Silver-color double vinyl set. First time on vinyl with bonus previously unreleased, period correct live side. Housed in gatefold sleeve with black/metallic silver ink artwork. Riot Season has purged the Acid Mothers Temple archives once again, resurrecting another classic album: Electric Heavyland. Originally released in 2002 on CD only (via Alien 8 Recordings), Electric Heavyland is presented here for the first time on vinyl, remastered and with a whole bonus live side! Housed in a beautiful gatefold sleeve with heavy use of the original black and metallic silver ink artwork. Side D was recorded live at the second Acid Mothers Temple Festival on December 13th 2003 with Yamazaki Maso (Masonna) as a guest. Makoto says "we have played this song, 'Atomic Rotary Grinding God' live only once, and this is that recording." Produced, engineered and mixed by Kawabata Makoto. Live recorded by Takayama Manabu (original source is VHS video tape). Remastered by John McBain.

Corbett vs. Dempsey presents Horizon, featuring music by Joseph Shabason and Thom Gill as a score for artist David Hartt's film. This vinyl-only project is co-released with Hartt's new imprint, Actualité. It is the label's maiden voyage and exists in a strictly limited edition of 300 copies. Horizon features soundtrack music composed by Canadian multi-instrumentalist and composer Shabason and Toronto-based musician Gill, also featuring vibraphonist/marimbist Michael Davidson. It includes a breathtaking interpretation of the song "Quiet Life," written by David Sylvian and featured on Japan's 1979 record of the same name. Hartt drew the cover image, of a concrete panel used in the curtain wall of the Chateau Champlain, based on archival materials from the Fonds Roger D'Astous, housed at the Canadian Center for Architecture in Montréal. He commissioned the British comics artist Lando to make speculative drawings of a future city, specifically with Montréal as its starting point, featuring his nephews. In notes from the exhibition at the Musée d'art contemporain de Montréal, where the work was originally shown, curator François LeTourneux writes: "While steering clear of a strictly autobiographical approach, Horizon draws on his personal experience to examine the complex relationship between identity, design, architecture, and urban planning within a specific cultural context and temporal framework. The filmic component of the work explores the daily life of his sister Sue's family, a culturally mixed household like the one in which David and Sue themselves grew up, in Beaconsfield, a suburb of Montréal (of Caribbean descent, they were adopted by English-speaking, Jewish, and white parents). Hartt has described his youth and the socio-cultural context of the time as having been the source of a 'profound sense of alienation,' against which the modernist buildings of the downtown landscape offered a kind of imaginary refuge." Immaculately and painstakingly engineered, mastered, and plated, and pressed on 180-gram vinyl, Horizon plays at 45 rpm, giving the tracks room to breathe and the music space to shine. Impossible to adequately describe, it is as captivating as it is rigorously thought through. A cool, shimmering atmosphere suggesting a utopian soundscape that might be at home in the remade architecture of some near future.

Attachments featuring Jorg Schneider (LP, Feeding Tube/Cardinal Fuzz) is made up of two side-length tracks "Death Mask" and "Born in a Storm," meditative longform journeys exploring the themes of death and birth. German drummer Jorg Schneider has been a longtime friend and collaborator of Przemyslaw Drazek and Brent Fuscaldo (formerly of Mako Sica), having released records together under the name Havre de Grace on labels No Index and Somnimage. Recording on previous efforts took place closer to Jorg's home in Western Germany and for this time around Jorg traveled to Chicago to record with Drazek Fuscaldo at Electrical Audio. "Death Mask" is kinetic right out of the gate with propulsive drumming and a guitar looping sequence that provides the framework for the trumpet to tell a story. The real-time guitar riff is sampled and played back in different fractions to which Schneider reacts with scattered beats to the electronic blips and bleeps. After the high-energy free jazz simmers and the smoke clears a maraca rhythm emerges along with a bluesy guitar and vocals enter the picture. "Dream through forest, fly through many thorns that bleed" unravel as lyrics over a more subdued floor-bed after the chaos. The trumpet bookends the track with a final breath. "Born in a Storm" begins with a long gateway of floating ambience. A cyclical texture that is joined in the background with bells and percussion that decorates the space. A guitar enters with atmospheric notes adding to the color then a deep vocal mantra, multi-layered, takes over. Drums and a dubby bassline add to the bouquet of sound. Lastly, the trumpet carries with it an air of otherworldly bliss. Wildly different than the first track but altogether shows a spectrum of what this trio can explore together with improvisation. Recorded in Studio B with engineer Taylor Hales, who has worked on several records together over the years, and who has done a fantastic job with capturing the presence and vividness of the music. This album featured more "songs," which still had drawn-out passages of improvisation, but felt more structured. Attachments goes further in each direction of chaos and ambience.

Twin Lakes, Feeding Tube, and Cardinal Fuzz Records present the long-awaited fourth LP by the NY/CT duo Spiral Wave Nomads, a joint release between the three labels. Imagine being swallowed whole by a phosphorescent jellyfish the size of a city bus, drifting half-conscious across some cosmic tide pool while a guitar gnaws at your bones and a drum kit levitates just out of reach. That's The Weightless Sea, the new LP from Spiral Wave Nomads, a record that doesn't give a damn about your earthly anchors, your comfort zones, or the cloying stench of polite indie rock playlists. Spiral Wave Nomads are Eric Hardiman (guitarist, psychic detonator, veteran of Albany's colossal noise-tribe Burnt Hills, bassman of the lit-punk jammers Sky Furrows, and one half of the spectral duo Century Plants) and Michael Kiefer (drummer, rhythm exorcist, tempo-smasher of the free-rock duo Rivener and survivor of Myty Konkeror and its glorious progeny, the ecstatic psych-trio More Klementines). Together they don't so much "play songs" as they drag sound through wormholes, melt it down to plasma, and spray it back into your synapses like an unholy baptism of feedback and thunder. The Weightless Sea is exactly what it says: an ocean without gravity, where riffs flicker like dying stars and percussion ricochets like rusted satellites gone feral. It's heavy without being sludge, it's free without being chaos, it's the ecstatic howl of two lifers chasing something bigger than language. It's a transmission from a parallel dimension where Hendrix never died, Can never stopped, and Sun Ra actually did get picked up by aliens and returned with a rhythm section made out of asteroids. Play it and you'll either ascend to another plane or drive straight into a glowing portal where the air shimmers with an alien heat, and the colors bleed into one another like an oil slick on a distant sun. It's a slow burn, a simmering groove that feels like a forgotten ritual being performed in the heart of a dead star. The sea is weightless. The waves don't end. The Nomads have no map, no compass, no tethers.

2025 repress; double LP version. In the history of Afro-Colombian culture, Son Palenque is without a doubt an exceptional band, and its history has a place at the very heart of ancestral palenquera music as well as at the musical intersection between Africa and Colombia, which took place on Colombia's Caribbean coast in the '70s and '80s and which continues today through champeta, a musical genre and dance that also bears a strong African influence. The members of Son Palenque band grew up in rural communities fixed in time, with deep musical roots, duels between tambora players and a legendary musical profusion of traditional musicians that built the foundations of today's Afro-Colombian music. Later they all migrated to the city and bit by bit made a place for themselves. In 1980 they recorded their first single for the Fonobosa record label. Two years later they recorded an LP, again with Fonobosa, along with Estefanía Caicedo. Later on the band signed with the label Felito Records, in Barranquilla, which during the '80s produced some of the finest gems of psychedelic and Afro-roots music of the time. With Felito Records a new era began for the group. They recorded the LPs Ane Jue and African Erotic -- milestones in the history of Afro-Colombian music: for the first time they showed us traditional palenquera music, chalupa, bullerengue, lumlalú and other traditional rhythms mixed with modern arrangements of bass, guitar and saxophone. They then recorded three LPs for the CBS music label, and in the mid-'90s Son Palenque lost its recording contract, The group was resurrected in 1999 for a song with guitarist Sekou Diabate, legendary leader of the band Bebeya Jazz. Subsequently they recorded for the same label, under the production of Lucas Silva, the record Ma Kamajan Ri Musika Ri Palengue, released in 2012, which marked the folkloric group's resurrection. And so Son Palenque continues to play, 30 years after its foundation. This compilation of their music from the '70s and '80s makes clear their inimitable, groundbreaking legacy.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a Danish sommerhus, or summer house -- the tiny, tidy shacks that are a central feature of the national culture, where for generations, Danes have whiled away the warm months with their families. This sanctuary was the origin for Høyland and Urd's Duvet, a meditation on shelter, trust, and communication. They were motivated by the idea of nesting: finding ways of feeling safe and being at home while traveling, moving through seasons, enduring periods of change. Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out acclaimed artists like Clarissa Connelly, Smerz, and Fine; over the past few years, the two musicians have developed a collaborative method based on connection and trust. A practice, they write, "where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment." Sonically, Duvet feels like an extension of Høyland's last album, 2023's Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark's national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance. "We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us," Ingri adds. "He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound." Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques -- electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments. Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds -- breathing, rustling, perhaps the coppery gleam of Urd's electric bass -- into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

4LP version. After Leeds alt-rock band The Lost Pandas disintegrated around them in the early 1980s, singer/guitarist David Gedge and bassist Keith Gregory decided to form a new group. In 1985, beguiled by pop radio, punk brashness, The Velvet Underground and David's erstwhile schoolmates, The Chameleons -- they launched The Wedding Present. That band was -- and remains -- uncompromising and unwaveringly authentic in every way and, as a result, Gedge, without intention, has become a legendary figure in alternative music. He has become one of the chief architects and originators of modern guitar rock and the mastermind behind one of the richest, catchiest and most consistently enthralling catalogues in pop history. Four decades on, and with 13 studio albums, 20 compilation albums and a whole host of singles, EPs, live albums and radio sessions The Wedding Present 40 is a commemorative reflection of this complex and fascinating catalogue. Available as four vinyl and four CD box sets, this is not your usual collection of "most popular" songs, but rather a chronological, aural journey of album tracks, singles and B-sides. The stunning artwork has been put together by Jonathan Hitchen -- who designed many of the band's original record covers -- and there are extensive sleeve notes by David Gedge himself along with esteemed music writer Mark Beaumont. Gedge's commentary provides a unique insight into the workings of the band and an absorbing track- by-track guide to the compilation.

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources. As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al. The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of centerpiece "By The Light Of The Moon" Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story. Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalizes on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue. Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Brian Auger, Julie Driscoll and The Trinity are today best known for their hit recording of Dylan's then-unreleased "This Wheel's On Fire" which is included here, together with covers of songs by the Staple Sisters, Nina Simone, Donovan, Mose Allison and David Ackles. Add in some band-written originals and you have twelve cool tracks mixing jazz, r'n'b, psyche and pop. All songs were specially recorded for the BBC, sound quality is excellent throughout. Comes with full sleevenotes.

Gaister (Olivia Salvadori, Akihide Monna, and Coby Sey) bring their self-titled LP out via AD 93. The record captures the embodiment of an encounter, one moment of the trio's ongoing relationship as artists who communicate with each other through sound, voice and music. After orbiting in the same circles at each other's shows around 2016 in London, Sey and Salvadori eventually crossed paths. In 2017 Sey joined Salvadori's artistic collective Tutto Questo Sentire on a residency in Capalbio, the southernmost part of Tuscany, Italy, and started working together. Down the line the pair ended up joining with Akihide Monna (of Bo Ningen), performing together in 2019 at Camden Art Centre on Cork Street in London. When the trio come together something new is created, brought out after laying dormant, like an Icelandic Geysir. The setting of this particular encounter amongst the trio is essential in the album's sonic palette, process and emotion. The album was recorded in Iceland at Greenhouse Studios, where the trio formalized a set of intuitions; how nature can provide a guideline in the choices of the instruments, their materials and related rhythms; reflections on the voice as a sculptural element, pure sound and words. A purity, spirit and essence, is pulled from the trio, in spite of their varying mother tongues (Italian, Japanese and English), musical genres, and identities to create something new. Olivia Salvadori's operatic vocals run free, flowing and moving in synergy with Monna's rhythmic drumming. Sey, who is arguably best known for rapping and producing, sings freely with Salvadori, their voices braided together like a waterfall. This flowing nature is reflected in the album itself, its timestamps and scores are marked by encounters rather than tracks themselves. This album can be considered as one constant piece and a journey of its own that is not foreclosed, in keeping with the band's ethos of constant conversation and collaboration. Gaister are able to synergize, hold and transform this varied emotional and primordial matter together through a deep shared trust and intuition.

Avenue 66 opens Series 33 with a Düsseldorf/Lyon connection. Jonquera first encountered Tolouse Low Trax a decade ago in a small Lyon club. The Düsseldorf artist's mechanical psychedelia, and the influence of the Salon collective have been a constant touchstone for Jonquera. After several LPs, Jonquera returns to the EP format with "Cause & Utility"/"Tales of Decay." Built from improvised drum, bass, and vocal recordings, the tracks are reworked through heavy looping and acoustic treatment, a method inspired by his recent live shows. The MPC sorcerer Tolouse Low Trax, aka Detlef Weinrich, brings his Düsseldorf circuitry and autobahn funk with two tracks of pure rhythm apparition. "Amp" is a quintessential Tolouse Low Trax cut, built on concealed rhythmic structures, swampy bass lines, and fragments of radio and voice samples. "Solid Rock" echoes this idea, first conceived as a variation on Amp where particles repeat themselves.

Mysterious disco outfit Jiri Jiri deliver an essential EP -- four tracks of sublime, summery European cool hand-picked by Batov Records boss DJ Kobayashi for the label's brand new and carefully curated Give Me Disco 12" series, named after Raja Zahr's disco classic. Springing from the ranks of global grooves ensemble Muito Kaballa and psychedelic travelers YĪN YĪN, Jiri Jiri have honed their musical chops and crafted four Neapolitan funk and pan-European disco jams as hot as the Adriatic coastline. The songs on Give Me Disco: Vol. 1 were born in Naples. Collaborators Jan Janzen and Niklas Mündemann enlisted the production expertise of Pellegrino S. Snichelotto -- founder of Early Sounds Recordings, former Nu Genea producer, and a key architect of the Neapolitan funk renaissance, to further refine their sound. The Neapolitan connection shines brightest on opener "Gino". Gentle, breeze-like percussion interlocks with a gorgeous guitar line and a buttery bassline, laying the foundation for a seductive Neapolitan-style vocal. Flute and synth flourishes are the icing on the cake. Things crank up a notch on "Senza Benza". This uptempo, largely instrumental track fuses Afro disco rhythms with Azymuth-esque synths. The relentless groove hardly lets up, save for a brief, wordless vocal break. Elsewhere, "L'amour" does what it says on the tin, expanding the palette from Neapolitan funk to include Anglo-French vocals that both lament and celebrate love's ups and downs. Closer "Lummo Luvva" returns to instrumental territory with flair. The Give Me Disco: Vol. 1 EP marks the beginning of two exciting new ventures -- the emergence of Jiri Jiri, and inspired by their need for a home, the launch of Batov Records' Give Me Disco 12" series.

Eje Eje, the orbiting side project of Şatellites founder and multi-instrumentalist Itamar Kluger, shares Primordial Soup, his second album on Batov Records, stirring an even wider pot of influences from East to West that defies genre. Kluger launched his solo project, Eje Eje, with the 2023 Five Seasons LP (BTR 073LP), playing the majority of instruments himself and refining his production chops. Kluger's blend of traditional Mediterranean and Middle Eastern music with psych, funk, dub, and beat production, culminated in strong support from BBC Radio 6 Music, BBC Radio 2, and Songlines. Much like its predecessor, Primordial Soup was largely self-recorded by Kluger, blending meticulous studio work, recalling DJ Shadow or early Four Tet, with raw, expressive performances -- mainly himself on strings, bass guitar, percussion, and keys, including a new recently acquired microtonal keyboard -- perfect for exploring Eastern musical scales, plus musical friends such as drummer Raz Man of Sababa 5, Şatellites, and Project Gemini fame. Taking its name from the scientific theory on the origins of life, Primordial Soup is as much about sonic experimentation as it is a metaphor for existence itself. For Kluger, the title represents both a philosophical question and a creative mission. Kluger began work on Primordial Soup in October 2023, though many ideas had been gestating long before. The process was shaped by both creative compulsion and emotional necessity. Album opener, "Oyun Çorbası" is a playful fusion of Turkish folk and indie rock textures. Its title is a wordplay on "Oyun Havaları" (traditional dance tunes) and "çorba" (soup), reflecting the track's mix of influences. A tight, marshy groove from drummer Raz Man drives the rhythm, while a phased baglama riff leads, layered with swirling keys into a hazy, cymbal-driven bridge. "The Bride" is a collaboration between Eje Eje and rising flautist, percussionist and multi-instrumentalist Elad Kimhi. Inspired by Lebanese weddings, the track blends tradition with dancefloor energy. Known for his work with Firqat El Nur Orchestra, Sharif, among others, Kimhi brings a deep understanding of Mediterranean music, from Andalusian to Moroccan and Turkish. From brooding cinematic rides to joyous wedding bangers, Primordial Soup explores what it means to be alive, connected, and creative in turbulent times and cements Eje Eje as one of the most exciting voices fusing Middle Eastern traditions with cutting-edge beat culture. For fans of: Sven Wunder, The Gaslamp Killer, Şatellites.

While working in Berlin Wedding at andereBaustelle studio on their upcoming album, Kreidler found also time to dig deep into the vaults of their Düsseldorf and Berlin archives. Thirty years ago, Kreidler's eponymous mini-album was released on Cologne-based label Finlayson; and RIVA, their first outing, on cassette tape, was released a year before that. Both released in limited physical formats and long unavailable. This edition documents the band's beginnings, with threads that can be followed throughout their whole history to their current work. Still, they are straight out of a certain scene, at a certain place, at a certain time. Kreidler -- formed from the encounter of the band Deux Baleines Blanches (Thomas Klein, Andreas Reihse, and Stefan Schneider) with DJ Sport (Detlef Weinrich) -- already in its initial years, and in those that followed, managed to hold seemingly contradictory strands, becoming a fluid form that could equally accommodate the various strengths and interests of its members. This ability has remained intact up to the present lineup of Thomas Klein, Alex Paulick, and Andreas Reihse. Oliver Tepel wrote of their mini-album in 1995 in Spex magazine: "On the basis of calm grooves from andante to moderato -- comparable to the dissolution of object and background in analytical cubism -- the contours of the instruments disappear in favor of mysteriously meandering waves of sound." In 1994, RIVA, the beginning: circuitous somehow, a spatial presence in the restraint, strangely physical in its beauty. Mounting with Das Wilde Heinefeld, with voice and bass clarinet by Fritz Sitterle. Produced for an unreleased Monarchie und Alltag cover version album, conceived by Joerg "Zappo" Zboralski as a follow-up to his Brücke Kaufen album The journey ends in a heated but once again taut textual space, familiar ground for Kreidler, after various gigs with spoken word artists. The photography incorporated on the front cover of this release depicts Kreidler in 1995 in the artists' club WP8.

Collection of dubs from the Black Ark Studios.

Flur is the meeting of Austrian-Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison. The trio met when studying separate music courses at Goldsmiths, University of London. Immersed in the explorative music scene surrounding the university, they have played in various formations over the past few years and collaborated with acclaimed artists (Ganavya, Floating Points, Gal Go, Shabaka), but it wasn't until now that they formed Flur. Shaped between Riverside Recording Studios and a South Bermondsey warehouse, Plunge captures the trio's first steps, moving between written passages and intuitive improvisation with equal clarity. Drawing on contemporary classical, free jazz, and ambient influences -- think Alice Coltrane, Ambrose Akinmusire, Kaija Saariaho, Azimuth, and Angel Bat Dawid -- the trio's instrumentation creates a sound that is both expansive and intimate. Plunge follows Latency's acclaimed releases with Nidia & Valentina, Emahoy Tsege-Mariam Gebru, goat (jp), Tarta Relena, and Moritz Von Oswald, expanding the label's commitment to boundary-pushing music. The album features cover artwork by Julie Mehretu, the renowned New York-based, Ethiopian-American artist whose layered, abstract cartographies explore the entanglements of history, place, and collective memory.

2025 restock; reissue, originally released in 1971. Can you pick up a better iconic band than Japan's Flower Travellin' Band? Have a look at Julian Cope's Japrocksampler cover with the band bare naked wildly ridin' on their wheels. Is any description more appropriate? A sense of freedom has always enhanced their music, a heavy rock manifesto clearly informed by British stalwarts. Their second album Satori was released on Atlantic Japan in 1971 and still is a masterpiece on its own. The band was made up of Joe Yamanaka (vocals) -- possibly an Eastern version of Rob Tyner of MC5 -- Hideki Ishima (guitars), Jun Kobayashi (bass), and George Wada (drums). By the end of 1970, they had relocated to Toronto, Canada and lived there until March of 1972. In April 1973, the band split up, but they reunited in January 2008 with all original members joined by Nobuhiko.

2024 reprint. Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke. Engineered by Conny Plank, it was recorded in March 1971 and released in June 1971 on Ohr Records. Much has been written about the record and band. Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old, Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and compose what, to many, became one the holy grails of psychedelic rock and early electronic music -- the German variant which was later also named "Krautrock." Manuel Göttsching said of the album: "Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result? On our album, the track 'Amboss' represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album -- 'Traummaschine' -- the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin -- and the music can be absorbed and processed free from the limitations of categorization."

"There are many legends in the southern rap scene: Three 6 Mafia and Hypnotize Minds affiliates from Memphis, Geto Boys, and Rap-A-Lot from Houston, Texas; Gucci Mane, Outkast, and T.I. from Atlanta; and one of the unsung rap legends of Mobile, Alabama, is Donald Maurice Pears, II, better known as The Last Mr. Bigg. Donald was given the nickname Bigg and began DJing and rapping in the late 1980s while spending time in the streets and in and out of jail. His career took a detour when he was arrested after crashing his car and violating his probation, which led to a three-year sentence. Eightball and MJG released their debut album in 1993, featuring a track in which Eightball called himself Mr. Big. After being released from prison and inspired by the rise of southern Hip-Hop, Donald changed his rap moniker to The Last Mr. Bigg and got in the studio. Shortly after he started recording, he had another encounter with the law and was about to appear in court. He penned the single 'Trial Time' about his court case, which would appear on his debut album, Only If U Knew, released on Warlock Records in 2000, putting Mobile, Alabama, on the map. In 2004, Bigg was shot in the eye during a botched robbery and survived the attack. He had his eye replaced with a diamond-encrusted glass eye. The next year, with his distinct gruff voice, he provided the chorus to Three 6 Mafia's 'Poppin My Collar.' Bigg continued to record and tour, but would never release another album after his 2003 sophomore album, The Mask is Off. The Last Mr. Bigg sadly passed away in his sleep in 2015, but he left behind his southern rap legacy as the Rap Kingpin of Alabama. For the 25th Anniversary, and for the first time on vinyl, a limited edition pressing of Only If U Knew is now available. The album is pressed on white color-in-clear with red and yellow splatter colored vinyl, limited to 500 hand-numbered copies."

"The Notes & Tones: 2nd Vintage continues where the first album -- all based on Sun Ra samples -- left off: DJ Muggs' deep dive into Gene Perla's PM Records catalog of jazz's wide reach, produced in collaboration with Egon of Now-Again Records, who manages Perla's catalog and readied this album for release. Notes & Tones - the Wine: Produced by Chris Brockway of Broc Cellars in Berkeley from grapes picked in Broc's organically farmed Fox Hill Vineyard in Mendocino. The wine is a blend of three grape varieties: 50% Ribolla Galla, 45% Tocai Friulano and 5% Trebbiano. All grapes naturally fermented on its native yeasts and skins in sandstone jarres, then gently pressed to age back into jarres for twelve months. After that year in jarres it was racked to neutral oak barrique where it lived for six months to develop further. The wine was hand bottled by Muggs, Egon and Chris at the start of 2024 and aged for another year in bottle. 540 bottles made."

LP version. What the fuck?? What the fucking fuck?? It's the only realistic response to these dark, divisive and dangerous times. How do you react? How do you feel? How do you soundtrack? Immersion is the project of post punk musical architects Colin Newman (Wire) and Malka Spigel (Minimal Compact) and Matt Schulz (Holy Fuck, Savak & Lake Ruth). Since the pandemic, Immersion has been mainly working on their Nanocluster collaborations, but they have now re-engaged with the core project after a UK and USA tour gave them a shot of musical urgency and lyrical immediacy. If the Nanocluster project is about collaboration, then Immersion in 2025 is a response to where humanity finds itself in the second decade of the 21st century. It reacts to not only that relentless rhetoric of these times but also how listeners as humans should respond. Music is the message, the medium, the massage and the moment. This song collection manages to combine the unease with hope, minimally hypnotic songwriting with taut melodies and inventiveness with groove. The words are so direct they need no explanation. Anyone could join in with the chanting!

Simon Pomery is a queer Irish composer living in Fish Island. On Skin String Sine, Pomery found his "figures," a term he uses to describe the blend of musical hook with muscle memory. Skin String Sine originates in the happiness of Pomery listening and being with his people at clubs, at turf sheds, at the beaches, at the outer reaches. It was written and recorded at Blood Music Studios, and finished up at EMS, Stockholm, where Pomery was Halldorophone-Composer-in-Residence. Pomery funded that residency with the last paycheck from an educational company that fired him for speaking out against students who were racist, homophobic and sexist. One significant change in Pomery's musical direction is that, with Skin String Sine, the project is dedicated to sound as it is appearing for the first time, and, within this, is designed to cultivate a state of wonder in player and listener. "A String Stretched Between Stars and We Pluck It" was written for strings and voices in 2022, so that each iteration might have different instrumentation. When he played "A String Stretched?" at Cafe Oto, there were eleven figures played. After playing one iteration of "A String Stretched?" at KET, Athens, audience members approached Pomery while touching their chests and speaking about the effects of the sounds on their hearts. This performance marked Pomery's shift from Blood Music to "heart music," exploring the effects of harmonics on the listener. The name "A String Stretched Between Stars and We Pluck It" has origins in a poem Pomery wrote called "To an Innocent Prisoner," written during the UK/USA aggressions against Middle Eastern peoples in the years 2003-2010. The OG "A String Stretched?" was titled "RAVE BANGER." It still is that, in a sense: in the sense of suspended melodic sequences made to induce ecstasy. Side A is as much techno, only techno where the pianos are the drums, as much as 88 tuned drums are what could be classified as a piano. Indeed, Pomery made "A String Stretched Between Stars and We Pluck It" specifically to be played on club sound systems.

"Pete Rock returns with another installment of his instrumental series, banging out boom bap beats. A renowned producer lauded for his innovative production and impeccable ear, Pete Rock is widely recognized as one of the greatest and most influential hip hop producers of all time. A pioneer of fusing jazz, funk and soul into hip-hop, many sight him as laying down the blueprint for soulful production in hip-hop. He revolutionized rap production through groundbreaking studio wizardry, made remixes matter more than the original songs, established ad-libs as a standard recording asset -- the list goes on. Having worked with huge names including Run-D.M.C, Public Enemy, J Dilla and Busta Rhymes (just to name a few), Pete Rock's work as a producer has translated into over 25 million albums sold worldwide. With such huge influence as a producer, Pete's solo material serves to only further enhance his reputation as an artist and a producer. PeteStrumentals 4 adds to that legacy."

"The Testament is a studio album by Queensbridge rapper Cormega. It was originally recorded as Cormega's debut album in the mid-1990s, and scheduled for release on Def Jam Recordings, but was eventually shelved. After many years, Cormega was finally able to obtain the masters to the album, and released it on his own Legal Hustle imprint in 2005. This reissue marks the first time it has been in print on vinyl in 20 years, and features appearances by Mobb Deep and Hussein Fatal, plus production from Havoc, Sha Money XL, Nashiem Myrick, RNS and more."

2025 restock. Wewantsounds present the first ever reissue Jack Wilkins's highly sought-after Mainstream Records album Windows, originally released in 1973. Produced by Bob Shad, the album, which is on many want-lists, is especially cult for his rendition of Freddie Hubbard's classic "Red Clay", notably sampled by A Tribe Called Quest (on "Sucka Nigga") and Chance The Rapper. Recorded in 1973 at New York's Record Plant, this superb session sees guitarist Jack Wilkins in a trio setting accompanied by Mike Moore on bass and young seasoned west coast drummer Bill Goodwin (Gabor Szabo, Gary Burton, Paul Horn, Tom Waits). Together, the trio plays mix of classics including John Coltrane's "Naima", Wayne Shorter's "Pinocchio", and Chick Corea's "Windows", showcasing their instant rapport. Jack Wilkins is an underrated guitarist; he's accompanied such stars as Stanley Turrentine, Ray Charles, Sarah Vaughan, and Sammy Davis Jr. but he has remained more of a musician's musician. Windows has reached cult status for the fact that its slow funk version of Freddie Hubbard's "Red Clay" has been sampled by A Tribe Called Quest for "Sucka Nigga" from their masterpiece Midnight Marauders (1993). ATCQ's jazz samples have always garnered a huge amount of attention from DJs and hip-hop fans and this one has had an instant effect on Windows's popularity, making it one of the most sought-after albums released on Mainstream. Chance the Rapper has also sampled "Red Clay", in the song "Nana" which featured on his second mixtape, Acid Rap (2013). This reissue is thus a great opportunity to (re)discover a great guitarist. Comes in gatefold sleeve featuring never-seen session photos and new liner notes by leading UK journalist, Kevin Le Gendre (Jazzwise, Echoes, BBC's Jazz Line Up).

2025 restock; Wewantsounds present a first-time vinyl reissue Fairuz's classic album Kifak Inta produced by her son Ziad Rahbani in the late '80s and only released on cassette and CD in 1991. Composed and arranged by Rahbani, who had already produced Wahdon (1979) and Maarifti Feek (1987), Kifak Inta features his usual blend of jazz, funk, and Arabic music, spiced up with Brazilian influences serving Fairuz's beautiful voice. Fairuz is a living legend and one of the greatest divas of the Arab world. She came to prominence in the '50s crossing path with the Rahbani Brothers (Assi and Mansour) an encounter that turned into a fruitful collaboration that would last until the '70s, spawning countless classics in the process. Fairuz's marriage with Assi produced a son, Ziad, who would start a brilliant career as a cutting-edge playwright, musician, and producer in the early '70s. When Assi Rahbani became ill in the mid-70s and the couple separated, Ziad took over as Fairuz's musical director and started to add elements of jazz, funk, and bossa nova to her music. The collaboration started in 1979 with Wahdon which included the funky cult classic "Al Bosta". They worked together again in 1983-84 on the album Maarifti Feek which was released in 1987 and continued their collaboration with Kifak Inta a few years later. The album was released on the Lebanese label Relax-in in 1991 on cassette and CD only, but, although there are no recording dates listed, the track "Ouverture 87" indicates it was recorded around that year. The album follows the same pattern as previous Ziad Rahbani productions for his mother and mixes traditional Arabic music ("Farewell Song", "It's Not a Problem"), jazz-funk ("Ya Leili Leili Leili"), and bossa nova ("Indi Thika Fik"), all featuring Ziad's superb orchestrations and slick arrangements. The jewel in the crown is the album's title track, "Kifak Inta" (And You, How Are You?), a ballad written and composed by Ziad Rahbani. The song is sung by a woman opening her heart to her childhood sweetheart, now married to another woman, and confessing she still loves him. The subject was controversial and created quite a stir when the song came out in the still conservative Lebanese society of the time. The track "Prova" which closes side one is a fascinating studio rehearsal of "Kifak Inta" featuring both Ziad and Fairuz. Remastered audio by Colorsound Studio in Paris. Includes new liner notes (French/English) by Mario Choueiry (Institut Du Monde Arabe).

"The Heptones are undoubtedly one of the most accomplished, significant and influential Jamaican vocal harmony trios. Amongst genuine lovers of Jamaican music their standing is beyond compare but, outside of the confines of reggae music, it is still nowhere near as assured. 1985's Swing Low reissued on red vinyl."

2025 restock; LP version. "Originally released in 1974 on Shandar, Dream House 78'17" is the second full-length album by La Monte Young and Marian Zazeela. This first-time US edition reproduces the original gatefold sleeve with beautiful calligraphy by Zazeela and liner notes by Young and French musicologist Daniel Caux. Side one was recorded at a private concert (on the date and time indicated by the title) and features Young and Zazeela's voices against a sine wave drone with Jon Hassell on trumpet and Garrett List on trombone. This work is a section of the longer composition Map of 49's 'Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery' (begun in 1966 as a sub-section of The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). The piece evolves with the oscillator changing pitch and dictating an ornate pattern over the course of the performance. Side two is an example of one of the sets of frequencies sustained in the Dream House, the composite sound environments conceived by Young and Zazeela. The composer suggests listening while seated -- to experience how the sound interacts with the room and other perceptions of its arrangement -- as well as while walking. As Young states, 'The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer, but at very loud levels, one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time.'"

Deluxe laminated sleeve and high-quality vinyl made in France. Includes: A3 poster, 2x 12'' inserts, 1x 4-panels flyer. Limited edition of 700. Akuphone and The Cambodian Vintage Music Archive present the first-ever retrospective dedicated to So Savoeun -- one of the radiant voices that defined Phnom Penh's golden age of sound in the 1960s and 1970s. In those vibrant years, the city pulsed with music: rock bands, crooners, and traditional ensembles blended East and West, shaping a uniquely Cambodian pop that shimmered with hope and modernity. Amid this flourishing scene, So Savoeun's voice stood out -- silken yet powerful, intimate yet expansive, carrying with it the promise of a new era. This collection brings together rare and long-unheard recordings, including luminous duets with legendary contemporaries Meas Saman, Lek Savath, and Sinn Sisamouth. Each track is more than just a song -- it is a fragment of memory, a preserved echo of nights when Phnom Penh's dance halls and radios overflowed with rhythm and possibility. In her own words, hearing these songs resurface is like opening a long-buried chest of jewels, hidden beneath the dust of history and now gleaming again after half a century. Her voice, once thought lost to time, reemerges like the cicada whose chant reverberates endlessly through the forest -- an eternal call that bridges silence and remembrance. Her music is more than nostalgia; it is testament and rebirth. It continues to resonate, not only with those who lived through that golden era, but with new generations discovering its beauty for the first time. Through this release, the past breathes again -- tender, luminous, and unforgettably alive.

Double LP version. Wewantsounds reissues French pop icon Brigitte Fontaine's landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. This special, approved by the artist, features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of "Il Pleut" recorded for France Inter/ORTF. The release also includes a 20-page bilingual booklet with introductions by journalist Jeremy Allen and Stereolab's Laetitia Sadier, essays by Brigitte Fontaine's biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos. Brigitte Fontaine needs no introduction. An inspiring figure in French music since the 1960s, she has long been revered by a wide array of musicians -- from Stereolab to Sonic Youth, Beck, and Jarvis Cocker. Originally released in 1968 on Pierre Barouh's cult Saravah label, Brigitte Fontaine Est Folle shattered conventions. Fusing Fontaine's lyrical brilliance -- tackling themes like death, social revolt, and female desire -- with Vannier's lush, funky arrangements, the pair created a work that was ahead of its time. The release offers a selection of rare and previously unreleased recordings, including demos -- recently unearthed by the album's composer, Olivier Bloch-Lainé -- instrumentals showcasing Vannier's skills, and a groundbreaking 1969 live rendition of "Il Pleut" recorded for France Inter/ORTF. This version features Malachi Favors on bass, forming a direct link to her next LP, Comme à la Radio, recorded with the Art Ensemble of Chicago. Rebellious, witty and timeless, Brigitte Fontaine Est Folle is a landmark work by an artist who not only redefined French pop but also expanded its boundaries on the international scene. This deluxe edition stands as a vital document of her enduring legacy and one of the most original voices in modern music.

This ultimate 6LP boxset presents the works of Pascal Comelade from 1984 to 2024 and his 40 years producing instrumental music. Each vinyl has been thought as an album in itself, with its own identity, that could be listened as it is. According to the artist, Improperies: compositions et enregistrements magnétiques (1984-2024) is a music puzzle which doesn't obey to any rule with the exception of Pascal Comelade's creation and art thoughts that kept moving over the years. Limited numbered to 500 copies; 6LP Black Vinyl in spineless sleeve, heawyweight cardboard slipcase/custom numbered at the back, includes an insert-photo signed by the artist. The boxset artwork is an original creation by Miquel Barceló.

Released exclusively in Germany in March 1966, Black Monk Time by The Monks has become a cult classic -- praised as a groundbreaking forerunner to punk and krautrock. From the explosive opener "Monk Time" to the fierce "Complication," Black Monk Time rejected flower power for something more urgent -- anger, humor, and innovation developing a confrontational, rhythm heavy sound. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men -- Walther Niemann and Karl Remy -- who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history -- loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, Black Monk Time still resonates. This is your chance to experience the album that dared to be different -- don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.

180g vinyl LP. Includes a 24-page risograph printed publication and a print with works by Tokyo-based photographer Daisuke Tomizawa. Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with Nozomi, the follow-up to their 2022 debut MMMMH (SQM 018CD). The Japanese title, which translates to "hope," felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope. The music on Nozomi unfolds gently, with Lindermayr's airy tone and lyrical playing being wrapped in Ohta's chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto's "Hibari," the arrangements are largely improvised, letting the duo's intuition guide the course and build the form. Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.

Italian producer, musician, DJ, and groove architect Sam Ruffillo presents his long-awaited debut album Tipo Così on Toy Tonics -- a sun-drenched, genre-blurring statement that blends classic house with Mediterranean flair, romantic funk, and tongue-in-cheek Italo vibes. Over 11 expertly crafted tracks, Ruffillo delivers a dancefloor-ready, emotionally rich LP that connects deep musicality with irresistible rhythm and light-hearted elegance. After three acclaimed EPs and collaborations with revered artists such as Barbara Boeing, Kapote, and Fimiani, Ruffillo has firmly cemented himself as a core artist on the Berlin-based label. Known for his unmistakable signature sound -- a warm mix of vintage disco, '90s house, and Italian vocals -- Sam's music has garnered widespread DJ support from tastemakers like Gerd Janson, Palms Trax, Seth Troxler, and DJ Tennis, while becoming a staple on Italian airwaves. Tipo Così is the natural culmination of a musical journey that's both playful and profound -- a travel diary written in grooves, synth stabs, and melodies that feel like postcards from a parallel Mediterranean universe. The album expands and deepens Ruffillo's world into a fully immersive experience: lush emotional chords meet tight syncopated grooves, vintage synth textures collide with irresistibly catchy pop refrains, and the boundary between sincerity and playful irony is exquisitely blurred. Entirely written, produced, and recorded in Italy, in his beloved hometown of Bologna, the album finds Ruffillo at the helm on keys, drum machines, and production, supported by a talented cast of musicians contributing live bass, guitar, and other organic elements -- further enriching his trademark fusion of electronic grooves and natural instrumentation. Collaborations with close friends, especially vocalists like Ninfa, add warmth and authenticity, exemplified in tracks like "House Tipo Così." For Sam, music is honest self-expression -- crafted for listeners who crave memorable melodies and rhythms imbued with genuine feeling. While technical perfection is tempting, Sam prioritizes emotion, knowing that what truly resonates is the soul behind the sounds. His long-standing partnership with Toy Tonics has been key in nurturing his vision, offering a blend of creative freedom and professional support.

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