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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 05/25/2026

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PRICE: $25.50

CAT #: AUK 006LP

FILE UNDER: ROCK

2026 repress; 180 gram black vinyl for the first time. This 1997 album is seen as a classic Brian Jonestown Massacre release. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT, Tee Pee, and now on Anton Newcombe's own A Recordings label. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s, and incorporates influences from world music, especially Middle Eastern and Brazilian music.

 

PRICE: $35.00

CAT #: AUK 027LP

FILE UNDER: ROCK

2026 repress. Tepid Peppermint Wonderland Volume 2 includes the second half of the double CD Tepid Peppermint Wonderland: A Retrospective (AUK 013CD, 2004), remastered for vinyl. Following Tepid Peppermint Wonderland Volume 1 (AUK 026LP, 2004), Volume 2 continues to mine the period of 1995 through 2004 and includes key tracks from all of The Brian Jonestown Massacre's albums as well as live recordings and many otherwise unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Beginning in 1995, The Brian Jonestown Massacre released numerous albums, first on BOMP!, the label that gave them their start, and later on TVT Records and Tee Pee Records. The band was essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase (the band name is a reference to Stones guitarist Brian Jones and Peoples Temple founder Jim Jones), but his work in the 2000s expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. Gatefold double LP version.

 

PRICE: $26.00

CAT #: ACRSLP 1695LP

FILE UNDER: ROCK

"Time to immerse yourself in the deep, soulful world of Texas blues legend Lightnin' Hopkins. This powerful LP captures the raw, unfiltered essence of a true blues master, presenting a definitive collection of his work from a golden era. The album showcases his iconic guitar work and deeply personal lyrics, seamlessly moving from the mournful lament of 'Cemetery Blues' and 'The Blues Is A Mighty Bad Feeling' to the hard-driving rhythms of his instrumental boogies. It is a masterclass in the artistry of a one-man band, with Hopkins commanding the listener's attention through every track. Experience the blistering energy of tracks like 'Lightnin's Boogie,' 'Movin' On Out Boogie,' and the playful 'Grandma's Boogie,' which demonstrate his complete command of the instrument. Alongside these are the heartfelt ballads and storytelling that were his hallmark, including the classic 'Evil Hearted Woman' and 'I'm Wild About You Baby.' The LP also features hidden gems like the sentimental 'Remember Me' and the swinging 'Hopkins Sky Hop.' From the classic 'Nothin' But The Blues' and the heartfelt 'I Had A Gal Named Sal,' to the hopeful 'Finally Met My Baby' and the poignant 'Lightnin' Don't Feel Well,' this collection is an essential document of one of the most important figures in the history of American music. It is a journey through the heart of the blues, a raw and honest portrait that every fan of the genre should own."

 

PRICE: $29.50

CAT #: AVM 084LP

FILE UNDER: ELECTRONIC

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman. A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management's jammy, improvisational approach to their dubby electronics blends well with Goldman's idiosyncratic vocal style, which has its origins in the early days of post-punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman's deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation. When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source -- the minimalism necessary to deliver a direct, steady resolve and a gripping listen. The B Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of "Quick Cover Up" that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs. Up next are Twin Cities, Minnesota-based Feel Free Hi Fi, who take on "Judge Judge." The duo tighten things up, overlaying weighty vintage string synths and digi-flute melodies. This version feels designed for smoky, late-night dub sound system sessions, harkening back to dub's foundations. Last but not least is London's Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova-esque minimal synth sound. This version's lo-fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

 

PRICE: $17.50

CAT #: ARBITRARY 025CD

FILE UNDER: ELECTRONIC

Arbitrary presents Terrain Vague II -- the second album by Danish electro-acoustic trio Mesmer. With this work, the trio creates a sensuous and reflective space to inhabit in a time marked by speed, noise, and digital fragmentation. Terrain Vague II emerges from field recordings made in Læsø, Frederikshavn, and Aalborg in Denmark. Using environmental sounds from harbors, coastlines, and the outskirts of the city, Mesmer explores the places where nature and culture intersect. These field recordings are not atmospheric background, but rather the architectural foundation of the work -- carriers of social, historical, and sensory traces. Through improvisation, compositional structures, and an electro- acoustic setup featuring synthesizers, trumpet, percussion, and modular systems, these traces are transformed into personal and collective sonic journeys. The title refers to the concept of terrain vague: indeterminate transitional zones with open potential. For Mesmer, it becomes an image of a society in motion. Rather than offering definitive answers, the trio creates an open listening space in which the boundaries between the composed and the improvised, the controlled and the free, dissolve. Listening is activated here as a conscious act -- an opportunity to reconnect with place, presence, and community. In relation to their debut work Terrain Vague (ARBITRARY 019CD, 2024), Mesmer has developed their practice in a more consistently site-specific and spatial direction. While the first work established the trio's shared language between field recording and electro-acoustic composition, Terrain Vague II allows the specific geographies to structure the music. Improvisation comes clearly to the fore, contrasts are sharpened, and the tension between the individual and the collective is pronounced. With this work, the format is also expanded -- realized as an album, a concert-series, and an installation. Mesmer -- Emil Jensen, Victor Dybbroe, and Anders Filipsen -- have worked closely together for more than 15 years across music, film, radio, and installation. With Terrain Vague II, Mesmer refines and deepens their artistic position. They offer a space for slowness and attentiveness within a complex present -- and insist on sound's capacity to open new ways of being in the world.

 

PRICE: $25.00

CAT #: BING 224LP

FILE UNDER: ROCK

"Toronto's Mad Iris has been playing live in the local underground scene since 2023, blending noise rock, punk, and shoegaze into a sound that honors influences like Sonic Youth, Pixies, and the Breeders. Their self-titled debut album covers desire, obsession, longing, and grief, taking place in basements, night buses, and gas stations, with gum stuck to desks and drinks spilled on sticky floors. Throughout the record, distorted vocals crash and ascend in unison with thrashing drums, plump basslines, and staticky guitar overdrive, lurching between restraint and eruption. A Mad Iris song teeters on disaster, shifting from gritty feedback to intentional sloppy haze, like the sound of a tape machine overheating. Strong, sparkling production is complemented by a wall of noisy visuals: videos that emulate a worn VHS tape, scrapbook show flyers, and alleyway photoshoots. 'Our visuals are an integral part of the band's style,' says bassist Ela Hinatsu, who shares lead vocals with guitarist Kaiya Rosie, often on the same song. With a deliberate sound, style, and presence, Mad Iris goes beyond being a band, becoming more of an art project. Opening track, 'Silver Nails,' sets hushed, breathy vocals floating over a screechy guitar line, played by Patrick Muldoon, before collapsing into distorted, whiny grit and greedy screams, ending the track with a guitar solo from producer/mixer Ximuna Diego, who, with his own musical expertise, is the secret to Mad Iris' signature distorted sound. The album oscillates between sweet and bitter, pretty and dirty, lust and shame. 'Poor Baby' is soaked in self-pity and pointed blame, building from scratchy dual vocals and warm analogue tones into a fever pitch, led by drummer Josh Pryce. 'Goldfish' opens with buzzing guitar riffs and addictive drums, as bittersweet vocals cut through muddy noise. The song strips the intensity and cattiness of other tracks, framing loss in a bright, chaotic context, with vocals weaving between jangly hooks. On record, Mad Iris is raw, unpolished, and intimidatingly cool. Off-stage, they're grounded and self-aware. As Pryce puts it, 'We're just four friends hanging out and making music together. There's lots of playful love in it.' That chemistry drives their energetic debut."

 

PRICE: $29.50

CAT #: BALMAT 021LP

FILE UNDER: ELECTRONIC

LP version. Laurence Pike's Possible Utopias for Jazz Quintet represents a search for freedom, potentiality -- liberatory strategies that transcend the ego and the solitary, atomized figure. But in this case, the album title is also a red herring, because there is no jazz quintet here -- just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits. And the results incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings -- including four albums for the Leaf label between 2018 and 2024 -- but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community's Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003 (FAITBACK 005LP); and even post-punk titans Liars, whom he joined in late 2018. Of his first album for Balmat, Pike says, "My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealized culture of the future, or even another world, utilize musical language when the conventions of style and marketing are no longer a factor in music making?" That inquiry, he says, connects to his "guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously." Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces, but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads. Pike's imaginary quintet is hardly without precedent; it's a continuation of concepts floated across Jan Jelinek's Loop-Finding-Jazz-Records (FAITBACK 001LP), Burnt Friedman's many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM's catalog in the late 1970s and 1980s.

 

PRICE: $40.00

CAT #: BE 1008LP

FILE UNDER: ROCK

Black Editions presents the expanded and definitive edition of White Heaven's brilliant third album Next to Nothing. Originally released in 1994 by Tokyo's Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought-after artifacts of the '90s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead guitar on the group's first two albums. The pairing is revelatory as they weave luminous melodic lines, sometimes in parallel, sometimes opening into sustained intricate counterpoint. Bassist Koji Shimura and drummer Ken Ishihara shuffle and swing in parallel with a fluid, sinuous rhythm, while flourishes of synthesizer, mellotron and the introduction of Go Hirano on keyboards and piano deepens the group's sound with orchestral colors and a soft cinematic haze. Across the album, clear, shimmering guitar tones and gentle chord progressions are layered with bright arpeggiated figures and darker minor-key passages. The songs develop through gradual changes in tone and dynamics as Ishihara's voice reveals a gentle yearning and wistfulness. An extended version of Burt Bacharach and Hal David's "The Look of Love" serves as the album's entrancing focal point; stretching the song's familiar lounge-pop swagger, the group renders it as a slow-burning, psychedelic meditation crackling with electricity as it drifts into the night. Available for the first time on vinyl in over 30 years. Remastered and expanded with three previously unreleased song versions on a second LP cut at 45RPM. Presented in a heavy tip-on gatefold with metallic and ink pigment foil stamping, spot colors as well as a gatefold insert. House in a custom vellum wrap with a mirror metallic sticker seal. Pressed at RTI Recorded at Inter Music Studio, Tokyo 1994. Remastered at Peace Music 2021, Produced by You Ishihara.

 

PRICE: $15.00

CAT #: BMC 364CD

FILE UNDER: JAZZ

"The pensive, enigmatic compositions of Ensemble Ensemble outline an imaginary folklore: freely drawing on Norwegian and Alsatian traditional music, they equally absorb elements of oral and written, experimental and folk, electronic and analogue, vocal and instrumental cultures, ultimately forming a flow of sounds closely related to ambient music."

 

PRICE: $16.00

CAT #: BSR 820CD

FILE UNDER: REGGAE

"A classic late-'70s deejay set from one of Jamaica's most commanding mic talents, Clint Eastwood emerged from the shadow of his brother Trinity to establish himself as a heavyweight voice of the era. Named in tribute to the cinematic Man With No Name, Eastwood forged a distinctive, confident style that helped define reggae's golden age. Originally released in 1979 as one of the first titles on the Burning Sounds' Burning Vibrations imprint, Love And Happiness captures a pivotal moment when roots reggae was evolving into the early dancehall sound. Featuring four prime Clint Eastwood cuts alongside key tracks from a young Jah Thomas -- who cites Eastwood as a major influence -- the album stands as a vital document of late-70s Jamaican deejay culture. Essential listening for collectors of classic reggae and foundational dancehall."

 

PRICE: $21.00

CAT #: DAMGOOD 309LP

FILE UNDER: ROCK

LP version. "Billy & Holly's only album together, originally released in the US in 1999."

 

PRICE: $16.00

CAT #: DAMGOOD 644CD

FILE UNDER: ROCK

"It's been three long years since CTMF's last studio album, 2023's Failure Not Success, and now they're back with a brand-new record! House On Fire finds them firing on all cylinders and they've never sounded finer! The album features remixed versions of their covers of The Saints' 'Untitled' and The Yardbirds' 'Shapes of Things' (both previously only available on limited edition 7" singles), along with twelve original new recordings."

 

PRICE: $16.00

CAT #: DAMGOOD 648CD

FILE UNDER: ROCK

"Thirty-three tracks! Rounding up all the band's 7" single releases to date! That's all their A- and B-sides! Cyanide Pills released their first 7" single 'Break It Up' in 2009, following it up with a further 14 fab 45s, the most recent being a split single with Switzerland's Nasty Rumours. Most of these releases featured exclusive non-album B-sides which we've rounded up for Singled Out. Good to have them in one place innit! All tracks were recorded at the Billiard Room in Leeds with producer Carl 'Razorblade' Rosamond. 'Influences? Hmm well, we don't just listen to punk rock, neither did the early bands because there wasn't any' said lead singer Phil speaking with Vive le Rock magazine in 2023. 'We like the usual suspects obviously, our favorites are the Belgian band The Kids, X-Ray Spex, and Buzzcocks. We like Satan's Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin' Wolf. The list goes on and on and on."

 

PRICE: $33.00

CAT #: DAMGOOD 648LP

FILE UNDER: ROCK

"Thirty-three tracks! Rounding up all the band's 7" single releases to date! That's all their A- and B-sides! Cyanide Pills released their first 7" single 'Break It Up' in 2009, following it up with a further 14 fab 45s, the most recent being a split single with Switzerland's Nasty Rumours. Most of these releases featured exclusive non-album B-sides which we've rounded up for Singled Out. Good to have them in one place innit! All tracks were recorded at the Billiard Room in Leeds with producer Carl 'Razorblade' Rosamond. 'Influences? Hmm well, we don't just listen to punk rock, neither did the early bands because there wasn't any' said lead singer Phil speaking with Vive le Rock magazine in 2023. 'We like the usual suspects obviously, our favorites are the Belgian band The Kids, X-Ray Spex, and Buzzcocks. We like Satan's Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin' Wolf. The list goes on and on and on."

 

PRICE: $13.50

CAT #: DC 971CD

FILE UNDER: ROCK

"Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain."

 

PRICE: $12.00

CAT #: DC 971CS

FILE UNDER: ROCK

Cassette version. "Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain."

 

PRICE: $22.00

CAT #: DC 971LP

FILE UNDER: ROCK

LP version. "Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain."

 

PRICE: $13.50

CAT #: DC 972CD

FILE UNDER: ROCK

"OM's Conference of the Birds also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain."

 

PRICE: $12.00

CAT #: DC 972CS

FILE UNDER: ROCK

Cassette version. "OM's Conference of the Birds also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain."

 

PRICE: $22.00

CAT #: DC 972LP

FILE UNDER: ROCK

LP version. "OM's Conference of the Birds also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain."

 

PRICE: $23.00

CAT #: DC 984LP

FILE UNDER: ROCK

"What lies beyond The Black Door? An essence of otherness in the form of Cole Berliner, breezing out a vibrant acoustic sequence of bucolic instrumentals, chasing an old-world sense of beauty, projecting equally into the ear of listener and non-listener! Listen, having lived life as an atheist-spiritualist and progressive pop composer/performer, Cole desired to find his own kind of devotional music, devoting himself to the cause that became this album. But it took more than that in the end. The Black Door required playing in aspects of traditional genre formats like 'country,' 'blues,' 'finger-style,' 'gospel,' 'soundtrack,' 'ambient,' and Cole is adept at them all, mixing and matching modes and vibes. Adding to that a cosmic spray of full circle/circus leap consciousness, The Black Door flew open! Initially conceived as solo acoustic guitar tunes, in the studio the songs demanded the dynamics of an acoustic ensemble (a departure from his work with Kamikaze Palm Tree and Sharpie Smile). This was key. The arrangements form intricate passages for acoustic, electric and lap steel guitars, acoustic/ electric bass, piano, drums, percussion, violin, viola, horns, woodwinds and synthesizers. Playing with Cole are violinist Laena Myers, along with Garret Lang, Dylan Hadley, Sofia Arreguin, Robert Earl Thomas, Michael Sachs, Sarah Safaie, Kilan Thorns, and Cesar Hernandez PLUS Cesar Maria, who mixed and co-produced with Cole. The music of The Black Door is honest modern folk -- west coast folk! -- with a rad amount of odd psyche laced within. A presence in the production ecosystem of ominous (but friendly) ghost theater, elegant framing for a perfectly civilized, surreal mystery and exquisite, acoustic folk-chamber puzzle. And lo! Cole Berliner's solo debut is rich-grained instrumental parlor music, organically growing on in the speakers and ears beyond, an album after Drag City's own hearts in the challenger tradition of Bert Jansch's Avocet, Marc Ribot's Saints and Jim O'Rourke's Bad Timing. As Cole brings a succession of new moods and qualities to the true spirit of the thing, The Black Door opens up an album-length sequence of musical transformation."

 

PRICE: $17.50

CAT #: EMEGO 326CD

FILE UNDER: ELECTRONIC

It has been twenty-five years since the seismic events of 2001 -- when twin towers collapsed under terrorist attack and Coventry's sonic insurgent Russell Haswell launched his inaugural salvo on the original Mego label with Live Salvage 1997-2000. The intervening era has delivered unrelenting turbulence: protracted wars, institutional corruption, a global pandemic, the resurgence of fascist currents, rampant media distortion, and omnipresent surveillance. For Haswell, a lifelong admirer of 1970s and 1980s dystopian cinema, the verdict is unequivocal: "Science Fiction is now!" In the face of this darkening reality, Let It Go arrives as both acknowledgment and antidote. This new full length on Editions Mego extends an olive branch through defiant sonic diversity -- an unpredictable mosaic that embraces everything from propulsive rhythms to radical abstraction and enveloping ambience. True to Haswell's core practice, the material draws from the same tactile, free-improvised electroacoustic framework that powers his live sets: immediate, powerful and unscripted. The album weaves reverent echoes of 1990s Detroit techno's hypnotic pulse and the abrasive, metallic edge of the Birmingham sound into fractured generative territories. Haswell returns to his computer-generated origins while integrating his recent modular-synthesis experiments. During a residency at the Bergen Centre for Electronic Arts (BEK) in Norway, he harnessed the latest GRM Tools suite to conjure the volatile, "rapidly fluctuating pitched sounds" that characterized Iannis Xenakis' late electronic works -- resulting in pieces such as "Fall 3" and "Fall 2," where instability becomes a form of vitality. The tracks "Exit Downwards" and "The Anxieties Of Our Time," whilst reflecting the currents of the release, also offer surprisingly melodic patterns over jagged rhythms. The wryly titled "Thu 25 Dec 2025," (recorded in Glasgow after a solitary post-Christmas-lunch walk home) is a vast drone which evolves according to the random walk model -- known more evocatively as the drunken walk -- each sonic step veering unpredictably, mirroring the disoriented lens of contemporary existence. Let It Go is liberation. Amid the cacophony of crumbling certainties, Haswell deploys a full arsenal of resistance: kinetic drive, disorienting rupture, quiet refuge, raw aggression, and tentative hope. In an age where dystopia has shifted from fiction to lived fact, this music asserts that possibility endures.

 

PRICE: $36.50

CAT #: FAITICHE 041LP

FILE UNDER: ELECTRONIC

Faitiche welcomes a new artist to the label. Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions. TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered "non-music" into compositions.

From Christina Kubisch: "I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In 'Gaming' it's my recording of a Chinese song about silence... With ['Two persons walking through a street in Madrid'], I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism... 'Diapason' is part of a series of three pieces that deal with 'non-instruments' or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people's hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin's Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse."

 

PRICE: $30.50

CAT #: FAITICHE 042LP

FILE UNDER: ELECTRONIC

Take Me, I'm Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter's faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I'm Yours is neither a typical Abrahams record nor a classic Jelinek album -- it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design. The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. "It started as an experiment, and over the past few years grew from a few tracks into this album," says Abrahams. He describes recording the basic material as a "tantalizing" process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams' voice. Jelinek heard something "fragile" in this voice, "moments of doubt and dark premonitions." He points to "Forever" as an example. "Alan's original song reminded me of classic vocal house, but his voice seemed to almost break," he says. "This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening." He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams' pieces, Take Me, I'm Yours functions as a dialogue between those two singular artists. Includes download code.

 

PRICE: $27.50

CAT #: FTR 825LP

FILE UNDER: ROCK

On Meditations, Bhajan Bhoy presents four expansive, deeply immersive compositions that slowly open and unfurl across the album's duration. Length here is incidental; what matters is the total listening experience. These pieces move with patience and grace, drawing the listener into a blessed, inward journey. The result is a remarkable record -- equally cinematic, intimate, and richly evocative. Drawing from folk traditions, ambient synthesis, ethereal guitar work, and deep listening practices, Meditations creates a world of textural depth and microscopic wonder. The album's wide-ranging instrumentation -- accordion, piano, yangqin, synthesizers, guitar and bass, banjo, and harp -- highlights Bhajan Bhoy's imaginative and searching compositional approach. Each sound feels carefully placed, allowing space, resonance, and atmosphere to guide the music's emotional weight. There is a quiet power running throughout Meditations: a sense of stillness that never drifts into stasis, and beauty that reveals itself gradually. These are pieces that reward patience and presence, offering something profound to the deep listener. "These tracks served as a series of spiritual prayers when I recorded them," says Ajay Saggar (Bhajan Bhoy). "They became even more important to me later, as personal changes occurred in my life from mid-2025 onwards, and the real power and beauty of the tracks came to the fore -- helping me heal in my body and in my mind." Meditations is a meditative, enchanting work -- music as refuge, reflection, and renewal.

 

PRICE: $16.00

CAT #: GBVI 125CD

FILE UNDER: ROCK

"Guided By Voices' last album Thick Rich And Delicious was lauded by NPR's All Things Considered and picked #1 on Magnet Magazine's Best Albums Of 2025. The single 'We Outlast Them All' from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: ''We Outlast Them All' could be our 'We Are The Champions' but it's not necessarily about us. It's about anyone who perseveres over a long period of time.' On Crawlspace Of The Pantheon: 'I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings. I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.'"

 

PRICE: $25.00

CAT #: GBVI 125LP

FILE UNDER: ROCK

LP version. "Guided By Voices' last album Thick Rich And Delicious was lauded by NPR's All Things Considered and picked #1 on Magnet Magazine's Best Albums Of 2025. The single 'We Outlast Them All' from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: ''We Outlast Them All' could be our 'We Are The Champions' but it's not necessarily about us. It's about anyone who perseveres over a long period of time.' On Crawlspace Of The Pantheon: 'I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings. I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.'"

 

PRICE: $28.00

CAT #: GB 147LP

FILE UNDER: WORLD

2026 repress; LP version. YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man's land between Khruangbin and Kraftwerk, surf music, and Southeast Asian psychedelia, Stax soul, and mutant '80s disco, city pop, and Japanese instrumental folk (sōkyoku). Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Off-kilter disco tunes with a trans-local character, neo-Thai psych funk jams and folk-styled soul ballads remain central to their sonic identity, and the influx of fresh ideas results in an even more eclectic and effervescent sound image. Mount Matsu marks a step back from the occasionally more Moroder-esque, rhythm-machine and synth-heavy production style of YĪN YĪN. This is encapsulated in the analogue warmth of their valve amp guitar sounds, vintage synth lines and acoustic percussion timbres, evoking the buzz of being in the rehearsal space with the band. Infectious pentatonic melodicism calling for multiple rewinds!

 

PRICE: $36.00

CAT #: GY16 001LP

FILE UNDER: ROCK

"For over 30 years, Simon Joyner has been an anomaly -- a wholly independent artist focused solely on his craft. The Omaha-based singer-songwriter began releasing music in the early '90s and has walked an unbroken line ever since. Joyner's songs of quiet joy and heartache have impacted different generations of fellow artists, showing up as overt influence in acts like Bright Eyes or Kevin Morby, and as flickers of shared perspectives in the Lenkers, Oldhams, and Molinas that followed. Tough Love, Joyner's 19th studio album, continues this upward trend. While intrinsically linked to the personal grief of 2024's Coyote Butterfly, the autobiographical album Joyner made in the wake of his son's death, this new album explores the concept of tough love as a dichotomy applied to various fictional relationships including romantic, familial, and political. This balancing act comes through in vivid portrayals of everyday heartache and in the exploration of political rage and the betrayals of the American Dream. One of the marvels of Joyner's catalog is how his patterns don't repeat but transform. Knowing nods to Cohen, Dylan, and the Velvets have been part of his songwriting since the early lo-fi days, but the ways these touchstones get infused keep changing. While Joyner's ragged acoustic songs are in the spotlight, they're prodded by electric guitars and imbued with experimental tendencies. Rock songs split the difference between minimal grooves learned from Loaded-era Velvet Underground and the ecstatic rhythmic weirdness of Can. All of this leads to the 20-minute title track which closes Tough Love, an eviscerating plunge into a seemingly bottomless pit of regret, survivor's guilt, and unvarnished grief. Borrowing a repetitious structure from Lou Reed's narrated suite, Street Hassle, and combined with the full-side testimonial of Dylan's 'Sad-eyed Lady of the Lowlands,' Joyner narrates from the perspective of his departed son speaking to his father and laying out his every failure and brutally highlighting how none of it can be undone. Soon, though, this agony opens up into something transcendent, in both its elegant imagery and ethereal atmospherics. The final moments of the album grant permission for self-forgiveness and hopefully someday, understanding."

 

PRICE: $26.00

CAT #: HOLY 144233377

FILE UNDER: ROCK

Silver color vinyl. "How many music bloggers does it take to change a lightbulb? None, computer screens are backlit. Here is a Wooden Shjips record the world saw coming -- not titled II, Sophomore, or Second, but Dos. The group maintains its strident pace like a silverfish rave in perfectly folded bedsheets, with more bounce per ounce as life goes jogging with bopping heads and digging heels. Five numbers whose style might fit as cozily at La Cave in 1968 as at Ibiza in 1988. Natural loops with just enough vocals take you where the khakis and the cut-offs play together. Dos sounds off as the inauguration speech of a group accepting the minimalist psych bop crown that once adorned the likes of Neu and Loop. If possible, their brand of whipping fuzz hooks have gotten groovier. 'Motorbike' begins the program with an attack of bleeding organ and cicada chirps -- a wiley, wheel-spinning cloud-kicker indeed. 'For So Long' introduces the hip-swayed, shoulder-dropping dance steps of the album. At this point, the guitar delivers a concise Fogerty/Karoli vibe of stiff and loose kraut blues. Closing side one is the stop-motion go-go anthem 'Down by the Sea.' Imagine yourself in the back of a cigarette boat with Alan Vega and Takashi Mizutani circling Easter Island. Smile as you melt under the glare of their mirrored sunglasses staring your own face back at you. The needle drops on side two. Beyond the dawning of the age is 'Aquarian Time,' a dense number that demands more weed and less booger-sugar. A steady plink of keys blipping like bright satellites in dark space accents this track's blissed-out sludge. The hypnotic pop grace of 'Fallin',' the soundtrack for the last log on the fire as Winter eternally breaks into Spring, will stick in your mind until the record is played again on speakers of any size."

 

PRICE: $15.50

CAT #: ICM 011CD

FILE UNDER: ELECTRONIC

"The drones on this album were created using a Yamaha SY77 FM synthesizer from 1989. I have a special relationship with this machine -- it was the first 'big' synth I ever bought, and it has contributed to almost everything I've recorded over the past 30 years . . . The SY77 features six FM operators with multi-stage looping envelopes. I've always enjoyed crafting steady drones with it -- sounds that slowly evolve into something new over time. The output of the SY77 is routed through a Dynacord DRP 20 reverb and recorded into a DAW. For each piece, I recorded four tracks: one with a very low note, one with a medium-low note, one with a high note, and one where I played freely, following my intuition. The results were then edited and lightly processed to reduce excessive noise in certain sections. I also occasionally added reverb and pitch shifting, using my own custom algorithms. Signal to Noise - Volume II picks up where my 2004 album Signal to Noise left off, revisiting the same techniques and instrument twenty-two years later." --Robert Henke Cover photo taken by Robert Henke on February 1, 2004, at Joshua Tree National Park, CA, USA.

 

PRICE: $23.00

CAT #: IOR 771651LP

FILE UNDER: JAZZ

"One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. In 1985 the city of Brooklyn honored Randy with a week-long tribute, culminating in a unique concert at the Brooklyn Academy of Music (BAM) on February 16. For this rare occasion, Randy assembled a dream ensemble -- dancers, singers (including Andy Bey), and a big band like no other. The arrangements and conducting were entrusted to none other than Melba Liston -- his trusted collaborator and musical sister. Melba, a brilliant trombonist and an even more masterful arranger, transformed Randy's compositions into grand orchestrations that paid tribute to his musical legacy."

 

PRICE: $15.00

CAT #: IOR 771652CD

FILE UNDER: JAZZ

"One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. In 1985 the city of Brooklyn honored Randy with a week-long tribute, culminating in a unique concert at the Brooklyn Academy of Music (BAM) on February 16. For this rare occasion, Randy assembled a dream ensemble -- dancers, singers (including Andy Bey), and a big band like no other. The arrangements and conducting were entrusted to none other than Melba Liston -- his trusted collaborator and musical sister. Melba, a brilliant trombonist and an even more masterful arranger, transformed Randy's compositions into grand orchestrations that paid tribute to his musical legacy."

 

PRICE: $43.00

CAT #: IOR 771661LP

FILE UNDER: JAZZ

"One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. Brooklyn, a cradle of jazz history and home to countless musical legends like Max Roach, Duke Jordan, and Cecil Payne, celebrated one of its finest with a weeklong tribute at the Brooklyn Academy of Music (BAM). Later that year, Randy brought his music to Europe with a smaller, but equally remarkable, ensemble. The tour included stops at Jazz à Vienne in France, where founder Jean-Pierre Boutelier had the visionary idea to pair Randy's compositions with the Grenoble Symphony Orchestra. From there Weston traveled to the Montreux Jazz Festival where this recording was made. The concert opened with Randy's iconic composition 'African Cookbook,' requested by Claude Nobs, the founder and director of Montreux Jazz Festival. It was followed by 'Hi-Fly,' Randy's signature piece, driven by rhythm and energy. His mastery as a composer shines through in the poignant 'Blues for Strayhorn' and the deeply personal 'Portrait of Frank Edward Weston,' a tribute to his father and one of his great inspirations. 'African Sunrise' -- also presented that year at the Kool Jazz Festival in Chicago with Machito's orchestra featuring Dizzy Gillespie, Johnny Griffin, Art Blakey, and Richard Davis (a recording of that event exists!) -- appears here in an arrangement by Melba Liston, showcasing her genius once again."

 

PRICE: $15.00

CAT #: IOR 771662CD

FILE UNDER: JAZZ

"One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. Brooklyn, a cradle of jazz history and home to countless musical legends like Max Roach, Duke Jordan, and Cecil Payne, celebrated one of its finest with a weeklong tribute at the Brooklyn Academy of Music (BAM). Later that year, Randy brought his music to Europe with a smaller, but equally remarkable, ensemble. The tour included stops at Jazz à Vienne in France, where founder Jean-Pierre Boutelier had the visionary idea to pair Randy's compositions with the Grenoble Symphony Orchestra. From there Weston traveled to the Montreux Jazz Festival where this recording was made. The concert opened with Randy's iconic composition 'African Cookbook,' requested by Claude Nobs, the founder and director of Montreux Jazz Festival. It was followed by 'Hi-Fly,' Randy's signature piece, driven by rhythm and energy. His mastery as a composer shines through in the poignant 'Blues for Strayhorn' and the deeply personal 'Portrait of Frank Edward Weston,' a tribute to his father and one of his great inspirations. 'African Sunrise' -- also presented that year at the Kool Jazz Festival in Chicago with Machito's orchestra featuring Dizzy Gillespie, Johnny Griffin, Art Blakey, and Richard Davis (a recording of that event exists!) -- appears here in an arrangement by Melba Liston, showcasing her genius once again."

 

PRICE: $15.00

CAT #: IOR 771672CD

FILE UNDER: JAZZ

"One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. In the expansive landscape of jazz piano, few artists have as compellingly fused their cultural heritage with the jazz tradition as Randy Weston and Monty Alexander. Though separated by generation and geography -- Weston from Brooklyn with deep African roots, and Alexander from Kingston, Jamaica --both pianists have carved unique paths, expanding the language of jazz while honoring its origins. Together, Weston and Alexander remind listeners that jazz is not just an American art form -- it is a living, breathing conversation between continents, histories, and identities. They speak in different dialects of the same language, but their messages are equally vital: jazz is about where people come from as much as where they are going -- and through rhythm, melody, and memory, they find their truest voices. In 1988, the renowned Spanish promoter Jordi Suñol of International Jazz Productions organized a short European tour to present these two grand masters of the piano. The tour visited the Montreux Jazz Festival, the Zaragoza Jazz Festival, and the magical Ramatuelle Jazz Festival. The format of each concert featured a first set with each pianist performing with his percussionist, followed by a second set in which the two masters performed together. Of course, the supporting musicians contribute deeply to this achievement. African percussionist Eric Asanté from Ghana evokes the passing of a caravan before your eyes, while Bobby Thomas transports you to Jamaica with his masterful hand drumming."

 

PRICE: $235.00

CAT #: IOR 771681LP

FILE UNDER: JAZZ

Three releases in one box set marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston, pianist, composer, narrator, storyteller, historian is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. He is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World."

 

PRICE: $43.00

CAT #: IOR 771741LP

FILE UNDER: JAZZ

"Reissue of the classic Buster Williams album: a lucid and eloquent exposition of his musical philosophy featuring Herbie Hancock and Wayne Shorter. Buster Williams is a man with a strong sense of purpose and a very clear sense of his musical direction. He is also a musician of prodigious gifts -- which is implicit in the fact that his years of professional bass playing have included work with Miles Davis, Dexter Gordon, Sonny Rollins, Art Blakey, Freddie Hubbard, Herbie Hancock, Chet Baker, Woody Shaw, and McCoy Tyner, among many other members of the jazz hierarchy. He is unquestionably one of the giants of the double bass, and his status is a product not only of his natural aptitude, but also of his natural attitude -- because Buster Williams is a man who believes in setting himself the highest creative goals. Williams composed five of the seven pieces and wrote all the arrangements. To bring the music to life he had the services of some most distinguished associates. It would be redundant to recite the credentials of Herbie Hancock, Wayne Shorter and Al Foster. This is a most refreshing and exhilarating album to which Buster Williams has brought a high level of creativity and total integrity. Though very much a personal statement, it is patently a mutually-inspirational collective endeavor because the music is made for the musicians, and the musicians made for the music. As well as being a most articulate soloist, Buster is also an outstanding, listening accompanist for whom the experience of playing for some of the great singers -- Sarah Vaughan, Nancy Wilson, Betty Carter, and Dakota Staton -- has clearly informed his approach to rhythm section playing."

 

PRICE: $29.00

CAT #: CLASSIC 106LP

FILE UNDER: WORLD

"This album was created through the collaboration of two instrumentalists seeking the ancient voice of their instruments alongside the sound of tomorrow. With sensitive attention to discovering the space for sound -- both acoustically and ideologically -- Raphael Roginski and Iztok Koren have created a polyphony of ever-changing sonic colors. This polyphony itself -- as the idea of one encountering the other to build a platform -- is the common denominator of their work. As enthusiasts of traditional music, they draw inspiration from it; yet, their goal is to make music for the modern human and create a universal sonic landscape. Iztok Koren -- banjos, guembri, steel drum, kalimba, effects, harmonium, analog synth. Raphael Rogiński -- electric guitar, effects. All songs created and performed by Iztok Koren and Raphael Rogiński. Recording, mixing and mastering: Jernej Babnik Romaniuk. Recorded without overdubs in June 2025 at Kmečka soba, Ljubljana. Graphic design: Jernej Babnik Romaniuk. Cover photos: Lena Marya. Cover caption: Klara Vrtačnik."

 

PRICE: $25.00

CAT #: FREUD 144LP

FILE UNDER: ROCK

"Natural History is the definitive 1980s-era collection from Leeds goth pioneers The March Violets, presented here in a limited violet vinyl edition complete with the original-style 'Zillion $ Bill' insert and poster. Though often referred to as their debut album, the release is in fact a compilation of their early singles and key recordings, capturing the band at the height of their influence within the UK post-punk and gothic rock scene. Tracks such as 'Snake Dance,' 'Walk Into The Sun,' and 'Deep' highlight their signature dual-vocal attack, driving drum machine rhythms, and sharp, atmospheric guitar work--elements that helped define the emerging goth sound of the early 1980s. Formed in Leeds, The March Violets were closely associated with the same scene that produced The Sisters of Mercy, releasing material on their Merciful Release label and sharing a similar stark, rhythm-forward aesthetic. Across a string of six singles, the band became a fixture on the UK indie charts, with multiple Top 10 entries and a No. 1 hit with 'Walk Into The Sun.' Despite their success, they never recorded a conventional studio album during the decade, instead building their reputation through singles, live performances, and influential BBC sessions -- including three recorded for John Peel. Their later signing to a major label and appearance in the film Some Kind of Wonderful marked a brief push toward wider recognition before internal tensions led to their split. Natural History stands as the essential document of the band's original era, bringing together their most important recordings along with rare Peel session tracks that capture their raw, live energy. Reissued here on vinyl for the first time since its original run, the album offers both longtime fans and new listeners a comprehensive look at one of the foundational acts of gothic rock -- bridging post-punk minimalism with a darker, more stylized sonic identity that continues to resonate decades later."

 

PRICE: $30.50

CAT #: KK 143LP

FILE UNDER: ROCK

On Dreams '24/'25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary. The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells' dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances. For Dreams 2025, Aby Vulliamy -- one of Yorkshire's best kept musical secrets -- takes over vocal duties. In mid-2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal. The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, "Mackenzie's Return," was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album's blend of humor, strangeness and quiet melancholy. Dreams '24/'25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination. The album is accompanied by a striking cover artwork by Annabel Wright.

 

PRICE: $29.50

CAT #: KEPLARREV 023LP

FILE UNDER: ELECTRONIC

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources -- fingerpicked guitar, plaintive banjo, muted accordion tones -- subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album's title. Tracks such as "Pattern For a Pillow" and "Amidst Things Uncontrolled" articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity -- fluttering guitar lines, reedy accordion tones -- briefly break the surface before being absorbed back into the field. Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia -- a reminder that electronic music's most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

 

PRICE: $19.00

CAT #: GG 522CD

FILE UNDER: ROCK

"James Jeffrey Plewman, better known by his stage name Nash the Slash, was a Canadian musician. A multi-instrumentalist, he was primarily playing the electric violin and mandolin, as well as the synthesizer, keyboards, glockenspiel, and other instruments. Nash worked as a solo artist beginning in 1975; founding the progressive rock band FM in 1976. Soon after releasing the band's first album, Black Noise, in 1977, he left the group; he resumed his solo career in 1978. Nash's music covers an eclectic range, varying from instrumental--mood-setting music, to rock and pop music with vocals. In addition to giving concert performances, he composed and performed soundtrack music for silent films, presenting these works live in movie theatres to accompany screenings of the films. Nash famously never allowed guitars on any of his solo albums and singles. He turned down Pink Floyd guitarist David Gilmour's offer to lay down a guitar track on his album Children of the Night. In the mid-1980s Nash the Slash was invited to support Gary Numan and Iggy Pop on their tours. In 1984, Nash released a compilation album (with most tracks remixed) entitled The Million Year Picnic on Ralph Records in the United States, the label which was home to The Residents. This covers album was introduced by Friendly Rich, a Canadian music composer and musician from Brampton, Ontario. Amongst many other things, Rich composed background music for three seasons of MTV's The Tom Green Show. He also founded the Brampton Indie Arts Festival, an annual event which promotes underground artists such as Nash the Slash, The Nihilist Spasm Band or Ron Sexsmith."

 

PRICE: $19.00

CAT #: GG 526CD

FILE UNDER: ROCK

"Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work -- they ran their own record label, recording studio, tour organization and music venue (the legendary 'Ambulance Station') -- they refused to integrate into the commercial music racket turning down publishing deals from major labels -- stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain. They saw their music as a revolutionary cultural force -- a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions -- their work was often ambiguous and directly critical of cynical power-politics of any color -- often irritating members of the traditional 'organized left.' In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, musicians and writers as well as a center for radical political activism -- specifically as a coordinating center for the 'Stop The City' anti-capitalist riots of 1984-1986. They never recorded in a 'proper' studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment If Bourbonese Qualk have a legacy, it is that 'culture' should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that 'culture' is a vital vehicle for debate and radical change. My Government Is My Soul was the band's sixth album, originally released by Fünfundvierzig in Germany in 1989."

 

PRICE: $19.00

CAT #: GG 530CD

FILE UNDER: ROCK

"Amy Denio is a Seattle-based multi-instrumental composer of soundtracks for modern dance, film and theater, as well as a songwriter and music improviser. Often called an unclassifiable avant-garde jazz musician, her main instruments are voice, alto saxophone, clarinet, accordion, acoustic and electric guitars, electric bass, and theremin. Among her current musical involvements are The Tiptons Sax Quartet (formerly The Billy Tipton Memorial Saxophone Quartet) and Kultur Shock, an international Balkan gypsy/metal/punk group based in Seattle. She has also collaborated repeatedly with the Pat Graney Dance Company, David Dorfman Dance Company, Victoria Marks, and with many other choreographers. Her first recording was No Bones released as a cassette on her record label Spoot Music in 1986. Her first LP was with the Entropics. She founded Tiptons in 1987, and also started Tone Dogs with bassist Fred Chalenor. Tone Dogs' first release Ankety Low Day was nominated for a Grammy Award. She has performed and recorded with (among others) Matt Cameron, KMFDM, Curlew, Fred Frith, Pointless Orchestra, Francisco López, Danny Barnes, Pale Nudes, The Danubians, Chris Cutler, Guy Klucevsek, Pauline Oliveros, Derek Bailey, Chuck D, Bill Rieflin and Die Knoedel. Amy says: 'I've culled my favorite new accordion-driven hits into one fabulous sonic adventure to feed your hungry ears! Some of the songs were produced solo, one is a live recording from my performance with the Jovino Santos Neto Quinteto at the Triple Door, others are from the sessions that Ama Trio (AD/Madeleine Sosin/Abel Rocha) recorded at Gravel Voice sessions with Scott Colburn, as well as a rich collaboration with fellow-Seattle Composers Alliance colleagues Tara Forth and Steve Kirk on Crow Totem a piece inspired by the fiery spirit of graphic novelist/poet/artist/free spirit Noel Franklin."

 

PRICE: $19.00

CAT #: GG 531CD

FILE UNDER: ROCK

"Electronic music producer Samuel Kerridge -- who was also curator of Berlin's Atonal festival for a time -- and Maxim 'Panda' Barron, former guitarist with Brighton indie rockers TOY, have joined forces in their electrifying new project Death Disco to conspire against the living. Drawing on the rebellious roots of (post)punk, EBM, industrial, and slow metal spiced with a DIY ethos, the duo has created a sense of urgency and authenticity on their debut album Death Notes. Samuel's fierce vocal work and electronics gives the album an emotional depth that goes beyond its aggressive nature, while Maxim's pulsating rhythms keeps cutting through the atmosphere with skin-stripping power. Death Disco moves through different experiences and paces, carving out a unique norm in an equally unsettling and uncompromising sonic world. Their debut album was previously released on LP, cassette and download, now Klanggalerie are happy to bring you this seminal album on CD. Mastered by Justin K. Broadrick."

 

PRICE: $19.00

CAT #: GG 532CD

FILE UNDER: ROCK

"David Janssen is best known for his work as Ted The Loaf in Renaldo & The Loaf. When the band came to a halt in 2006, he concentrated on solo music. The Darkening Scale project was born. It is a purely digital affair created by David in his home studio. Klanggalerie have previously released five albums by this project: Sonic Archeology, Hydrogen Kaleidoscope, The Entomology Of Sound, Locum Windsock and the Darkening Scale re-working of Duck Stab by The Residents, Stuck Bad. After a pause of several years The Darkening Scale is now back with new music. You will find the trademark DS sound next to more atmospheric pieces, and here or there there's traces of Renaldo & The Loaf."

 

PRICE: $40.00

CAT #: KK 2258003LP

FILE UNDER: ROCK

2026 restock; double LP version. Poly-lined inner sleeves; gatefold. 180 gram, black double vinyl. The original analog master tapes were transferred with higher resolution and remastered with great care. Remastered by Dieter Dierks and Dennis Flüchter. Walter Wegmüller (1937-2020) was a Swiss-Jenish artist who grew up in difficult circumstances in Bern. After training in Basel, Bern, Paris, and London, he began his artistic career. In addition to painting and sculptural works, Walter Wegmüller occupied himself with the entire spectrum of art. He gained widespread international attention, especially from 1974 onwards, with the publication of his Zigeuner Tarot. He was successful at countless exhibitions in Europe and overseas and was repeatedly awarded prizes and distinctions. However, he never forgot his origins as a Verding child and "Rome child from the Kalderasch tribe." In 1973, he released the album Tarot with an all-star band. Successful musicians such as Klaus Schulze, Manuel Göttsching, Harald Grosskopf, Dieter Dierks, Hartmut Enke, Jürgen Dollase, and Walter Westrupp played in the band. It remained Walter Wegmüller's only foray into the world of music. The album was last released on vinyl in 1976, the CD in 2000. This version here is the first remaster ever.

 

PRICE: $22.50

CAT #: LIFE 058LP

FILE UNDER: ROCK

2026 repress. Outstanding and limited compilation of Turkish jazz-funk rarities. The release explores what happened when Western music styles such as modal jazz, bossa nova, fusion, and funk met Arabic folk music, tone scales and rhythm structures in the late sixties and seventies in Turkey and Egypt. Features Emin Findikoğlu, Mustafa Ökzent ve Orkestrasi, Erkut Taçkin, Fikret Kizilok, Erkin Koray, Aksu Orkestrasi, Ferdi Özbeğen, Erol Pekcan, Okay Temiz, Erol Pekcan Orkestrasi, and Durul Gence 10.

 

PRICE: $22.00

CAT #: M 1230CD

FILE UNDER: JAZZ

"American jazz musician, pianist, composer, arranger, and bandleader Carla Bley (1936-2023) became an icon thanks to her unconventional and original style. She brought sardonic humor and new sounds to jazz, adhering to conventions by breaking them, and making the complex seem simple and the simple seem complex. She combined unconventional harmonies with equally unconventional, almost original instrumentation. Together with her penchant for humorous and ironic elements, this led to a unique sound aesthetic in her musical universe. On March 14, 1984, the Carla Bley Band was a guest at what was then Studio 10 of Norddeutscher Rundfunk. The ten-piece ensemble included Carla's husband Michael Mantler and bassist Steve Swallow, who still remembers that spring day in Hamburg well: 'This is a great live recording. Michael Naura, who had been promoting jazz at NDR for many years, was a great host. He made us feel welcome and comfortable. The band was on fire, celebrating not after, but during the concert -- but, as Gil Evans said, it was a party where we all had a goal in mind. It's a blessing that these recordings of a truly sensational and extraordinary performance have survived intact on a shelf deep in the basement of the NDR archives! And they are also irrefutable proof of the power and humanity in Carla Bley's music!' There's a wink in every bar, the concert is full of imagination and originality, free spirit and humor."

 

PRICE: $31.50

CAT #: MIA 063LP

FILE UNDER: ROCK

Pepijn Caudron, aka Kreng, transports you through the swirling darkness and into the unknown with Wormhole, his first album in over a decade. What does a trip towards another world sound like? The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L'Autopsie Phénoménale de Dieu (2009) and Grimoire (2011). Starting with "You Are Here", the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios. Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door... Gatefold sleeve; includes download code; edition of 500.

 

PRICE: $21.00

CAT #: MR 386LP

FILE UNDER: ROCK

2026 restock. Songbook #7 is the new volume of Mattin's Songbook series, one of the most interesting works in the current experimental, improv and noise field. Songbook #7 features Farahnaz Hatam, Colin Hacklander, Lucio Capece, Moor Mother, Cathleen Schuster, and Marcel Dickhage and was recorded in November 2017 at Digging the Global South Festival in Cologne, while Europe was (still is) slowly going down. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation emerges a strange record: a disintegrated manifesto exploring the truth of disagreement. Exactly 100 years ago Europe was really crumbling. However, there was a proposition for a collective future in process. This songbook takes two moments as historical inspiration in order to rethink the present: The first seven months of 1917 in revolutionary Russia, and the figure of Germaine Berton (pictured on the cover), the anarchist who in 1923 was accused of murdering Marius Plateau, director of the far-right organization French Action League. In a time of war and fascism, those were two very different answers: a collective attempt at social transformation and a desperate lonely gesture. Neither response really managed to succeed to overthrow capitalism but they had a motivation and a clear way to act, something that seems to be lacking right now. If previous songbooks dealt with the tension between improvisation and song structure, between an emphasis on the production of the moment and having a conceptual framework, here the tension is produced by conflating the present with the past, and in doing so the tension between communism and anarchism is also explored. Songbook #7 digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future, and the shortcomings of democracy in a capitalist system. If one wants some musical references you can imagine one of those collaborations between Red Crayola and Art And Language if it was produced by Roberta Settels, or if Rabit was asked to do a remix of Nono's La Fabbrica Illuminata, taking into account the Altoforno di Cornigliano factory's demolition in 2005. This great line-up tries to think the present through the lenses of radical historical moments and in doing so it achieves music both arcane and futuristic.

 

PRICE: $37.00

CAT #: MVLP 013LP

FILE UNDER: LATIN

"1977 sci-fi drive in cult classic Laserblast original motion picture soundtrack LP. Directed by Charles Band, score composed by Richard Band and Joel Goldsmith. This is the first-ever original film score by two veterans in the sci-fi film and TV genre: Band later became known for such works as Metalstorm, Re-Animator, Pit And The Pendulum, Ghoulies, Puppet Master as well as television episodes of Stargate Sg-1 and Buffy The Vampire Slayer. Joel Goldsmith, son of legendary maestro Jerry, later went on to score films such as Kull The Conquerer, Watchers, and Vamperella. Joel also handled the regular scoring chores for such TV series as The Untouchables, Stargate Sg-1 and Stargate: Atlantis. For Laserblast, Richard and Joel employed innovative electronic techniques which pre-dated the use of MIDI and other digital mediums. Also included are several '70s rock and roll style source cues which have also been tracked in another cult horror favorite, The House On Sorority Row."

 

PRICE: $29.50

CAT #: NP 058LP

FILE UNDER: ROCK

The long-awaited fourth record by the cult solo project of Anthony Di Franco (Ramleh, JFK) has arrived. From the artist: "I started AX as a 21-year-old in 1993 because I wanted to combine distorted guitars and feedback with electronics and synthesizers. I wanted to strip out rhythms and percussion and just leave the beatless sound to flow, surge, crescendo and climax. To achieve this, I used a 4-track portastudio and a simple array of guitars, synths and effects to record three albums from 1994 to 1997. With Vulcanalia, I explore the same sound world but using techniques and inspiration gleaned from an additional 25 years of experience. This has allowed me to scale up the sound, using amplifiers, effects and mic placement in the studio to create greater depth and atmosphere. But although the equipment and recording techniques may have evolved, my aim remains the same: to create a towering edifice in sound that overwhelms me as much as it does the listener. The unifying theme of this album is Roman mythology and religion which has long been an obsession of mine. I have had the good fortune to tour Italy and visit many ancient sites which have been a great inspiration to me, and all of this has fed into this work."

 

PRICE: $30.00

CAT #: LSSN 103LP

FILE UNDER: ROCK

"Extinction Burst is the new invocation in album-form by Guttersnipe, Leeds' premier and pre-eminent Xenofeminist crisis-energy rock) duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst is the most-full, hi-definition lurid dream-mare yet spewed out by Uroceras Gigas and Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst follows 2018's My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026's Guttersnipe are evolved, mutated by eight years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with Tristwch Y Fenywod, Nape Neck, Petronn Sphene, and Yexxen, to name a few. On Extinction Burst, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low-end attack. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas's guitar and synth storm is by-now similarly an instantly recognized tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it's an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalize, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality."

 

PRICE: $29.00

CAT #: LSSN 104LP

FILE UNDER: ROCK

"'One foot out the door, another in the otherworld.' So begins Hannah Lew's debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist's history in the U.S. underground. A towering, hook-laden album, it's infused with an optimism and surrealism that conversely deals with the times people find themselves in. Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, Hannah Lew is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once. Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist's face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first 'solo' material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew's vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting. In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements -- Lew regards the album as 'a wartime album.'"

 

PRICE: $50.00

CAT #: NOTON 073LP

FILE UNDER: ELECTRONIC

Alva Noto's Wave Weave - Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai. The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan. At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques. Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills. LP is featured on picture disc vinyl. Includes premium gatefold sleeve with die-cut window and special finishing. Also includes an insert booklet (multiple panels/pages) presented in a cover sleeve with a satin ribbon detail.

 

PRICE: $30.50

CAT #: ODA 001FT-LP

FILE UNDER: ROCK

Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes. It is released in a second edition black vinyl, with an alternate cover artwork. Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments -- cello, piano and acoustic guitar -- he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings. Channeling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate's childhood experiences of rural England. Developed over a series of intuitive musical enquiries, the mini-album's uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur. As a painter, Heygate's practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes' striking artwork, which features paintings of 13th-century stone carvings from the font of the church in the town where he grew up. Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.

 

PRICE: $30.50

CAT #: OFNOT 005LP

FILE UNDER: ELECTRONIC

Shaped from fragile, emotionally charged piano motifs that distort, disappear and transform into dense, cinematic textures, CANALS is a debut that's finely matured, the result of years of friendship and growth. Italian artist Vanja Sturno and Montréal-based Belgian-Spanish composer Pablo Geeraert (aka Sanea Ima) have worked together extensively on various projects up until now, but CANALS is their first official release as a duo. Having both studied music academically, the pair were eager to work more intuitively, so applied their well-honed set of skills to sound that, instead of fitting into a conceptual box, reflected more personal experiences. Back in 2023, Geeraert travelled to Rome to support his friend at a difficult time and, during the trip, received some bad news of his own. The complicated feelings unconsciously surged through a series of delicate Ryuichi Sakamoto-inspired piano improvisations and a new project began to coalesce. They didn't realize it at the time, but once the record was finished, Sturno and Geeraert began to understand that the entire process had been a form a joint catharsis - a release of pressure. They were able to function so effortlessly and swiftly because they had already provided the space for each other to resonate emotionally and the music flowed from that point. On the first segment, Sturno and Geeraert's initial recordings can be perceived most nakedly, the melancholy, Satie-like phrases floating peacefully for a moment before the tranquility is agitated by stormy distortions and swelled into thick waves of harmony. The piano provides the record with its emotional anchor, offering focus and clarity as multi-dimensional noise wells up around it before inevitably dissipating, leaving gentle, unadorned sounds once again. And the familiar instrument is reshaped into a wheezing artificial organ on the animated "CANALS III," punctuated by percussive, tape-warped pitch fluctuations that seem to bite into its very essence. Gauzy acoustic granulations snowball into a powerful, bass-heavy crescendo on the fourth part, setting the tenor for the album's second half. But after the crushing "CANALS VI," possibly Sturno and Geeraert's heaviest track, a brief tremolo-heavy vignette that ripples through experimental rock and ambient music's braided history, the duo clear the air with a jazzy diversion, introducing soft woodwind blasts as a palate cleanser before an epic, widescreen finale. It's an album that's best absorbed as a whole, a vortex of ritualistic, rhythmic repetitions that Sturno and Geeraert appropriately refer to as "spiral listening."

 

PRICE: $27.00

CAT #: OH 042LP

FILE UNDER: WORLD

LP version. BCUC -- Bantu Continua Uhuru Consciousness -- have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs -- a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. The album cover is based on a matchbox design, matches being a common household item in South Africa even today. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs.

 

PRICE: $15.00

CAT #: PRO 068

FILE UNDER: ROCK

"Achingly beautiful neo-classical, ethereal, darkwave classic with long deep tones, intense vocals and rich string arrangements. Mesmerizing and melancholy. Thirty years since its release, 'Remnants' is the timeless work of poets of the broken spirit; it explores the contours of the human soul in a flawless alchemical fusion of sad and majestic heartbreaking beauty. The 77-minute album is Black Tape's crowning achievement: exquisite and stunning. Wrapped in the emotions of betrayal and salvation, searching for the deeper fragments of a truer reality -- somewhere between sadness and hope -- Sam's words and harmonies weave a soft, opaque veil over a world where feeling is foremost, emotions on the surface, the heart laid bare. Intense vocals from Oscar and angelic vocals from Lucian grace the rich cello and violin arrangements of Vicki and Mera; together with Sam's electronics they reveal a deeply contemplative and passionate world lavishly illustrated with layers of liquid harmonics."

 

PRICE: $17.00

CAT #: PRO 436CD

FILE UNDER: ELECTRONIC

"Entering Elysium, the third collaborative release from ambient pioneer Steve Roach and multi-instrumentalist Serena Gabriel, blends deep synth textures with acoustic and archaic instruments to create a living, breathing sonic paradise. The album unfolds as a doorway into a visionary, liminal realm of tranquility and inspiration where flute, lyre, harmonium, and voice convene within vast atmospheric currents. Warm, contemplative, and deeply evocative, the music reveals a hidden garden of sound, an intimate sanctuary of beauty, hope, and timeless presence. The expansive states of wonder and reflection invite the listener into a transportive experience both grounded and ethereal. Steve Roach brings his signature mastery of emotive immersive atmospheres that feel at once cosmic and deeply resonant. Serena Gabriel brings a rich palette of organic instruments and voice rooted in archaic traditions and intuitive expression. Together they weave electronic and acoustic realms into a seamless dialogue, gracefully bridging the ancient and modern. Their shared sensibility for nuance, space, and emotional resonance gives Entering Elysium its alluring essence -- a soulful merging of texture, melody, breath, and dream."

 

PRICE: $24.00

CAT #: PRO 438CD

FILE UNDER: JAZZ

"Pioneering electronic artist Steve Roach's La Rosa is a zenith in his five-decade live career. Blending new pieces born from the performance experience with essential classics, the 2-disc set captures a riveting sold-out December 6, 2025, show at the state-of-the-art La Rosa venue in Tucson, AZ. Build in a 1930's cathedral, La Rosa's set and setting empowers the music, as Steve taps into the collective memory of the sacred space itself. Performed and mixed by Steve in front of a hometown audience, with no later overdubs or edits, this astounding album transcends what a live concert could be. From electronic space music to deep reflective multi-dimensional sequencers to dreamtime material, listeners move through subtle, microscopic levels of reality where all forms are experienced as sound, a dynamic Steve describes as the 'soundcurrent' which crosses many styles, atmospheres, and moods. A remarkable gift for melody is showcased by the driving sequencer patterns that gain power through repetition; natural sounds dissolve the boundaries between the performance space and the surrounding landscape, with coyote howls and bird calls making the album shimmer. On the new 'Born of Darkness,' Steve plays the fujara -- a six-foot overtone flute -- producing snarling sparks of sonic lightning; and on 'Songlines' (from 1988's seminal Dreamtime Return), he delivers an ecstatic digeridoo performance demonstrating that the soundcurrent flows just as easily through the breath as through an electronic circuit. La Rosa's finale brings listeners to 1984's 'Structures From Silence,' played on the original Oberheim that produced the classic recording. As with Steve's catalog more broadly, designations like old and new, acoustic and electric, modern and traditional, melt away. The final burst of applause is like waking from a dream, reminded of the uncanny alignment of space and time you've just experienced."

 

PRICE: $17.00

CAT #: RR 123169CD

FILE UNDER: JAZZ

"The name Nexus was chosen by Daniele Cavallanti, whose tenor saxophone is accompanied by trumpet, trombone, double bass and drums. The Nexus version of this instrumental ensemble features Pino Minafra on trumpet, Luca Bonvini on trombone, Paolino Dalla Porta on double bass and Tiziano Tononi on drums (and percussion). Among those who are immediately the two main poles of the group, Cavallanti, of course, and Tononi, the harmony -- despite their differences (or rather, perhaps precisely because of these, given their shared idea of making music, far from any stale clichés) -- is almost instantaneous. Curiously, both started out on the drums, but then one, at the age of fourteen, switched to the saxophone, while the other, more attracted to the world of rock at least throughout his high school years, did not move on, embracing instead an increasingly generous range of percussion instruments, especially those of ethnic origin, primarily African. The work is as vital as ever, full of strong, affirmative moods and colors, with all the jazz that could be defined as post-Mingusian, but not without emblematic archaic reminiscences. The crackling colors of marching bands, certain 'fat' mutes by Minafra reminiscent of Ellington's jungle style, Bonvini's generous trombone, reminiscent of Roswell Rudd and Kid Ory. Between coordinates reminiscent of Ornette Coleman and Ayler, the four original tracks from the first edition released in 1983 are complemented by an unreleased track from the same session, 'Clown's Crown,' almost nine minutes by Cavallanti, who opens it on the tenor saxophone, positioning himself at the almost perfect (equidistant) confluence between Ayler and Shepp, reaffirming how deeply a certain lesson belongs to the DNA of the group."

 

PRICE: $17.00

CAT #: RR 123357CD

FILE UNDER: JAZZ

"The Seeker captures a previously unreleased live performance from the 1993 Umbria Jazz Festival, bringing together two towering figures of modern jazz -- pianist McCoy Tyner and vibraphonist Bobby Hutcherson -- in a rare and electrifying collaboration. Backed by Tyner's formidable trio featuring bassist Avery Sharpe and drummer Aaron Scott, the set documents a powerful evening in Perugia where decades of shared musical language converge into a performance of remarkable intensity, nuance, and interplay. The program blends original compositions by both Tyner and Hutcherson with classic standards, offering a dynamic balance between structure and spontaneous exploration. McCoy Tyner, best known for his transformative work with the John Coltrane Quartet in the 1960s, brought a percussive, harmonically rich piano style that reshaped modern jazz, while Bobby Hutcherson emerged as one of the most innovative vibraphonists of his generation, bridging post-bop and avant-garde traditions through his work with Blue Note and beyond. Though they rarely recorded together as co-leaders, their musical paths intersected over decades, sharing common ground in the evolving language of modern jazz. Their rapport is evident throughout this performance, with Tyner's commanding, modal-driven approach complementing Hutcherson's shimmering, melodic phrasing. The recording preserves both artists at a mature stage of their careers, still performing with vigor and creative vitality. Tracks like 'The Seeker,"' 'Reflections,' and 'Blues Stride' showcase the quartet's ability to move seamlessly between lyrical passages and driving rhythmic momentum, supported by the deeply responsive rhythm section. The Seeker stands as both a historical document and a compelling listening experience, offering a rare opportunity to hear two jazz masters in dialogue within a live setting that captures the immediacy and spirit of the era."

 

PRICE: $17.00

CAT #: RR 123363CD

FILE UNDER: JAZZ

"They tailor these materials into the tracks of Perspectives with an unusually keen attention to sound-building. If, on headphones, the result is a sound worthy of the finest engineering -- just listen to Beggio's inspired solo on 'Back and Forth' to catch even the last hertz of cymbals hanging in space -- it is also because these musicians have trained their ears to the subtlest acoustic possibilities of their instruments, placing them at the service of music with great ease and sincerity. 'Siren's Lounge' is a waltz that opens with a gentle minor third (one can't help thinking of Bill Evans' version of Jimmy Rowles' 'The Peacocks') and moves through modulations, carried by a rock-solid rhythm section. Fonnesbæk and Beggio themselves bring to life the intricate slow tempo -- 50 bpm -- of 'Next to You,' a lyrical gem in which the double bass solo circles the theme to generate further melodies that deserve to be transcribed and kept under lock and key. Something similar happens in 'Gi,' with the added value of Mauro Beggio chiseling that one-minute bass improvisation into a continuous cycle of original variations. The title track, 'Perspectives,' strategically placed at the album's midpoint, begins with an ostinato that -- through broad groups of triplets -- ushers us into improvisational moments where Polga displays a wide range of melodic solutions with remarkable breadth (already evident on his 'Doors,' 2024, also for Red). The journey through perspectives closes with a piece by Pieranunzi, 'Song for an August Evening,' which releases -- already from the piano intro -- a subtle, pervasive melancholy: a painful reflection in sound, and also a small handbook on what 'dynamics' in jazz truly means."

 

PRICE: $36.00

CAT #: EZRDR 116LP

FILE UNDER: ROCK

2026 repress. LP version. "'Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.' To hear Randy Holden describe the audience's reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. 'I wanted to do something that hadn't been done before,' Holden explains. 'I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That's what I was going for, way over the top.' And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It's incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility. Troubles with the album's release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn't seen a proper remaster and has yet to be available on digital platforms. 'The original mastering just destroyed the dynamics of it,' Holden says. 'They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.'"

 

PRICE: $15.00

CAT #: EZRDR 218CD

FILE UNDER: ROCK

"This is an extremely rare recording when the band was a five-piece with two guitar players. Live at Spotsylvania captures Pentagram performing an all-night backyard concert in Spotsylvania, Virginia, at bassist Martin Sweeney's mother's house, in front of roughly 500 fans camping out for the weekend. Recorded around 1978 during the band's short High Voltage era, the show began at 1 a.m. on a foggy night and featured rare songs with a raw, powerful performance. The audio blends a low-level board mix with ambient mic recording for surprisingly strong sound quality. A memorable moment came when a firecracker went off perfectly on the beat during the heavy second half of '20 Buck Spin,' echoing through the trees."

 

PRICE: $24.00

CAT #: RIYH 020LP

FILE UNDER: ROCK

"Born in the ashes of WWII, the only girl of seven children, they called her Pinky. She grew up in the windy plains of the Texas panhandle, singing in the church choir and dreaming of being on the stage one day. Just 18, she met the love of her life and soon married rodeo cowboy Cole Tex. Sharing a common thirst for adventure, they traveled the country roads together. He wrote the songs and Pinky sang them, performing in small roadhouses and honky-tonks all over the southwestern states. These are some of the few recordings that still exist."

 

PRICE: $17.00

CAT #: ROG 148LP

FILE UNDER: JAZZ

"This music, as you will hear, is indeed expressive of a profound depth of feeling, a common thread throughout Paul's work. Naturally, when you look at the situation in Afghanistan, and this oppression that they are subjected to by these patriarchal societies, there is a major concern for women and children. Freedom is the very core of this music, free improvisation; the spontaneous expression of spirit not trapped by form, a joy of the moment, allowance of surprise and response, played here with deep passion and commitment by a quartet of its finest exponents, all masters of their craft. Paul Dunmall is a supreme master of modern improvising, a creative artist of the highest rank. Sophia Domancich, too, possesses sublime artistic gifts and abilities. The fellowship of James Owston (bass) and Miles Levin (drums) have worked with Paul on many outings and have a musical relationship that is as harmonious as it is exciting. The inherent nature of creation is to express itself. You have to develop the will to experiment. Experimentation is the source of creativity, you need to be willing to imagine, to conceptualize, a state that is not manifest now. This is the essence of creativity. True, the integrity of art lies in its traditions, but sincerity is the artist pleasing one's self through sincere attempts at creation rather than imitations or elaborations. Freedom from limited form and self, expanding the inner sense of connection with a higher self or power, realizing the flow from above to below. To transcend the identity with human ego and directly experience spirit, the God reality behind all appearances, oneness perception, this is liberation. And so here is the recording of Afghan Women, the summit of technical mastery and emotional power spontaneously expressed. A tidal flow of creative freedom with no allegiance to form, communicating Universal truth with purpose vitality and organic unity."

 

PRICE: $17.00

CAT #: ROG 149CD

FILE UNDER: JAZZ

"The title of this album was suggested by Satoko Fujii. It's a Japanese word meaning a heart-to-heart conversation between intimate friends (what a lovely thing to have a word for! She chose it, 'because when I play with Myra, I always feel like I am having a conversation with my close friend.' Clearly Melford feels the same way. It's rare to hear music in which both participants are so present in the moment and where the deepest truths of the heart are revealed so openly. Melford and Fujii share a history together that is longer than their recordings might indicate. Katarahi is just their second album as a duo. Fujii was a student at New England Conservatory studying with Paul Bley in 1994 when he introduced her to Melford at a Melford solo concert in Boston. They have maintained a friendship over the years since then. Their desire to play together finally became a reality in January 2007 when Fujii arranged a duo concert while Melford was visiting a friend in Tokyo. A second concert at Maybeck recital hall in Berkeley, Calif., followed in September of that year. Since then, despite the comparatively few concert venues with two pianos available, Fujii says, 'I think we played together twice or three times in Japan, twice in America, twice in Italy, Belgium, Poland, and Austria. I guess we have a history!' The entire album, recorded live at the 2024 Jazz Festival Leibnitz, could be described as a deep, and especially beautiful, musical conversation. It is also something more. It's customary on duet recordings to mention who is playing on the right channel and who on the left in order to help identify who plays what. However, Fujii and Melford don't want that mentioned. First of all, they switched pianos (that is sides) during the concert, so it would be cumbersome to note. More importantly, the responsibility for creating the music is so mutual that noting individual contributions is almost beside the point--the sum is so much greater than the parts."

 

PRICE: $42.00

CAT #: RBL 095-2LP

FILE UNDER: LATIN

"Claudio Simonetti's Goblin -- Profondo Rosso (Limited Mad Puppet Edition) celebrates the 50th Anniversary of Dario Argento's giallo masterpiece with a striking collector's release limited to just 666 copies worldwide. This exclusive edition features the legendary Profondo Rosso (Deep Red) soundtrack pressed on red marble vinyl and includes a specially designed 'Mad Puppet' mask, making it a must-own artifact for devotees of Italian horror and progressive rock. Few collaborations in genre cinema are as iconic as Argento and Goblin. The film's hallucinatory visuals and operatic violence are inseparable from Claudio Simonetti and Goblin's synth-driven score -- an electrifying blend of progressive rock, eerie nursery-rhyme motifs, and pounding rhythms that transformed horror scoring in the 1970s. Anchored by its instantly recognizable central theme, Profondo Rosso delivers an existential, nerve-fraying sonic landscape that lingers long after the final frame. Often cited alongside Suspiria as one of Argento's most celebrated works, Profondo Rosso stands as a defining entry in the giallo canon. Goblin's music -- darkly melodic, experimental, and relentlessly atmospheric -- remains one of the most influential horror soundtracks ever composed, shaping decades of genre filmmaking and soundtrack culture. This 50th Anniversary 'Mad Puppet Edition' pairs the remastered score with premium presentation: red marble vinyl housed alongside an exclusive mask inspired by the film's nightmarish imagery. Limited, visually bold, and sonically unforgettable, this edition honors one of horror cinema's most enduring audiovisual achievements."

 

PRICE: $66.00

CAT #: RBL 100LP

FILE UNDER: LATIN

"Released in 1987 and destined to become one of the most controversial and iconic films in European underground cinema, Jörg Buttgereit's Nekromantik is far more than a visual provocation: it is a radical, poetic, and deeply disturbing work in which image and sound merge into a singular emotional experience. The soundtrack by Daktari Lorenz/Hermann Kopp/John Boy Walton accompanies the film with a minimal and obsessive sonic landscape, suspended between piano melodies, decadent electronic ambient textures, and distorted childlike melodies. A deliberately alienating contrast that amplifies the film's sense of tragedy, loneliness, and morbid romanticism. This release is not merely a tribute to a cult film, but a celebration of music as a narrative force, capable of transforming horror into melancholy and transgression into a distorted form of romanticism. Limited Picture Disc. 450 copies plus three art inserts, expanded remastered edition."

 

PRICE: $15.00

CAT #: SC 066EP

FILE UNDER: ROCK

"Orcutt Shelley Miller and legendary front man David Yow of The Jesus Lizard join forces for a feral rendition of Captain Beefheart's 'Hot Head,' b/w Neil Young's 'A Man Needs A Maid.' Ethan Miller, known for his singing in bands like Howlin Rain and Comets On Fire handles the intimate and glass-fragile vocal duties on OSM's cinematic rendition of Neil Young's A Man Needs A Maid."

 

PRICE: $31.50

CAT #: SP 039STD-LP

FILE UNDER: ELECTRONIC

Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album Through Time. Since their last full-length LP, Low Distance (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland's piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin's deep atmospheric worlds. There's a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe. The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, "Further", a hypnotizing piece submerged in layers of strings and drones. The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment. Full-tone artwork; includes printed inner; includes download code.

 

PRICE: $16.00

CAT #: SN 169CD

FILE UNDER: ROCK

"The Guy Hamper Trio was formed by Billy Childish, after a chat with his friend James Taylor. Billy and James had played respectively in The Milkshakes and The Prisoners, often sharing the same bill in the early '80s, leading to Billy's blues ensemble The Natural Born Lovers being the support act for the early shows of The James Taylor Quartet. The Guy Hamper Trio is: Billy Childish on guitar, his wife Julie on bass and Wolf on drums -- who as it happens was the drummer in the original incarnation of JTQ -- and of course features James Taylor on Hammond organ. The Guy Hamper Trio provide a bottom end, blues-influenced instrumental mayhem for those unafraid of dirt, germs and true grime. With no particular wish other than to be recognized as the best at playing badly, they refuse to obey the usual rules of combat and music. Their first 45 ('Polygraph Test/Sally Sensation') was released in 2009, followed by a full-length studio album, 'All The Poisons In The Mud,' appearing, as if by magic, in 2022, followed by six 7" singles (via Damaged Goods and Spinout Nuggets), and also four further full-length albums. Here are twelve fine songs of bottom end, blues-influenced instrumental mayhem, with something bold, something new, something borrowed, something blues! Limited to 500 copies on vinyl."

 

PRICE: $16.00

CAT #: SN 170CD

FILE UNDER: ROCK

"The Masonics are the Kings Of Medway Beat, known for being 'the best Rhythm and Beat combo since The Milkshakes', and there's a very good reason for that. With Mickey Hampshire (The Milkshakes, Mickey And The Salty Seadogs, Mickey And Ludella, Mick Hampshire), Bruce Brand (The Pop Rivets, The Milkshakes, Auntie Vegetable, Thee Headcoats, The Kravin' "A"s, The Clique, Dutronc, The Voo-Dooms and more) and John Gibbs (The Wildebeests, The Kaisers), this Medway-based trio fire rhythm 'n' beat and rock 'n' roll! Since 1991, The Masonics have been raising roofs all across the land, and disturbing audio grooves on at least ten studio albums and more than ten singles. There's no stopping them! During 2022, the group joined The 5.6.7.8's on their five-night UK tour, and then again in October 2023 on a ten-night tour of Japan. Throughout all that, Spinout Nuggets have released five 7" EPs, a first-time-on-vinyl edition of their Outside Looking In album (originally released on CD in 2004), a new studio album (Sursum Tibiam Vestram), and a joint 7" EP with The 5.6.7.8's. But there's more. Following on from the success of the four Rock'n'Roll EPs, world-wide demand called for them to be gathered on a long player, for those who like sit and enjoy a full length of 12", so The Masonics went about and scrambled the tracks into a 'listeners journey', and have also added two further tracks too; their version of 'I Can Tell' and an alternative version of 'Some Other Guy'. Dancehall fillers, the lot of them! With shared vocals and noise, and backing vocals also from Miss Ludella Black, proving that you can tell, it's The Masonics! Limited to 500 copies on vinyl."

 

PRICE: $24.00

CAT #: SN 170LP

FILE UNDER: ROCK

"The Masonics are the Kings Of Medway Beat, known for being 'the best Rhythm and Beat combo since The Milkshakes', and there's a very good reason for that. With Mickey Hampshire (The Milkshakes, Mickey And The Salty Seadogs, Mickey And Ludella, Mick Hampshire), Bruce Brand (The Pop Rivets, The Milkshakes, Auntie Vegetable, Thee Headcoats, The Kravin' "A"s, The Clique, Dutronc, The Voo-Dooms and more) and John Gibbs (The Wildebeests, The Kaisers), this Medway-based trio fire rhythm 'n' beat and rock 'n' roll! Since 1991, The Masonics have been raising roofs all across the land, and disturbing audio grooves on at least ten studio albums and more than ten singles. There's no stopping them! During 2022, the group joined The 5.6.7.8's on their five-night UK tour, and then again in October 2023 on a ten-night tour of Japan. Throughout all that, Spinout Nuggets have released five 7" EPs, a first-time-on-vinyl edition of their Outside Looking In album (originally released on CD in 2004), a new studio album (Sursum Tibiam Vestram), and a joint 7" EP with The 5.6.7.8's. But there's more. Following on from the success of the four Rock'n'Roll EPs, world-wide demand called for them to be gathered on a long player, for those who like sit and enjoy a full length of 12", so The Masonics went about and scrambled the tracks into a 'listeners journey', and have also added two further tracks too; their version of 'I Can Tell' and an alternative version of 'Some Other Guy'. Dancehall fillers, the lot of them! With shared vocals and noise, and backing vocals also from Miss Ludella Black, proving that you can tell, it's The Masonics! Limited to 500 copies on vinyl."

 

PRICE: $16.00

CAT #: SN 174X-LP

FILE UNDER: ROCK

"Wild Billy Childish & The North Kent Folkways Revival formed through the long-term partnership between Billy Childish and The Singing Loins. Billy recorded The Singing Loins first album live in his bathroom over 30 years ago. Following on from the first 7″ from Wild Billy Childish & the North Kent Folkways Revival (sometimes titled NKFWR), 'Medway Wheelers' via Squoodge Records, their first two albums were released on Hangman Records in 2024. Juju Claudius takes lead vocals on these two incredible takes. With the audacious 'House Of Rising Sun' set to be recognized as the premier female rendition. Note: Julie (Juju to her family), is American of mixed-race descent. This record is for the jukeboxes in milk parlors throughout the land, and a cherished 45 for the record sessions around the Dansette. Limited to 500 copies."

 

PRICE: $24.00

CAT #: SPITTLE 031LP

FILE UNDER: ELECTRONIC

2026 repress, yellow vinyl. What exactly happened in the Italian underground/post punk scene of the '80s, is not entirely clear. Therefore, this collection of 13 incredible tunes helps track down the feeling and focuses on the blurry images of a period that was mixing influences from the UK/USA scenes with a more "national" approach to new music developments. The damage began in 1977 when a series of urban/suburban musical agitators, whether skilled or complete amateurs, decided to embrace instruments as weapons for a war against sonic stereotypes. Here's the result: a multiform sonic attack that marks the history of a movement that may have remained local in most cases but whose echo reflected the amazing creativity of a generation. Features Neon, Панков (Pankow), Le Masque, N.O.I.A., State Of Art, Jeunesse D'ivoire, Monuments, Rats, Fockewulf 190, Luc Orient, Illogico, 2+2=5, and La Maison.

 

PRICE: $14.50

CAT #: SOD 139CD

FILE UNDER: ROCK

Toronto-based multi-instrumentalist Max Klebanoff, best known as the drummer for critically lauded death metal outfit Tomb Mold, has slowly expanded the purview of his Death Kneel project. From a spate of hermetic short-form tapes to the uniformly excellent Dawn Simulation on bellwether noise label Chondritic Sound, the project has blossomed into a distinct force within the landscape of contemporary experimental music. Remembering Well might be best understood as a summation of process -- an accumulation of gestures, false starts, and breakthroughs brought into provisional alignment. It articulates a careful balance between immediacy and refinement, tracing the contours of a practice in motion while resolving into a fully realized statement. First takes and impromptu recordings form its backbone, each piece guided by a commitment to capturing a singular animating impulse. Rather than smoothing over discontinuities, Klebanoff leans into them, allowing a dense field of incidents to accrue in which minor sonic events assume equal weight alongside more apparent structural shifts. Central to this approach is an expanded conception of fidelity. Sound is treated not as a neutral vessel but as a variable condition -- elastic, restless, and materially expressive. Phone recordings are diffused through empty parking lots; damaged handheld devices imprint unique distortions onto signals; binaural microphones register the incidental rhythms and spatial responses of rooms. These methods do not simply document the music -- they participate in its formation, producing a layered audiographic surface in which perspective and texture remain in constant negotiation. Despite this fundamental instability, a charged emotional atmosphere emerges: a kind of uneasy intimacy, at once intrusive and disarmingly human. It's a violent sort of pathos that, to my ear, finds its most apt comparison in the harrowing sonics of Jason Crumer's 2008 masterwork Ottoman Black. This is music that maintains a proximity to the abyss, yet is tempered by a softness that draws the listener closer to something fascinating, volatile, and alive.

 

PRICE: $16.00

CAT #: SDR 146CD

FILE UNDER: ROCK

"DOA celebrates 48 years of playing punk rock with a new release -- Take On The Tyrants. This is a collection of the best material that the Godfathers of Hardcore have released on over 18 studio albums. The songs range from political to funny to dramatic. DOA have proven to be punk rock's most enduring band having played over 4,500 shows in 50 different countries on 5 different continents. As DOA leader and founder Joey Shithead Keithley has often been quoted as saying: 'The tried to stop us and they failed miserably! Ha Ha!!!' So enjoy this release, it is a non-stop barrage of punk rock mayhem and crazy fun."

 

PRICE: $42.00

CAT #: SDR 146LP

FILE UNDER: ROCK

Double LP version. "DOA celebrates 48 years of playing punk rock with a new release -- Take On The Tyrants. This is a collection of the best material that the Godfathers of Hardcore have released on over 18 studio albums. The songs range from political to funny to dramatic. DOA have proven to be punk rock's most enduring band having played over 4,500 shows in 50 different countries on 5 different continents. As DOA leader and founder Joey Shithead Keithley has often been quoted as saying: 'The tried to stop us and they failed miserably! Ha Ha!!!' So enjoy this release, it is a non-stop barrage of punk rock mayhem and crazy fun."

 

PRICE: $42.00

CAT #: SDR 146X-LP

FILE UNDER: ROCK

Double LP version. Color vinyl. "DOA celebrates 48 years of playing punk rock with a new release -- Take On The Tyrants. This is a collection of the best material that the Godfathers of Hardcore have released on over 18 studio albums. The songs range from political to funny to dramatic. DOA have proven to be punk rock's most enduring band having played over 4,500 shows in 50 different countries on 5 different continents. As DOA leader and founder Joey Shithead Keithley has often been quoted as saying: 'The tried to stop us and they failed miserably! Ha Ha!!!' So enjoy this release, it is a non-stop barrage of punk rock mayhem and crazy fun."

 

PRICE: $29.00

CAT #: SV 137LP

FILE UNDER: ROCK

2026 restock. "Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to Superior Viaduct's knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver 'Rectomo' Powers, and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound. When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed -- nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world. Opener 'One Way Spit' could easily be mistaken for a lost KBD single -- from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On 'Tricia,' a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene. Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so. Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list."

 

PRICE: $42.00

CAT #: SV 211LP

FILE UNDER: CLASSICAL

"Philip Glass, the great American composer, was already in his mid-30s before his first album appeared, and then only because he produced the double LP himself. Music With Changing Parts was the inaugural release on his own Chatham Square imprint in 1971. At this point, Einstein on the Beach, Glass' first opera, was still five years away. Yet in Changing Parts, one can already hear much of his vocabulary in full bloom: the buoyant arpeggios, the melding of electronic and acoustic instruments, the elongated drones of human voice, the primary emphasis on pulse (an interest he shared with fellow composer Steve Reich) and the ecstatic potential inherent in repetition. The album features the original Philip Glass Ensemble -- the composer himself, along with Jon Gibson, Dickie Landry, Art Murphy, Steve Chambers, and Robert Prado -- playing Farfisa organs and woodwinds as well as Barbara Benary on electric violin. As Glass describes in his memoir Words Without Music, he secured a $500 interest-free loan for the recordings' initial release from the Hebrew Free Loan Society -- an organization intended to help immigrants from the Old World upon arrival in the US. Though Glass was merely the grandson of immigrants, the venture wasn't far off the society's charter as Changing Parts helped usher in a new world of sound that would become known as minimalism. Chatham Square went on to release albums by other composers in Glass' circle, including Gibson and Landry. The label was named after the Manhattan intersection where Landry had a studio and the ensemble rehearsed. Born in Baltimore in 1937, Glass first moved to New York to attend Juilliard at just nineteen, having already graduated from the University of Chicago. A staple of the Downtown scene, he can perhaps be appreciated as akin to the likes of sculptor Richard Serra or filmmaker Jim Jarmusch: mavericks who became major cultural figures entirely on their own terms. This first-time vinyl reissue reproduces the original side-breaks and gatefold sleeve."

 

PRICE: $34.00

CAT #: TU 018LE-LP

FILE UNDER: ELECTRONIC

"Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album Dream Temperature, he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output. A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon. Dream Temperature sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channeled through the laptop as the core processing chamber for added textural components and field recordings. A free floating and heavy emotional resonance marks Dream Temperature from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time. Dream Temperature is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged."

 

PRICE: $28.50

CAT #: UR 162LP

FILE UNDER: ELECTRONIC

Neon orange LP. Edition of 300 copies. Includes download code. Primal Forms, the new album by Phantom Horse, finally arrives. The German duo of Ulf Schütte and Niklas Dommaschk have long established a reputation for expertly crafted, hypnotically slow-burning electronic music, and Primal Forms stands among the epitomes of their discography. The sequencing of Primal Forms cannot be underestimated. It is an album in the classic sense. It demands to be listened to in its entirety, which also points to a closer affinity with Krautrock. Likewise, a touch of dub is perceptible, wafting around the songs, which, as usual, bear clandestine titles. It is not unreasonable to see in these compact compositions a clear statement against multitasking. Phantom Horse are not trumpeters of dystopia. They present themselves resolutely, almost stoically, turned away from the world. This turning away is clearly a statement that can be contemplated in the Mariana Trench as well as in comet belts. In any case, it is best experienced in a space without any human beings. This does not mean that grumpy hermits are tinkering with synths behind closed shutters, armed with wooden walking sticks. This is still open-minded music with a connection to current developments. The approach itself is what is audible, and with it, Phantom Horse proves once again that their main connection to time is timelessness. In an age of all-encompassing distraction on every sensory, thematic, and semantic level, Phantom Horse explores the possibilities of reduction, searching for simplified melodic arcs without resorting to the vocabulary of classical minimalism. The overall impression is more electronic; the slowly shifting, polyrhythmic compositions repeatedly lead to a peculiar danceability. However, these are perhaps the dances of mechanical birds, undeterred by anything. Written and produced in Hamburg, Nijmegen and Ojén by Niklas Dommaschk and Ulf Schütte. Mastering by Rafael Anton Irisarri at Black Knoll. Artwork by Daniel Castrejón.

 

PRICE: $25.00

CAT #: VAMPI 168LP

FILE UNDER: ROCK

2026 repress. "This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Joe Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at Nuyorican Poets Cafe in my neighborhood. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. The rhythm section was a band called TransLove Airways that I formed in 2002. To this core group I added pieces from a few other local bands: The Middle Initials, who are a great Temptations/Main Ingredient-style vocal group, and members of an incredible Latin band called Grupo Latin Vibe, who were responsible for almost all the percussion and the vibraphone solo on 'I'm The Fool Pt. 2'. There was also some fine trombone playing by Aaron Johnson of Antibalas and great flute work by Neal Sugarman and my cousin Sonny. Preparing for Call My Name, I listened to a lot of different records from the mid to late '70s. It has now been over ten years since the completion of this record, and so much has changed. The Call My Name sessions took place when Daptone had just moved to Bushwick, its now-famous current location. Gabe Roth was my first call whenever I had any recording to do. He was yet to become the legendary figure at the center of the Daptone/Truth & Soul universe. He was just a humble guy with an incredible talent and an impeccable ear who made authentic sounding records with inexpensive analog gear." -- Daniel Collás, producer of Call My Name

 

PRICE: $32.00

CAT #: VAMPI 320LP

FILE UNDER: JAZZ

2026 repress; on 180g vinyl. In Everybody Loves the Sunshine (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach that defines his unique style. Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of '70s Black music. Summertime soul classic! This album not only solidified Ayers as a key figure in the world of jazz-funk but also marked a milestone in soul music and contemporary jazz. It features a sophisticated blend of irresistible grooves, smooth melodies, and a unique sound that has endured over the years, becoming a reference for multiple generations of musicians and listeners. By the mid-'70s, Ayers had already established his reputation with his band, Roy Ayers Ubiquity, and his distinctive use of the vibraphone, which became his personal trademark. However, with this album, Ayers ventured into a smoother, more accessible sound, partly in response to the rise of disco music and the growing interest in more experimental sounds within the music scene. Throughout its ten tracks, Ayers managed to create a sonic atmosphere that evoked both the warmth of summer and the sophistication of jazz from that era, set against a backdrop of modern soul. The production was carried out by Ayers himself, along with his producer and friend, David R. Williams, and features the wonderful sound of Phillip Woo's Fender Rhodes and the powerful energy of the rest of the band, achieving an unmistakable authenticity and freshness. Some of its most well-known songs include the title track, "Everybody Loves the Sunshine," "The Golden Rod," and "The Third Eye," which quickly became classics of jazz-funk and soul. This album is crucial in Roy Ayers' career, as it demonstrates his ability to remain relevant and creative in an ever-changing music industry.

 

PRICE: $32.00

CAT #: VAMPI 321LP

FILE UNDER: ROCK

2026 repress. An essential Roy Ayers album blending soulful jazz roots with crisp 1970s funk. Featuring Ayers' signature vibes, tight arrangements, and standout tracks like "The Boogie Back" (sampled by the likes of NWA, 2Pac, and De La Soul) and "Change Up the Groove," this LP is a must-have for any fan of jazz-funk and vintage grooves. Step into the vibrant soundscape of the 1970s with Change Up the Groove, a hidden gem from Roy Ayers Ubiquity's early Polygram years. Often overlooked in favor of Ayers' bigger hits, this soulful album is a masterclass in jazz-funk fusion, capturing the essence of Ayers' evolving style as he bridged the gap between his jazz roots and the rhythmic snap of the '70s funk revolution. From the very first track, Ayers' signature vibes take center stage, shimmering with emotion and groove. The album leans heavily into instrumental richness, with standout contributions from jazz greats like the legendary Bernard Purdie on drums. Strings weave in and out subtly, enhancing Ayers' already deep and textured arrangements. Change Up the Groove isn't just an album -- it's a snapshot of Roy Ayers' artistic evolution, full of rhythm, heart, and timeless groove. Whether you're a longtime fan or just discovering his legacy, this record is essential listening.

 

PRICE: $29.50

CAT #: VL 900310LP

FILE UNDER: ROCK

2026 repress. Two 180-gram LPs with 15 bonus tracks from the deluxe CD edition. Despite his huge success with his 1971 political concept album What's Going On, Marvin Gaye left social concerns behind for those of a more intimate nature with this 1973 album. Let's Get It On album broke new ground, gaining its place in history as one of the most sexual albums ever recorded, laying the basis for every slow jam ever after, and making Gaye both socially concerned and sexy -- a potent commercial combination.

 

PRICE: $17.50

CAT #: WAT 007CD

FILE UNDER: ROCK

Black Jacket is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and now comes Black Jacket, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts. Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel. Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990s, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs. Together, the six of them have created Black Jacket.

 

PRICE: $40.00

CAT #: WAT 007LP

FILE UNDER: ROCK

Double LP version. Black Jacket is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and now comes Black Jacket, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts. Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel. Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990s, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs. Together, the six of them have created Black Jacket.