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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 08/10/2026

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PRICE: $14.50

CAT #: TTTT 025CD

FILE UNDER: ELECTRONIC

33-33 present Ton Klami, a rare live recording from one of East Asia's most remarkable improvising ensembles, bringing together Japanese pianist Masahiko Satoh, Korean saxophonist Kang Tae-Hwan and Japanese percussionist Midori Takada. Recorded during a memorial concert for the influential critic and producer Soejima Teruto, the album documents a unique meeting between three pioneering artists whose individual careers helped redefine the possibilities of improvised and experimental music across Japan and Korea from the late twentieth century onwards. Masahiko Satoh is one of the most influential figures in post-war Japanese jazz and experimental music. Across a career spanning more than six decades, he has continually expanded the possibilities of improvisation through work encompassing jazz, contemporary composition, electronic music and interdisciplinary collaboration. Kang Tae Hwan is a foundational figure in Korean free improvisation and one of the most distinctive saxophonists to emerge from East Asia. His radical approach to breath, tone and extended technique has influenced generations of improvisers internationally. Midori Takada is internationally celebrated for her groundbreaking work as a percussionist and composer. Her recordings and performances have profoundly shaped contemporary understandings of minimalism, rhythm and environmental sound, earning renewed global recognition in recent years. Ton Klami reflects 33-33's ongoing commitment to uncovering overlooked histories within experimental music. Through a catalogue spanning contemporary commissions, archival recordings and cross-cultural collaborations, the label seeks to create new contexts for significant work that sits beyond conventional genre boundaries. In bringing this recording back into circulation, 33-33 continues its wider exploration of artistic exchange between Japan, Korea and the international avant-garde. A rare document of spontaneous dialogue between pioneering improvisers Masahiko Satoh, Kang Tae-Hwan and Midori Takada, exploring tension, texture and space through cross-cultural experimental sound.

 

PRICE: $27.00

CAT #: AHA 005CD

FILE UNDER: ROCK

Dowser was formed in the late 1980s by Hiroyuki Nagashima. After numerous lineup changes, the current members are Hiroyuki Nagashima (instruments), Masateru Terai (instruments, voice), and Takashi Miyagawa (design). Dowser combines vintage synthesizers such as Buchla and EMS with virtual instruments to construct a distinctive sonic landscape that merges electronic music, rock, noise, and ambient textures. Founder and leader Hiroyuki Nagashima is also an accomplished film composer, having created music for internationally acclaimed directors including Gakuryu/Sogo Ishii, Katsuhiro Otomo, and Shinji Aoyama. One of the earliest works released under the name Dowser was itself a soundtrack, the score for the cult cyberpunk film 964 Pinocchio, directed by Shozin Fukui. Nagashima has also contributed to the recent work of legendary vocalist Phew, notably handling album mixing. In addition, he serves as a professor at the Graduate School of Film and New Media at Tokyo University of the Arts, where he teaches film sound design. Now operating as a trio, Dowser crafts immersive soundscapes that channel a wide spectrum of human emotion, from the raw to the deeply vulnerable. Miyagawaʼs automatic drawings complement and extend the musical dimension, reinforcing the group's identity as an "Unconscious Electronic Sound Collective." Schema 1+2 marks Dowserʼs first label release in many years. Long respected within Japanʼs underground scene, the group enters a new phase of its evolution with this album.

 

PRICE: $32.00

CAT #: PULSE 001X-LP

FILE UNDER: ROCK

The original album plus six bonus tracks (from the singles "Drömm/Slaves" and "Identify" plus the split 7" with Die Form). Hansten Klork is considered one of the most avant-garde albums of its time; released in 1980 it highlighted the band's experimental approach to the post-punk ethos, with explicit homages to minimalism, kraut-rock and post-industrial aesthetics. RIYL: This Heat, Faust, early Cabaret Voltaire.

 

PRICE: $29.50

CAT #: GM 001LP

FILE UNDER: ROCK

London, 1978. Emerging from the UK's underground, Gloria Mundi were never just another punk band. Their debut album, I, Individual, is a bold, theatrical and uncompromising statement -- one that fuses aggressive rock with performance art, intellect, and confrontation that collided with punk rock. Formed in mid-'70s London by Eddie Maelov and Sunshine (Valerie Patteson), Gloria Mundi began as an ambitious sci-fi rock opera concept before evolving into one of the more distinctive acts orbiting the early punk movement. Sharing stages with the likes of early Ultravox (then Tiger Lily) and playing iconic venues including the Roxy, Vortex and the Marquee, the band quickly built a reputation for shows that were as visually arresting as they were sonically intense. Released on RCA in 1978, I, Individual channels that ethos into a record that pushes beyond punk's three-chord limitations. Combining driving guitars, angular arrangements, and the striking addition of saxophone, the album delivers a layered, "chunky" sound underscored by Maelov's theatrical vision and Sunshine's fierce, uncompromising vocal presence. While contemporaries chased immediacy, Gloria Mundi embraced complexity -- something that divided critics but earned them a devoted following. The band's live performances were something to check out: stark white lighting, confrontational staging, and a commitment to total performance blurred the line between concert and theatre. Despite the backing of infamous manager Rod Smallwood, a major label -- and even a personal nod from David Bowie himself -- I, Individual remained an outsider record: too conceptual for the mainstream, too theatrical for purist punk. Yet that outsider status is precisely what makes it endure. Now remastered, I, Individual stands as a vital document of a band that refused to conform -- capturing a moment when punk was still being invented, and Gloria Mundi were already pushing it somewhere stranger. It's arguably the bridge to Goth and the angular existentialism of Bauhaus, Sex Gang Children, Death Cult and the like. Gloria Mundi didn't follow the movement. They challenged it! Added to the album is their debut single A side -- "Fight Back." The album is released on opaque white vinyl with inner bag with lyrics and photos and a two-sided insert with the history of the band by singer Eddie Maelov and unseen photos from the time.

 

PRICE: $30.00

CAT #: AOF 490LP

FILE UNDER: ROCK

"Early recordings, demos, live tracks and other rarities from British industrial pioneers Portion Control."

 

PRICE: $24.00

CAT #: ASSO 010LP

FILE UNDER: ROCK

2026 restock. R.I.P. Tommy Jay. Assophon present an expanded reissue of Tommy Jay's Tall Tales Of Trauma, originally released on cassette in 1986. "Tucked away between I-71 & US-62 lies nestled the quaint, speed trap hamlet of Harrisburg, Ohio. With its humble ambience, affable familiarity, weekend fish fries and Christian B&B ('mind the sherry, brother, for it is the Lords nectar'), blink twice and you might think you've been transported into a 21st century Winesburg, Ohio. Only now the emphasis is on a new chapter, 'The songsmith-concerning Tommy Jay'. In a converted barn just off Main St, Jay and friends have been forging a massive catalog of music, both original and cover variations, for a solid four decades. Fellow towns-person and erstwhile participant, one Mike 'Rep' Hummel (Serpent Mound expert, croquet enthusiast) was the first to make these recordings available when he issued a cassette of the proceedings under the title, Tommy Jay's Tall Tales Of Trauma via his homespun DIY label, Old Age/No Age, in 1986. For anyone prescient enough to lock in back then, they were staggered by talent, far removed from the stars of High Street (Great Plains, Gibson Bros, Willie Phoenix). A singer/songwriter par excellence, Tommy Jay ably forged a hybrid of pre-speedball Stephen Stills with post Iron Cross-headed Lou Reed, the results of which come across as both effortless and visionary. Some 20 years later, Tall Tales would finally receive it's long deserved elevation to the vinyl format (this time through Columbus Discount Records), and was now being heard by a new generation of ears, garnered immediate success, quickly sold out and inexplicably was never repressed. In the intervening limbo, copies were more sought than found, lucky bumpkins forking upwards to three figures for pride of ownership. Recently, Assophon, a US label with Jim Rockford-like determination, swooped in to un-fuck this glaring wart. Plus, time and patience being the powerful warriors they are, the new, expanded edition is brimming with a whole second platter of hoot; 13 unreleased tracks what's rarely been discerned this side of Tony's Coney's. Which all goes to say that the new and improved, 30th anniversary edition of Tommy Jay's Tall Tales Of Trauma is, to paraphrase the words of the late, great Randy Poffo, 'The record the whole world, Jupiter, Saturn, Venus... Or anywhere else is waiting for'." --Tom Lax Lynx.

 

PRICE: $24.00

CAT #: DDJ 067CD

FILE UNDER: SOUNDTRACK

Beat Records presents the world premiere of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe's Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments.

 

PRICE: $43.50

CAT #: DDJLP 032DLX-LP

FILE UNDER: SOUNDTRACK

LP version. Blue color vinyl. Beat Records presents the world premiere of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe's Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments.

 

PRICE: $27.00

CAT #: BORNBAD 125BWLP

FILE UNDER: WORLD

Color vinyl version. Ever since the late 1950s bossa-nova revolution, Brazil's influence on French music has been undeniable. Pierre Barouh, Georges Moustaki, and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languor of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba. With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic Tchic: French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France. A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre's pioneers. In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes, and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on "The Girl From Ipanema". The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound. Bossa nova arrived in Paris through the classic "guitar-voice" channel. But France loved jazz and Paris had already welcomed its American contributors. Features Les Masques, Isabelle Aubret, Christianne Legrand, Jean Constantin, Billy Nencioli & Baden Powell, Marpessa Dawn, Jean-Pierre Sabar, Sophia Loren, Isabelle, Sylvia Fels, Frank Gérard, Ann Sorel, Charles Level, Andrea Parisy, Audrey Arno, Aldo Frank, Clarinha, Hit Parade des Enfants, Jean-Pierre Lang, Magalie Noël, and Françoise Legrand. CD version includes 24-page booklet with liner notes in French and English. Double-LP version includes printed undersleeve with liner notes in French and English; also includes download code.

 

PRICE: $15.50

CAT #: BORNBAD 195CD

FILE UNDER: ROCK

Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd. In 1975-76, French music was, as almost always, in a sorry state; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one. In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their grueling shifts at the factory. It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and -- crucially -- a very healthy sense of rebellion. Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the rookies tried to cover a few standards, songs that often were an integral part of their lives. But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one's small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. Pantone silver metallic cover. Includes booklet with liner notes by Eric Tandy (Olivensteins) in French and English.

 

PRICE: $24.00

CAT #: BORNBAD 195LP

FILE UNDER: ROCK

LP version. Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd. In 1975-76, French music was, as almost always, in a sorry state; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one. In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their grueling shifts at the factory. It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and -- crucially -- a very healthy sense of rebellion. Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the rookies tried to cover a few standards, songs that often were an integral part of their lives. But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one's small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. Pantone silver metallic cover. Includes booklet with liner notes by Eric Tandy (Olivensteins) in French and English.

 

PRICE: $13.50

CAT #: BORNBAD 196CD

FILE UNDER: ROCK

If Dorian Pimpernel's first album could be seen as the opening of a secret passage, this second record, Flowers Too, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized -- they keep digging. And deeper still. Esoteric pop -- the noblest, the most dangerous kind -- is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling. Still operating on the margins of the classic "group of friends starting a band" model, they pursue their strange project: moonshine pop -- the nocturnal, lunatic, sometimes venomous reverse side of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis -- it is a territory. Each song is at once fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist just next door. The whole forms a labyrinth whose map one may study -- or choose to get lost within. For whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: this is pop. Grand melody. Immediate, supple, luminous -- even when it speaks from the shadows. Their influences are still present, but more deeply digested: the learned psychedelia of the '60s, the imagined bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and vintage guitars that populate their studio-cabinet of curiosities. Except that here, none of it is quoted anymore -- it breathes. On the surface, this music seems to come from yesterday. In depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also -- and above all -- harmonious, immediate, deliciously toxic, of an almost suspect beauty. The real surprise is that this second album already possesses the density of a mature work. In its themes -- lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited -- as in its form: no longer merely a proposition, but a fully realized manifesto.

 

PRICE: $24.00

CAT #: BORNBAD 196LP

FILE UNDER: ROCK

LP version. If Dorian Pimpernel's first album could be seen as the opening of a secret passage, this second record, Flowers Too, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized -- they keep digging. And deeper still. Esoteric pop -- the noblest, the most dangerous kind -- is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling. Still operating on the margins of the classic "group of friends starting a band" model, they pursue their strange project: moonshine pop -- the nocturnal, lunatic, sometimes venomous reverse side of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis -- it is a territory. Each song is at once fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist just next door. The whole forms a labyrinth whose map one may study -- or choose to get lost within. For whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: this is pop. Grand melody. Immediate, supple, luminous -- even when it speaks from the shadows. Their influences are still present, but more deeply digested: the learned psychedelia of the '60s, the imagined bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and vintage guitars that populate their studio-cabinet of curiosities. Except that here, none of it is quoted anymore -- it breathes. On the surface, this music seems to come from yesterday. In depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also -- and above all -- harmonious, immediate, deliciously toxic, of an almost suspect beauty. The real surprise is that this second album already possesses the density of a mature work. In its themes -- lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited -- as in its form: no longer merely a proposition, but a fully realized manifesto.

 

PRICE: $33.00

CAT #: CIS 170LP

FILE UNDER: ROCK

Ali O'May and Frazer Brown first met in early 2018, performing with their respective bands at an Electronic Music Open Mic (EMOM) night in Edinburgh. A shared musical sensibility was immediately apparent, and a few months later Ali handed Frazer a USB drive loaded with stems recorded directly from his vast modular system. Over the summer and autumn of 2019, Frazer took around a dozen of those stems as the foundation for a collection of tracks, shaping them into fully realized pieces spanning techno, lo-fi, breaks, acid house and ambient. And so, the Dohnavúr method was born: Ali coaxing raw materials from his modular setup, and Frazer working them up instinctively -- his encyclopedic knowledge of electronic music guiding the feel, genre and direction suggested by Ali's foundational building blocks. It's a genuinely unique way of working, and the results speak for themselves. We Owe Each Other Everything continues to redefine the Dohnavúr method. Built once again from a new set of modular creations by Ali, and expertly shaped by Frazer in his Armadale studio, it's an extraordinarily diverse and exciting collection -- cohesive yet wide-ranging, this is music that hits you directly in the heart and the solar plexus. It makes you feel things. Side one opens with the sawtooth resonance of "Flowers in the Barrel," moves through the clattering momentum of "Ready for '91," and arrives at "Make It in Livingston" -- a darkly ominous commentary on the new town where Frazer grew up. Side two delivers the haunting beauty of "Acetylene," the cinematic, eighties-inflected uplift of "Powerless," and closes with "Unwavering" -- an emotional gut-punch featuring vocals from Emile Wauters (aka Autumna) that once heard will not be forgotten. We Owe Each Other Everything is Dohnavúr at their most powerful and assured: two musicians with a singular creative chemistry, making music that is impossible to categorize and impossible to ignore.

 

PRICE: $20.50

CAT #: CIS 211CD

FILE UNDER: ELECTRONIC

Following an illustrious tenure as founding member of acclaimed, boundary-defying trio The Comet Is Coming, alongside output as half of electronic psych jazzers Soccer96, the producer and synthesist Dan Leavers, aka Danalogue, announces his debut solo LP, Teleportations. Conceived as a continuous, journey-based piece, Teleportations is a warm, playful and immersive album that transforms endings, grief and personal upheaval into a vivid science-fictional voyage of escape, healing and renewal. A self-contained sonic world performed entirely by Danalogue, Teleportations unfolds like a single trip rather than a collection of standalone tracks. Moving seamlessly between celestial ambience, shimmering kosmische, euphoric space disco, liquid jazz funk and the deepest Detroit house, the album invites listeners to enroll in what Dan describes as a "teleportation program" -- a musical technology designed to sublimate difficult emotions, allowing sound, texture and motion to carry the listener through shifting states of feeling and emerge transformed on the other side. Science fiction provides both the language and architecture of the record. Inspired by astral travel, theta brainwaves, collective consciousness, the artist Jean Giraud, the writer Ernst Bloch and the film maker Miyazaki, Danalogue imagines music as a shared act of transportation -- not unlike the experience of an audience tuning into a gig as one unified organism. Danalogue cites figures such as Joe Meek, Wendy Carlos, Isao Tomita, Laurie Spiegel, Mort Garson and Terry Riley, and groups Harmonia and Kluster, as influences -- all artists who operated outside rigid genre boundaries. Teleportations was created using a largely vintage analogue setup, centered around the Roland Juno-60 and SH09, Jupiter 4, Oberheim and old samplers.

 

PRICE: $38.00

CAT #: PBRED 952LP

FILE UNDER: ROCK

"Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly-influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped-down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level. This '90s masterpiece hasn't been available on picture disc since its original release and is a must for fans and collectors around the world."

 

PRICE: $30.50

CAT #: CNLP 085LP

FILE UNDER: REGGAE

First repress of the rare UK compilation In Reggae Time. Originally released in 1970 it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub labels. The sound is not just reggae -- it's only marginally so -- offering a vibrant mix of 1960s UK mod, R&B, ska, and Northern soul. Limited edition picture disc LP. Featuring Sonny & The Daffodils, Laris McLennon, Vernon Vermont, Maynell Wilson, Hoagy Benson, and Norma Lee.

 

PRICE: $15.00

CAT #: CT 3995LP

FILE UNDER: REGGAE

2026 restock of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).

 

PRICE: $13.50

CAT #: CVSD 129CD

FILE UNDER: JAZZ

Corbett vs. Dempsey celebrates its first release featuring Nick Mazzarella. One of the critical figures in Chicago's creative music scene, alto saxophonist Nick Mazzarella has been a mainstay for over 25 years as a leader, composer, and player. This gorgeous recording was made at Shape Shoppe Paradiso, the Italian studio of former Chicagoan Griffin Rodriguez. Mazzarella was introduced to bassist Silvia Bolognesi by cellist Tomeka Reid, and he began informally playing with Silvia and drummer Christiano Calcangile in 2016. Seven years later, Bolognesi invited Mazzarella to play with her quartet at the Hyde Park Jazz Festival and to tour a bit with them; she then invited him to Italy, where they performed and recorded, and in 2025 they convened again, this time allowing time for a trio session focused on Mazzarella's original music, all of it previously unrecorded or written specifically for the occasion. Mazzarella, Bolognesi, and Calcagnile added trumpeter Emanuele Marsico for quartets on two pieces. Covering a breadth of stylistic terrain, from three open improvisations to piquant balladry and freebop heat, Siena Sessions presents Mazzarella's uncompromising vision with grace and precision. Molto bene, Mazzarella!

 

PRICE: $25.00

CAT #: COSMR 047LP

FILE UNDER: ROCK

Reissue of the third album from Brazilian combo. Creatively visionary and groundbreaking on numerous terms, 1975's O Africanto dos Tincoãs (as the previous Os Tincoas album) revolutionized Brazilian music by harmonizing Afro-religious singing, heavenly vocal harmonies, and percussive rhythms derived from Candomblé traditions. Even though it was recorded during a time of political repression, the album remains gentle, rhythmic, and reflecting Afro-Brazilian syncretism and resonating with themes of suffering, exile, and hope.

 

PRICE: $36.00

CAT #: DE 350LP

FILE UNDER: ROCK

"Severed Heads reattach themselves to Dark Entries for an expanded reissue of their 1991 opus Cuisine (With Piscatorial). As originary Aussie industrial legends -- although founder Tom Ellard would balk at being branded as such -- Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and infectious nursery-rhyme-esque melodies. Cuisine (With Piscatorial) was the long-running project's ninth album, and is a commentary on the state of music. Ellard explains: 'The whole food joke is really about what music's about and how disposable it is; people have records like they have cups of coffee.' The album also presents a turn away from the dancefloor formalism of the era, which Ellard dismissed as already sufficiently explored. Cuisine brings listeners punchy pop kernels of the prime Heads variety, all clocking in around three minutes. Cuts like 'Pilot in Hell' and 'Ugly Twenties' rank among the band's best through their deadly skewering of synth pop tropes. But the album also offers a Piscatorial section, where Ellard felt free to 'go fishing for ideas.' Here listeners get a taste of the project's demented cut-up sensibilities, like on the 'Quest for Oom Pa Pa' suite, where vintage jazz records are collaged into an angular nightmare. This double-LP reissue is the first time that Cuisine (With Piscatorial) appears on vinyl, with a previously unreleased early version of 'Seven of Oceans.' Also included is a six-page booklet with liner notes, lyrics, and press clippings."

 

PRICE: $26.00

CAT #: DG 010LP

FILE UNDER: ROCK

"I wanted to make a totally fried recording, quick and dirty. Sort of a cathartic expulsion. Clean the cobwebs. I recently bought a Vestax MR44 (the best sounding 4-track ever IMHO) -- the same 4-track I recorded some Coachwhips, early OCS etc. on. Now we had the tools we needed so I spent a week writing riffs and brought them to Tom Dolas and John Hodge. We ran them one time and then recorded them on the second go. Loosely improvised and unhinged. Everything turned all the way up. Hope you dig -- play loud." --John Dwyer

 

PRICE: $9.00

CAT #: DKR 292EP

FILE UNDER: REGGAE

"First time on 7" for this killer dark lovers cut that appeared on the Parish showcase showdown album with Hopeton & Robert Ffrench. Recorded and mixed at Channel 1 in the mid '80s, these tracks ended up on the aforementioned LP which didn't make it out until '87. The style is the heavy live sound of that last moment before digital took over, quite like the Gifted Roots Band or Music Mountain studio style."

 

PRICE: $9.00

CAT #: DKR 296EP

FILE UNDER: REGGAE

"Another banger from Everton Chambers' awesome late '80s run with Parish. Like some other Parish releases this is right in the early digi sweet spot, with a great uptempo rhythm and sing-jay story telling lyrics. This is a long-time personal favorite of its era, and better still is that this issue is in pristine quality from master tapes, and unlike the original press, features the correct dub version. The original unfortunately had a pressing error where the wrong version side was used, and the correct version was mis-pressed on the flip of another unrelated tune (shout out to all the soldiers who hunted down the version side over the years!)."

 

PRICE: $9.00

CAT #: DKR 342EP

FILE UNDER: REGGAE

"First time on 45 for this heavy cut from the Diamonds' 1983 LP Backstage, another gem from the Diamonds decade long run of greatness, moving from Channel 1 to Gussie Clarke and beyond. Beyond just their hits, the Diamonds have a healthy list of great tracks like this that were tucked away on albums and never on singles. So here's one being pushed a little further into the light, a crisp remaster from the master tape."

 

PRICE: $13.50

CAT #: DPROM 165CD

FILE UNDER: ROCK

On August 4, 2018 in the scorching Berlin sunshine, Faust performed a truly stunning and unique set, featuring iconic material rarely, if ever, performed live. What made this so special was hearing such pieces as "Why Don't You Eat Carrots?" played live, with the small choir perfecting that part of the song. For those lucky enough to have been there, they witnessed a Faust show never seen before, or ever to be repeated. This CD was recorded on a professional digital recorder (not a phone). It has been lovingly remastered by Amaury Cambuzat, possibly the only person capable of doing so, without compromising the nature of the show. Nothing has been added, so there will be imperfections. It comes packaged in a mini-LP gatefold wallet, with a gloss spot varnish.

 

PRICE: $31.50

CAT #: DPROM 177LP

FILE UNDER: ROCK

Grey color vinyl. "War.Poem was recorded at The Rock Noir studio in 2025/2026 as a reaction to a piece I read on the Israeli military use of flechette shells in Gaza. This led to a much deeper study of the 20th/21st century history of war. The album was composed entirely using a Tape O Matic 710 reel to reel from 1958, a 1960s mayfaair JVC reel to reel, aa 1965 G.E. solid state portable reel to reel from 1965, a portable 1970's Panasonic cassette player, a ring modulator as well as various other effects and synths. The loop that is the basis for 'War Poem Zero' which takes up the whole of side one, happened by accident when I put a reel on the wrong way up, it produced aa sound of such great melancholy and beauty, I just let it play. This album owes a debt to 'Swansong' by Nurse With Wound from the album A Missing Sense where experimental sound is used as an anti-war protest." --Chris Connelly, 2026

 

PRICE: $25.00

CAT #: DC 985LP

FILE UNDER: ROCK

"Prison's third big one, Big Rigs on the BQE, finds the jammers of legend far away -- miles from Downstate (2025) and Upstate (2023): driving further down the road, Prison's guitar, bass and drums compel them to dream LOUD. An improvised rock and roll tapestry, multiple impulses, intersections and lifelines rended with gas 'n guitar pedal on down to the metal. Reflecting real lives lived today, sprawled and recalled in undulating electroacoustic performance. On March 7th 2024, Prison vets Sarim Al-Rawi, Matt Lilly, and Paul Major on guitars and drums were joined by Mike Donovan on fuzz organ, percussionist Ryan Sawyer and Downstate's Matt Leibowitz (back on bass, and synth too this time) at a Sunset Park studio where they could see the fucking highway from the studio windows. It kind of set the tone. Downstate guitarist Adam Reich switched it up too; as studio honcho/engineer/mixer, he scored a couple FX/remix passages that are of the performance on both sides. Big Rigs on the BQE is the sound of Sarim, Matt, Paul, Mike, Ryan, Matt and Adam in wicked battle and glorious play, a far-ranging scrum of Groundhogs/Velvets/Hampton's/Pink Fairies/Magic Band/ Good Rats/Can propositions powering guitars, bass, drums and organ (and synth!) that day: a beast, imagining a better allegory for qualities of the 'spirit of the jam/road trip' duality. Paul and Sarim's vocal shouts transmit a kind of road-thoughts as they come, circular processing loosely knotted loops in different ranges and a couple different levels! These are deep, searing, multipurpose jams. Big Rigs on the BQE is a kind of travelogue, two side-long trips that take flight and fight another day in the never-ending process. It's a beautiful opportunity to send new blasts of positive energy out to the world. Prison of one, freedom of many!"

 

PRICE: $23.00

CAT #: DC 987LP

FILE UNDER: ROCK

"Time stands stunningly still on The Final Painting, the dreamy, elegiac final album from legendary underground singer-songwriter/poet/painter Ed Askew. Ed started his singing career in 1968 with a self-titled LP release on NYC's infamous freejazz/free-folk ESP-Disk' label. Upon returning to New York in the early '80s, he began circulating cassettes of his self-recorded new songs. This was a fascinating and unlikely new chapter in his music, but only a few noticed. In the years following, additional new and archival Askew recordings have been released through Tin Angel, Drag City and Improved Sequence Records. By the time Ed turned 80 in 2020, his health was declining to the point that touring was impossible and even leaving his place was a challenge. In his Brooklyn apartment, he continued to tape new songs, posting them on his Bandcamp page. Their stark and fragile quality was singular, inspiring thoughts of a new production fleshing out Ed's two-track home recordings. Ed was into it; he forwarded nearly three dozen songs in different stages of completion and the two plotted a path forward. For the World featured acoustic piano, banjo and harp; the songs here, played by Ed on keyboards, synth and harmonica suggested trumpet, tenor saxophone and other sonic touches to expand their existentially lonely sound. Health scares for both men delayed things until early 2024, when various musicians recorded their parts either at home or in a Nashville Studio, with Styrofoam Winos' Trevor Nikrant and Ryan Davis's Roadhouse Band taking their turns almost in response to one another. The Final Painting not only defies the curse of sequels and the ten-year gap between the two DeCicca/Askew productions, it's also a wonderous variation on the intimacy of the self-portrait, an expression from the twilight of one of the most unique artists to emerge in last half of the 20th century. The Final Painting reinvites For the World contributors Sharon Van Etten, Eve Searls, and Canaan Faulkner, and new guests Bill Callahan, William Tyler, Ryan Jewell, Dustin Laurenzi, and Fulvio Sigurta. In their last conversation, just days before Ed passed in January 2025, he and Jerry agreed to: a) use the painting left on the easel of Ed's now-empty apartment and b) call the album The Final Painting. Profoundly resonant in the style of Frank Sinatra's Watertown and David Bowie's Blackstar, The Final Painting is faithful to the spirit of Ed Askew and his DIY nature and Modernist values, pursued for years and years throughout life, art and music, all the way to the very end."

 

PRICE: $13.50

CAT #: DC 988CD

FILE UNDER: ROCK

"Sir Richard Bishop returns for a new spontaneous six-string meshing of people's music, recollections and psychic intentions. Are y'all ready for some Hillbilly Erotica? Migration from last album's Ragas to this new Erotica is another chapter in Bishop's progress, drifting via songs into the further frontiers of his pappy's hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the 'rotica's hung round the neck of John Fahey's infamous dubbing of certain traditional American folk sounds as 'American Primitive.' A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters and picking pickled brains in the saucy headwaters of the down-low and literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick's acoustic guitar music, it's a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk's classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It's fine! Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing 'Postcoital Serenade,' improvised entirely. The not-so-sexy 'sexy' angle of song titles like 'Lick Skillet,' 'Sweet Lips,' 'Hookers Bend,' and 'Finger, Tennessee' is actually actual names for dots on the map in rural TN, each one just five minutes removed -- by horse, of course -- from Richard's dad's remote Enville homestead, its town name purloined previously for a song on 2020's Oneiric Formulary. This ancestral interzone's a venue of interest for Rick, allowing him to ask the deep questions, like 'What the hell has been going on around here with place names like these?' while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at its most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought."

 

PRICE: $12.00

CAT #: DC 988CS

FILE UNDER: ROCK

Cassette version. "Sir Richard Bishop returns for a new spontaneous six-string meshing of people's music, recollections and psychic intentions. Are y'all ready for some Hillbilly Erotica? Migration from last album's Ragas to this new Erotica is another chapter in Bishop's progress, drifting via songs into the further frontiers of his pappy's hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the 'rotica's hung round the neck of John Fahey's infamous dubbing of certain traditional American folk sounds as 'American Primitive.' A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters and picking pickled brains in the saucy headwaters of the down-low and literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick's acoustic guitar music, it's a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk's classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It's fine! Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing 'Postcoital Serenade,' improvised entirely. The not-so-sexy 'sexy' angle of song titles like 'Lick Skillet,' 'Sweet Lips,' 'Hookers Bend,' and 'Finger, Tennessee' is actually actual names for dots on the map in rural TN, each one just five minutes removed -- by horse, of course -- from Richard's dad's remote Enville homestead, its town name purloined previously for a song on 2020's Oneiric Formulary. This ancestral interzone's a venue of interest for Rick, allowing him to ask the deep questions, like 'What the hell has been going on around here with place names like these?' while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at its most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought."

 

PRICE: $20.00

CAT #: DC 988LP

FILE UNDER: ROCK

LP version. "Sir Richard Bishop returns for a new spontaneous six-string meshing of people's music, recollections and psychic intentions. Are y'all ready for some Hillbilly Erotica? Migration from last album's Ragas to this new Erotica is another chapter in Bishop's progress, drifting via songs into the further frontiers of his pappy's hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the 'rotica's hung round the neck of John Fahey's infamous dubbing of certain traditional American folk sounds as 'American Primitive.' A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters and picking pickled brains in the saucy headwaters of the down-low and literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick's acoustic guitar music, it's a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk's classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It's fine! Like with Hillbilly Ragas, Sir Richard plays one acoustic guitar on all eight Hillbilly Erotica cuts, no overdubs and, but for the closing 'Postcoital Serenade,' improvised entirely. The not-so-sexy 'sexy' angle of song titles like 'Lick Skillet,' 'Sweet Lips,' 'Hookers Bend,' and 'Finger, Tennessee' is actually actual names for dots on the map in rural TN, each one just five minutes removed -- by horse, of course -- from Richard's dad's remote Enville homestead, its town name purloined previously for a song on 2020's Oneiric Formulary. This ancestral interzone's a venue of interest for Rick, allowing him to ask the deep questions, like 'What the hell has been going on around here with place names like these?' while running down the changes like no one else before. Hillbilly Erotica promises unspoken wonders of the world around each and every dark corner, revelations of legacy, a new spyglass to sight your forebears! Imagined American music at its most gorgeous and violent, simply achieved by Sir Richard Bishop through a powerful application of steel-stringed instrumentation and delightfully exhaustive flights of speculative thought."

 

PRICE: $31.50

CAT #: EPR 083LP

FILE UNDER: ROCK

For several decades Norway has had a healthy tradition for prog, psych and jazz fusion -- yet, there's something very different about the ensemble that is Fra Det Onde ("From Evil"). The group is comprised of one of Europe's finest jazz drummers Olaf Olsen (Needlepoint, Motorpsycho, Bigbang and others), bassist Rune Neergaard (Bushman's Revenge, Exoterm) and trumpeter Erik Kimestad -- one of the brightest young stars in current Scandinavian jazz. And they have a secret weapon in the form of sonic wizard Emil Nikolaisen, known for his pioneering noise rock in Serena Maneesh, as well as a collaborative album with Todd Rundgren. He's currently a member of The Brian Jonestown Massacre. Emil not only contributes Farfisa and weird electronics to the group's free flowing streams of sound, he's also responsible for the innovative album mix that expands the ensemble's vision into new and astonishing territory. Smilet Er En Flyktig Tilstand is one of those rare records that manage to absorb the spirit of the past and transform it into something new and exciting. Listening to the suite that makes up most of the album, one can sense the cosmic energy of 1970s Don Cherry, or the sonic adventurism of Can in their prime -- but Fra Det Onde pushes these aesthetics into the extreme. Labels such as "fusion" or "psychedelic jazz" don't really come close to describing the rush of energy and kaleidoscopic sonics that's taking place on this record. Vinyl-only, limited to 500 copies, no digital release. File next to: electric Miles Davis, Can, Don Cherry.

 

PRICE: $54.00

CAT #: EMV 004LP

FILE UNDER: ROCK

First time ever on vinyl for the 1999 debut album by cult Melbourne outfit, Hungry Ghosts. Originally released on CD on the Reliant label and produced by Rowland S. Howard (Birthday Party/Young Charlatans), it sounded like a band from another place and time. Nominally thrown into the "post-rock" sphere, the Hungry Ghosts brought so much more to the table than such restrictive terms may imply. Featuring an eclectic array of percussive and stringed instruments, with some brass thrown in for good measure, the band created its own world of expressive instrumental music that played like a lost European film soundtrack. Soon after its release, the group made their way to the US to record for Steve Shelley (Sonic Youth)'s Smells Like label, and the story continues from there. This 2LP edition features the debut full-length CD on vinyl for the very first time, as well as their debut self-released (and -titled) EP from two years earlier. Inside is an informative four-page booklet with extensive liner notes telling the Hungry Ghosts story. Highly recommended for fans of: Dirty Three, Low, Triffids.

 

PRICE: $38.50

CAT #: EMV 006LP

FILE UNDER: ROCK

Originally released on the Vertigo label in 1974 in Australia and their homeland of New Zealand, Universal Radio was Dragon's debut recording. It was also a country mile -- musically speaking -- from the chart-topping anthemic pop they would later become famous for, but that's another story. They released one more album while stationed in NZ in 1975, Scented Gardens For The Blind (also to be reissued by Eminent), before transplanting themselves permanently in Australia and hitting it big with tracks like "April Sun In Cuba," "Get That Jive," "Rain" et al. Universal Radio features the lineup of Marc and Todd Hunter, Ivan Thompson, Ray Goodwin, and Neil Storey, six glorious tracks of elongated and ever-shifting progressive rock (elements of Pink Floyd, Cressida, and early Genesis in there) and the fantastical artwork of Dick Frizzel. The band had garnered a strong domestic following through festival and university concerts and came to record as a fully-evolved beast, mixing the whimsy of "Weetbix" with the darker tones of "Graves." Universal Radio is simply an excellent example of '70s progressive rock, New Zealand or not, and stands alongside Split Enz's debut, Mental Notes, as one of the best and most unique NZ recordings of its day. First ever vinyl reissue, fully authorized by the band, with royalties going directly to the band. Housed in a hi-gloss sleeve with four-page booklet featuring photos, artwork and liner notes penned by noted music historian and author, Ian McFarlane.

 

PRICE: $35.00

CAT #: EMV 007LP

FILE UNDER: ROCK

The Melbourne trio from the early '80s known as The Invisible College were a bit of a mystery to those who knew of their sole cassette release, The Luxury Of Horns, released on the RASH (Decisions) label in 1982, and that was the point. The group was otherwise known as Laughing Hands, a crucial cog in the influential and highly creative experimental post-punk scene centered around the Clifton Hill Organ Factory in inner city Melbourne. The Laughing Hands released a series of exceptional LPs in the first half of the decade before splitting, with member Paul Schutze then beginning a successful solo career that has seen him based in the UK for the past 35 years. Since then, Schutze has scored soundtracks, collaborated with the likes of Brian Eno and Jah Wobble, and released many recordings on labels from Virgin to Extreme. The Invisible College used the alias for this release to dupe a critic who was always deriding the works of the Laughing Hands, to see if they could elicit a positive review without the baggage (they did!). It is a truly remarkable DIY release from the era, one that mixes electronics with a more organic feel. Over the course of seven tracks, the music slowly evolves and devolves, blending the sounds of Berlin-school electronics (Manuel Gottsching, Conrad Schnitzler) with the Fourth World sonics of Brian Eno and Jon Hassell. It also provides an excellent musical bridge between the more minimalist sounds of Laughing Hands and Schutze's adventurous and prolific solo career. The Luxury Of Horns is experimental yet imminently listenable, at times broaching on a kind of proto-techno, just as Manuel Gottsching's E2E4 did around the same time. This edition is the first time it's ever been released as a stand-alone LP, with all-new artwork and liner notes from Schutze himself.

 

PRICE: $29.00

CAT #: FTR 835LP

FILE UNDER: ROCK

"White Gourd is the soubriquet Suzanne Stone uses for her long-running solo project. Her recordings as White Gourd are distinct from her work in Million Brazilians, the mothership for the Psychic Sounds Collective, who (along with Big Blood, Id M Theft Able and others) have worked tirelessly to keep the Strange Maine banner flapping in the cold northern wind. White Gourd's music uses voice, saxophone, percussion and doo-dads galore to create song-like fields of sound possessing the semiotic weight of rituals celebrating an unknown tongue. There are certain resonances with artists like Fursaxa and Spires That in the Sunset Rise, but as with most Psychic Sounds related music, everything is bathed in a weird light unique to this organization. On (To Walk in) Justice (Calls for) Strength, layers of mystery are piled up and sorted like narwhale tusks, with the vocal and instrumental parts separating themselves into different barrels, then rising to commingle like smoke from a ring of burning peace pipes. Due the LP's title, I had suspected there might be some overt political content here, but it appears the album's overt 'message' is nothing more than setting a continued example of what freedom should sound like. In this sense, the music here is also of a piece with artists like the Sea Ensemble, whose experiments with low-bore improvisation blended elements of free jazz with avant 'new music' detailing and a sort of post-ethnic tribalist aesthetic. Suffice to say this's another beautiful and remarkable release by White Gourd, and if you dig it, you should check out other members of the Psychic Sounds team. Million Brazilians's Urban Fossickated Octave LP (FTR 462LP, 2019) is another stone killer. So do your bit. Keep Maine free, You'll be very glad you did." --Byron Coley, 2026

 

PRICE: $54.00

CAT #: GB 4002ACELP

FILE UNDER: JAZZ

LP version. Audiophile collector's edition. Transparent vinyl. Wondrously uninhibited, and liberated from the added pressure of either a studio or a planned live recording, there is true magic, sparkling energy, and no lowering of intensity in this never-before-released unearthed gem. The night before Ella Fitzgerald walked into Konserthuset in Stockholm and recorded what became The Stockholm Concert, 1966, the Pablo Records live album now considered among the essential documents of her late career, she played two concerts at Falkoner Theatre in Copenhagen. Like many other Black American jazz musicians of her era, Denmark felt like home to Ella. It was a country where they found a degree of respect that the United States too often denied them. Ella's ease in her adopted home was palpable when she walked onto the Falkoner Theatre stage that Sunday. And, now the results are released on record for the first time, and with the full blessing of Ella's estate, listeners are treated to an irrepressible, unexpectedly vital addition to her canon.

 

PRICE: $17.50

CAT #: GB 4002CD

FILE UNDER: JAZZ

Wondrously uninhibited, and liberated from the added pressure of either a studio or a planned live recording, there is true magic, sparkling energy, and no lowering of intensity in this never-before-released unearthed gem. The night before Ella Fitzgerald walked into Konserthuset in Stockholm and recorded what became The Stockholm Concert, 1966, the Pablo Records live album now considered among the essential documents of her late career, she played two concerts at Falkoner Theatre in Copenhagen. Like many other Black American jazz musicians of her era, Denmark felt like home to Ella. It was a country where they found a degree of respect that the United States too often denied them. Ella's ease in her adopted home was palpable when she walked onto the Falkoner Theatre stage that Sunday. And, now the results are released on record for the first time, and with the full blessing of Ella's estate, listeners are treated to an irrepressible, unexpectedly vital addition to her canon.

 

PRICE: $31.50

CAT #: GB 4002LP

FILE UNDER: JAZZ

LP version. Wondrously uninhibited, and liberated from the added pressure of either a studio or a planned live recording, there is true magic, sparkling energy, and no lowering of intensity in this never-before-released unearthed gem. The night before Ella Fitzgerald walked into Konserthuset in Stockholm and recorded what became The Stockholm Concert, 1966, the Pablo Records live album now considered among the essential documents of her late career, she played two concerts at Falkoner Theatre in Copenhagen. Like many other Black American jazz musicians of her era, Denmark felt like home to Ella. It was a country where they found a degree of respect that the United States too often denied them. Ella's ease in her adopted home was palpable when she walked onto the Falkoner Theatre stage that Sunday. And, now the results are released on record for the first time, and with the full blessing of Ella's estate, listeners are treated to an irrepressible, unexpectedly vital addition to her canon.

 

PRICE: $15.50

CAT #: GB 4003CD

FILE UNDER: JAZZ

Originally released in 2025. In its entirety, this album is dedicated to Knats' loved ones; Stan's composition and single "Tortuga (For me Mam)" shows his love and appreciation of his Mam, while "Se7en," a darker tune, expresses his emotional relationship with his Dad, formerly "DJ Se7en." "Adaeze" is a tribute to King's late sister, taken from a gospel folk tune, incorporating West African percussive breaks and instrumentation. Acting as a message to all those who may know someone suffering with mental health to check on those around them and be that helping hand they might need. The Knats album represents many things, but most importantly that Newcastle is not to be overlooked. Featuring Anatole Muster, Parthenope, and Tom Ford.

 

PRICE: $27.00

CAT #: GB 4003LP

FILE UNDER: JAZZ

LP version. Originally released in 2025. In its entirety, this album is dedicated to Knats' loved ones; Stan's composition and single "Tortuga (For me Mam)" shows his love and appreciation of his Mam, while "Se7en," a darker tune, expresses his emotional relationship with his Dad, formerly "DJ Se7en." "Adaeze" is a tribute to King's late sister, taken from a gospel folk tune, incorporating West African percussive breaks and instrumentation. Acting as a message to all those who may know someone suffering with mental health to check on those around them and be that helping hand they might need. The Knats album represents many things, but most importantly that Newcastle is not to be overlooked. Featuring Anatole Muster, Parthenope, and Tom Ford.

 

PRICE: $15.50

CAT #: GB 4005CD

FILE UNDER: JAZZ

Originally released in 2025. "This album is the most personal I've made to date. Named after an ancient Anglo-Saxon poem from the 9th century AD about the former glory of an unnamed ruined city, The Ruin is inspired by the feeling of living in England ('country that feels like a living ruin'), the bleak landscape of where I grew up (Medway towns), and a kind of self-portrait reflecting how we all live amongst the ruins of our past selves both collectively and individually. All the musical material on The Ruin is taken from iPhone recordings of improvisations that I played on my first-ever piano -- bought using money left by my late grandfather. The whole album is structured cyclically so that it gradually builds up and crumbles away, starting and finishing with solo piano. To this end, the very beginning of the album starts with a reversed iPhone recording of me improvising a melody on this piano and ends with this same recording playing forwards. The musicians who recorded this music with me have all had a big impact on my voice over the years, featuring Ruth Goller on bass and voice, Sebastian Rochford on drums, the Ligeti String Quartet, who I have been working with since the very first album I was on. It is the start of a new chapter musically and one that feels the truest to my musical voice that I've ever made."

 

PRICE: $27.00

CAT #: GB 4005LP

FILE UNDER: JAZZ

LP version. Originally released in 2025. "This album is the most personal I've made to date. Named after an ancient Anglo-Saxon poem from the 9th century AD about the former glory of an unnamed ruined city, The Ruin is inspired by the feeling of living in England ('country that feels like a living ruin'), the bleak landscape of where I grew up (Medway towns), and a kind of self-portrait reflecting how we all live amongst the ruins of our past selves both collectively and individually. All the musical material on The Ruin is taken from iPhone recordings of improvisations that I played on my first-ever piano -- bought using money left by my late grandfather. The whole album is structured cyclically so that it gradually builds up and crumbles away, starting and finishing with solo piano. To this end, the very beginning of the album starts with a reversed iPhone recording of me improvising a melody on this piano and ends with this same recording playing forwards. The musicians who recorded this music with me have all had a big impact on my voice over the years, featuring Ruth Goller on bass and voice, Sebastian Rochford on drums, the Ligeti String Quartet, who I have been working with since the very first album I was on. It is the start of a new chapter musically and one that feels the truest to my musical voice that I've ever made."

 

PRICE: $20.50

CAT #: GB 4009CD

FILE UNDER: JAZZ

Originally released October 11, 2025, Art Blakey's birthday. Featuring Art Blakey (drums), Johnny O'Neal (piano), Donald Harrison (alto saxophone), Terence Blanchard (trumpet), Billy Pierce (tenor saxophone), and Charles Fambrough (double bass). Recorded on April 1, 1982, in Strasbourg, France. Mastered by Caspar Sutton-Jones at Gearbox Records, London. Album artwork by Alan Foulkes.

 

PRICE: $39.50

CAT #: RSG 1010LP

FILE UNDER: JAZZ

LP version. Originally released in 2023. This never-heard-before recording of the legendary tenor sax "Little Giant" Johnny Griffin playing at Ronnie Scott's Jazz Club and backed by members of Ronnie's House Band (Stan Tracey, Malcolm Cecil, and Jackie Dougan) sees a AAA vinyl release. The album was mastered at Gearbox Records using an all-analogue signal chain and cut directly from the original tapes, which were recorded at the club by Les Tomkins in 1964. The sleeve features photography by the esteemed Val Wilmer and liner notes by Richard Williams.

 

PRICE: $31.50

CAT #: RSGB 1002LP

FILE UNDER: JAZZ

Originally released in 2016. During the Spring of 2015, The James Taylor Quartet played a sold out six show run at Ronnie Scott's Jazz Club. Every night's performance was recorded, the standout set being the late show on Friday 25th March. By this time any initial "red light fever" had long dissipated and the musicians were fully settled in, performing at their best and concentrating on capturing the special relationship between the band and the Ronnie Scott's audience. The desire to return to a stripped-down approach means the band pare everything down to the essence. There were no horns or percussion, just James Taylor on Hammond C3, guitarist Mark Cox, bassist Andrew McKinney, and drummer Pat Illingworth, a line-up now solid for over three years. There was no set list -- the band don't use them -- they just watch the audience, see how the music connects and take it from there. The songs that made the final cut are four James Taylor originals and four from the source -- Jimmy Smith, Jack McDuff, Joe Sample, and Gene Ammons. Bumpin' On Frith Street is a tip of the hat to Soho, the home of Ronnie Scott's and ground zero of UK Jazz music. If you can't get to Soho this record may just be the closest thing to being there.

 

PRICE: $15.50

CAT #: RSGB 1004CDOBI

FILE UNDER: JAZZ

Japanese edition. Originally released in 2022. Featuring Roland Kirk (tenor saxophone, stritch, manzello, flute, nose flute, siren), Stan Tracey (piano), Malcolm Cecil (double bass), and Ronnie Stephenson (drums). Recorded by Les Tomkins on Tuesday October 15th 1963 at Ronnie Scott's Jazz Club, London. Mastered from the original tapes by Caspar Sutton Jones and Darrel Sheinman at Gearbox Records. Lacquers cut on a Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head; Decca valve equalisation and Telefunken U73B tube limiter; monitored on Audio Note equipment. Sleeve design by Alan Foulkes. Photograph by Val Wilmer, 1967.

 

PRICE: $31.50

CAT #: RSGB 1004OBILP

FILE UNDER: JAZZ

LP version. Japanese edition. Originally released in 2022. Featuring Roland Kirk (tenor saxophone, stritch, manzello, flute, nose flute, siren), Stan Tracey (piano), Malcolm Cecil (double bass), and Ronnie Stephenson (drums). Recorded by Les Tomkins on Tuesday October 15th 1963 at Ronnie Scott's Jazz Club, London. Mastered from the original tapes by Caspar Sutton Jones and Darrel Sheinman at Gearbox Records. Lacquers cut on a Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head; Decca valve equalisation and Telefunken U73B tube limiter; monitored on Audio Note equipment. Sleeve design by Alan Foulkes. Photograph by Val Wilmer, 1967.

 

PRICE: $15.50

CAT #: RSGB 1008CD

FILE UNDER: JAZZ

Originally released in 2016. This is a previously unreleased 1966 live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders. Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird, and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on "The Dreamer" and "Last Night Blues" (it was the last night of the run). He plays the shenai -- a kind of oboe -- on "Blues for The Orient," the xun -- a Chinese flute -- on "Song of Delilah," and tenor saxophone on "Yusef's Mood." The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way. This record was mastered at Gearbox Records directly from the original 1/4" tapes. Cut on Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter; Maselec master control and equalization.

 

PRICE: $15.50

CAT #: RSGB 1008CDOBI

FILE UNDER: JAZZ

Japanese edition. Originally released in 2016. This is a previously unreleased 1966 live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders. Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird, and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on "The Dreamer" and "Last Night Blues" (it was the last night of the run). He plays the shenai -- a kind of oboe -- on "Blues for The Orient," the xun -- a Chinese flute -- on "Song of Delilah," and tenor saxophone on "Yusef's Mood." The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way. This record was mastered at Gearbox Records directly from the original 1/4" tapes. Cut on Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter; Maselec master control and equalization.

 

PRICE: $31.50

CAT #: RSGB 1008OBILP

FILE UNDER: JAZZ

LP version. Japanese edition. Originally released in 2016. This is a previously unreleased 1966 live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders. Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird, and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on "The Dreamer" and "Last Night Blues" (it was the last night of the run). He plays the shenai -- a kind of oboe -- on "Blues for The Orient," the xun -- a Chinese flute -- on "Song of Delilah," and tenor saxophone on "Yusef's Mood." The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way. This record was mastered at Gearbox Records directly from the original 1/4" tapes. Cut on Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter; Maselec master control and equalization.

 

PRICE: $51.50

CAT #: RSGB 1010ACELP

FILE UNDER: JAZZ

LP version. Japanese edition. Originally released in 2023. This never-heard-before recording of the legendary tenor sax "Little Giant" Johnny Griffin playing at Ronnie Scott's Jazz Club and backed by members of Ronnie's House Band (Stan Tracey, Malcolm Cecil, and Jackie Dougan) sees a AAA vinyl release. The album was mastered at Gearbox Records using an all-analogue signal chain and cut directly from the original tapes, which were recorded at the club by Les Tomkins in 1964. The sleeve features photography by the esteemed Val Wilmer and liner notes by Richard Williams.

 

PRICE: $15.50

CAT #: RSGB 1010CD

FILE UNDER: JAZZ

Originally released in 2023. This never-heard-before recording of the legendary tenor sax "Little Giant" Johnny Griffin playing at Ronnie Scott's Jazz Club and backed by members of Ronnie's House Band (Stan Tracey, Malcolm Cecil, and Jackie Dougan) sees a AAA vinyl release. The album was mastered at Gearbox Records using an all-analogue signal chain and cut directly from the original tapes, which were recorded at the club by Les Tomkins in 1964. The sleeve features photography by the esteemed Val Wilmer and liner notes by Richard Williams.

 

PRICE: $31.50

CAT #: RSGB 1013LP

FILE UNDER: JAZZ

Originally released in 2017. This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on February 8, 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channeling the new musical flavors and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane. Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan, and Allan Ganley rhythm section. The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.

 

PRICE: $31.50

CAT #: RSGB 1013OBILP

FILE UNDER: JAZZ

Japanese edition. Originally released in 2017. This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on February 8, 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channeling the new musical flavors and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane. Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan, and Allan Ganley rhythm section. The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.

 

PRICE: $15.50

CAT #: RSGB 1017CD

FILE UNDER: JAZZ

Nitin Sawhney is a busy man. Across many outstanding studio works, scores of soundtracks, dance, theatre and DJing, his consistently rich and varied musical output, spanning more than two decades, has now been recognized with The Ivor Novello Lifetime Achievement Award. This, his first live album, features highlights from many of his 10 studio albums, including 1999's Mercury Music Prize nominated Gold awarded Beyond Skin, the millennial epic Prophesy (20011) and his latest work Dystopian Dream. Recorded across a three-night residency at the legendary Ronnie Scott's in Soho, London, during March 2016, these live re-imaginings of old and new favorites buzz with life and joy. Expertly melding flamenco, funk and Indian ragas while branching into primeval blues, tabla breakbeats, beatboxing and much more, Sawhney and his band weave a textural tapestry of treats to the sheer delight of the audience. As is the hallmark of the Live At Ronnie Scott's series, the supreme quality of Gearbox Records' mastering and cutting process ensures the intimacy and energy of the live setting is brought back to life in the comfort of your own listening space.

 

PRICE: $15.50

CAT #: RSGB 1017CDOBI

FILE UNDER: JAZZ

Japanese edition. Nitin Sawhney is a busy man. Across many outstanding studio works, scores of soundtracks, dance, theatre and DJing, his consistently rich and varied musical output, spanning more than two decades, has now been recognized with The Ivor Novello Lifetime Achievement Award. This, his first live album, features highlights from many of his 10 studio albums, including 1999's Mercury Music Prize nominated Gold awarded Beyond Skin, the millennial epic Prophesy (20011) and his latest work Dystopian Dream. Recorded across a three-night residency at the legendary Ronnie Scott's in Soho, London, during March 2016, these live re-imaginings of old and new favorites buzz with life and joy. Expertly melding flamenco, funk and Indian ragas while branching into primeval blues, tabla breakbeats, beatboxing and much more, Sawhney and his band weave a textural tapestry of treats to the sheer delight of the audience. As is the hallmark of the Live At Ronnie Scott's series, the supreme quality of Gearbox Records' mastering and cutting process ensures the intimacy and energy of the live setting is brought back to life in the comfort of your own listening space.

 

PRICE: $31.50

CAT #: RSGB 1017OBILP

FILE UNDER: JAZZ

LP version. Japanese edition. Nitin Sawhney is a busy man. Across many outstanding studio works, scores of soundtracks, dance, theatre and DJing, his consistently rich and varied musical output, spanning more than two decades, has now been recognized with The Ivor Novello Lifetime Achievement Award. This, his first live album, features highlights from many of his 10 studio albums, including 1999's Mercury Music Prize nominated Gold awarded Beyond Skin, the millennial epic Prophesy (20011) and his latest work Dystopian Dream. Recorded across a three-night residency at the legendary Ronnie Scott's in Soho, London, during March 2016, these live re-imaginings of old and new favorites buzz with life and joy. Expertly melding flamenco, funk and Indian ragas while branching into primeval blues, tabla breakbeats, beatboxing and much more, Sawhney and his band weave a textural tapestry of treats to the sheer delight of the audience. As is the hallmark of the Live At Ronnie Scott's series, the supreme quality of Gearbox Records' mastering and cutting process ensures the intimacy and energy of the live setting is brought back to life in the comfort of your own listening space.

 

PRICE: $17.50

CAT #: HPS 396CD

FILE UNDER: ROCK

Repress of Spirit Caravan's sophomore album. "On this, Spirit Caravan's second foray into the long-player format, the band has collectively slowed down the tempo, and dropped the mood into even more contemplative territory. As the grandfather of modern stoner rock, Wino has certainly dipped his guitar picks in LSD this time around. Even though the engineering and production is bone dry and bottom heavy, Wino's psychedelic guitar work -- especially his stinging, busy leads -- has been ratcheted up a few clicks, even if the overall aesthetic is darker, and the superb musicianship from the trio simplified. The listener may be reminded of Hawkwind powered by an enormous diesel engine. As a title, Elusive Truth may indicate Wino's searching nature as a musician, and his attempt to continue down the sonic path through darkness, and through light. With this album, the listener is most certainly in darker territory." --All Music. Also available on black vinyl (HPS 396LP), purple vinyl (HPS 396LTD-LP), and white/yellow/green vinyl (HPS 396ULTRA-LP).

 

PRICE: $36.00

CAT #: HZB 024BK

FILE UNDER: ROCK

252 pages. Hardcover. Edition of 150. "San Francisco rock'n roll bleeds through Michael Goldberg -- an innovative, inspiring figure who always has been quietly pioneering something interesting for the past 50+ years. Hozac Books presents the first-ever collection of his photographs in Jukebox, featuring an impressive array of underground figures and outcast luminaries captured in their natural habitat, most seen here for the first time anywhere. Bridging the gaps between the late '60s psychedelic era, primitive first-wave '70s punk and soul and reggae, as well as never-before seen images of country and folk iconoclasts and rule-breakers across the spectrum of all that is captivating, and even including some modern artists still making waves, Jukebox is a riveting photography collection that truly feels as good as it looks. Jukebox is a book of distinctive, full-page photographs of musicians taken between 1967 and 2023. Goldberg is best known as a writer, but for over 50 years he's also been photographing musicians and the photos in Jukebox are drawn from the thousands he's taken over the years. Included are photos of the Sex Pistols, Crime, the Ramones, the Avengers, Devo, the Nuns, the Clash, Tom Verlaine, Lou Reed, John Cale and the Dils as well as Tom Waits, Courtney Barnett and Kurt Vile, Janis Joplin, Ben Gibbard, Ramblin' Jack Elliott, Muddy Waters, Toots and the Maytals, Patti Smith, Bettye LaVette, the Who, Neil Young, Jonathan Richman, Townes Van Zandt, the Flamin' Groovies, and many more. The book's foreword is written by acclaimed music book author Joel Selvin. Most of the photos here have never been seen before, including rare 1970 photos of Jerry Garcia in his Larkspur home months before recording began for the group's crowning achievement, American Beauty. Some of the photographs of Frank Zappa, Commander Cody, Michael Bloomfield, Professor Longhair, Grace Slick and Paul Kantner, Toots and the Maytals, Willy DeVille, and John Cale were taken at their homes or in their hotel rooms. The Ramones photograph was shot from the doorway of Goldberg's room at the Tropicana in L.A."

 

PRICE: $20.00

CAT #: KSLP 035G-LP

FILE UNDER: REGGAE

Welcome to the roots reggae sound. A period in reggae's history that followed the two year supremacy of rocksteady, that began to tail off around the end of 1968. The reggae sound many say did not come initially from the chop of the guitar but from the stabs from the keyboard/organ that produced that jeggae/jerking feel. The roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some roots reggae straight from the heart of Jamaica. Featuring Johnny Clarke, Barry Brown, Cornell Campbell, Leroy Smart, Horace Andy, Linval Thompson, and Delroy Wilson.

 

PRICE: $24.00

CAT #: LIFE 066LP

FILE UNDER: ROCK

Originally released in 1972, The Voice Of The Eagle is one of the most bizarre experiments in Robbie Basho's prime. Featuring Indian mridangam player Ramnad Raghavan, the album epitomizes Basho fascination for eastern-tinged arrangements. This is also a vocal album -- his singing, which John Fahey described as "strangely compelling," came straight from the heart and soul with no regard for restraint, phrasing or timing. Basho never had mass recognition when he was alive and was almost forgotten for years as Fahey, Leo Kottke and his contemporaries carved their legends.

 

PRICE: $31.50

CAT #: LMS 1725531

FILE UNDER: ROCK

2026 repress; clear vinyl. FYC40 celebrates 40 years of Fine Young Cannibals, the British trio who stormed the global music scene in the mid-to-late '80s. Their journey began with the soulful, new wave energy of their 1985 debut Fine Young Cannibals, before reaching new heights with 1989's The Raw & The Cooked, a worldwide smash that fused rock, funk, and house, all powered by Roland Gift's unmistakable voice. Across their career, the band scored eight UK Top 40 hits, two U.S. Billboard #1 singles, multiple Grammy nominations, and two BRIT Awards -- cementing their place in pop history. The Raw & The Cooked delivered enduring anthems like "She Drives Me Crazy" and "Good Thing," both U.S. chart-toppers whose influence still resonates today, from hit shows like The Bear to Chanel campaign featuring Dua Lipa and BLACKPINK's Jennie. Includes new artwork and new liner notes. Fully remastered.

 

PRICE: $33.00

CAT #: 9781526191786

FILE UNDER: MISC

Charting the history of punk and DIY scenes from the 1970s to the present day. Combines the life of a musician and a music journalist who tapped into the cutting edge of alternative music. Packed with stories of well-known figures from the rock music scene. John Robb's is a life of facing down outsider struggles, overcoming career disappointments and the DIY spirit that carried him through. The irresistible story of a one-man cultural phenomenon. Minister for the Counterculture, Mancunian mainstay and alternative national treasure John Robb has lived a life in music. In this book he charts his adventures on the cultural frontline, chronicling the making of a DIY icon. Robb's quest began in his hometown of Blackpool -- where punk was a battle against the odds -- and went international when he toured the world with his band. The first person to interview Nirvana, he also discovered The Stone Roses for weekly newspaper Sounds and did early interviews with The Jesus and Mary Chain and The Manics, before moving on to legends such as Mark E. Smith, Nick Cave and Patti Smith. Along the way, he became an on-screen commentator and author of bestselling books. Robb's memoir tells of deep friendships with figures from Poly Styrene to Chris Packham. Packed with riotous stories, it provides an alternative account of British musical and cultural history and a triumphant blueprint for a punk rock life. Hardback. 384 pages: 216x138mm. "A searcher and a true believer in the magic and power of music" --Noel Gallagher. "John Robb writes about music and culture with the insight of someone who loves it from the outside and lives it from the inside" --Johnny Marr.

 

PRICE: $14.50

CAT #: LUMB 041CD

FILE UNDER: ELECTRONIC

Discord in Disorder is a new album from Welsh soundsmith Sion Orgon, already known as both a producer and frequent collaborator with fellow sonic traveler Thighpaulsandra. Originally conceived for another label that unfortunately could not go ahead with its release, the album catches Sion doing something different to his usual melding of avant-rock/pop and abstract electronics. These 14 new electroacoustic compositions delve into the intricate relationship between discord and disorder through innovative sonic exploration. Utilizing a diverse palette of sound sources including radio, treated piano, violin, voice, saxophone and percussion, Orgon crafts compositions that embody both discord and harmony. Each piece presents a dynamic landscape characterized by sudden ends and the deliberate use of distortion, inviting listeners to navigate the tensions between duality and unity. The incorporation of rubbed cymbals and treated trumpet creates an ethereal quality, enhanced by the layers of angelic choral voices that rise and fall throughout the pieces. The structure of these works allows for a vertical ascent in sound before an abrupt cessation, prompting a meditation on dissonance and its inherent beauty. The compositions hopefully challenge the listener's perception of sonic aesthetics but also facilitate a calm reaction to the chaotic interplay of sound.

 

PRICE: $21.00

CAT #: MIG 3621LP

FILE UNDER: ROCK

"Louisiana Red was born in Alabama in March 1932 and died in Hanover almost exactly 80 years later. The early life of Iverson Minter, also known as Louisiana Red, was marked by suffering. His mother died of pneumonia a week after he was born. When he was five years old, his father was executed by the Ku Klux Klan. After that, he lived in orphanages until he was able to spend the rest of his childhood with his grandmother. As a teenager, he was sentenced to hard labor for burglary and subsequently sent by Uncle Sam to the Korean War. Iverson had wanted to become a blues musician ever since he had met Muddy Waters. In the late 1950s, he played in John Lee Hooker's band. In the mid-1970s, he moved to Europe, where he gained recognition among a wider audience through appearances at the WDR Rockpalast and the Montreux Jazz Festival. In the 1980s, Fritz Rau signed Louisiana Red for his successful festival series, the 'American Folk Blues Festival.' In 1983, he released his acclaimed album Anti-Nuclear Blues, whose content and message are more relevant today than ever. The original vinyl edition has since become a sought-after rarity. Now, the album is being rereleased, featuring six bonus tracks from the 1981 'American Folk Blues Festival,' as well as a reissue on vinyl with a fresh sound."

 

PRICE: $21.00

CAT #: MIG 3641LP

FILE UNDER: ROCK

LP version. "In the early 1970s, the band from Hilden and Düsseldorf (Germany) dropped the name Q 66 and has performed as Cobraa ever since. A demo tape by the band caught the attention of talent scouts at the Cologne-based record label EMI Electrola, who subsequently offered them a record deal. The single 'Ride a Pony' was released as early as 1973, and the album Cobraa followed in 1974. The LP received very good reviews in well-known music magazines, and even the teen magazine BRAVO had words of praise. Critics particularly liked the harmonized vocals, the catchy melodies, and the varied arrangements -- not just drums, bass, and guitars, but also flute, harmonica, and strings. The band members, however, were disappointed with their collaboration with the record label and wrote a letter to the head of EMI, complaining about the lack of support and the lackluster cooperation. After a clarifying meeting with top management, it was agreed to release another single, 'Take A Look At Love.' The record company, however, was unwilling to make any further concessions, so it remained at just one LP release. Over 50 years later, this Cobraa album has achieved cult status among progressive rock and Krautrock fans. It is now being re-released on vinyl as well as, for the first time, on CD and digitally, including the 1973 single 'Ride A Pony'/'The End Of The Day.'"

 

PRICE: $29.00

CAT #: MIG 3661LP

FILE UNDER: ROCK

LP version. "Berlin, late 1960s: A divided city becomes the epicenter of a musical revolution. Amid the tensions of the Cold War, a group of young sound explorers emerged to redefine the boundaries of rock music. Agitation Free, founded in 1967, was never just a band, but a laboratory for 'movement, unrest, and change' -- the definition of the word 'agitation' that their mentor Folke Hanfeld had found in a dictionary. From the very beginning, Agitation Free served as a hub for the burgeoning 'Berlin School' of electronic music. Their early rehearsals at the Electronic Beat Studio under the direction of Thomas Kessler became a magnet for other legends such as Tangerine Dream and Ash Ra Tempel. At the same time, they served as a springboard for exceptional talents like Christopher 'Chris' Franke (Tangerine Dream) or guitarist Axel 'Ax' Genrich (Guru Guru). While Agitation Free's studio albums Malesch (1972) and 2nd (1973) are milestones of the genre, it was on stage that the 'Free' in their name truly came to life. Their concerts were avant-garde experiences that combined liquid light shows and experimental films with hypnotic, drawn-out instrumental improvisations. An example of this is their new live recording Live in Berlin from December 1, 2025, at Berlin's Kesselhaus, featuring the current lineup: founding members Lutz 'Lüül' Graf-Ulbrich and Burghard Rausch, as well as Michael Hoenig, who has retired from live performances but remains the band's 'spiritual leader,' together with Daniel Cordes, Axel Heilhecker, and Tim Sund. As Michael Hoenig once noted, Agitation Free's music is a 'time machine that connects the past and the future.' The magic lives on."

 

PRICE: $36.50

CAT #: NYAHH 008LP

FILE UNDER: ELECTRONIC

Following on from their critically acclaimed first release Whose Woods These Are, NYAHH Records and Eiderdown Records are thrilled to announce the second album by cellist Eimear Reidy and keys player Natalia Beylis. The album was recorded at St Georges Church, Carrick On Shannon, Leitrim in a cold early January with a William Telford Organ. Built in 1846, it is reputed to be the second oldest organ in Ireland. The album features two long tracks. "Pour Upon The Sky" is a story told by the two voices of cello and organ. Influenced by the rhetorical style of 18th century vocal music, the inspiration for this piece came naturally to Eimear who has a background in early music and has performed alongside the organ in a variety of settings from chamber works to Bach's larger orchestral works such as St Matthew Passion. In 18th century music, the cello and organ perform a role as continuo players. Traditionally the cello and organ are both intertwined and interdependent, playing the bass line and harmonies together and providing a foundation for the rest of the ensemble while soloists come in and out. In "Pour Upon The Sky," Eimear and Natalia play within and without of this traditional form. Freed from the need to hold the solid ground for an ensemble, the cello and organ playfully explore the space as they pass the role of solo and continuo back and forth. "The Whistling Dust" is a slow steady study of the microscopic flutters of the organs and the organ. The heart of the Telford rattles and breathes as the cello dances in and out. When Natalia and Eimear began working on these pieces in the cold January, the Telford, which seemed like it had been sitting quietly for quite some time, shook and trembled as its insides were awoken. "The Whistling Dust" speaks to the moment when the instrument moved alive, every opened stop knob of the pipes bringing the feel of the microsounds of the machine closer and closer as the cello offers utterances of encouragement.

 

PRICE: $25.00

CAT #: OUTS 049LP

FILE UNDER: ROCK

Marvin Gaye performed a legendary concert at the Kursaal Casino in Ostend, Belgium, on July 4, 1981, as part of a local festival. This comeback show in Europe marked the beginning of his celebrated recovery after financial and personal problems.

 

PRICE: $29.50

CAT #: PCD 014LP

FILE UNDER: ELECTRONIC

A sequel to 2011's communication from our future selves on The Spectacle of Light Abductions, this new endeavor by restless netherzone traveller Spencer Clark envisions a space map towards the other side of human life. A meditation on the paintings of Vedran Kopljar, these two side-long pieces, recorded and performed at Kopljar's exhibition at Muhka Museum in Antwerp in 2024, tap into the barren world inhabited by Clark while wandering what he calls the "Abomination Plateaus." Searching for meaning amidst the landscape, "Abyssfields" turns Clark's keyboards, sampler and wha pedals into sentient beings, roaming a luminous sound field of low-res percussion, glistening keys and mangled voice-like transmissions. Featuring Athens-based John Also Bennet on flute, "Abomination Plateaus" layered misty pads hover above a recurring driving-pinging loop, unlocking new harmonic specters throughout each passage, suspended in the light. Always enveloping.

 

PRICE: $17.50

CAT #: PAMPA 038EP

FILE UNDER: ELECTRONIC

2026 repress. &Me, the chunky critter, did it again! This hypnotic one-off, "Drone me up, Flashy" featuring Sophia Kennedy, was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed. Mano Le Tough found the original "Muddy Funster" so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes you into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. "Illumination" featuring Roísín Murphy as Mano Le Toughs needs "A Birra Light Remix" persistently pulls you music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

 

PRICE: $40.00

CAT #: PLEXUS 003G-LP

FILE UNDER: ROCK

Gold vinyl. Deluxe reissue of the sole album by The Eighteenth Day Of May. Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola). This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake. Andy Childs who signed the band originally takes up the story. "I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited -- old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like 'Lady Margaret' and 'Flowers In The Forest' and not be afraid to stamp their own identity on them. Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent."

 

PRICE: $16.00

CAT #: PRESH 024CD

FILE UNDER: ELECTRONIC

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with Damaged, his first album for The Bug's PRESSURE label. Having recently dropped two criminally overlooked, experimental dub LPs, with his Dub Over Science series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades, and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, Damaged celebrates the point of departure within its mesmerizing low-end grooves. It's no surprise that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high-quality sound and levels are definitely maintained throughout. If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, Damaged provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

 

PRICE: $31.50

CAT #: PRESH 029LP

FILE UNDER: ELECTRONIC

The Bug and Ghost Dubs relentlessly probe and atomize original material culled from Kevin Richard Martin's critically acclaimed Sub Zero album. Remixed to punish sound systems and freeze up the dance, both Fiedler and Martin trade fresh, contrasting blows, after their recent IMPLOSION face off album on PRESSURE. The resulting four remixes are every bit as hypnotic and persuasive as you would hope for from productions fresh out the soundlabs of Michael Fiedler aka GHOST DUBS and Kevin Richard Martin under his dancefloor destroying Bug alias. Both producers intensify the desolate mood of the originals but introduce demolition inducing beats which provide the literally irresistible momentum. Echoes of the originals are respected and heard throughout, but the extra gear shifts pay off brilliantly. Guaranteed to push serious air, and test the most powerful of sub woofers, these four remixes vary from heavy to superheavyweight. i.e. GHOST DUBS outputs a deliriously stoned headnod with his zonal refix of "When I'm Gone," which miraculously sounds both subtley mysterious, but monolithically huge, whilst The Bug prowls ice cold, on the noirish, narcotic, instrumental hip hop of "Too Human," which sounds like prime Mobb Deep mixed by Rhythm & Sound at 16 bpm. Essential remixes of an already very special album, the original atmosphere is not only captured expertly, it is categorically amplified.

 

PRICE: $16.00

CAT #: PFL 348CD

FILE UNDER: ROCK

"Lockstep is a Nashville-based band pulling elements from shoegaze, doom and heavy rock. They've built a sound rooted in atmosphere and weight, moving between quiet, uneasy moments and crushing walls of noise. With each release, the band has tightened their approach -- cutting excess and focusing on impact. Their debut full-length, I Know What I Saw, out through Profound Lore Records stands as the band's most focused and complete statement to date. Following the release of several singles (their last being the 'Drag Along' single from 2025), their Arrival EP from 2023, and already having a decent number of shows and tours under their belt (notable past tours include runs with Prize Horse and Gumm), I Know What I Saw leans into massive, slow-burning riffs and dense, layered guitars that stay engaging without letting up, locking into sections that feel both hypnotic and suffocating. Songs stretch and build with purpose, pulling listeners deeper into the band's world while keeping a constant sense of tension and release. It's the clearest and most realized version of Lockstep yet."

 

PRICE: $25.00

CAT #: PFL 348LP

FILE UNDER: ROCK

LP version. Color vinyl. "Lockstep is a Nashville-based band pulling elements from shoegaze, doom and heavy rock. They've built a sound rooted in atmosphere and weight, moving between quiet, uneasy moments and crushing walls of noise. With each release, the band has tightened their approach -- cutting excess and focusing on impact. Their debut full-length, I Know What I Saw, out through Profound Lore Records stands as the band's most focused and complete statement to date. Following the release of several singles (their last being the 'Drag Along' single from 2025), their Arrival EP from 2023, and already having a decent number of shows and tours under their belt (notable past tours include runs with Prize Horse and Gumm), I Know What I Saw leans into massive, slow-burning riffs and dense, layered guitars that stay engaging without letting up, locking into sections that feel both hypnotic and suffocating. Songs stretch and build with purpose, pulling listeners deeper into the band's world while keeping a constant sense of tension and release. It's the clearest and most realized version of Lockstep yet."

 

PRICE: $16.50

CAT #: RA 043CD

FILE UNDER: JAZZ

Sonic Fiction Special, featuring Earl Howard. Recorded in Cologne, March 2025. Featuring Earl Howard (electronis, alto sax), Frank Gratkowski (clarinets), Laura Strobl (viola), Georg Graewe (piano), and Gerry Hemingway (drums, percussion).

 

PRICE: $16.50

CAT #: RA 044CD

FILE UNDER: JAZZ

Laura Strobl is a Viennese, classically trained violist (and violinist), who focuses on featuring the viola as a contemporary solo instrument. She is a long-time member of German pianist and composer Georg Graewe's Sonic Fiction Orchestra, which is based in Vienna. Stroble has played with such innovative improvisers as Frank Gratkowski, François Houle, Gerry Hemingway, Martin Siewert, and Günter "Baby" Sommer. She initiated the free-improvising trio with her mentor Graewe and British master drummer Mark Sanders, who has worked with many greats in the British, European, and American free jazz and free improvised music scenes. Sanders first collaborated with Graewe in his quintet in the 1990s (Concert in Berlin 1996, Wobbly Rail, 1999), and continued to work with Graewe in the Frisque Concordance band. This trio first performed live at London's Cafe OTO in March 2026 during Sanders' three-day residency in the club. Actuance was recorded in Vienna in November 2025 and offers eleven chamber pieces for the uncommon instrumentation of viola, piano, and drums. The album's title refers to the abrupt transition from light to dark in a physical, objective measure of an image at the edges of objects. It defines the steepness of the tonal gradient across boundaries, directly influencing the human eye's perception of sharpness and clarity in a photograph. It is an apt description of how spontaneous, improvised ideas, a brief and evocative melody, or just an abstract sound gravitate organically into instant, coherent, and often complex and intense compositions.

 

PRICE: $36.50

CAT #: FASHION 001LP

FILE UNDER: REGGAE

First LP release on Real Rock Records now repressed! Initially released on a small run pressing, this is a fine style dubwise selection from the Fashion Records catalogue. The rhythms contained in this album were recorded in the 1980s for various projects, some of which never saw an official release. The tracks were all mixed at the A-Class Studio by Chris "Dub Organiser" Lane, and were initially shared to a select circle of sound system operators to be played as exclusive dubs. Now the time is right for the music to be made available to all dub addicts and music lovers.

 

PRICE: $33.00

CAT #: REPOSE 162LP

FILE UNDER: ROCK

Hailing from Osaka, Japan. Kevin blend elements of krautrock, post-punk, and improvisation, their music is built on hypnotic rhythms and minimal structures that gradually evolve into dense, immersive soundscapes. Kevin's second album It Is What It Is captures both the immediacy of live performance and the depth of layered studio recording. Driven by steady, grounded drumming and intuitive interaction between the two members, the record moves between control and collapse, structure and freedom. Dark, physical, and meditative, It Is What It Is reflects a commitment to groove, space, and the unpredictable flow of sound. Transparent red vinyl; housed in a gloss finished sleeve with wrap around OBI, polylined inner bag and hype sticker.

 

PRICE: $18.00

CAT #: RHFM 7003EP

FILE UNDER: WORLD

Rootz HiFi are the leading Dub Sound System out of Santiago, Chile. Their first two 7" releases sold out instantly and are now collectors' items. Here their thir release features a heavy UK style dub mixed by the original maestro Vibronics in his Dub Cupboard Studio in the UK. Music for lovers of OBF, Iration Steppas, and all sound system dub fans.

 

PRICE: $31.50

CAT #: RLP 3238LP

FILE UNDER: ROCK

LP version. "Weejuns is all about interplay," explains Mollestad, a former Young Jazz Talent of the Year and Artist in Residence in her native Norway. "Bitches Blues consists of six instrumental tracks, or stretches of music, with an extreme range of dynamics. Some are based around hefty beats, while other tracks are far more lyrical and rubato. It ranges from riff-based rock-ish stuff, to loud chaos, to melancholy ballads and even totally free improvisations." Taking a cultured yet refreshingly instinctive approach to intertwining instruments and influences, Bitches Blues (a wry play on Miles Davis album Bitches Brew) veers unpredictably from slow and soft, distinctly sectioned songs with disciplined chord progressions to explosive eruptions of cathartic and complex structures. Weejuns (a slang abbreviation of "Norwegians") introduced themselves in 2023 with a self-titled double live album. Originally assembled by Mollestad for the Kongsberg Jazz Festival, where she'd been awarded the prestigious Musicians Prize, Weejuns' collective chemistry has proven enduring and alluring, in part as a foil to the Hedvig Mollestad Trio's heaviest album to date, 2025's Bees in the Bonnet. A graduate of the Norwegian Academy of Music, Mollestad has released eight acclaimed albums with her eponymous Trio, toured across Europe and North America, and performed with the likes of Nels Cline, Colin Stetson, Ingrid Laubrock, Trevor Dunn, and Shahzad Ismaily. The signature of her 15-year career has been fusing serious chops with an overt focus on finding fun in sound. For years, Mollestad obsessed over music and little else. The daughter of a jazz musician, she lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass, and Jim Hall before discovering riff-raging titans like Led Zeppelin, Black Sabbath, and Mahavishnu Orchestra in her 20s. This led to the formation of Hedvig Mollestad Trio, whose relentless recording and touring schedule since the early '10s have earned the guitarist a stream of accolades, including two Norwegian Grammys (Spellemannprisen) and DownBeat magazine naming her one of the 25 artists who "could shape jazz for decades" in November of 2020. Ståle Storløkken is a founder and long serving member of Supersilent and Elephant9, has served as Terje Rypdal's "right hand" since the mid-90s, and collaborated with Motorpsycho on record and on stage... as well as countless others. Ole Mofjell is the youngest member, active with Krokofant, Signe Emmeluth's Amoeba and his own free jazz trio 3 Days Of Maceration. Hedvig Mollestad Thomassen - guitar; Ståle Storløkken - organ and synth; Ole Mofjell - drums.

 

PRICE: $18.00

CAT #: SCOOP 086EP

FILE UNDER: REGGAE

UK sound system style DUB release from Vibronics and Nia Songbird. Two new tracks, one side featuring uplifting vocals from Nia Songbird, the other side is classic Vibronics style undiluted instrumental dub. This one is for all lovers of Iration Steppas, OBF, Channel One and all the bass-heavy sound systems out there. This presented in a full-color printed SCOOPS label sleeve, making it a collector's item as much as a sound system weapon. Vibronics is one of the most established names in UK dub/reggae music achieving millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales.

 

PRICE: $31.50

CAT #: SONIC 019LP

FILE UNDER: ROCK

2026 repress. LP version. Otto A. Totland's modern compositional elements are most widely-recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K. Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the five-minute A-side of Sonic Pieces' 7", Harmony from the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style. Initial track "Open" fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios. With Pinô, Otto A. Totland appears out of the Norwegian landscape, sharing an achievement that will provide relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland's compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O'Halloran.

 

PRICE: $36.50

CAT #: SME 093LP

FILE UNDER: SOUNDTRACK

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era's definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number 4 serves to highlight the core synergy of these four master musicians. Their journey began in Rome's vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences -- textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set. Often overlooked, they contain some of the most profound "hidden gems" in the group's catalog. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings -- works that remain, in every sense, golden.

 

PRICE: $16.00

CAT #: SSR 133CD

FILE UNDER: ROCK

"After moving to Sydney I had an overwhelming need to start a new band and sing again. Total Control and Straightjacket Nation would be difficult to gather any momentum with my living interstate, and also I wanted to settle here and start something new and try and obliterate some of the stasis that entered my veins from the lockdown. Low Life asked me to play a solo show with Iceage at the opera house, but I had no ambitions for solo performance and had no songs, so I formed a band called KX Aminal with Greta, Michael, and Micky from Den, and Josh from Diat. KX Aminal are an important part of the Station Model Violence story. KX Aminal went into stasis and I got the itch again. Buz had written a few demos that didn't work as RMFC songs and he asked me to have a listen to hear if I could sing something on it, and over the winter of 2024 I visited his home studio and we recorded some vocal ideas with his demos. We released a demo for 'Learn To Hate' 'recorded after eating mushrooms on fabulous winter evening' and formed a lineup for a one-off show in late 2024 with Micky (Den), Yuta (The Lewers) and Georgia (G2g). This was the final Idiota Civilisaaaztatatanini show, so a nice loop back with Josh. After this show, Yuta and Georgia left, and Michael (Den), Alan (RMFC) and Kuceli (Gaud) joined. Seeing as Micky, Michael, Kuceli and I played in KX Aminal and we never got to record those songs, we decided to absorb some of them into Station Model Violence. We combined some of those KX songs with the demos Buz wrote and wrote a couple of new songs together and played a couple of shows, and then recorded an LP with Mikey in Melbourne and Micky in Sydney at the start of 2025. The album was mixed over the course of the year as we had created this incredibly dense beast and much credit is due to the patience and persistence of Mikey Young." -- Station Model Violence

 

PRICE: $19.00

CAT #: SSR 175CD

FILE UNDER: JAZZ

Originally released in 2004 on the highly influential Atavistic label, Radiale is back, bringing together explosive energy, avant-jazz improvisation and experimental rock in a landmark collaboration. Featuring saxophone player Ken Vandermark, bassist Nate McBride and gifted Afro-American drummer Hamid Drake the record has a slightly more exploratory feel. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity. With amazing cover versions of classic Afro futurist anthems -- the Sun Ra medley "We Travel The Spaceways/Space is The Place," Art Ensemble Of Chicago "Theme De Yo-Yo" and Funkadelic "You And Your Folks, Me And My Folks" -- Radiale was widely appreciated in underground circles and helped cement Zu's reputation as one of the most innovative experimental bands in Europe. More than just a collection of tracks, it stands as a cohesive and immersive work aimed at listeners willing to engage with music that challenges traditional structures and expectations. Also available on black vinyl (SSR 175LP) and purple color vinyl (SSR 175LTD-LP).

 

PRICE: $12.00

CAT #: WIRE 511

FILE UNDER: MISC

"On the cover: Space Afrika. The Manchester?Berlin duo will release their new album Quiet Storm in September, drawing on ambient, triphop, techno and classical. Their second full length to appear on Dais Records following 2021's Honest Labour, it features contributions from Klein, Kelly Moran, and others. Story by Lucy Thraves. Inside: Lucy Liyou: Mr. Cobra, the latest album by the Korean-American composer, collagist and storyteller, combines autobiography, folk theatre, y2k pop and text-to-speech recordings. By Hugh Morris. Jad Atoui: The Lebanese sound artist and composer who has worked with the likes of John Zorn, Pauline Oliveros and Laurie Anderson has just released his new modular synth suite It Will Take Forever through Beirut's Ruptured label. By Daryl Worthington. Rump State: The noise adjacent Norwegian?American duo of Gaute Ganli and former Sightings guitarist Mark Morgan released their second album Psychic Sidekick via 12XU earlier this year. By Erick Bradshaw. Nuno Canavarro: The Portuguese electroacoustic composer whose 1988 album Plux Quba became a cult rarity before reissues on Molkai/Drag City brought it to wider attention will perform the world premiere of a new commission, Radiant Rift, at this year's Semibreve festival in Braga. By Robert Barry."

 

PRICE: $16.50

CAT #: TROST 249CD

FILE UNDER: JAZZ

The debut recording from the generation spanning duo of Japanese legend Otomo Yoshihide, toggling between guitar and turntables, and rising saxophonist Kei Matsumaru, a native of Papua New Guinea, who moved to Tokyo after studying jazz at the Berkelee College of Music in Boston, where he's become a close collaborator of Eiko Ishibashi in addition to leading his own genre-defying solo projects. Both musicians casually ignore lines between jazz, experimental music, and noise, fashioning a bracing set of improvisations marked by visceral timbres, quicksilver gestural exchanges, and charged interactivity. Recorded live at Shinjuku PIT INN, Tokyo, Japan, April 13, 2024. Mixed by Otomo Yhoshihide, mastered by Lasse Marhaug. Photos by Kaoru Ashiwa. Artwork by Lasse Marhaug.

 

PRICE: $16.50

CAT #: TROST 258CD

FILE UNDER: JAZZ

Trost Records presents Two Balls Are Enough, the debut album from the duo of Finnish accordionist Kimmo Pohjonen and Swedish reedist Mats Gustafsson. Both musicians have routinely blown past the rules of the traditions from which first emerged -- folk and free jazz, respectively -- to explore constantly expanding worlds. It was only a matter of time before these iconoclasts collided to create something wonderfully raw and unexpected. Recorded Feb 24-25th, 2026 by Martin Siewert, Vienna. Mixed May 18-19th, 2026 by Martin Siewert, Pohjonen and Gustafsson. Mastered June 2nd, 2026 by Martin Siewert. Photos by Olof Madsen and Ziga Koritnik.

 

PRICE: $16.50

CAT #: TROST 267CD

FILE UNDER: JAZZ

Chinese multi-instrumental Lao Dan, a rising star of free jazz with a deep background in traditional music from his homeland, debuts a blistering new quartet recording featuring three of the most important figures from the Chicago scene -- percussionist Michael Zerang, bassist Joshua Abrams, and pianist Mabel Kwan. Over the last decade or so the Chinese multi-instrumentalist Lao Dan has emerged as one of the most hard-driven, skilled, and versatile figures of the improvised music community. While his earliest work found him exploring new, improvisational terrain with the dizi, a traditional Chinese bamboo flute used in many regional musical approaches, his lyric delicacy on that device has been countered by his ferocious energy and searing tone on the tenor saxophone. He first surfaced on the global scene in 2019 with Live at Willimantic Records, a fiery live date recorded a year earlier in Connecticut with stalwart Western Massachusetts free jazz figures Randall Colbourne and Paul Flaherty, along with double bassist Damon Smith. Dan's restless spirit has led him to travel the planet, building new connections, collaborating with many different musicians. Dan's dual interest in folkloric traditions and free jazz led to an interest in the duo work of Chicago percussionists Michael Zerang and Hamid Drake, whom he first heard on recordings as members of the Peter Brötzmann Chicago Tentet. In the spring of 2024 he arranged for a trip to play in Chicago, and while Drake wasn't in town, he performed with a variety of local figures, including a sterling quartet with Zerang, double bassist Joshua Abrams -- leader of Natural Information Society -- and pianist Mabel Kwan, a rising star whose improvisational brilliance has complemented her deep roots in contemporary music. Trost Records is proud to present Lao Dan's Klotski, a searing recording of that live quartet performance at Elastic Arts where the opening tenor cries on "Green Tongue" can't help but evoke the spirit of Peter Brötzmann's galvanic opening blasts, but the music that follows belongs to this agile quartet alone. While Dan's fire-breathing extremes lead the way through a rumbling, shape-shifting thicket on the opening piece, his crystalline tone, peerless technique and melodic gifts on flute distinguish the rollicking "Wandering Donkey." Throughout the set the music toggles between such polarities, fed by the versatility of the quartet members who reveal an almost instant rapport and keen listening abilities, particularly the nubby sonic fabrics woven behind Dan's blowing by Abrams and Kwan.

 

PRICE: $31.50

CAT #: TROST 267LP

FILE UNDER: JAZZ

LP version. Chinese multi-instrumental Lao Dan, a rising star of free jazz with a deep background in traditional music from his homeland, debuts a blistering new quartet recording featuring three of the most important figures from the Chicago scene -- percussionist Michael Zerang, bassist Joshua Abrams, and pianist Mabel Kwan. Over the last decade or so the Chinese multi-instrumentalist Lao Dan has emerged as one of the most hard-driven, skilled, and versatile figures of the improvised music community. While his earliest work found him exploring new, improvisational terrain with the dizi, a traditional Chinese bamboo flute used in many regional musical approaches, his lyric delicacy on that device has been countered by his ferocious energy and searing tone on the tenor saxophone. He first surfaced on the global scene in 2019 with Live at Willimantic Records, a fiery live date recorded a year earlier in Connecticut with stalwart Western Massachusetts free jazz figures Randall Colbourne and Paul Flaherty, along with double bassist Damon Smith. Dan's restless spirit has led him to travel the planet, building new connections, collaborating with many different musicians. Dan's dual interest in folkloric traditions and free jazz led to an interest in the duo work of Chicago percussionists Michael Zerang and Hamid Drake, whom he first heard on recordings as members of the Peter Brötzmann Chicago Tentet. In the spring of 2024 he arranged for a trip to play in Chicago, and while Drake wasn't in town, he performed with a variety of local figures, including a sterling quartet with Zerang, double bassist Joshua Abrams -- leader of Natural Information Society -- and pianist Mabel Kwan, a rising star whose improvisational brilliance has complemented her deep roots in contemporary music. Trost Records is proud to present Lao Dan's Klotski, a searing recording of that live quartet performance at Elastic Arts where the opening tenor cries on "Green Tongue" can't help but evoke the spirit of Peter Brötzmann's galvanic opening blasts, but the music that follows belongs to this agile quartet alone. While Dan's fire-breathing extremes lead the way through a rumbling, shape-shifting thicket on the opening piece, his crystalline tone, peerless technique and melodic gifts on flute distinguish the rollicking "Wandering Donkey." Throughout the set the music toggles between such polarities, fed by the versatility of the quartet members who reveal an almost instant rapport and keen listening abilities, particularly the nubby sonic fabrics woven behind Dan's blowing by Abrams and Kwan.

 

PRICE: $31.50

CAT #: DPROM 169LP

FILE UNDER: ROCK

At last Nurse With Wound's classic masterpiece Rock 'n' Roll Station gets it's timely and well-deserved VIP treatment. A much loved and firm favorite with fans and critics alike, this celebrated seminal work is here represented by four tracks, each unique with extended reworking and mixing. Featuring (alongside the usual suspects of Colin Potter, Matt Waldron, Andrew Liles, and Diarmuid MacDiarmada) French pioneer and trail blazer of the '70s, Jean Jacque Birge. Housed in stunning new full color artwork by acclaimed and award-winning artist and sleeve designer Babs Santini.

 

PRICE: $24.00

CAT #: WJMAG 019

FILE UNDER: JAZZ

We Jazz Magazine Issue 19 Summer 2026: Milestones for Miles Davis. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. Miles Davis by Alex Coles, Phil Freeman, Tony Higgins, Ashley Kahn, Tadayuki Naitoh & Anton Spice, Spiritual Jazz by Pierre Crépon & Francis Gooding, Kadi Vija by Wif Stenger, Jonah Parzen-Johnson by Giulio Pecci, Emma Rawicz by Rob Garratt, Courtney Pine by Gareth Allen, Discaholic column by Mats Gustafsson, album reviews, live reviews, and more.

 

PRICE: $31.00

CAT #: WWSLP 017LP

FILE UNDER: ELECTRONIC

2026 repress; LP version. Includes download card and original four-page insert with lyrics and line-up. Wewantsounds continues their Akiko Yano reissue program with the release of Japanese Girl, her landmark debut album from 1976. Backed by Little Feat with Lowell George and by top Japanese musicians (including Haruomi Hosono), Japanese Girl is one of the most important Japanese albums of the '70s, mixing pop, rock, and Japanese folk together with Little Feat's superb classic sound. After a marriage with musician/producer Makoto Yano and the birth of her son (Fuuta), Yano and her team resumed the recording of the album and decided to pitch Little Feat for a collaboration as she loved the group. Against all odds they said yes and Yano left Tokyo for Los Angeles in March 1976 to record a full side with them. The legend has it they found it so difficult to keep up with Yano's compositions they returned some of their fee. The session was nevertheless stunning and Lowell George even compared Yano to Stevie Wonder. The Little Feat blend of New Orleans groove matched Yano's melodies perfectly, as witnessed on "Funamachi-Uta Part ". Originally a traditional song from The Nebuta Festival in her hometown of Aomori, the Little Feat version is a formidable slow-funk workout not dissimilar to their classic, "Spanish Moon", serving Yano's beautiful vocals and sense of groove to perfection. The whole side is a match made in heaven, showcasing the classic Little Feat line up at their funkiest with Yano's unique Japanese twist. The Japanese side on the album gives a great snapshot of the Tokyo music scene of the '70s with many musicians gravitating around Haruomi Hosono and also several musicians from Japanese band, The Moonriders. Recorded at the legendary Onkyo Haus studio in Tokyo, the sessions mix singer-songwriter sensitivity and pop with traditional Japanese sounds and instruments like the shinobue transverse flute, the koto string instrument, or the Tsuzumi hand drum as played on "Hekoriputaa" by the legendary percussionist Kisaku Katada who was appointed Living National Treasure by the Japanese state in 1999; together they create a beautiful east-meets-west mix masterfully driven by Yano's creativity and unique talent. First international release. Remastered sound.

 

PRICE: $31.00

CAT #: WWSLP 020LP

FILE UNDER: ROCK

2026 repress. LP version. Includes original four-page insert full of session photos and credits. Wewantsounds present a reissue of Jaye P. Morgan's 1976 ultra-rare private press, featuring the cream of the LA jazz and funk scene -- and one of David Foster's first productions -- is reissued on vinyl and CD. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind & Fire's album I Am (1979) and went on to become one of the hottest producers on the scene. Featuring an extraordinary lineup of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts, and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. "This album is one of the first David ever produced and I know he was going all the way to the top" stated Jaye P. Morgan in an interview when asked about David Foster before adding: "I tried to make a soulful album and I loved David's work. We used the best musicians in the world." And they certainly did making this album one of the most expensive private presses in the world! This album was a bold move for the singer who had made her mark in the '50s and '60s as a singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit, but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer/arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white soul album with a breezy California feel. Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as "Seems So Long" and Earth, Wind & Fire's "Can't Hide Love" (Foster, Champlin, and Graydon would soon pen "After The Love Has Gone" which would become a mega hit for Earth Wind & Fire two years later), together with a handpicked selection of originals, the sound alternates between up-tempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind & Fire, Jaye P. Morgan is pure, undiluted funk music and an essential LA classic.

 

PRICE: $31.00

CAT #: WWSLP 026LP

FILE UNDER: ELECTRONIC

2026 repress. LP version. Wewantsounds present a reissue of Yukihiro Takahashi's debut solo album Saravah!, originally released in 1978. One of the key Japanese albums of the '70s, it was released at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of disco funk, synth pop, ambient, French exotica, and bossa nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It's the missing link between the city pop scene of the late '70s and the synth sound of YMO which was about to revolutionize the world. The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record Saravah! together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records. Saravah! starts off with a couple of French and Italian exotica classics ("Volare" and "C'est Si Bon") with delicious touches of synth while "Saravah!" is a nod to Pierre Barouh, a languid bossa nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with "La Rosa", a superb mid-tempo ambient funk featuring Shigeru Suzuki's fluid guitar. Next is an amazing exotica-synth version of the standard "Mood Indigo", announcing the midi revolution that was to come before things get funkier shortly after with Ryuichi Sakamoto's superb up-tempo disco instrumental "Elastic Dummy" featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of "Sunset" before switching back to disco funk with "Back Street Midnight Queen" which, like "Elastic Dummy", has become a dancefloor cult classic. Saravah! ends on a perfect note with the beautiful "Present" a perfectly crafted pop song which Takahashi wanted to do in a city pop mode, featuring a superb melody and high-class arrangements.. Newly remastered by renowned engineer Mitsuo Koike. Features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes (1977)); includes four-page insert and a new Introduction by Benjamin Barouh (of Saravah Records).