50

CAT #: RIPS 010LP

FILE UNDER: ROCK

LP version. Pilot is the debut album from London quintet Miniseries. Channeling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread. Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub -- a musical nexus where burgeoning indie and Americana scenes collide -- where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock. When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland. Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless.

 

PRICE: $17.00

CAT #: ROG 147CD

FILE UNDER: JAZZ

"Each of them approached music in a fundamentally different way. Aymeric Avice, originally from Normandy, grew up looking at the sea in a family where music was ever-present; he naturally got involved too and was introduced to jazz by his sister, a double bass player; he then committed himself entirely to music. Luke Stewart was born in Mississippi, a southern state whose history is marked by racism; he studied music and jazz there before moving north to Washington DC and then New York. Chad Taylor, born in Arizona into a family of musicians, moved at pre-teen age to Chicago, where he took up the drums after trying his hand at the guitar; it was there that he began his rich and brilliant career alongside some of the most important musicians of Chicago. Despite these differences in approach to music, it is obvious that they all three speak the same musical language, no matter how or where they learned it. A language that comes from afar, developed, shaped, and modified over the years by hundreds of jazz musicians. A language that they themselves, through the originality and creativity of the music they are playing, also contribute to enriching. While each of them, individually, was already part of this community of musicians who are shaping jazz, they are now part of it as a trio. Deep in the Earth, High in the Sky opens and closes delicately with two tracks on which Luke Stewart and Chad Taylor have swapped their double bass and drums for the mbira. While perfectly integrated into the whole, these two pieces allow to gently enter this rich, brilliant, abundant musical universe and to emerge from it serenely, musically enriched. Listen without moderation. These three were meant to meet. Just the beginning of a long journey, hopefully."

 

PRICE: $26.00

CAT #: ROOM 182LP

FILE UNDER: ROCK

In March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour. One of these dates included a stint at the "End Of Cole Avenue" club in Dallas, one of the Velvets' few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their 1969: Velvet Underground Live album, but the sound quality was not great due to the use of third or fourth generation tapes. However, the first-generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one.

 

PRICE: $38.00

CAT #: RBL 099LP

FILE UNDER: SOUNDTRACK

"This exclusive vinyl edition features the haunting soundtrack from Jenifer, the unforgettable episode directed by Dario Argento for the acclaimed Masters of Horror series. Composed by maestro Claudio Simonetti (Goblin). The score fuses dark electronic tones with terrifying orchestral strings, perfectly capturing Argento's signature blend of beauty and terror. A must-have for collectors and fans of Italian horror cinema. For the first time on Vinyl -- limited edition 400 copies on colored vinyl."

 

PRICE: $34.00

CAT #: SME 092LP

FILE UNDER: SOUNDTRACK

Sonor Music Editions presents the definitive reissue of Piero Piccioni's often unheralded soundtrack to the 1969 bittersweet Italian comedy classic Amore Mio Aiutami (Help Me, My Love), starring two giants of Italian cinema, Monica Vitti and Alberto Sordi. This soundtrack is a prime example of Piccioni's immense talent as a composer of timeless, lushly orchestrated lounge music -- a masterpiece of its era that rightfully deserves its place alongside his most cherished works from the same period, such as Colpo Rovente, Camille 2000, Appassionata, Il Dio Sotto La Pelle, and Travolti Da Un Insolito Destino Nell'Azzurro Mare D'Agosto (Swept Away). In recent years, it has found new life in the age of streaming, being extensively rediscovered and sampled within the hip-hop and lo-fi communities. Maestro Piero Piccioni remains one of the brightest shining stars among Italian composers from the golden age of cinema, soundtracks, and library music. With a prolific career that includes more than 300 film scores, Piccioni began his journey in the world of cinema in Rome during the 1950s. At the time, he was practicing law but soon began composing for film, developing a particularly close working relationship with directors Francesco Rosi and Alberto Sordi. Among his vast body of work -- especially his collaborations with Sordi -- Amore Mio Aiutami stands at the pinnacle of Piccioni's oeuvre, showcasing his style of composition and production. The score moves seamlessly from sophisticated bossa and lounge pieces like "Amanda Strain," "North Pole Penguin," and the versions of "Bossa Per Alberto" -- performed with a smaller jazz combo -- to dreamy vocal pieces by Nora Orlandi and her choir, including "Miss Luna Special," "Luna Amore E No," and "Luna Non Sei Nessuna," featuring British actress and dancer Gloria Paul. The highlight, however, perhaps remains the pastoral main theme, where romantic strings intertwine with Piccioni's unmistakable sound and bittersweet melodies -- forever linked to Italian Commedia all'italiana films, of which Amore Mio Aiutami is a prime example. This revitalized reissue of Piero Piccioni's Amore Mio Aiutami soundtrack has been carefully remastered by Jonathan Dakers, lacquer-cut by Jukka Sarap?? at Timmion Cutting, and packaged in a thick cardboard tip-on sleeve with fully restored artwork. It also includes two versions of "Bossa Per Alberto" as bonus tracks.

 

PRICE: $24.00

CAT #: SN 164LP

FILE UNDER: ROCK

"The Singing Loins started as a stripped-down acoustic duo in 1990/91, with the aim of writing honest, bare songs, outside of any particular style, coining the phrase 'Authentic Raw Folk from the Medway Delta.' Their first two albums were recorded with Billy Childish and released on his Hangman Records. Twelve years, and five or six albums later, they added banjo/mandolin/accordion, and hooked up with Damaged Goods Records and released another four or five records (depends who's counting). With a huge fanbase in both Medway and Serbia, but pretty much unknown elsewhere, and plenty of acclaimed shows both home and abroad later, they called it a day in 2013, returning briefly in 2019 to record what turned out to be their swansong, 13 Moon Songs from Merry Hell. The group's singer, Chris Broderick, sadly passed away in early 2022, having let Arf know that he wanted the others to carry on The Singing Loins' name, at which point Arf and Rob got together with Billy Childish again to write and record The Fighting Temeraire album, dedicated to Brod's memory. In parallel with that, The Singing Loins added fiddle/drums/electric/bass, and in 2024 released another long player, Twelve, through Damaged Goods Records; a sort of 'best of' of the lo-fi years, remodeled and re-purposed for the new line-up. Currently, as well as gigging regularly as The Singing Loins, they also moonlight with Billy Childish as The North Kent Folkways Revival, who have collectively recorded another three albums, and also played a Riley & Coe BBC6 Music session. This new mini-album, Camber '87, is a further progression. The lead track, 'Teeth & Eyes,' is a new song; a pox-marked beauty. The other five are revisited versions of lo-fi original oldies, twisted and adapted to the new sound and line-up. Limited to 300 copies on vinyl."

 

PRICE: $12.50

CAT #: TWCD 1075CD

FILE UNDER: WORLD

Sylvan 'The Genius' Morris' Auntie Melva's Workshop Dub. Written, arranged and produced by Roy Anthony Perry Cousins. Mastered at Glass Studios, Wirral, England.

 

PRICE: $20.00

CAT #: SOS 005LP

FILE UNDER: ROCK

Originally formed in the early 1990s, Tadpoles earned a reputation as a neo-psychedelic rock band known for their impressionistic textures and adventurous sound. After a 25-year hiatus, the band has reunited, now working across Sacramento, New York City, and Basel. They collaborate remotely to create new music that expands into unexpected genres, including jazz, ambient, country noir, and ambient shoegazer rock, all while maintaining their core psychedelic essence. In this new chapter, the Tadpoles have teamed up with legendary producer and mixer Sonic Boom, known for his work with Spacemen 3, Panda Bear, MGMT, and Beach House, to sculpt their evolving sound. His influence helps weave those new layers of psychedelia, ambient, and even jazz into the band's signature adventurous spirit. This release reflects the band's evolution and continues their legacy of blending noise, melody, introspection, and a bit of sly humor.

 

PRICE: $43.50

CAT #: UMA 189LP

FILE UNDER: ELECTRONIC

For over four decades, Masami Akita, the man behind Merzbow, has remained one of the most singular and uncompromising figures in experimental music. Known as a pioneer of Japanese noise and a tireless sonic innovator, Akita has consistently pushed boundaries, exploring sound not as a vehicle for melody or harmony, but as a raw material to be shaped, sculpted, and sometimes obliterated. Originally released on CD in 2003, Animal Magnetism is now receiving a long-overdue vinyl reissue -- a deluxe edition that not only revives the album but enhances it. This new edition has been meticulously remastered by Lasse Marhaug, a respected figure in noise and experimental music who brings new clarity, weight, and depth to the recordings. Spread across two vinyl LPs and housed in a gatefold sleeve, the reissue replicates the original artwork, including Masami Akita's own photographs, while also adding a previously unreleased bonus track, "Quiet Comfort #2." Animal Magnetism occupies a unique position in Merzbow's vast catalogue. It is a work that remains firmly rooted in the artist's signature approach -- dense layers of distortion, feedback, and electronic debris -- but it also stands out for its sense of structure, variation, and surprising accessibility. It's an album that, while intense, is not impenetrable. It invites the listener to explore its textures and uncover subtle melodic patterns and rhythmic shifts beneath the surface noise. What makes Animal Magnetism distinctive is its balance between harsh noise and a more refined, composed sensibility. Where many Merzbow albums plunge into total abstraction, this one maintains a sense of movement and progression. The newly added bonus track, "Quiet Comfort #2," fits seamlessly into the album's sound world. It serves as both a continuation and a reflection, extending the album's themes while offering something fresh. Animal Magnetism is not just for seasoned noise fans, but also for adventurous listeners looking for a unique and challenging experience that rewards attention and repeated listening. Pressed on 100% black virgin vinyl to ensure optimum audio quality, housed in a gatefold sleeve featuring Akita's original photographs, limited to 299 copies. This edition is a must-have for collectors and newcomers alike: an essential document of an artist who continues to redefine the outer edges of sound. Absolutely essential.

 

PRICE: $29.50

CAT #: VSP 002LP

FILE UNDER: ELECTRONIC

After forty years, the enigmatic Italian collective Capricorni Pneumatici's lost opus, ?ber Artaud, finally emerges complete. Originally conceived in 1987 as an electronic sonorization of Antonin Artaud's censored 1947 radio work "Pour En finir avec le Jugement de Dieu," this mysterious project showcases masterful use of FM synthesis via the iconic Yamaha DX7 synthesizer, creating dark ritualistic soundscapes akin to Throbbing Gristle and Nurse With Wound. In the widening realms of uncovered Italian outsider art and cursed musical enigmas, few discoveries prove as compelling as the resurgence of ?ber Artaud. After nearly four decades from its original conception, this work returns in a completely remastered LP edition and, for the first time, in its definitive and complete form via Vasopressin. Capricorni Pneumatici emerged from the Italian underground during the late '80s as one of the most mysterious and elusive projects of the era. Little is known about the collective beyond their dedication to researching the esoteric and ritual implications of music and sounds. The name itself, derived from Aleister Crowley's work, hints at the radical and visionary approach that would define their influential existence, evolving from acoustic/concrete music toward the darker territories of electronic manipulation. Composed between November and December 1987, ?ber Artaud was born from a temporally charged coincidence: exactly forty years after Antonin Artaud's apocalyptic radio work Pour En finir avec le Jugement de Dieu (November 28, 1947) was censored and never aired due to its blasphemous content and violent critique of Western civilization. This piece, featuring Artaud alongside Roger Blin, Maria Casar?s, and Paule Th?venin, represents one of the most radical expressions of his "Theater of Cruelty" philosophy. The album demonstrates an extraordinary mastery of FM synthesis, extracting from the Yamaha DX7 a universe of complex timbres and intricate stratifications. Capricorni Pneumatici's electronic manipulations function as both artistic statement and esoteric ritual. The original cassette edition of ?ber Artaud was produced in an extremely limited edition through underground channels but remained incomplete, lacking the sonorization of Artaud's final "Conclusion" section. After almost forty years, the work finally finds completion with an additional track, recorded in 2024, that blends seamlessly with the original material. This new LP edition was sourced from the original tapes, remastered by Capricorni Penumatici, and optimized for vinyl pressing by Andrea Marutti. Coming as a black vinyl housed in a poly-lined sleeve, released in a limited-edition of 150 copies, ?ber Artaud transforms Artaud's censored radio work into a revelatory aural experience, connecting the prophetic vision with the dark electronic sensibility of the Italian underground.

 

PRICE: $21.00

CAT #: MVD 20385DVD

FILE UNDER: Misc

DVD is region code 0. "Bill Bartell is not famous, but those who knew him think he should be. Bill was a musician, band manager, record label owner, police officer, rodeo bull rider, an attention-seeking recluse, and the ultimate fan-boy. He led an exceedingly compartmentalized life, keeping a tight lid on his background, his occupations, relationships and sexuality, hiding the jarring conflicts from everyone. The whole of his life was an enigma and maintaining it took a toll. From forming his band White Flag in the early 1980s to starting his own record company (Gasatanka Records), Bill was relentless. His ability to side up to his idols (from original LA Punk Scene to arena Metal) was astonishing, as was his indelible influence on his heroes. Friend and sometime band-mate to Sean Lennon, Pat Smear, Kurt Cobain, Thurston Moore, KISS, Iron Maiden, Ronnie Barnett, Jeff and Steve McDonald, Drew Barrymore, The Melvins, Shonen Knife, Brian Wilson, Quentin Tarantino and countless others, Bill was the conduit through which many relationships were established and successful careers launched. It was Bill that introduced Billy Idol to Kiss' manager Bill Aucoin who fostered Billy's solo career. In 1981, Bill's friend Steve Harris asked what his band, Iron Maiden, should name their new EP, a live recording from their Japanese tour. 'Maiden Japan,' Bill replied. Harris pronounced him a genius and the band went with Bill's suggestion. Through extensive archival footage and interviews, Bill's friends and collaborators compare notes on what they knew and what Bill kept hidden from them, ruminating on the causes of his secrecy. This film unravels, reveals and ultimately, deepens the mystery of who Bill was and what secrets he took with him when his life came to a sad and unexpected close. The Secret Lives of Bill Bartell is the story of the Punk Rock Zelig from the director of 1991: The Year Punk Broke."

 

PRICE: $26.00

CAT #: WJMAG 017

FILE UNDER: Misc

We Jazz Magazine, Issue 17, Weathering for aja monet. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. aja monet by Ayana Contreras, Azymuth by Ben Lee, Henry Threadgill by Bret Sjerven, Sven-?ke Johansson by Magnus Nygren, Anna Webber by Stewart Smith, Rafiq Bhatia by Florent Servia, Talk Show (Steph Richards & Qasim Naqvi) by Andy Cush, Ganavya by Tina Edwards, Cosmic Tones Research Trio by Blake Gillespie, Quincy Jones by Rob Garratt, Devin Daniels by Samuel Lamontagne, album design essay by Alex Coles, Discaholic column by Mats Gustafsson, album reviews, live reviews, photo essay and more.

 

PRICE: $27.00

CAT #: WBR 002LP

FILE UNDER: ROCK

LP version. British singer-songwriter Lucy Kitt presents her highly-anticipated second album, Telling Me, a deeply personal collection that shifts focus from introspection to storytelling, capturing the lives and struggles of those closest to her. Drawing from her love of '70s Laurel Canyon folk, '90s indie rock, and country music, Kitt crafts narratives that blend her own experiences with compassionate observations of loved ones. Based on a raw acoustic "three chords and the truth" style of songwriting that ripples throughout, the album expands with full-band arrangements that give a huge range and richness to the sound. Though influenced by American musical traditions, the Essex-native maintains her distinctive voice and authenticity, ensuring the music remains unmistakably her own. Following her 2018 debut Stand By, this new record represents a more mature approach to songwriting, written during her early 30s and completed in the 2021 lockdown -- a storybook of songs capturing that moment in time. Musically, Telling Me showcases Kitt's stripped-down acoustic foundations, while incorporating fuller arrangements that blend her love of Nick Drake, Bob Dylan, Gram Parsons, Joni Mitchell and Joan Baez, with music she loved as a teenager such as The Lemonheads and Veruca Salt. The album features collaborations with an impressive roster of musicians, including Jay Starkey on drums, Nashville-based pedal steel virtuoso Spencer Cullum, Treetop Flyer's Sam Beer and longtime collaborator Pat Kenneally on drums and piano. Recorded between 2021-2023 at London's Lightship 95 studio at Trinity Buoy Wharf, the album was co-produced and engineered by Dave Holmes, with some musicians contributing remotely from Nashville and London.