For the 1979 cult sci-fi movie L'umanoide (The Humanoid), directed by Aldo Lado (credited as George B. Lewis), the legendary Ennio Morricone composed a score of catchy, futuristic, synthesizer-based arrangements with great electro-orchestral disco grooves and dissonant atmospheric soundscapes, marking quite a departure from his usual style. This is the first release of the complete soundtrack on vinyl. Limited edition of 1000 transparent blue LPs.
Leroy Mattis's first drum was a plastic butter container. "My mother wouldn't buy me a drum because back then the situation in Jamaica was very tense... In 1960 Jamaica was still an English colony, and the drum is a roots instrument." Tommy McCook was living two doors down; during the first years of The Skatalites, Mattis would practice there. In 1970 he was National Junior Drumming Champion, with Count Ossie winning overall; four years later his ensemble battled in the Senior finals with the drummers of The Light of Saba. "Our group was initially called Genesis, it was a 7-piece drum group, but I changed the name to Mabrak, which means Thunder in Amharic. We knew that we were coming with a heavy sound." Experiments in percussion, in the middle of the night at Harry J's -- funky versions of rhythms like "Curly Locks," "Too Late to Turn Back Now," and "Fattie Fattie," led by talking drums -- beautifully mixed by King Tubby, who couldn't believe his ears. Originally released in 1976, in paper inners only. Smartly sleeved in quintessential Dug Out-style this time around -- with an insert, including a recent interview with Mabrak.
Solla Solla: Maestro Ilaiyaraaja and the Electronic Pop Sound of Kollywood 1977-1983
"Ilaiyaraaja's music is anachronistic in the best possible way: were it not for its glorious low-fidelity, one would be forgiven for thinking his psychedelic funk was recorded recently, with forty years of global groove studies under his belt" --Egon (Stones Throw, Now-Again). Ilaiyaraaja, Ilayaraja, Ilayaraaja, Isaignani, The Maestro... The undeniable prince of Kollywood cinema, India's second-largest film industry, Ilaiyaraaja is more than equal to his forward-thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation. However, once you have exhausted all possible leads using his various names (and the numerous misspellings) you're faced with the unenviable task of sifting through a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam, and Kannada in order to unearth some the heaviest dancefloor-friendly electronic pop to ever emerge from Southern India. This not-so-modest collection of lesser-spotted electronic Tamil pop features many tracks previously unavailable away from their original rare-as-hen's-teeth vinyl pressings. Includes the viral Kollywood/Bollywood classic "Solla Solla." Previously released in two separate volumes in 2011; to mark the 2015 tenth birthday of Finders Keepers, the label has brought them both together in one remastered package. Featuring tracks not available on the CD release of the same name! Includes tracks featuring S.P. Balasubrahmanyam, Vani Jairam, S.P. Sailaja, Malaysia Vasudevan, B.S. Sasirekha, Hariram & Ramola, S. Janaki, K.J. Jesudoss, T.M. Soundararajan, and L.R. Eswari.
One of the rarest vinyl horror soundtracks of all time, 1983's The Antwerp Killer consists of remarkable homemade electronic experiments created by a wunderkind synth designer for a smart-talking teenage movie maverick. Combining self-propelled punk attitude and uninhibited confidence, the hyper-proactive work of these DIY prodigies pinpoints an important era when youthful ambition and creative technology met. By the age of 16 Eric Feremans had started building modulators and eventually his first proto synthesizer; he later played a concert with Belgian electronica pioneer Karel Goeyvaerts. Feremans founded a school for building and playing synthesizers, the EEF, where volunteers ended up producing about 20 or 30 build-your-own packages. After appearing as a guest on a national television show, the demand for his courses exploded, and Feremans began lecturing internationally, even attracting the king of the Amsterdam mafia, who was driven down from Amsterdam with two body guards in his Rolls-Royce every week. One day Feremans got a visit from a Luc Veldeman, a 16-year-old with a manner of speech way beyond his age and larger-than-life projects. Veldeman was making Antwerp's first crime movie, The Antwerp Killer. He had seen Feremans play live and he wanted some of his music to be used as the score, and to press as an album to promote the film. Feremans gave him one of the rare recordings he had made with the synthesizer, a session he had just recorded upon installing his new studio; a session, according to Feremans, that was the result of the pure joy he experienced at having such a wonderful machine in his studio and the bottle of vodka he downed during the session. Veldeman cut up that session and it turned it into the soundtrack of The Antwerp Killer. The press and the audience shared a general reaction to the film: bad acting, bad editing, bad script -- cool soundtrack, though. Veldeman, who had rented the film equipment under a false identity and dumped it in a canal after shooting, was nowhere to be found, and his investors lost their money. A magnum opus by a true criminal and the synthesizer teacher of the Amsterdam mafia king, The Antwerp Killer remains a prime document of the broody Belgian '80s and a heck of a soundtrack. This first-ever reissue was beautifully remastered with the full cooperation of Eric Feremans himself. Includes liner notes by Belgian archivist Gerd de Wilde.
Karlrecords kicks off its Perihel series with previously unreleased material by GRM member Guy Reibel, one of the most enigmatic figures of the 20th century's electronic avant-garde. 180-gram LP including download code and insert with liner notes by Reinhold Friedl (zeitkratzer). Limited edition of 500 copies. Guy Reibel (born 1936) started out with a double qualification; he first became an engineer and then studied composition in Paris with Olivier Messiaen, teacher of Karlheinz Stockhausen, Iannis Xenakis, François Bayle, to name just a few. Pierre Schaeffer, the director of the Groupe de Recherches Musicales (GRM), soon offered him a chance to edit and work out the famous 1967 Solfège de L'Objet Sonore three-LP box (the practical part of his theoretical manifest Traité des objets musicaux), and to codirect the class for electroacoustic music at the National Music Conservatory. During that period Reibel worked intensively in the studios of the GRM. Not only did he compose some milestones of electronic music, he also developed a very music-based theory of electronic music, implementing ideas of musical gesture and game theory -- in the '60s, long before anyone else discussed those issues. Conflicts with other members of the GRM led to Reibel's departure from the group (though he had been considered Schaeffer's successor as director), and Reibel toured the world as conductor of his newly-founded Groupe Vocale de France (who realized the first complete recording of Ligeti's choir work) and took over a director's position at Radio France. Meanwhile, his electronic music almost disappeared (there were only two or three LPs available on the early GRM series, later just one CD). Douze inventions en six modes de jeu was digitized by Reibel and Friedl at the GRM studios in December 2014 as part of the archive of Reibel's electronic pieces. It's a milestone in electronic music and a perfect example of Reibel's musical austerity, in which defined, limited musical material results in concentrated and dense forms. The unusually vital character of the music is also due to Reibel's use of hybrid sound production; he often combined amplitude envelopes of acoustic sounds and noises (especially of polysteron) with synthetic electronic sounds. A few of the pieces are even played at least partly live. This album documents how Guy Reibel succeeded at composing a music that combines the density and purity of electronic music with an unbelievably sensuous sound. A real listening experience, here released for the very first time.
There's maybe a handful of albums from the early Chicago house era that really deserve the term "classic." This is one... Another Side is the 1988 debut album by Fingers Inc., collecting early singles released on Alleviated, Trax, and D.J. International together with nine new tracks. Larry Heard teamed with singers Robert Owens and Ron Wilson to create an album that still sounds fresh and ahead of its time decades later. Going beyond the dancefloor, the trio lyrically touched on subject matter ranging through love, sex, war, and the music industry while creating the blueprint for deep house music for years to come. Heard's deep, melancholy, almost skeletal tracks not only influenced the early pioneers of Detroit techno, but a whole generation of producers. This masterpiece is now officially available again in remastered sound.
Emergency Stairway to Heaven
PIC. DISC + CD
Legendary Japanese noise band Hijokaidan presents its 2015 studio album Emergency Stairway to Heaven. The album arrives as a luxurious picture disc containing four cuts of unique sounds that only Hijokaidan can deliver, created by the full line-up of Jojo Hiroshige, T. Mikawa, Junko, and Futoshi Okano. The album also includes a bonus CD containing two live recordings from 2014; the first features Hiroshige (synthesizer), Mikawa (electronics), and Junko (screaming), and the second features Hiroshige (electric guitar), Mikawa (electronics), Junko (screaming), and Okano (drums). Includes download code for album Emergency Stairway to Heaven. Edition of 750.
The classic 1975 Italian thriller Gatti rossi in un labirinto di vetro (Eyeball), directed by Umberto Lenzi (Spasmo (RED 216XRAY-LP, 1974)), features a truly pleasant and entertaining score by the great Bruno Nicolai (The Case of the Bloody Iris (1972), The Red Queen Kills Seven Times (RED 209LP, 1972)), with an authentic '70s Italian cinema feel to it and a catchy main theme that is definitely one of his best. Another giallo ace on Dagored. This is the first release of the complete soundtrack on vinyl. Limited edition of 1000 "splatter" colored LPs.
Black Friday RSD 2015 release. "First ever reissue of this classic Channel 1 material. Housed in a two color silk screened jacket with an 18" x 24" poster of the iconic cover art. Revolutionaries Sounds Vol. 2 is the stellar 1979 follow up to the groundbreaking 1976 self-titled first volume. The Revolutionaries were the house band of Channel 1 studios, and their style defined the sound of reggae in the second half of the 1970's. The band was a who's who of the top players of the decade, featuring the core unit of Sly Dunbar, Robbie Shakespeare, Ranchie McLean and Rad Bryan. Augmented by a revolving cast of the top hornsmen, keyboard/organ players and percussionists, The Revolutionaries not only backed the in-house production output of their 'home base' studio of Channel 1, but countless other productions done by producers renting the studio. The 1976 first volume released in Jamaica was an instrumental affair, with the iconic Che Guevara image by Ras Daniel Heartman on the cover complimenting the militant sounds contained on the album. For this 1979 follow-up originally released in the UK, Che again adorns the album, with the tracks being a mixture of classic instrumentals recorded at various points in the few preceding years, and then previously unreleased dubs to some of the studio's hardest original rhythms, such as Alton Ellis' 'Tell Me' and the Enforcer's 'Ride on Marcus.' Previous to this album, some of these tracks had been coveted dubplates on the sound system scene of the day. Reissued for the first time ever, this is a fantastic touchstone for fans of '70s roots reggae, and with a terrific selection of tunes that should satisfy the hardcore roots fans, serious dub heads and across-the-board reggae fans just the same."
Much of the discussion around unmanned aerial vehicles (drones) is directed toward its capabilities of surveillance and attack. However for those living in areas of conflict, it is the engine sound of the drones that has devastating psychological effects. Military drones fly at high altitudes and are more easily heard than seen. Even the origin of the word "drone" is rooted in sound, and comes from the sound of the male honeybee. The sound of drones in areas of conflict creates soundscapes of terror that can go on for many hours. The buzzing of the engines has generated nicknames like "zanana" in Palestine and "bangana" in Pakistan. A Study into 21st Century Drone Acoustics
is an auditive investigation by composer Gonçalo F. Cardoso
(Discrepant) and designer Ruben Pater
(Drone Survival Guide
). What kind engines are drones equipped with? What do they sound like? What are the psychological effects of the sounds in areas of conflict? Side A features field recordings of 17 drone types, ranging from small consumer drones to large military drones. The B-side presents a soundscape by Cardoso, inspired by the abusive and destructive power or drone technology. The composition focuses on the conceptual (sound) life and death of an aerial drone machine in the 21st century. The project is intended for use in installation in various museums and festivals. The sounds are available for free at droneacoustics.org
. Concept by Gonçalo F. Cardoso and Ruben Pater. B-side composition written and composed by Gonçalo F. Cardoso. Voice by Emmet O'Donnell
. Mastered and cut by Rashad Becker
at D&M, Berlin. Metallic finish sleeve by Ruben Pater. Includes 12-page booklet.
For the first time on vinyl, Charles Mingus's great score for the legendary 1959 directorial debut of John Cassavetes, Shadows. Much has been said about the controversial relationship between these two masters. "The score encapsulates Cassavetes' and Mingus's unique approaches to both improvisation and composition in their respective media, illuminating the oppositional nature of jazz to mainstream cultural production and the underbelly of race relations in 1950's America" --Ross Lipman, "Mingus, Cassavetes, and the Birth of a Jazz Cinema." "Shady transparent" vinyl. Limited edition of 500.
LP version. Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following 1999's highly acclaimed it-ness. Duke of York is a bittersweet contemporary electronic pop record that could only exist as a result of the unison of these particular peculiar souls. At once tender, skewered, sophisticated, and unsettling, Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. While both tackle the sonic side of the outing, Lewis also presents pleasantly paranoid lyrics and Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive and visually inviting, with songs rich in brooding, dark atmosphere and melodic content. The production retains the mood of classic Lewis output while achieving a fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis's distinguished and uncompromising career and adds to Karperyd's intriguing output. As with the best experimental pop records, Duke of York unfolds with repeated listening, revealing infinite charms. All tracks written, recorded, and mixed by E. G. Lewis and A. Karperyd in Sweden. Mastered and cut by CGB at D&M in Berlin.
San Francisco-based producer Al Lover has spent the 2010s evolving a unique approach to psychedelic music by way of exploring the common threads within its various genres. Zodiak Versions sees Al exploring what he views as two musical styles that have defined modern underground music culture: Jamaican dub reggae and the German experimental "krautrock" from the 1970s. Sketching out repetitive dub basslines and leads using only the keyboard of his laptop as a musical device, Al formulated the basic structures of what would become these versions. Reminded of what artists like Kraftwerk and NEU! attempted to portray with the driving motion with their motorik beats and expansive washes of analog synthesis, Lover felt compelled to write music directly within the environment that had once inspired the original "krautrock" sound. Once back in the states, Al teamed up with his good friends Burnt Ones in LA to add some touches of guitar and synth drone to the sketched-out songs. At this time he was further introduced to the some of the lesser-known efforts of kraut pioneers who would later influence the rise of ambient music. Returning home completely inspired, he added even more layers of analog Moog synthesizer, tribal percussion, and vintage rhythm box drum sounds before sequencing and mixing all the elements through a vintage Roland RE-201 Space Echo. The end result is Zodiak Versions. With his previous projects, Al Lover has been bouncing back and forth between a more sample-based remix approach and actual synthesized music composition. You can hear elements of his earlier works -- Distorted Reverberations of Reverberating Distortion (2011), Vodun Moon (2013), Al Lover X Goat (2014), Sacred Drugs (2014), Cave Ritual (2015) -- in Zodiak Versions, but the music here heads in a more textured, droned-out direction. An experiment in maximized minimalism. Subtlety and nuance hidden within an intense wall of sound, as if the psychedelic aspects of everything that influenced the record have been extracted and reconfigured to produce the sonic dub version of a bad trip.
2015 repress; originally released in 2002. In July 2000, Damon Albarn travelled to Mali for Oxfam's On the Line project, which focused on people living along the Greenwich Meridian. He seized the chance to meet and play with the Malian musicians whose recordings he loved, and to exchange ideas with them in their own backyard. Albarn's chosen instrument was a battered melodica. His musical encounters were leisurely, low-key, and immersive, as natural and spontaneous as could be. Touring the capital, Bamako, and its surrounding villages, he sat in on club and private jam sessions, playing concerts and street corners, bars and boats. He hooked up with practically any musician he came across, from enthusiastic amateurs to such master-musicians as Toumani Diabaté, Lobi Traoré, Afel Bocoum, Kassé Mady Diabaté, and the only female ngoni player in Mali, Ko Kan Ko Sata. "One of my favourite memories is Les Escrocs playing a party at Toumani's house," says Albarn. "Bass and drums doing dead funky Malian reggae, with them in shell-suits and patent-leather shoes doing a kind of feminised ragga version of the James Brown shimmy." The tapes kept on running, for more than 40 hours, capturing the volatile collage of sound that would become Mali Music. Back home in Albarn's London studio, the recordings took a few more spins. In line with their original inherent diversity, some make nods to reggae, house, rock, raga, and some stay just as they are. The bass playing of Junior Dan emerges with a unifying authority that recalls his years with Augustus Pablo. Then the tapes returned to Mali, for further contributions from the musicians there. "My idea is to set up loads of dialogues between this music and other music that I love," says Albarn. "I'm sick of the cultural self-assurance you get in the West. I want to get everyone into Malian music."
London Is the Place For Me 4: African Dreams and the Piccadilly High Life
2015 repress; originally released in 2006. The fourth volume in Honest Jon's Records' series celebrating the music of black London, staying for now with the first waves of modern immigration from Africa and the West Indies. After devoting a third installment to the accomplishments of the late Nigerian genius Ambrose Campbell, Honest Jon's resumes an open-house policy, suited to musicians whose lives and artistic ambitions carried them all over the world; calypso and kwela are back, and highlife and bebop, with a little rock 'n' roll, a "mambo Indio," a shango hymn, some Sun Ra-style cha-cha-cha. A lake in a Johannesburg zoo, a Chinese on the Harrow Road; astronauts and prostitutes, landlords, streetfighters and cricketers. The music and detailed notes are presented alongside rare artist photographs by Val Wilmer. Includes tracks by Ginger Folorunso Johnson, Young Tiger, Dorothy Masuka, Lord Kitchener, Cab Kaye, Shake Keane, Eric Hayden, Enoch & Christy Mensah, Victor Coker, Young Growler, The African Messengers, and Nat Atkins.
Akkord return with their first original music since 2014's HTH020 EP (HTH 020EP). Obelisk is a study in rhythm and frequencies, suspended in space. On the minimalistic "Monolith," a single element is molded into a three-dimensional sound sculpture, an aural illusion of a lead weight that floats away into the ether. In contrast, "Megalith" has a pulsing gravity, drawing in laser-guided blasts of bass, broadsides of pitched-down jungle, and echoes of distant birdsong and telecommunications as it journeys through the static of space. Heavyweight 10" mastered and cut by Matt Colton at Alchemy.
The A-side drops straight into one of those time-evaporating sleights-of-hand from a simple stack of loops. A tidal guitar figure wraps around sparse ricocheting foundations of moiré percussion as harmonic resonances flow in and around the space, segueing into one of the most beautiful pieces Vibracathedral Orchestra have ever caught on tape. A truly glorious cascade of pentatonic feedback augmented by circling horn ascensions and the ever-present hand drum and shaker, rattle and oomph. The B-side was recorded on the same binaural bonce as the A but instead is a fully blown-out NO-FI blast documenting a performance at Cafe OTO and features trap-star Chris Corsano. A wild, snow-blind, open-cranium trip. Corsano's drums flatten to a blur of metallic clatter, spiky overtones, and room-levitating bass drum punctuation. Ideas rise and fall from within the maelstrom of their ritual; a two-finger tonebank solo teeters on the brink of its own crisis, the occasional astral whizz-bang floats around the ear-space drawing out your mind's focus, a bloated, head-nodding bass riff appears, everyone gets involved. The shred goes seriously out, taking every head and item of furniture not nailed down with it. Art by John Godbert; design by Michael Flower. Mastered and cut by Lewis Hopkin.
Nico Fidenco's score for the 1980 Italian zombie film Zombi Holocaust is a thing of beauty and great depth -- a rich blend of electronic/synthesizer tracks, experimental electronics, and soaring acoustic and orchestral numbers with tinges of Spaghetti Western soundtracks, frenetic drumming coupled with woodwind instruments, and chants and manipulated wordless vocals. This selection includes tracks that feature dark synthesizers, drones, and slow-burning electronic beats. Mannequin Records founder Alessandro Adriani used to play tracks from the soundtrack in his DJ sets; here, he transforms "The Magic Is in Progress" into a ten-minute dancefloor acid/EBM ride.
"A blend of ambient, exotica and field recordings, inspired by Frederick O'Brien's travel book. 'Twilit dreams spanning Pacific shores in pulsing waves of richly-coloured rythyms, tropical sound fields and Polynesian-inspired slide guitar. Moving deconstructively beyond a passion for Islander kitsch, this is a unique, self-questioning kind of Blues, infused with other musics, bearing witness to the complexities of relationships between Islander people and visitors.' First time out on vinyl; in silk-screened sleeves, with metallic ink."
"Roger Miller, king of many roads both known and unknown, has a long and illustrious recording history. As a member of Sproton Layer, Destroy All Monsters, Mission of Burma, The Din, etc., he has made many records that are definitive statements of powerful outsider rock music in many guises. But this, his third solo LP, originally released by Forced Exposure in 1988, remains one of the great lost chords in his discography. Although he'd been focusing mostly on extended keyboard techniques for a couple of years, Roger approached us with the idea of doing a guitar-oriented record, and furthermore suggested that he'd spraypaint the back covers of all copies in his driveway, after sprinkling rocks across them. It was a hard opportunity to pass up. And the first bits we heard of the actual recording were amazing. The cover of Sun Ra's 'Space Is the Place' was totally boss. And a bunch of the other songs manifested a really bizarre, somewhat Eno-esque take on what pop-readymades could possibly be. In the intervening years we'd start to hear them in a very different light, realizing they were almost templates for various skewed-spews that would emanate from New Zealand. A little Pumice, a little Tall Dwarfs, although that was obviously not anything planned or even related. There were even bits that recalled This Heat at their most organized. And it was all done at home on four-track. If anyone ever needed evidence that Roger is a genius at left-field song-craft, Oh... should be enough to convince them. It just sounds better even time I hear it" --Byron Coley, 2015. Edition of 350.
Citron is a complete remix of the Czech heavy metal band Citron's 1990 release Vypusťte psy!, or Release the Dogs. While spending an extended period in the Ostrava studio of Citron's leader Radim Pařízek, FAT found itself with access to the original 24-track tapes of Citron's then-most-recent album. Working at night, FAT discreetly remixed the entire album to create Citron. Citron is a far cry from the original record's heavy metal sound, as FAT creates a bohemian fairy-tale-on-acid from the bones of a late Communist-era Czech mega-album. The mix turns the original record inside-out and often lays bare the typical lead vocals or instrumentation, bringing the more banal elements to the forefront. Background synth fills become lead instruments with midi time code serving as a rhythm track in a reconfigured cavernous arena-reverb setting. Remixed in the studio where the original album was recorded, the reprocessed sound was achieved entirely with the period equipment from a 1992 Czech studio.
First vinyl reissue of Alarm by the Peter Brötzmann Group, originally released on FMP in 1983. Harry Miller: bass; Louis Moholo: drums; Alexander von Schlippenbach: piano; Peter Brötzmann: saxophone; Frank Wright: saxophone; Willem Breuker: saxophone; Toshinori Kondo: trumpet; Alan Tomlinson: trombone; Hannes Bauer: trombone. Recorded during the 164th NDR Jazzworkshop, November 12, 1981, at the Funkhaus Hamburg. Produced by Peter Brötzmann and Jost Gebers. Cover design by Peter Brötzmann.
5 Viajes / 5 Journeys
LP version. Winners of the Best Jazz and Improvisational Music Award at Spain's 2014 Premios Martín Códax da Música, Sumrrá are pianist Manuel Gutierrez, bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido. The most exciting trio on the Spanish jazz scene today, their performances express assured conviction and a sound filled with dynamism, lyricism, and humor. Coming together informally at first in the summer of 2000, these three superb musicians have built a solid understanding of each other's voices. That instinct combines with superb technique to inform their music with a freedom of improvisational invention. Sumrrá have had a consistent trajectory in the music scene in Spain. In addition to their many concerts throughout the Iberian Peninsula, Sumrrá have also performed to great applause internationally during tours in France, Bolivia, Bulgaria, and South Africa. In September 2015 they performed at the famed Tanjazz festival in Morocco. These musicians share a passion for improvisation and open musical form. As bassist Xacobe Martinez Antelo puts it, "The truth is that we do not take any model... Our way of working is about compositions... and that marks the development of the trio, our roles, and our sound." 5 Viajes / 5 Journeys is Sumrrá's fifth album.
Heart Like Railroad Steel: Memphis & Chicago Blues 1951-57 LP
Vesàlio - Mareggiata a San Vito 12"
Prince Pansori Priestess LP
The World Of Harry Partch LP
Death Is Unity With God (Complete Version) 3CD
Induction Hardened Bedways 12"
The Complete New York Sessions '67 3LP BOX
The Private Selection 1 12"
The Private Selection 2 12"
Tepid Peppermint Wonderland Volume 2 2LP
The Velvet Underground & Nico LP
Qui Etes Vous Polly Maggoo? 7"
The Next Big Thing EP (Andrew W.K. 2015 Remixes & Studio Outtakes) 10"
Intrigue & Stuff Vol. 4 12"
Blue Eyes Are My Reward LP
22 Coloured Bull-Terriers 2LP
Tara Cross 1982-89 4LP BOX
Our Lady of Perpetual Fucking Succour 12"
My Descent into Capital CD
My Descent into Capital LP
Breaths Written Outside Gloom 12"
A Strange Functional System 1979-1982 12"
A Study into 21st Century Drone Acoustics LP
The Rings of Saturn: Complete Edition CD
Anthology One: 1989-91 2LP
White Shadows In The South Seas LP
Lebenserinnerungen Eines Lepidopterologen 2CD
London Is the Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London 2LP
London Is the Place For Me 4: African Dreams and the Piccadilly High Life 2LP
P.S.K. What Does It Mean?/Gucci Time 12"
Unnatural with Pain-Relief LP
Joaquin Joe Claussell Meets Manuel Göttsching CD
Joaquin Joe Claussell Meets Manuel Göttsching LP
Love Will Tear Us Apart LP
Solla Solla: Maestro Ilaiyaraaja and the Electronic Pop Sound of Kollywood 1977-1983 2LP
Revenge of the Selfish Shellfish 2CD
Douze Inventions en Six Modes de Jeu LP
Emergency Stairway to Heaven PIC. DISC + CD
Before the Next Tear Drop LP
The Singles Collection 5x7" BOX
Revolutionaries Sounds Vol. 2 LP
White Light/White Heat LP
E2-E4 Live in Japan CD/DVD
Penguins Eat Fish/Little Dark Wing 7"
Klusterstrasse 69-72 8LP BOX