2026 repress. FREQ Records is the record label accompanying the manga FREQ, created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others. The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes. FREQ001, called Super Freq, is composed by none other than Machine Girl, known for their breakcore-inspired sonic adventures and highly energetic live shows.

Repressed! LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

"Taco" means "octopus," "kite," and even "bunion" in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as "Taco." It's a word that appears in a lot of slang and sayings. Taco is also the name of an '80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the '80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco's central member. Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco's first album was released in 1983 and had a huge impact on Japan's underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan's underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi's expressive lyrics. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco's second album, released in 1984, features a live recording of a performance that was held at the end of 1982. This is an album which effectively conveys the power of Taco's astounding and legendary live performances, as well as Harumi's inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.

Cluster -- Hans-Joachim Roedelius and Dieter Moebius -- occupy a central position in the evolution of European electronic music, moving from early experimental noise into more open, melodic forms without losing their exploratory edge. Released in 1976, Sowiesoso finds the duo working with a new sense of clarity and restraint, shaping gentle, cyclical pieces from a small set of tools and a deliberately reduced studio setup. The music unfolds with quiet precision, balancing repetition and variation while maintaining an understated rhythmic flow. Marking its 50th anniversary, the album is reissued as a limited LP edition on 180g vinyl, hand-numbered and restricted to 1000 copies. A defining work from Cluster's mid-1970s period, presented in a carefully produced anniversary format. Sowiesoso follows on from Cluster's most highly acclaimed album Zuckerzeit. Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Moebius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a fourtrack tape machine, two Revox A77 stereo tapedecks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of electronic and acoustic elements. This could only be Cluster music, its harmonies reaffirm the quality of song, in spite of eluding song structure as such.

2026 repress; LP version. Bureau B reissues Wolfgang Riechmann's Wunderbar, originally released in 1978 by Sky Records and an absolute gem of German electronic music. This album, however, is beautiful and tragic in equal measure, as Riechmann became the random victim of a knife attack just three weeks before the LP went on sale. Wolfgang Riechmann's career as a musician went all the way back to 1969, which was roughly when he met Michael Rother (Neu!, Harmonia) and Wolfgang Flühr (Kraftwerk), who would be his colleagues in the Spirits Of Sound Group. Later on (1973 to 1976) he played with Phönix, before going on to record two albums with Streetmark, who enjoyed great popularity at the time. From November 1977 onwards, he devoted his full attention to the Wunderbar LP. On his first and, regrettably, last recording as a solo artist, Riechmann went eclectic. Distant echoes of the so-called Berlin School (Tangerine Dream, Klaus Schulze, and the like) can be detected on Wunderbar, as well as the clear influence of the so-called Düsseldorf School (Neu!, Kraftwerk, La Düsseldorf) -- not that Riechmann was attempting to copy their styles in any way. While contemporary influences need not be denied, Wunderbar hints at the direction he would take in terms of sound and composition, reflecting a powerful, independent musician's personality, one which would have caused quite a stir, had it been given the chance to unfold. This optimistic music is characterized by simple sequencers and drum patterns, with Riechmann adding his own individual layers of harmony. And then there are the melodies: simple, sometimes to the point of being simplistic, but never naive. Wunderbar is modern, electronic pop, perfectly and permanently frozen in time. Printed inner sleeve featuring rare photographs and liner notes by Asmus Tietchens, one of the original pioneers of electronic music.

Richard Pinhas' Heldon remains a crucial outlier in the 1970s European underground, fusing the more radical edges of progressive rock with early synthesizer experimentation in ways that still feel ahead of their time. Released in 1976, Agneta Nilsson captures a moment of consolidation, as extended pieces evolve through cycles of tension, drift, and release. The album's internal logic feels both rigorous and open-ended, balancing restraint with sudden surges of intensity. Reissued for its 50th anniversary, this edition arrives in red vinyl, hand-numbered and limited to 500 copies. Essential material, sharpened for collectors and new listeners alike. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective," partners in a thematic whole. The album-closing "Perspective IV" is one of Pinhas' most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas in incapable of sitting still.

With Un Rêve Sans Conséquence Spéciale, also released in 1976, Heldon extend their vocabulary into darker and more concentrated territory. The interplay of synthesizer and guitar is sharpened here, shaped into structures that feel both deliberate and unstable, balancing precision with a latent volatility. The album unfolds with a heightened sense of pressure, its pieces moving between propulsion and fragmentation without settling into fixed form. Marking its 50th anniversary, the album returns as a limited edition on orange vinyl, hand-numbered in 500 copies. A compelling document of Heldon at their most focused and intense. Richard Pinhas has never been shy of pinpointing his influences while, at the same time, making music that is noticeably distinct from any of his designated sources. He has, for instance, made it clear that a significant font of inspiration was Robert Fripp's guitar style and melding of rock music with cutting-edge electronics (especially in collaboration with Brian Eno). Indeed, Heldon's fifth album -- 1976's Un Rêve Sans Conséquence Spéciale -- was named after a live bootleg of a King Crimson concert. Pinhas first met Fripp in 1974. The pair became friends, and have remained in contact ever since. Pinhas was even offered a deal with E.G. Records, the company that oversaw King Crimson alongside other successful groups like Roxy Music and ELP. Instead, Pinhas forged another path. He launched his own label, Disjuncta, which he later sold to purchase the Moog synthesizer that would make a huge difference to Heldon's sound. Musical benchmarks aside, Heldon's output also drew from radical science fiction (Philip K. Dick, Norman Spinrad, etc.) as well as philosophy. The sleeve of the fifth LP features a quote from Pierre Klossowski's Nietzsche and the Vicious Circle (1969). The book had profound impact on thinkers such as Jean-François Lyotard, who was Pinhas' PhD supervisor at the Sorbonne, and Gilles Deleuze, another mentor and friend to Pinhas right up until the end of Deleuze's life. Heldon never represented a mere facsimile of Pinhas' musical touchstones: King Crimson, Jimi Hendrix, Miles Davis, or Frank Zappa.

2026 restock. "One of the most revered, reviled and talked about records in all Australian music history, I'm Stranded by The Saints finally gets the vinyl box set treatment. A joint collaboration between In The Red, Universal Music Australia, and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of I'm Stranded features four vinyl LPs covering all the band's studio and live recordings from 1976 thru 1977 and includes: the iconic debut album remastered for vinyl for the first time in over forty years; A five-song live performance from Paddington Town Hall Sydney 3/4/1977, appearing on vinyl for the first time; A full live performance from the Hope & Anchor Front Row Festival, London November 1977, appearing on vinyl for the first time; All three tracks from the 1977 This Perfect Day 12-inch single and all four tracks from the 1977 1-2-3-4 double 7-inch single; The previously unreleased 1976 demo mix of the full I'm Stranded album. In addition to all that vinyl, the set also features a twenty-eight page 12"x12" photo essay of the band covering their origins from 1973 through the end of'77, an authorized band history, an 8"x10" 1976 promo photo, and a I'm Stranded sticker."

2026 repress. Since hard-snagging ears and feet in 2023 with 12"s for FELT and his own label, Guy Brewer's Carrier has become the go-to project for those who had almost given up on chasing this sort of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years his unpredictable variations within a style have kept listeners all tip-toed and seat-edge with organizations of a finely chiseled percussive palette and smoldering ambient noise that distills the salient aspects and spirits of D&B, dub techno, and electro-acoustic music with utterly unique traction. In effect, he's enacted a clear leap of imagination and proprioception from previous work issued as part of Commix and solo as Shifted that only continues to reveal absorbing new fissures and hallucinatory psychoacoustics on this first album detail. Previewed at Berlin Atonal '25, Rhythm Immortal now sees Brewer tilt the project into slower, resoundingly atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style 'n pattern of his incredible sound. At the album's poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg's on a preceding 7" single to ideally model his sound's mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to "Offshore," whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context it's perfectly adaptable to bodies supine or in motion.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis. Five years in the making, Music For Tombak & Synth bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploring experimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album's genesis traces back to Peyghamy's exploration of improvised electronic music and his desire to craft a performance-ready setup. Over several years, the project evolved from capturing the energy of his live shows into a fully composed studio work. Music For Tombak & Synth stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father's voice reciting the poetry of Ahmad Shamlo on the track "Dar Shab ,در شب" collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow 'Payram' Peyghamy, picturing both his parents and grandparents. With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. Music For Tombak & Synth invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

With the blessing of OTOMO himself, one of the cornerstones of nineties avant-garde officially returns to vinyl. A melting pot of musicians, sounds, and experimentation, all masterminded by the Deus Ex Machina of Fukushima. These compositions haven't lost a single shred of their original allure, striking today with the same raw power and innovative drive of thirty years ago, when they first burst onto the global avant-garde scene.

LP version. Though vaguely considered along the lines of noise, space rock, dream pop and psychedelic, The Telescopes have consistently expanded boundaries, coloring outside the lines with possibility. This house has many rooms, embraced across genres, influential to many, all embracing, in an orbit of its own. Static Charge is The Telescopes' 19th studio album since the group's inception in 1988 -- and their seventh release on Tapete Records. After a three-month tour of the UK and Europe, the all-embracing sounds of The Telescopes return with a lean blitz of seditionary hits. Take a jolt of Static Charge and step beyond the realm of natural vision. Stone age beats, outsider sounds, low end disturbance unite in resistance to the new weirdness of existence. The Telescopes experience is known for having an ever-revolving line up that can vary between one and twenty people. On this album, The Telescopes are a four-piece consisting of The Telescopes founder and protagonist Stephen Lawrie on guitar and vocals, Darrell Carter on guitar, Robert Prest on bass with John Lynch on drums and percussion. Interesting facts: John can also be found playing with The Jonny Halifax Invocation. Darrell releases great music under the name of Fromme and Robert's father used to fly Fela Kuti around in a private jet. The album was written, recorded and produced within a two-month period from November 2025 to January 2026 at Stephen Lawrie's Butterfly House studio in Shropshire. The whole album was recorded mostly live with the only overdubs being vocal harmonies. There are seven songs in total.

2026 repress. "Beacons of Ancestorship is Tortoise's sixth full-length album released in June of 2009. Having sold through multiple vinyl pressings upon release it has been unavailable for a few years. We are happy to bring it back as part of our 20th anniversary. Pressed on high quality virgin vinyl and presented in an old-style tip-on gatefold jacket with artworked inner sleeve and MP3 download coupon."

2026 restock; LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.

"Record Time is a print-only music magazine that focuses on obscure, unusual, forgotten and neglected records, not collectibles or rarities, but great records that can be had without shelling out max cash. Contents for #4: The turmoil of the Gibbs family and the wonderful run of Bee Gees records when the brothers were at their personal worst; a hip hop through the Roxanne Wars, the longest running answer song spree ever; the splendid freakiness of Kentucky's Sapat; The Frost and their horny masterworks; Finnish trash Smack's hard rock perfection; guitar instro whizz Travis Wammack; a primer on the romantic darkness of the Mexican Bolero; Golden Earring and their struggle to crack the USA; the great '90s garage punk label Bag of Hammers; the Allman Brothers Band on the skids; anti-punk songs by bitter old rockers; Japanese '70s teen idols Chaco & Hells Angels; steel band funk; country studs do rock and roll; Rocketship goes ambient; wretched music biographies; power pop zines; 12x4 with Scott Derr, Erin Yanke, Joan Toledo, and Jello Biafra; and more! Contributors include: Pete, Fred de Vries, Stella Beratlis, Owen Maercks, Johnny Sunshine, Eric Davison, Laurent Bigot, William Tutton, Mike Trouchon, Eric Friedl, Jay Hinman, Bob Beatty, Ryan Wells, and others. Perfect bound, 112 pages."

Double LP version. Angriff auf's Schlaraffenland: Ein Deutschpunk-Mixtape ("Attack on the Land of Milk and Honey: Punk in Germany from Then to Now"). The first singles that were later categorized as punk appeared in 1976. This makes for a fitting 50-year anniversary, which Tapete Records celebrates with a compilation. "Punks are the old farts of today," Vomit Visions already noted back in 1980. And doesn't that essentially say it all about punk -- the historicization of the genre, its musical conservatism, and the hype around milestone anniversaries. Punk bands are still being formed in Winnenden, Limburg, and Hoyerswerda -- just as they were in 1978, 1983, and 2013. And like this musical journey through time, they care little about neat definitions of Deutschpunk. Instead, this compilation opens itself up to different styles and voices of punk with German lyrics. What unites the songs is that, on the one hand, they are rooted in punk, and on the other, in the German language -- yet they create something of their own. In their most compelling moments, they struggle as much with the German language as they do with punk itself. Like any good mixtape, this compilation is based purely on musical aspects and pays no attention to release years. Featuring The Shocks, S.Y.P.H., Östro 430, Carambolage, Toxoplasma, and more.

"You-On is a collaboration between Masami Tomihisa and Jim White. Three sessions, all improvised consisting of keyboard and drums were recorded at Jim's in April and May of 2024. Guy Picciotto mixed, edited and sequenced the recordings comprising New Side, the duo's first album together. You-On is two Japanese characters put together, asobu which means to play or to have fun and on which means sound. New Side is a work of precise, at times otherworldly beauty. The interplay between Tomihisa and White is nothing short of uncanny -- it seems hard to believe these are the results of their first recordings together. Masami Tomihisa is a pianist, composer and improviser based in New York City. Prior to this, her most recent release was the Invitations cassette released by Purplish in 2024. Jim White's most recent solo album, his second such LP for Drag City, Inner Day, was released in the Autumn of 2025."

Oceanine, Jolanda Moletta's third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won't want to come up for air once you've been pulled under. Representing a musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth's cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within everyone. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, "We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth." Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta's artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Paperback. 490 pages. "The most comprehensive compilation of the sound artist's working documents for her unrealized media-opera tour de force. Written in the early 1980s by American sound art pioneer Maryanne Amacher (1938-2009), Intelligent Life follows the employees of Supreme Connections LLC, a music entertainment corporation navigating a future in which artificial intelligence generates music faster than composers can. Anticipating an industry-wide downturn, Supreme Connections president Aplisa Kandel seeks advanced technologies that will revolutionize the act of listening, narrating to the audience as she does so. Though the untimely deaths of the opera's would-be patrons prevented Amacher from realizing the work in its intended forms -- a serialized radio broadcast and television simulcast -- she continued designing 'treatments' for the opera for much of her career. This publication makes the most complete presentation of these working documents -- including episodic scripts, notes on the use of LaserDisc and an illustrated storyboard for the pilot -- available to the public for the first time, and evinces Amacher's prescient ideas about perception, listening and composition."

LP version. The legendary Harald Grosskopf continues his long-standing relationship with Hamburg's Bureau B with Glitches Brew, a vital new LP and the latest stage in his ongoing dialogue with electronic possibility. The titular nod to Miles Davis' masterpiece Bitches Brew reflects Grosskopf's sense of humor, while also hinting at the album's underlying theme: the productive friction between man and machine.

"For the uninitiated, Grosskopf's career spans six decades of German music history. From early beat groups in Hildesheim, through Krautrock propulsion with Wallenstein, cosmic explorations alongside Ashra, and defining work with Klaus Schulze, he has consistently pushed rhythm into evolving technological contexts. His 1980 solo debut Synthesist, previously reissued on Bureau B, helped establish a sequencer-driven language that bridged kosmische tradition and modern electronic form. Created over three to four months in his garden studio, Glitches Brew is shaped by speed and responsiveness. Grosskopf worked primarily with digital instruments this time, travelling light and favoring fast access from feeling to recording. Ideas arrive spontaneously; he works until satisfied, often reshaping sounds the next day if they fail to spark with the same intensity. What emerges is a vivid, present-tense record where human instinct and electronic process remain in constant, audible conversation. Stems are recorded in mono or stereo, passed through a Studer desk and printed to two-track, restoring weight and tactility to digital sources. Where VST synthesis can lack transient bite, analogue circuitry restores what he calls the sensation of leather, wood and metal. The signal path is humanized without surrendering to nostalgia. Glitches Brew balances analogue intuition and digital immediacy, kosmische heritage and contemporary electronic language. It is the work of an artist still following his own ideas, still excited by sound, still testing the edges. Sixty years on from his first beat-group rehearsals, Harald Grosskopf remains what he has always been: a musician for whom rhythm is liberation, technology is possibility, and the future is something to invent again and again." -- Patrick Ryder, 2026

LP version. Bureau B presents the reissue of Nothing, the 2001 album by Ata Tak's Frank Fenstermacher and Kurt Dahlke (Pyrolator) aka A Certain Frank, newly remastered and available on vinyl for the first time. Marking its 25th anniversary, the record stands as a quietly distinctive chapter in Düsseldorf's post-Kraut electronic lineage -- understated, atmospheric, and strikingly timeless.

"A Certain Frank emerged in the mid-1990s from Düsseldorf's uniquely fertile musical environment. Kurt Dahlke (Pyrolator) and Frank Fenstermacher were already central figures in the city's post-war pop modernism: pioneers of the so-called Neue Deutsche Welle, members of Der Plan and Fehlfarben, and co-founders of the influential Ata Tak label. Since its founding in 1980, Ata Tak had championed an alternative German aesthetic that combined conceptual thinking with pop sensibility, releasing early work by artists such as DAF, Andreas Dorau, S.Y.P.H., Holger Hiller, and later Oval. Against this backdrop, A Certain Frank proposed a different trajectory -- not oppositional, but deliberately understated. Rather than pursuing dancefloor functionality or revivalist gestures, Dahlke and Fenstermacher turned toward reduction, atmosphere, and subtle reconstruction. Drawing on easy listening and the once so-called 'exotica,' they treated these references as malleable material, reshaping them into something restrained yet contemporary. Nothing completed an informal trilogy shaped by denial and refinement. Conceived from the outset as a fully collaborative work, the album moved beyond sample-based construction toward a largely self-generated sound. Basslines, drum grooves, and synthesizer textures were played live, joined by the voices of Mai Lingani, Karin Knipphals, and Fenstermacher himself -- integrated as tonal elements within a fluid sonic fabric rather than traditional lead vocals. Dutch bassist Pascal Plantinga and Austrian drummer Mike Daliot contributed significantly to the record's light-footed, groove-oriented energy. Originally released at the threshold of the new millennium, Nothing occupies a distinct space between jazz-inflected electronica, cinematic ambience, digital dub, and understated traces of drum and bass and lounge. Neither functional club music nor retro exercise, it embodies a quietly confident strain of Düsseldorf modernism -- reflective, precise, and resistant to spectacle. With this anniversary edition, Bureau B once again highlights a strand of German electronic music that exists between eras and categories. Carefully remastered and now pressed on vinyl for the first time, Nothing returns not as a relic, but as a work whose understated clarity continues to resonate -- a testament to Bureau B's ongoing dedication to preserving and recontextualizing Germany's experimental pop heritage." --Hannes Stutz, 2026

Double LP version. Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).

Ella Fitzgerald meets Gangsta Rap and the Beach Boys encounter their despotic father. American Psyche by Raymond Pettibon and Oliver Augst is an ABC of jazz standards and nostalgia on speed, "that the world will never forget." Limited trans red vinyl, folded riso-printed cover.

2026 repress. Be With Records present a reissue of Tommy Guerrero's Soul Food Taqueria, originally released in 2003. It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences -- from blues to folk to Latin to dusty funk, soul and hip-hop -- one cannot hear a Tommy Guerrero song without immediately recognizing it as his -- and his only. The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs. The originals were quietly pressed on to a single piece of vinyl, so Be With Records worked closely with Tommy to offer fresh, limited editions. Soul Food Taqueria continued Guerrero's guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalog. Guerrero's atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days. From bossa nova, samba, and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold. Dubby, bass-heavy instrumentals give way to moody folk-soul -- witness "It Gets Heavy", featuring melancholic vocals from Gresham Taylor -- whilst "Thank You MK" is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks -- check "Lost Unfound", "Another Brother Gone", and "Broken Blood" -- built around minimalist, laid-back grooves, and detailed guitar orchestrations which wouldn't be out of place on the latest Jonny Nash release. Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, "Falling Awake" is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. Remastered. 180 gram vinyl; expanded to double-LP and presented in a gatefold sleeve.

2026 repress. Be With Records present a reissue of Sweet And Nice, the vital debut album from Jamaica's undisputed first lady of song Marica Griffiths, originally released in 1974. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original's opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn't mess with magic. Marcia's version of "Here I Am (Come and Take Me)" has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It's followed by the sophisticated, rollicking wah-wah funk of "Everything I Own" and the slice of smooth lovers soul par excellence that is "Green Grasshopper" and her ace, lilting Neil Diamond cover "Play Me". The thundering, humid funk of "Children At Play" "sounds uncannily like a precursor of Massive Attack", as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody, and essential. Side two keeps the fire burning. "Sweet, Bitter Love" should leave you swooning, and is also one of the album's alternate titles. Curtis Mayfield's already-eternal "Gypsy Man" follows, recast as proto-lovers rock. "There's No Me Without You" is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia's heartbreaking delivery. And if this doesn't get you then surely the next track will: arguably the definitive version of Ewan MacColl's "The First Time Ever I Saw Your Face". "I Just Don't Want To Be Lonely" re-takes its rightful place at the end of the LP's second side... but Be With Records added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Amongst these 14 extra tracks you'll find the exquisite late-60s singles "Melody Life" and "Mark My Word" which, along with the sumptuous reading of "Band Of Gold". All material is remastered. 140 gram vinyl.

"Jah Woosh was one of Jamaica's most distinctive early reggae deejays, emerging in the 1970s as the art of toasting became a defining part of reggae music. Born Neville Beckford in Kingston, he first gained recognition as a sound system deejay before breaking through with the powerful single 'Angela Davis.' During the mid-1970s, he recorded extensively for producers including Rupie Edwards, Clive Chin, Keith Hudson, and Channel One, releasing a string of influential singles and albums. His debut LP Jah Woosh reached number one in the reggae album charts and established him as a leading voice of the era. The album Rebellion also features vocalist Sis Bee, whose spirited responses to Jah Woosh add a unique dynamic. Later, through his work with Adrian Sherwood and the Creation Rebel collective, Jah Woosh remained an important figure in roots reggae."

Corbett vs. Dempsey presents the release of Raw Dog, a compact disc featuring solos for bass saxophone by Jon Irabagon. One of the leading lights of contemporary creative saxophone music, Jon Irabagon (b. 1978) hails from Chicago, made his name in New York, and has returned to the Windy City with decisive ferocity, joining the city's bustling scene as an active participant and bandleader. Known for many of his groups, including Mostly Other People Do The Killing and PlainsPeak, as well as membership in ensembles led by Mary Halvorson, Dave Douglas, and Barry Altschul, Irabagon is a ceaselessly inventive horn player and dazzling technician with a devilish sense of humor. To experience Irabagon in the purest setting, CvsD invited him to present a concert of unaccompanied solos on his bottom-end horn, which sounded positively elephantine in the gallery's reverberant walls. Furthermore, an invitation to consider two composers, Julius Hemphill and Anthony Braxton, led Irabagon to search the vaults for lesser-known charts by these iconic figures, two compositions each. The results were mind-blowing and ear-juddering, offering new perspectives on Hemphill's deep blues feel and Braxton's erector set structures. Deftly recorded in all their bodacious ambiance, these contrabass meditations are both homages to the music's history and icebreakers into its oceanic future. Recorded by Rob Frye at Corbett vs. Dempsey, Chicago, on September 20, 2025. Mixed and mastered by Alex Inglizian at Experimental Sound Studio. Design by Michael Dyer/Remake. Cover art by Aaron Curry. CD produced by John Corbett and Jim Dempsey.

Butsumyôe (1989). For voices, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice and percussions. In Butsumyôe ("The ceremony of Repentance") the singer Yumi Nara (soprano) occupies the function of a first solo voice, whereas Fatima Miranda (vocalist) assures the function of the second accompanying voice. In Sappho hiketis, it is the opposite: Fatima Miranda occupies the function of the first solo voice, and Yumi Nara assures the function of the second accompanying voice. But in practice, the vocal activities are mixed, creating an actual creative vocal duet. These two works are freely conceived and of pure imagination, which lean on not any pre-existent "model". Butsumyôe is a long monologue for voice that sings, speaks, shouts, and is modulated with a host of techniques, punctuated by the exclamations of the accompanying voice and by various percussion instruments played by the two female singers. Sappho hiketis (1989). For voice, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice. A vocal duet articulated from an electro-acoustic piece (realized during the production of Anâhata at the Electronic Studio of the Sweelinck Conservatory in Amsterdam). The basic material is composed of pre-recorded metallic percussion instruments (samplings realized in 1984 by Michael W. Ranta). Prosody and vocal technique: unlike the previous piece, the text is used in a very broken up mode, with somewhat scattered phonemes, also integrating a listing of the names of Sappho's most famous female lovers. The adaptation of the text (in modern Greek) is totally free and makes no reference to the metrics or musical modes allegedly used by Sappho.

"There's an irony inherent in the term 'postpunk.' Many of the groups that define the genre (think Pere Ubu or Cabaret Voltaire) existed for several years before punk. But these outfits had little hope of finding an audience until punk stirred up an appetite for the extreme, while also spawning a new breed of independent labels that could support challenging music. This Heat are a prime example. Formed in early 1976 by drummer Charles Hayward, guitarist Charles Bullen and 'non-musician' Gareth Williams, the group were initially unaware of what was brewing elsewhere in London, yet they were driven by similar impulses: to make noise expressive of the era's turbulence. Instead of punk's crude reduction of rock 'n' roll, This Heat took their bearings from expansive inspirations: free jazz, Captain Beefheart, musique concrète, and reggae's disorienting dub techniques. Vital to their evolution was Cold Storage, a disused meat fridge in Brixton where the band rehearsed. Produced by This Heat with David Cunningham and Anthony Moore, their 1979 debut was collaged out of cassette tapes and recordings made during ultra-cheap graveyard shifts at The Workhouse. The jump-cuts in sound quality were deliberately designed to make the album more unsettled and jarring. The first two principles of This Heat's mission statement -- 'All possible processes. All channels open.' -- could have been co-signed by many pre-punk experimentalists. It's the third part -- '24 hour alert.' -- that makes This Heat archetypally post-punk, crystallizing the 'totally-wired' mood of paranoid vigilance they shared with peers like Scritti Politti and The Pop Group. Soft power -- the mind-control of television and advertising -- was an obsession; several tracks take their titles from the gogglebox ('Testcard,' 'Horizontal Hold'). But hard power -- in particular, geopolitical dominance -- is also addressed in tracks like 'The Fall of Saigon.' Perhaps the most startling piece here is '24 Track Loop.' Breakbeat-like drums are processed using the Eventide Harmonizer, a machine famously used on Bowie's Low. The song's creaky textures and pitch-shifted beats anticipate '90s jungle, but the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat's debut is something the world has still not completely caught up with." --Simon Reynolds

2026 repress; double LP version. Silver pantone, UV spot varnish. 180 gram vinyl. Tresor Records announce forthcoming special editions of the entire catalog of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rights holders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalog. The series starts with Neptune's Lair, first released in 1999, with the Hydro Doorways single arriving shortly after. These records, individually and as a catalog, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations. Detroit's Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya's grand history was written entitled Neptune's Lair. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods. While words won't do Neptune's Lair proper justice, rootsy Kraftwerkian techno, gives way to G-style electro, while jazzy freestyle funk evolves alongside classic 4/4 club sound. Although the roots run deep, Neptune's Lair heralded an important new chapter in the musical connections between Detroit's finest and Tresor.

2026 repress. Marking the anniversary of three decades of career, Dopplereffekt debuts on Tresor Records with Metasymmetry. This latest release finds members Rudolf Klorzeiger and To-Nhan in deep inquiry in sound, contemplating structure and pattern in physics and nature resulting in a harmonious audio tessellation. Metasymmetry itself relates to a kind of second-order reality found not in the structures of life but in the rules that govern these structures; that order exists not only in things but in the relationships among systems of order. The four-track EP reflects this duality.

2026 repress. Wewantsounds reissue Mawood one of the cornerstones of Egyptian music, recorded in 1971 by legendary Arabic singer Abdel Halim Hafez. Famously sampled by Jay-Z on "Big Pimpin'", Hafez is captured here live with his full orchestra including Omar Khorshid on guitar. The album mixes traditional Arabic music with modern instrumentation and shades of '70s groove. "Mawood" is one of Hafez's all-time classics, written by the legendary composer Baligh Hamdi. Alongside Oum Kalthoum, Warda, Farid el Atrache, and Mohammed Abdel Wahab, Hafez revolutionized Egyptian music and became a hugely popular star across the whole Arab world. Blessed with striking good looks, Abdel Halim Hafez started his career in the early '50s and quickly attracted the attention of one of the Egyptian radio's A&Rs who took him under his wing and invited him to perform on the radio. His career went from strength to strength and from 1953, he was associated with the Egyptian revolution led by Nasser. His music mixing tradition and modernity made him one of the most loved singers of the 1950s as he developed a romantic edge that became his signature style (he was dubbed "the dark-skinned nightingale"). In the mid-50s, hot on the heels of his success in music, he launched his acting career in the thriving Egyptian film industry and also became a hugely popular actor. Hafez worked with the greatest composers of their time including Mohammed Abdel Wahab and Baligh Hamdi. Recorded live in 1971, "Mawood" is one of the singer's most recognizable standards. The song stretches over the two sides of the album and consists of several sections alternating instrumental parts and sung ones. The song, written by Egyptian poet Mohamed Hamza, sees Hafez talking to his heart, apologizing for driving it from failure to failure and concluding that, to find solace, one must keep love at bay. He's backed by his full orchestra featuring traditional instrumentation and those powerful strings that influenced the likes of Jean-Claude Vannier, together with modern instrumentation including organ and electric guitar by Omar Khorshid adding his unmissable twang to the ensemble. Mawood mixes tradition and modernity and develops into a hypnotic epic full of groove with a superb soulful performance by one of the greatest singers of the 20th century. Remastered for vinyl; features the original LP artwork with a two-page insert featuring new liner notes (English/French) by Mario Choueiry (IMA, Paris).

The 1973 album from the iconic Brazilian band. A testimony to the Brazilian cultural freedom of the early '70s. A vibrant blend of samba, choro, psychedelic folk and soul. Includes a four-page insert. Formed in Bahia in the late '60s, Novos Baianos became one of the most iconic groups in Brazilian music. Mixing samba, rock, choro, psychedelia, capoeira rhythms, and communal living, they embodied a new countercultural movement that reshaped MPB. Their albums, especially Acabou Chorare and Novos Baianos F.C., are now considered pillars of modern Brazilian music, inspiring generations of artists in Brazil and worldwide. Originally released in 1973, Novos Baianos F.C. captures the band's communal lifestyle and fearless experimentation. After the success of Acabou Chorare, the group expanded their sound into a vibrant mix of samba, choro, folk, psychedelia, and electric street-soul. With the unmistakable chemistry of Baby Consuelo, Pepeu Gomes, Moraes Moreira, Paulinho Boca de Cantor, and Dadi, the album radiates warmth and spontaneity. Recorded in the Baianos' legendary "football club" house, it stands as a joyful snapshot of Brazilian cultural freedom in the early '70s.

2026 restock; gatefold packaging. Nobuo "Hara," whose real name is Nobuo Tsukahara, is a Japanese saxophonist who became known in 1951 with his big band, the Sharp & Flats. Together they recorded more than a hundred album during their career. Hozan Yamamoto is, for his part, a Shakuhachi player, a traditional Japanese flute, enjoying such recognition in his country that he was awarded a Living National Treasure in 2002. The first record bringing together the two musicians is a live recorded in 1967 during the Newport Jazz Festival. It was a year later, in 1968, that New Jazz in Japan, their first studio recording, was released. Accompanied by the power of the Sharps & Flats, Nobuo Hara's tenor sax and Hozan Yamamoto's shakuhachi respond subtly to give this record, which had not been reissued since 1971, a completely unique style.

LP version. Wewantsounds continues its extensive reissue program of Meiko Kaji's early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse -- famous for her starring roles in Lady Snowblood and Stray Cat Rock -- was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji's signature mix of Japanese pop and groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki's cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. Japanese actress Meiko Kaji has become a worldwide cult icon, partly thanks to Quentin Tarantino, who heavily based his Kill Bill films on the 1973 revenge classic Lady Snowblood. While her previous albums often featured a few key theme songs from her films, Otoko Onna Kokoro No Aika is a classy offering of Showa kayōkyoku (pop) and enka, the "Japanese blues." Kaji approached the record with an actress's sensibility, treating each cover as a dramatic role. The tracklist is anchored by two highlights: the funk-infused arrangement of "Ginza No Cho" (Ginza Butterfly) and Kaji's iconic rendition of "Tokyo Nagare Mono" (Tokyo Drifter). While the latter was famously the theme for Seijun Suzuki's 1966 cult yakuza film of the same name, Kaji's version brings a modern, 1970s feel to the melody. Throughout the record, traditional themes are infused with contemporary grooves, blending lush orchestrations with funky basslines to create a hypnotic, cinematic atmosphere that is uniquely her own. Reissued in its full glory for the first time and remastered by Teichiku in Tokyo, Otoko Onna Kokoro No Aika is a welcome new addition to the Wewantsounds Meiko Kaji reissue campaign, which is sure to please all of her fans worldwide.