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CD
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TTTT 025CD
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33-33 present Ton Klami, a rare live recording from one of East Asia's most remarkable improvising ensembles, bringing together Japanese pianist Masahiko Satoh, Korean saxophonist Kang Tae-Hwan and Japanese percussionist Midori Takada. Recorded during a memorial concert for the influential critic and producer Soejima Teruto, the album documents a unique meeting between three pioneering artists whose individual careers helped redefine the possibilities of improvised and experimental music across Japan and Korea from the late twentieth century onwards. Masahiko Satoh is one of the most influential figures in post-war Japanese jazz and experimental music. Across a career spanning more than six decades, he has continually expanded the possibilities of improvisation through work encompassing jazz, contemporary composition, electronic music and interdisciplinary collaboration. Kang Tae Hwan is a foundational figure in Korean free improvisation and one of the most distinctive saxophonists to emerge from East Asia. His radical approach to breath, tone and extended technique has influenced generations of improvisers internationally. Midori Takada is internationally celebrated for her groundbreaking work as a percussionist and composer. Her recordings and performances have profoundly shaped contemporary understandings of minimalism, rhythm and environmental sound, earning renewed global recognition in recent years. Ton Klami reflects 33-33's ongoing commitment to uncovering overlooked histories within experimental music. Through a catalogue spanning contemporary commissions, archival recordings and cross-cultural collaborations, the label seeks to create new contexts for significant work that sits beyond conventional genre boundaries. In bringing this recording back into circulation, 33-33 continues its wider exploration of artistic exchange between Japan, Korea and the international avant-garde. A rare document of spontaneous dialogue between pioneering improvisers Masahiko Satoh, Kang Tae-Hwan and Midori Takada, exploring tension, texture and space through cross-cultural experimental sound.
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2CD
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AHA 005CD
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Dowser was formed in the late 1980s by Hiroyuki Nagashima. After numerous lineup changes, the current members are Hiroyuki Nagashima (instruments), Masateru Terai (instruments, voice), and Takashi Miyagawa (design). Dowser combines vintage synthesizers such as Buchla and EMS with virtual instruments to construct a distinctive sonic landscape that merges electronic music, rock, noise, and ambient textures. Founder and leader Hiroyuki Nagashima is also an accomplished film composer, having created music for internationally acclaimed directors including Gakuryu/Sogo Ishii, Katsuhiro Otomo, and Shinji Aoyama. One of the earliest works released under the name Dowser was itself a soundtrack, the score for the cult cyberpunk film 964 Pinocchio, directed by Shozin Fukui. Nagashima has also contributed to the recent work of legendary vocalist Phew, notably handling album mixing. In addition, he serves as a professor at the Graduate School of Film and New Media at Tokyo University of the Arts, where he teaches film sound design. Now operating as a trio, Dowser crafts immersive soundscapes that channel a wide spectrum of human emotion, from the raw to the deeply vulnerable. Miyagawaʼs automatic drawings complement and extend the musical dimension, reinforcing the group's identity as an "Unconscious Electronic Sound Collective." Schema 1+2 marks Dowserʼs first label release in many years. Long respected within Japanʼs underground scene, the group enters a new phase of its evolution with this album.
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2LP
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PULSE 001X-LP
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The original album plus six bonus tracks (from the singles "Drömm/Slaves" and "Identify" plus the split 7" with Die Form). Hansten Klork is considered one of the most avant-garde albums of its time; released in 1980 it highlighted the band's experimental approach to the post-punk ethos, with explicit homages to minimalism, kraut-rock and post-industrial aesthetics. RIYL: This Heat, Faust, early Cabaret Voltaire.
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GM 001LP
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London, 1978. Emerging from the UK's underground, Gloria Mundi were never just another punk band. Their debut album, I, Individual, is a bold, theatrical and uncompromising statement -- one that fuses aggressive rock with performance art, intellect, and confrontation that collided with punk rock. Formed in mid-'70s London by Eddie Maelov and Sunshine (Valerie Patteson), Gloria Mundi began as an ambitious sci-fi rock opera concept before evolving into one of the more distinctive acts orbiting the early punk movement. Sharing stages with the likes of early Ultravox (then Tiger Lily) and playing iconic venues including the Roxy, Vortex and the Marquee, the band quickly built a reputation for shows that were as visually arresting as they were sonically intense. Released on RCA in 1978, I, Individual channels that ethos into a record that pushes beyond punk's three-chord limitations. Combining driving guitars, angular arrangements, and the striking addition of saxophone, the album delivers a layered, "chunky" sound underscored by Maelov's theatrical vision and Sunshine's fierce, uncompromising vocal presence. While contemporaries chased immediacy, Gloria Mundi embraced complexity -- something that divided critics but earned them a devoted following. The band's live performances were something to check out: stark white lighting, confrontational staging, and a commitment to total performance blurred the line between concert and theatre. Despite the backing of infamous manager Rod Smallwood, a major label -- and even a personal nod from David Bowie himself -- I, Individual remained an outsider record: too conceptual for the mainstream, too theatrical for purist punk. Yet that outsider status is precisely what makes it endure. Now remastered, I, Individual stands as a vital document of a band that refused to conform -- capturing a moment when punk was still being invented, and Gloria Mundi were already pushing it somewhere stranger. It's arguably the bridge to Goth and the angular existentialism of Bauhaus, Sex Gang Children, Death Cult and the like. Gloria Mundi didn't follow the movement. They challenged it! Added to the album is their debut single A side -- "Fight Back." The album is released on opaque white vinyl with inner bag with lyrics and photos and a two-sided insert with the history of the band by singer Eddie Maelov and unseen photos from the time.
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AOF 490LP
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"Early recordings, demos, live tracks and other rarities from British industrial pioneers Portion Control."
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2LP
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ASSO 010LP
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2026 restock. R.I.P. Tommy Jay. Assophon present an expanded reissue of Tommy Jay's Tall Tales Of Trauma, originally released on cassette in 1986. "Tucked away between I-71 & US-62 lies nestled the quaint, speed trap hamlet of Harrisburg, Ohio. With its humble ambience, affable familiarity, weekend fish fries and Christian B&B ('mind the sherry, brother, for it is the Lords nectar'), blink twice and you might think you've been transported into a 21st century Winesburg, Ohio. Only now the emphasis is on a new chapter, 'The songsmith-concerning Tommy Jay'. In a converted barn just off Main St, Jay and friends have been forging a massive catalog of music, both original and cover variations, for a solid four decades. Fellow towns-person and erstwhile participant, one Mike 'Rep' Hummel (Serpent Mound expert, croquet enthusiast) was the first to make these recordings available when he issued a cassette of the proceedings under the title, Tommy Jay's Tall Tales Of Trauma via his homespun DIY label, Old Age/No Age, in 1986. For anyone prescient enough to lock in back then, they were staggered by talent, far removed from the stars of High Street (Great Plains, Gibson Bros, Willie Phoenix). A singer/songwriter par excellence, Tommy Jay ably forged a hybrid of pre-speedball Stephen Stills with post Iron Cross-headed Lou Reed, the results of which come across as both effortless and visionary. Some 20 years later, Tall Tales would finally receive it's long deserved elevation to the vinyl format (this time through Columbus Discount Records), and was now being heard by a new generation of ears, garnered immediate success, quickly sold out and inexplicably was never repressed. In the intervening limbo, copies were more sought than found, lucky bumpkins forking upwards to three figures for pride of ownership. Recently, Assophon, a US label with Jim Rockford-like determination, swooped in to un-fuck this glaring wart. Plus, time and patience being the powerful warriors they are, the new, expanded edition is brimming with a whole second platter of hoot; 13 unreleased tracks what's rarely been discerned this side of Tony's Coney's. Which all goes to say that the new and improved, 30th anniversary edition of Tommy Jay's Tall Tales Of Trauma is, to paraphrase the words of the late, great Randy Poffo, 'The record the whole world, Jupiter, Saturn, Venus... Or anywhere else is waiting for'." --Tom Lax Lynx.
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DDJ 067CD
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Beat Records presents the world premiere of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe's Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments.
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DDJLP 032DLX-LP
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LP version. Blue color vinyl. Beat Records presents the world premiere of the complete original motion picture soundtrack for the movie Il cacciatore di squali, directed in 1979 by Enzo G. Castellari. Superstar Franco Nero is Mike Di Donato, an Italian-American with a mysterious past dominated by a terrible event from which he is probably fleeing, leads the life of a good savage on a deserted island with his own version of Friday, played by Marta Miller, the gorgeous Argentinian actress with a prolific career in genre cinema. There are obviously many differences between this and Defoe's Crusoe, as this is a contemporary story that merely takes some aesthetic inspiration from the aforementioned novel, mainly the isolation from civilization and immersion in nature. The soundtrack was composed by Guido & Maurizio De Angelis during a deeply influential period in music history, as 1979 was the moment in which the disco music phenomenon was spreading like wildfire across the world, infusing every creative endeavor with its powerful energy, and the brothers Maestro were no exception. The main titles burst from the speakers with great skill, creating a musical transition from a quiet seaside scene into Mike's dynamic fight with a shark. Pulsating grooves, nervous guitars, derailing brasses, breaks artfully edited into sync, and the general musical tension creates a magnet for the spectator, glued onto the screen with both eyes and ears. Two other musical themes in the score lend a hand, one for lighter, more comedic situations and everyday life, and a series of tense electronic cues accentuated by a few live instruments.
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BORNBAD 125BWLP
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Color vinyl version. Ever since the late 1950s bossa-nova revolution, Brazil's influence on French music has been undeniable. Pierre Barouh, Georges Moustaki, and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languor of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba. With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic Tchic: French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France. A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre's pioneers. In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes, and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on "The Girl From Ipanema". The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound. Bossa nova arrived in Paris through the classic "guitar-voice" channel. But France loved jazz and Paris had already welcomed its American contributors. Features Les Masques, Isabelle Aubret, Christianne Legrand, Jean Constantin, Billy Nencioli & Baden Powell, Marpessa Dawn, Jean-Pierre Sabar, Sophia Loren, Isabelle, Sylvia Fels, Frank Gérard, Ann Sorel, Charles Level, Andrea Parisy, Audrey Arno, Aldo Frank, Clarinha, Hit Parade des Enfants, Jean-Pierre Lang, Magalie Noël, and Françoise Legrand. CD version includes 24-page booklet with liner notes in French and English. Double-LP version includes printed undersleeve with liner notes in French and English; also includes download code.
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BORNBAD 195CD
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Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd. In 1975-76, French music was, as almost always, in a sorry state; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one. In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their grueling shifts at the factory. It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and -- crucially -- a very healthy sense of rebellion. Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the rookies tried to cover a few standards, songs that often were an integral part of their lives. But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one's small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. Pantone silver metallic cover. Includes booklet with liner notes by Eric Tandy (Olivensteins) in French and English.
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BORNBAD 195LP
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LP version. Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd. In 1975-76, French music was, as almost always, in a sorry state; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one. In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their grueling shifts at the factory. It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and -- crucially -- a very healthy sense of rebellion. Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the rookies tried to cover a few standards, songs that often were an integral part of their lives. But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one's small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. Pantone silver metallic cover. Includes booklet with liner notes by Eric Tandy (Olivensteins) in French and English.
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BORNBAD 196CD
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If Dorian Pimpernel's first album could be seen as the opening of a secret passage, this second record, Flowers Too, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized -- they keep digging. And deeper still. Esoteric pop -- the noblest, the most dangerous kind -- is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling. Still operating on the margins of the classic "group of friends starting a band" model, they pursue their strange project: moonshine pop -- the nocturnal, lunatic, sometimes venomous reverse side of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis -- it is a territory. Each song is at once fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist just next door. The whole forms a labyrinth whose map one may study -- or choose to get lost within. For whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: this is pop. Grand melody. Immediate, supple, luminous -- even when it speaks from the shadows. Their influences are still present, but more deeply digested: the learned psychedelia of the '60s, the imagined bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and vintage guitars that populate their studio-cabinet of curiosities. Except that here, none of it is quoted anymore -- it breathes. On the surface, this music seems to come from yesterday. In depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also -- and above all -- harmonious, immediate, deliciously toxic, of an almost suspect beauty. The real surprise is that this second album already possesses the density of a mature work. In its themes -- lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited -- as in its form: no longer merely a proposition, but a fully realized manifesto.
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BORNBAD 196LP
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LP version. If Dorian Pimpernel's first album could be seen as the opening of a secret passage, this second record, Flowers Too, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized -- they keep digging. And deeper still. Esoteric pop -- the noblest, the most dangerous kind -- is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling. Still operating on the margins of the classic "group of friends starting a band" model, they pursue their strange project: moonshine pop -- the nocturnal, lunatic, sometimes venomous reverse side of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis -- it is a territory. Each song is at once fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist just next door. The whole forms a labyrinth whose map one may study -- or choose to get lost within. For whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: this is pop. Grand melody. Immediate, supple, luminous -- even when it speaks from the shadows. Their influences are still present, but more deeply digested: the learned psychedelia of the '60s, the imagined bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and vintage guitars that populate their studio-cabinet of curiosities. Except that here, none of it is quoted anymore -- it breathes. On the surface, this music seems to come from yesterday. In depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also -- and above all -- harmonious, immediate, deliciously toxic, of an almost suspect beauty. The real surprise is that this second album already possesses the density of a mature work. In its themes -- lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited -- as in its form: no longer merely a proposition, but a fully realized manifesto.
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LP
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CIS 170LP
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Ali O'May and Frazer Brown first met in early 2018, performing with their respective bands at an Electronic Music Open Mic (EMOM) night in Edinburgh. A shared musical sensibility was immediately apparent, and a few months later Ali handed Frazer a USB drive loaded with stems recorded directly from his vast modular system. Over the summer and autumn of 2019, Frazer took around a dozen of those stems as the foundation for a collection of tracks, shaping them into fully realized pieces spanning techno, lo-fi, breaks, acid house and ambient. And so, the Dohnavúr method was born: Ali coaxing raw materials from his modular setup, and Frazer working them up instinctively -- his encyclopedic knowledge of electronic music guiding the feel, genre and direction suggested by Ali's foundational building blocks. It's a genuinely unique way of working, and the results speak for themselves. We Owe Each Other Everything continues to redefine the Dohnavúr method. Built once again from a new set of modular creations by Ali, and expertly shaped by Frazer in his Armadale studio, it's an extraordinarily diverse and exciting collection -- cohesive yet wide-ranging, this is music that hits you directly in the heart and the solar plexus. It makes you feel things. Side one opens with the sawtooth resonance of "Flowers in the Barrel," moves through the clattering momentum of "Ready for '91," and arrives at "Make It in Livingston" -- a darkly ominous commentary on the new town where Frazer grew up. Side two delivers the haunting beauty of "Acetylene," the cinematic, eighties-inflected uplift of "Powerless," and closes with "Unwavering" -- an emotional gut-punch featuring vocals from Emile Wauters (aka Autumna) that once heard will not be forgotten. We Owe Each Other Everything is Dohnavúr at their most powerful and assured: two musicians with a singular creative chemistry, making music that is impossible to categorize and impossible to ignore.
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CIS 211CD
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Following an illustrious tenure as founding member of acclaimed, boundary-defying trio The Comet Is Coming, alongside output as half of electronic psych jazzers Soccer96, the producer and synthesist Dan Leavers, aka Danalogue, announces his debut solo LP, Teleportations. Conceived as a continuous, journey-based piece, Teleportations is a warm, playful and immersive album that transforms endings, grief and personal upheaval into a vivid science-fictional voyage of escape, healing and renewal. A self-contained sonic world performed entirely by Danalogue, Teleportations unfolds like a single trip rather than a collection of standalone tracks. Moving seamlessly between celestial ambience, shimmering kosmische, euphoric space disco, liquid jazz funk and the deepest Detroit house, the album invites listeners to enroll in what Dan describes as a "teleportation program" -- a musical technology designed to sublimate difficult emotions, allowing sound, texture and motion to carry the listener through shifting states of feeling and emerge transformed on the other side. Science fiction provides both the language and architecture of the record. Inspired by astral travel, theta brainwaves, collective consciousness, the artist Jean Giraud, the writer Ernst Bloch and the film maker Miyazaki, Danalogue imagines music as a shared act of transportation -- not unlike the experience of an audience tuning into a gig as one unified organism. Danalogue cites figures such as Joe Meek, Wendy Carlos, Isao Tomita, Laurie Spiegel, Mort Garson and Terry Riley, and groups Harmonia and Kluster, as influences -- all artists who operated outside rigid genre boundaries. Teleportations was created using a largely vintage analogue setup, centered around the Roland Juno-60 and SH09, Jupiter 4, Oberheim and old samplers.
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PBRED 952LP
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"Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly-influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped-down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level. This '90s masterpiece hasn't been available on picture disc since its original release and is a must for fans and collectors around the world."
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CNLP 085LP
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First repress of the rare UK compilation In Reggae Time. Originally released in 1970 it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub labels. The sound is not just reggae -- it's only marginally so -- offering a vibrant mix of 1960s UK mod, R&B, ska, and Northern soul. Limited edition picture disc LP. Featuring Sonny & The Daffodils, Laris McLennon, Vernon Vermont, Maynell Wilson, Hoagy Benson, and Norma Lee.
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CT 3995LP
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2026 restock of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).
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CVSD 129CD
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Corbett vs. Dempsey celebrates its first release featuring Nick Mazzarella. One of the critical figures in Chicago's creative music scene, alto saxophonist Nick Mazzarella has been a mainstay for over 25 years as a leader, composer, and player. This gorgeous recording was made at Shape Shoppe Paradiso, the Italian studio of former Chicagoan Griffin Rodriguez. Mazzarella was introduced to bassist Silvia Bolognesi by cellist Tomeka Reid, and he began informally playing with Silvia and drummer Christiano Calcangile in 2016. Seven years later, Bolognesi invited Mazzarella to play with her quartet at the Hyde Park Jazz Festival and to tour a bit with them; she then invited him to Italy, where they performed and recorded, and in 2025 they convened again, this time allowing time for a trio session focused on Mazzarella's original music, all of it previously unrecorded or written specifically for the occasion. Mazzarella, Bolognesi, and Calcagnile added trumpeter Emanuele Marsico for quartets on two pieces. Covering a breadth of stylistic terrain, from three open improvisations to piquant balladry and freebop heat, Siena Sessions presents Mazzarella's uncompromising vision with grace and precision. Molto bene, Mazzarella!
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COSMR 047LP
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Reissue of the third album from Brazilian combo. Creatively visionary and groundbreaking on numerous terms, 1975's O Africanto dos Tincoãs (as the previous Os Tincoas album) revolutionized Brazilian music by harmonizing Afro-religious singing, heavenly vocal harmonies, and percussive rhythms derived from Candomblé traditions. Even though it was recorded during a time of political repression, the album remains gentle, rhythmic, and reflecting Afro-Brazilian syncretism and resonating with themes of suffering, exile, and hope.
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DE 350LP
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"Severed Heads reattach themselves to Dark Entries for an expanded reissue of their 1991 opus Cuisine (With Piscatorial). As originary Aussie industrial legends -- although founder Tom Ellard would balk at being branded as such -- Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and infectious nursery-rhyme-esque melodies. Cuisine (With Piscatorial) was the long-running project's ninth album, and is a commentary on the state of music. Ellard explains: 'The whole food joke is really about what music's about and how disposable it is; people have records like they have cups of coffee.' The album also presents a turn away from the dancefloor formalism of the era, which Ellard dismissed as already sufficiently explored. Cuisine brings listeners punchy pop kernels of the prime Heads variety, all clocking in around three minutes. Cuts like 'Pilot in Hell' and 'Ugly Twenties' rank among the band's best through their deadly skewering of synth pop tropes. But the album also offers a Piscatorial section, where Ellard felt free to 'go fishing for ideas.' Here listeners get a taste of the project's demented cut-up sensibilities, like on the 'Quest for Oom Pa Pa' suite, where vintage jazz records are collaged into an angular nightmare. This double-LP reissue is the first time that Cuisine (With Piscatorial) appears on vinyl, with a previously unreleased early version of 'Seven of Oceans.' Also included is a six-page booklet with liner notes, lyrics, and press clippings."
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LP
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DG 010LP
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"I wanted to make a totally fried recording, quick and dirty. Sort of a cathartic expulsion. Clean the cobwebs. I recently bought a Vestax MR44 (the best sounding 4-track ever IMHO) -- the same 4-track I recorded some Coachwhips, early OCS etc. on. Now we had the tools we needed so I spent a week writing riffs and brought them to Tom Dolas and John Hodge. We ran them one time and then recorded them on the second go. Loosely improvised and unhinged. Everything turned all the way up. Hope you dig -- play loud." --John Dwyer
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7"
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DKR 292EP
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"First time on 7" for this killer dark lovers cut that appeared on the Parish showcase showdown album with Hopeton & Robert Ffrench. Recorded and mixed at Channel 1 in the mid '80s, these tracks ended up on the aforementioned LP which didn't make it out until '87. The style is the heavy live sound of that last moment before digital took over, quite like the Gifted Roots Band or Music Mountain studio style."
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7"
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DKR 296EP
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"Another banger from Everton Chambers' awesome late '80s run with Parish. Like some other Parish releases this is right in the early digi sweet spot, with a great uptempo rhythm and sing-jay story telling lyrics. This is a long-time personal favorite of its era, and better still is that this issue is in pristine quality from master tapes, and unlike the original press, features the correct dub version. The original unfortunately had a pressing error where the wrong version side was used, and the correct version was mis-pressed on the flip of another unrelated tune (shout out to all the soldiers who hunted down the version side over the years!)."
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7"
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DKR 342EP
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"First time on 45 for this heavy cut from the Diamonds' 1983 LP Backstage, another gem from the Diamonds decade long run of greatness, moving from Channel 1 to Gussie Clarke and beyond. Beyond just their hits, the Diamonds have a healthy list of great tracks like this that were tucked away on albums and never on singles. So here's one being pushed a little further into the light, a crisp remaster from the master tape."
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