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.

Astonishing debut LP by Jerry A's (Poison Idea) new band with members of HHH, Rouse, 25th Coming Fire, Disaster Jacks, and Ira et Decessus, an instant hardcore-punk classic. The first, brutal LP by supergroup Black Bacon, Every Action Has Reaction, is a kick ass and punishing barrage of pure punk. They produce eight murderous tracks of frantic hardcore punk sure to satisfy anybody even slightly interested in furious music. Includes fold out insert.

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.

Punk was one of the first photobooks that came out about the punk movement not just in Spain but in Europe. Originally published in late 1977, the book achieved a significant international projection, acquiring a pseudo-mythical status as it disappeared from the catalogue. Almost half a century later the book is now available again. This updated edition includes unpublished photos from Salvador Costa's own archives, preserved by his wife and children after his passing on 30 October 2008, and also short texts and comments by members of Gen X, Eater, The Models, and more. Salvador Costa's black and white photos show his awareness that monochrome is the best way to portray individual punk spirit as well as the atmosphere of beer, music, and sex at the clubs in London, April '77. This book contains an insider vision depicting the city of London and the inclusive ambience at these venues; shot close-up and with a naturalness that shows there were no barriers between players and crowds. Scattered among the public, kids, smoke, and shadows, you will be able to find faces of the Sex Pistols, Chelsea, the Nips, the Slits, Eater, and many more, encapsulated in the space-time of a golden age of youth empowerment where everything was possible and nothing was impossible. The book was originally published in Spain in late 1977 by Star Magazine. It was one of the first books that came out about the punk movement in Europe. His images resembled those of a war correspondent, he was like a photojournalist in the improvised trenches of the early days of the London punk assault. Faces, attitudes and looks that tell as much about the time they lived in as any song or book. Punk achieved a significant international projection, selling out continuously at central London stockists as prestigious as the Photographers Gallery and the avant-garde bookstore Compendium Books. In Spain, it would also sell out, acquiring a pseudo-mythical status as it disappeared from the catalogue.

LP version. "At daybreak, as sunlight travels through the atmosphere and begins to reach Earth's surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises -- especially after clear, calm nights -- relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up. Daybreak is Sven Wunder's fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder's now distinctive artistry, Daybreak is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings -- supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path."

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.

This curated collection comprises hard-to-find salsa 45s from the Discos Fuentes vaults -- deep cuts that have long flown under the radar but still light up dance floors today. This compilation also includes a range of studio experiments and covers -- where artists like Piper Pimienta, Galileo y Su Banda, and La Integración reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens. During the golden age of vinyl -- from the 1960s through the 1980s -- Colombia produced an astonishing number of 45 rpm records -- many of them not tied to full albums, that continue to surprise collectors and music lovers today. This abundance can be attributed to many factors: affordability, jukebox demand, radio promotion, or simply the joy of sharing a small musical token with a loved one. Whatever the reason, these little records traveled far and wide, sometimes ending up in distant countries -- especially Mexico -- carried by DJs, collectors, or pirate radio waves. They became cultural passports, spreading salsa, cumbia, son montuno, and more. These tracks, once pressed in small numbers, feature top tier musicianship, fiery brass, unforgettable grooves, and lyrical gems that reflect the rich diversity of Colombia's musical landscape. Every track tells a story -- of artistic ambition, social change, regional identity, or simple joy. Some were attempts at hits, others personal expressions or studio curiosities. What they share is an authenticity that continues to resonate. These obscure gems, long scattered across dusty crates and forgotten jukeboxes, now find new life. They speak not just to the past, but to a timeless rhythm that still moves dancers and dreamers alike. Featuring Super Combo Los Famosos, Sexteto Manaure, La Protesta De Colombia, Sonora Guantanamera, Orquesta Salsa Panamericana, La Integración, Galileo Y Su Banda, The Latin Brothers, Piper Pimienta Y Su Orquesta, and Fruko Y Sus Tesos.

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.

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.

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.

Marina Mello presents Deságua, her debut solo album for experimental harp, via Buh Records. Mello blends classical harp training with experimental techniques, creating a rich sonic journey that pushes the boundaries of the instrument. Recorded in Switzerland and mastered in Madrid, Deságua is available as a very limited-edition vinyl. Based in Zurich, Mello has developed a unique and expressive approach to the harp, combining her classical training with a deep exploration of the instrument's sonic possibilities. Deságua is the result of this process: an intimate and expansive work that traverses sonic landscapes rich in contrast and texture. In the artist's own words, this album is a synthesis of material developed through her musical practice. The title refers to the Portuguese word that describes the moment a river flows into the sea. This concept guides the album's sonic narrative, in which each piece functions as a tributary flowing into an immersive and unexpected listening experience. From bittersweet whale-like sounds to destructive, unsettling, and shattering noise provocations, she explores, senses, and transcends the musical boundaries of her instrument. Recorded by Beat Keller at Lager Studio (Winterthur, Switzerland) and mastered by Alberto Cendra in Madrid, the album presents a wide range of sounds and styles, yet maintains a strong internal coherence through its technical and conceptual exploration of the harp. Mello performs on both lever and pedal harps, employing a range of non-traditional techniques: preparing the instrument with objects, using guitar effects pedals, detuning the strings, and using close mic recording to capture the subtlest sounds and the shifts that lie between them. The result is a collection of pieces that move between the melodic and the dissonant. Deságua does not shy away from repetition, noise, or raw textures. Instead, it embraces them fully, situating the album at the crossroads of contemporary music, improvisation, and electronic experimentation. The physical edition features graphic design by Chhandak Pradhan, photography by Philip Frowein, and a poetic text by Yana Eva Thönnes. The album was made possible with support from Cassinelli-Vogel-Stiftung, C. und A. Kupper-Stiftung, and Kulturförderung Stadt Zürich.

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."

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself -- led by one of the wildest frontmen around, Juanito Wau. After many years unavailable, Munster now reissues their second album ¡¡¡Viven!!! (2009) featuring new artwork by Mik Baro. It includes their classic originals "Copa, raya, paliza" and "Viva Link Wray!!!" as well as a bunch of wild cover versions of Los Mockers, The Lyrics, The Troyes, The Hatfields, Jonah & The Whales, and more. Yes, there's garage rock here, no doubt -- but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. The album was produced by Jorge Explosion (Dr. Explosion) and Mike Mariconda (Raunch Hands, Devil Dogs), and recorded at the celebrated Circo Perrotti Studios in Gijón.

Punk pioneer/Eater main-man, Andy Blade's seventh solo album and follow up to 2024's critically acclaimed and heavily rotated Being Alive Is Fun. Featuring Quick Romance's Matilda Scotland, Dinosaur Jr collaborator Tiffany Anders, Generation X guitarist Bob Derwood Andrews, Madness' brass section Smith & Elms, PseudoPomp's Katerina Sharkova, Myura Amara, and more. It is imbued with the usual left-of-center Blade-ism's and themes: star maps, UFO's and a slightly twisted nod to tragic '70s heroine Karen Carpenter. You get what you deserve with Blade, and with Tiny Specks you are rewarded with a rich code to decipher at your leisure. Most of all, however, it is all about the quality of his songwriting. Opening track "Karen Is The Drummer" (featuring Blade's regular singing collaborator -- PseudoPomp's Katerina Sharkova) seems unsettlingly self-explanatory, but all does not seem well in the Carpenter M.O.R world. Occasional Dinosaur Jr vocalist Tiffany Anders gives "I'm Not Myself" a poppy but eerie nuance. PollyPikPocketz's Myura Amara pops up on the short but very sweet "About That." Matilda Scotland, Quick Romance's uber-cool punky-chanteuse adds her Gen Z aura to the summery "I Like It When You're Happy." Former Generation X guitarist Bob 'Derwood' Andrews, with whom Blade has worked with consistently of late, once again features heavily on "Tiny Specks." Like with Katerina Sharkova's voice, Derwood guitar lines interweave with Blade's honeyed vocal as though they made for each other. "This Place" is another key track, capturing the claustrophobic-genocidal mood of the events in Gaza/Palestine.

"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).

"Featuring Johnny Thunders and Wayne Kramer. One of the most sincere and highly anticipated musical alliances created from everyone's favorite bands in the US in the late '70s. Gang War, the story of a super band that could have been but wasn't, whose leaders Johnny Thunders and Wayne Kramer were two sensitive and desperate souls, charismatic and talented, and who knew how to do nothing else but play the most genuine rock and roll on their guitars -- nothing less. Includes live recording by Max Kansas City and a bunch of demos that partially showed the project's potential."

"Recorded live at The Regent Theatre, Sydney, Australia, 17th and 18th March 1979. This album was originally released under Rodriguez authorization for just one year in Australia and New Zealand exclusively. It showcases Sisto's work at the height of his career in Australia -- and South Africa only. In an intimate and well-attended evening. Accompanied by Jake Salazar, José Guadiana, Steve Cooney, and Doug McDonald."