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LP
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BANG 040LP
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2025 restock, 140-gram vinyl, gatefold cover. In 1980, right before the recording of The Gun Club's mighty debut The Fire of Love, Jeffrey Lee Pierce did a handful of solo acoustic recordings based on his fascination for Mississippi Delta blues. And this is what this record sounds like -- Jeffrey Lee Pierce doing a review of the classic blues -- raw, bitter and straight to your heart. These recordings are now released on vinyl for the first time. This album contains a 16-page booklet with previously-unreleased photographs and chronicles from Pierce's friends, speaking about their times and memories with him -- people such as Nick Cave, Mark Lanegan (Screaming Trees, Gutter Twins), Henry Rollins, Kim Salmon (Scientists, Beasts Of Bourbon), Terry Graham (The Gun Club), Tex Perkins (Beasts Of Bourbon, Cruel Sea, Butcher Shop), Kid Congo Powers (The Gun Club, The Cramps, Nick Cave And The Bad Seeds, Butcher Shop), Jim Sclavunos (Nick Cave And The Bad Seeds, The Cramps, Sonic Youth, Panther Burns), Spencer P. Jones (Beasts Of Bourbon, The Johnnys, Butcher Shop, Slappers), Steve Wynn (Dream Syndicate), Jeremy Gluck (Barracudas), Jim Duckworth (The Gun Club), Billy Zoom (X), Keith Morris (Circle Jerks, Black Flag), Bob Bert (Chrome Cranks, Pussy Galore, Sonic Youth, Five Dollar Priest), Hugo Race (Nick Cave And The Bad Seeds), Peter Aaron (Chrome Cranks), Dave Graney (Moodists), Tav Falco (Panther Burns), Dan Stuart (Green On Red), and more.
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LP
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BEWITH 005LP
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2025 restock! Be With Records present the first ever officially licensed reissue of Ned Doheny's Prone, originally released in Japan only in 1979. Aficionados rate Ned Doheny's Prone as his finest achievement. This sophisticated masterpiece has been unavailable on vinyl for over 35 years, so Be With Records pressed it on audiophile 180 gram vinyl and restored the original Japanese artwork for both jacket and classic lyric-insert. Featuring the superior full-vocal version of "To Prove My Love". Ned Doheny's crowning glory, even better than the superlative Hard Candy (1976). So quite why this AOR/soft-funk gem has not been available legitimately on vinyl for over 35 years is anyone's guess. A forgotten-funk classic. What makes this release truly special is the inclusion of the full-vocal version of jazz-funk classic "To Prove My Love". It's what you've all been waiting for. Produced again by the legendary Steve Cropper, Prone's super-smooth grooves showcase Ned's beautifully laid-back vocals, virtuoso playing and forever-wry lyricism. Aside from "To Prove My Love", it boasts some of Doheny's most under-appreciated tracks: witness the slickness of "Think Like A Lover", "Guess Who's Lookin' For Love Again", and "Funky Love". 180 gram vinyl; Features the original artwork for both jacket and lyric-insert.
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LP
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BT 128LP
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Legendary New Zealand-born experimental composer and sound art pioneer Annea Lockwood returns to Black Truffle with On Fractured Ground/Skin Resonance, her third release for the label. Having recently celebrated her 85th birthday, Lockwood shows no sign of slowing down in her exploration of new sound sources and collaborations with an ever-growing intergenerational pool of performers -- here with Vanessa Tomlinson. Her creative vibrancy is alive as ever on the two recent works presented here, which demonstrate both her engagement with the social dimensions of sound and the deeply reflective, meditative aspect of her art. "On Fractured Ground" derives from material recorded with Pedro Rebelo and Georgios Varoutsos for the soundtrack of Maria Fusco and Margaret Salmon's opera-film, History of the Present (2023). Working together in Belfast, Lockwood, Rebelo and Varoutsos made extensive recordings of the city's "peace lines," the dozens of walls erected since the beginning of the Troubles in the late 1960s to separate Catholic and Protestant areas of the city. Continuing to work in her studio with the material collected for the soundtrack after its completion, Lockwood composed the work presented here, occupying a space somewhere between her own extended-technique percussion music and the Cagean tradition of hyper-amplified small sounds. "Skin Resonance" is a collaboration with Australian composer and percussionist Vanessa Tomlinson. Developed through conversations in which the two discussed the idea of "sonic attraction," the piece focuses on Tomlinson's relationship to the bass drum, reflecting on the complex web of connections embodied in this seemingly simply instrument, which is at once "animal, wood, and metal." Approaching the instrument in a suitably elemental fashion, Tomlinson's performance strips away conventional technique to explore the resonance and timbral properties of skin, drum, and metal hardware, producing overlapping waves of texture that at times seem closer to wind swishing through leaves or the ocean than anything usually associated with a drum. Emphasising the symbiotic relationship between performer and instrument, Tomlinson's voice is heard at times, exploring the field of associations and connections the bass drum suggests to her. Accompanied by insightful liner notes on both pieces and photographs documenting the recording of "On Fractured Ground" and a performance of "Skin Resonance," this LP is a moving testament to the engagement, generosity, and openness that sustain Annea Lockwood's work, still finding new directions after more than fifty years of activity.
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LP
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BB 336LP
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2025 restock; LP version. "Martin Rev's fourth solo album See Me Ridin' was released on the New York label Reachout International Records (ROIR) in 1996. Received by the critics with amazement, it proved to be a watershed moment in his career. Journalist Neil Cooper wrote at the time: 'When I first heard Rev's new record, I was taken aback. Was he serious? Was this some inside joke? He had to be kidding -- or was he mentally over the top!' Its reception echoed that of the 1992 Suicide album Why Be Blue, which sprung such a surprise on fans of the duo comprising Martin Rev and Alan Vegas. On this particular solo album, Rev repeated the trick of dispensing with rough, brittle sounds. This was not Rev seeking to distance himself from his musical origins, he was actually getting back closer to his roots. Signs of Martin Rev's formative influence as an electronic music pioneer can be seen in many places. Virtually no one would have expected him to deliver a doo-wop album, but in the light of Rev's socialization and artistic tradition, it reflects a logical process of absolute reduction. Martin Rev crafted See Me Ridin' as a kind of power pop hybrid, an album which owed much to the R&B and doowop of the 1950s and 1960s; the music which a youthful Martin Rev heard on the streets of New York, the soundtrack to his teenage years which had such an intense effect on him and would resurface in his own works. Nowhere more so than here. The instrumental foundations of these 16 tracks are built on rudimentarily sketched melodic arches, outlines rather than fully defined structures, yet all the more forceful for that. As if the full potency of an R&B band has been distilled into minimalist keyboard compositions. Martin Rev's vocals are as minimal as they are sentimental, wonderfully poetic like a latter-day Chet Baker perhaps, or Jonathan Richman. This solo album not only blindsided Rev's critics and fans alike, but also painted a personal, nostalgic portrait of his home, New York; fading out the noise and contradictions of the city to channel the romantic energy of the metropolis." --Daniel Jahn, May 2020
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Cassette
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DC 860CS
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Cassette version. "Years past the space time of Automaginary, Bitchin Bajas and Natural Information Society have reported back at last from beyond. If the new title doesn't clue you, Totality brings good news. Since their first collaboration, the path ways that lead from Natural Information Society's ecstatic all-world jazz to Bitchin Bajas' microtonal soundscapes have grown ever finer in their articulation. Across the spectrum, the septet balance a deeply searching mood with wonderfully in-pocket production feel. This makes for collective aural transport of the highest order to all those listening in. In the time since their 2015 first convergence, the Natural Information Society have released four albums (one in collaboration with Evan Parker, one with Ari Brown) and Bitchin Bajas five (one a soundtrack, one with Bonnie 'Prince' Billy, one featuring the songs of Sun Ra). Given the multivarious paths both groups have traveled, it makes sense that their second convergence seems to emanate from centuries, eons beyond or below -- some undefinable elsewhere -- from their first. Totality is that. These days, Natural Information Society is populated differently. From the sextet NIS that co-created Automaginary, Joshua Abrams, Lisa Alvarado and Mikel Patrick Avery remain. In the stead of the departed former players is Jason Stein on bass clarinet. This might account for some mere impression of aspects of time, space and evolution to be found here -- but then again, Bitchin Bajas flow on in their long-standing trio configuration (Cooper Crain, Dan Quinlivan, Rob Frye), so the 'people in the room' theory of how Totality ever got this way will only take us so far. Recorded in a single day with Greg Norman at Chicago's Electrical Audio, then slowly considered into the finished record we hear here, Totality is a sweet-tempered second child. It experiences time in ways the first kid didn't. If you're in it for slow-shifting trance formations, it's gonna be cool. There's lots here for you, lots of simmering time and synth atmospheres dappled with radiant woodwinds -- but there's some head-snapping hypno-rhythms that stand apart from the groove energies of the first one. It's just natural facts: two different days in time separated by years, with the experience of several live encounters between the two groups in between. Beyond that, only the music can say anything else. That said, here are a few thoughts from this listener's log... The low-key revolutionary thump of 'Nothing Does Not Show' and 'Clock no Clock' notwithstanding, Totality charts impressive new launch angles from NIS & BB's improvisatory heart, with their careful listening and response time continually redefining the space in a relaxed manner that rewards deep zoners. Additionally, their blended corps assimilate marvelously on Abrams' composition, 'Always 9 Seconds Away.' Here, and with the aforementioned groovers, the collective resonates beyond familiar kraut/spiritual/minimal power lines, bringing new time conceptions to bear in the always-expansive space of this album event. It's about time we got back to the singularly-divined space of Natural Information Society & Bitchin Bajas with Totality. That's the best way to way to define this new music -- it's about time."
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LP
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EFFICIENT 043LP
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Wilson Tanner return to dry land with Legends, a wine-soaked agricultural fantasy, made among the grapevines at Manon Farm in South Australia. Where their earlier works settled into the sun-struck torpor of a suburban Perth backyard (69) or drifted off-course on a riverboat on Port Phillip Bay (ii), Legends trades salt air for vineyard sweat, the scrape of boots on dry earth and workers' radios humming with the summer test cricket season. Through this agricultural haze an image of a working vineyard emerges -- ducks, dogs and plovers intrude; tractors and quads fly-by; stainless steel gleams at the edges. Recorded without mains power, the Manon demos overflow with farmyard ingenuity. Wind, brass, balalaika, balloon, pipe and synth are trained onto the staff with wire, tape and string. A caricature of Australian viticulture, Legends is packed to the horns with the mythology and manure of natural wine. Swigging and belching in camaraderie, Wilson Tanner press their surroundings into something raw and unfiltered, letting bum notes, leftovers and sediment linger in the bottle. A cornucopia of biodynamic sounds.
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3CD
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ECLEC 32771CD
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2021 release. "Third Ear Band was one of the earliest signings to EMI's Progressive imprint, Harvest Records. The band was formed in 1968 around a nucleus of Glen Sweeney (percussion), Paul Minns (oboe), Richard Coff (Violin, Viola) and Mel Davis (cello). Third Ear Band were unique in their exploration of exotic baroque music fused with experimental rock. Signing to Blackhill Enterprises in 1969, the quartet opened for many of the legendary Hyde Park free concerts by Pink Floyd, The Rolling Stones, and Blind Faith. Their debut album, Alchemy, released in July 1969, was championed by legendary DJ John Peel and is regarded as one of the most striking and original works of the era with its unique gothic improvisational music. The band's self-titled second album was released in June 1970 and saw Ursula Smith replace Mel Davis on cello. Third Ear Band gained good reviews in the underground music press, but the group was always fluid with their line-ups and Ursula Smith and Richard Coff departed the band in September 1970 to be replaced by Ben Cartland and Paul Buckmaster. Cartland soon departed and Denim Bridges was recruited on electric guitar along with former High Tide member Simon House on violin and VCS 3 synthesiser. This line-up of the group was approached by film director Roman Polanski to write and record the soundtrack to his gritty film adaption of Shakespeare's Macbeth. The darkly evocative and eerie music of Third Ear Band fitted perfectly with Roman Polanski's cinematic vision of the acclaimed Shakespearian drama which starred Jon Finch, Francesca Annis, and Martin Shaw. In March 1972 the soundtrack album Music From Macbeth was released on Harvest, but it would be the band's final album. Mosaics: The Albums 1969-1972 gathers together the three Third Ear Band albums released by Harvest in a clamshell box and is the ideal introduction to the band and their uniquely haunting and evocative music."
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Book
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9781878972446
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Paperback. 480 pages. "The legendary French filmmaker's labyrinthine memoir, first published by Exact Change in 2002 as a CD-ROM, now reconfigured into book form after a laborious process initiated by the artist before his death in 2012. Filmmaker, photographer and writer Chris Marker never adhered to the conventions of a particular art form. Each of his films, from La Jetée to Sans Soleil, pushes the boundaries of its medium, merging at times with the essay, political manifesto, personal letter, art installation and even, finally, a computer game. For Immemory, first published in 1998 (French) and 2002 (English), Marker used a CD-ROM to create a multi-layered, mixed-media memoir. The reader investigates 'zones' of travel, war, cinema and poetry, navigating through image and text as if physically exploring Marker's memory itself. The result is a veritable 21st-century Remembrance of Things Past, an exploration of the state of memory in our era. With it, Marker both invented a literary form and perfected it, just before the digital format he chose for the experiment was quickly rendered obsolete. Immemory: Gutenberg Version reinvents this unique work for the printed page, a project the author dreamed up, titled, and began working on with Exact Change before his death. Now finally realized, it brings this seminal work into the present and future through a time-tested, durable format of the past: the book. Chris Marker (1921-2012) served in the French Resistance, and then the US Air Force, during World War II and worked as a journalist while honing his film career. He received international acclaim with La Jetée in 1962, and became a critical voice in film theory and production as well as a widely admired 'cult' artist, a filmmaker's filmmaker."
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12"
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FAUXPAS 033EP
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Silk-screen-printed sleeve. Max Lessig's journey started in the north of Germany. He travels the country and is gaining followers by the minute. Adapting styles as he pleases never losing his clear vision, he is offering five new messages on Halo EP. Ready-made for wide, open fields -- magnetically attracting hands towards the air. Praise the prophet, he brings nothing but pleasure and good vibrations.
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LP
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FIELD 036LP
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Exploring the water engineering relationship between Japan and the Netherlands across a trilogy of experimental releases, the third and final part of Field Records' Waterworks series is courtesy of Yui Onodera. Pairing delicate synthesis and instrumentation with field recordings and negative space, the accomplished artist and sound architect examines the impact of water engineering on Japan's Kiso Three Rivers. The location refers to the confluence of the Kiso, Nagara and Ibi rivers on the Nōbi plain in Gifu prefecture. In the late 19th century, Japanese authorities collaborated with Dutch engineer Johannes de Rijke to separate the three rivers at the lower part of the Kiso delta. These extensive improvements, which were finalized in 1912, successfully shielded the city of Nagoya from regular flooding. Onodera's minimalist palette and detailed approach to spatial sound design balances microscopic field recordings and tonally-rich traditional instruments, which he applies with stark focus to the subject of the Kiso Three Rivers across eight extended pieces of music arranged into two distinct parts. The A side's shorter tracks are delicately sculpted miniatures interweaving chiming bell tones, treated guitar impressions and hushed pads. The B side's two longer suites are more overtly minimal in nature, emphasizing sampled water sources accented with patient brush strokes of synthesis. This project is supported by the Embassy of the Kingdom of the Netherlands in Tokyo, Japan.
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2LP
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FIELD 037LP
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Twenty-four years on from its original release, Monolake's seminal Gravity receives its first vinyl pressing courtesy of Field Records. Occupying its own space at the intersection of dub techno, minimal and electronica, it's an ageless album of staggering vision and technological prowess which has matured into an all-time pillar of electronic music. This edition, remastered by the album's key architect Robert Henke, follows on from the reissue of Monolake's first album, Hongkong. Arriving just after the turn of the millennium, Gravity marked a turning point for Monolake. With co-founder Gerhard Behles moving on to other ventures, Henke produced most of the album solo and journeyed deeper into spatial exploration and the dub-informed principles that underpinned their project from the start. Minimalism and negative space run through the whole record, from the keen slithers of percussion pinging through lattices of delay to the hypnotizing pulse of subliminal basslines anchoring the tracks. Gravity is a record which hangs on techno's linearity as a form of meditation, but the crystalline clarity of the mix allows every micro-fluctuation in rhythm and sound to cut through. Compared to a lot of overly sterile digital music released in the early 2000s, Gravity endures thanks to the warmth and texture Henke elicited from his processes -- even when leaning into none-more-digital effects like bit reduction. He described the ninth-floor view over Berlin from his studio at night as a key influence on the sound of the record, but the space Gravity shapes out feels thrillingly implacable. Unbound by the standard conventions of time and space, Gravity stands proud as a true original and finally gets the ceremonious vinyl pressing it so richly deserves.
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LP
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CNMDDV 012LP
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Following the release of the single "Maqlab," the Marseille-based duo Caïn و Muchi presents their debut full-length album Dounia (دنيا). This takes listeners on a journey through a rich tapestry of industrial gloom woven of dubstep, grime, and contemporary hip-hop. In this album, these "labels" matter as much as they don't, given the heavy mutations they undergo, in a "That's Hara Kiri" fashion (RIP Sd Laika). At the heart of this record lies a dense yet harmonious sound palette, featuring meticulous vocal processing of lead singer Vanda's voice, which engages reflection on their shared and individual lives. As the album progresses, the lyrics reveal layers of stress and trauma linked to colonial experience, intertwined with multiple references to North African ghost stories and legends. The result is a resonant experience, where the wraithlike and glacial instrumentals crafted by the duo encapsulates the introspective act of witnessing the turmoil of our current world. Featuring Assyouti.
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LP
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HHLTS 003LP
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Valentina Goncharova's work encapsulates a unique blend of innovation and tradition, providing audiences with an enthralling exploration of the vast possibilities within musical expression. Drawing upon her compositional skills honed during her academic studies, Valentina expertly manipulates the violin, seamlessly integrating it with synthesizers and drum machines. The result is a mesmerizing fusion of organic and electronic elements, characterized by slow, pulsating drone soundscapes.
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LP
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JPR 107LP
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Repressed. "In 1962, legendary jazz pianist Bill Evans collaborated for the first time on record with jazz guitarist Jim Hall to create the landmark album Undercurrent. And even though it is a two-person improvisational affair, it is almost unfathomable that these two giants alone fill up all the grooves on this record. The thoughtful interplay between these two musicians created such a beautiful, lush, and emotional journey that their work influenced many. At the time of this recording, Bill Evans was one of the top jazz pianists (his performance with Miles Davis on Kind Of Blue is still a high-water mark), but he had stopped performing and recording after the death of his peer, bassist Scott LaFaro. Eventually, he was persuaded to return to music, and this was one of the first recordings upon his return. Guitarist Jim Hall -- who had worked with Ella Fitzgerald, Sonny Rollins, and Chico Hamilton -- started his partnership with Evans during this time. Recorded over two sessions in April and May 1962, the two have that beautifully unspoken musical language of give and take; their recordings are refreshingly busy but also incredibly sparse. These two giants understand that intertwining their personalities and harmonic styles could create greatness. This notable re-issue is an all-analog production affair -- AAA Mastered and cut live by audio guru Kevin Gray (Miles Davis, Herbie Hancock, Charles Mingus) -- and it's never sounded better."
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12"
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KOM 494EP
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Robson Ponte isn't just anybody. He is the namesake of Reinhard Voigt's first Kompakt 12", one of the label's first big hits. Timeless, cool and unforgettable, the way this snotty, dry football field beat pushes you forward, over it, this constant, almost stoic, mantra-like rap repetition. That was a good 25 years ago. So it's high time to celebrate a bicycle kick with a fitting run to the goal. None other than FC Kompakt center-forward Juergen Paape has been hired for the remix return match. In the first few minutes of the match, Paape scores with two straight disco-techno crosses! Team captain Reinhard Voigt himself seamlessly follows in the footsteps of the original -- dressed in a new, stylish black, white and red sound jersey, he keeps the ball in play with aplomb. From the stands, guest of honor Thore Pfeiffer comments on a hymn-like, sacred ambient lament with an appropriate timbre. Including art print of the sleeve artwork by Mareena von Cube.
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2LP
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KRANK 014LP
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2025 repress. "The second album from New York City's Bowery Electric was released in late 1996, less than 15 months after their self-titled debut, but it found them having traveled light years musically in the interim, the group having seemingly decided to see how far they could take the guitar/bass/drums/vocal setup into the atmosphere. Every aspect of their approach had been refined and focused: squalling, distorted guitars had been transformed into hazy, sensual sheets; the live drums transmuted to sampled rhythms more in debt to the blossoming down-tempo sound of the day; bass lines reduced to their most basic diagrams; vocals submerged to become one with the narcotized fog of the instruments; even the lyrics were reduced to a few minimal lines used sparingly so as not to overshadow the dynamic. Beat is a lush and dense mantra of shadowy percussion, barely-there vocals and immersive drones that envelops the listener in an opiated blanket of sound. The second in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener, Beat is without doubt their definitive artistic statement. Coming 20 years to the day of its original release, this is the first time this album has been available on vinyl in almost two decades, and the first ever U.S. vinyl release."
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LP
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KRANK 176LP
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2025 repress; LP version. "The third full-length release for Portland, Oregon-based Liz Harris. Harris might have achieved a significant fan base thanks to the whispering, near-ambient vocal crusades of her debut album Way Their Crept and its follow-up Wide, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects. Dragging A Dead Deer Up A Hill marks a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else. It is an album steeped in the world of dream-pop and far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs. Using delicate song structures which are at once both familiar and somehow alien, her vocals cry out hauntingly over stripped-down guitar lines and looped environmental recordings. These are the future soundtracks to love, despair and ultimately, hope." "This remarkable album is actually what I personally always wanted 4AD records to sound like, only they never quite delivered the hazy pleasures their beautiful sleeve art promised." --Pitchfork (8.2)
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5CD BOX
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MGART 205CD
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2025 restock of this deluxe boxset. The first disc is a remastered version of the 1990 Virgin CD reissue of Correlations, recorded and mixed at Panne-Paulsen Studio, Frankfurt, in 1978 by Mick Glossop and originally released by Virgin in 1979. The second disc is the first release of Phantasus, Manuel Göttsching and Udo Arndt's original 1978 recording and mix of the album that was partially re-recorded and totally remixed to become Correlations (Phantasus was Göttsching's intended title, which he changed to Correlations after UK fans told him that the English can't pronounce "phantasus"). The third, fourth, and fifth discs are The Making Of, which includes a 12-page booklet. Performed by Manuel Göttsching (guitar, synthesizer, sequencer), Lutz Ulbrich (guitar, synthesizer, piano, mellotron), and Harald Großkopf (drums, percussion, synthesizer).
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CD
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MGART 401CD
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2025 restock of MG.ART's 2011 reissue; originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.
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12"
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MINIMOOD 013EP
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Deep dub techno for contemplative explorations.
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2LP
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MT 061LP
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2025 restock. Archival rarities from the Canadian proto-punk legends and underground darlings: alternative takes, live recordings, and demos from 1975 to 1978. The perfect complement to their classic and critically acclaimed 1974 LP Cyborg Revisited. A mix of frantic garage rock, freeform cosmic kraut, the loud ferocity and heavy riffing of the Stooges and MC5, the art rock and proto punk sound of the Velvet Underground and Modern Lovers, and the British psychedelia of Syd Barrett-era Pink Floyd and early Hawkwind. New 2022 mastering by Jim Diamond. Gatefold sleeve.
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3LP
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MMDS 24004LP
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2025 repress; triple gatefold heavyweight 180g vinyl. Remastered original LP, including five unreleased tracks, presented for the first time on vinyl. Susumu Yokota's venerated 1994 classic Acid Mt. Fuji is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine -- specifically it's electronic subsidiary Sublime Records -- released the album on June 29th 1994, simultaneously with Ken Ishii's Reference To Difference, as their inaugural joint offering. Acid Mt. Fuji is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized -- proffering a unique blend of early '90s western styles and the essence of his home country. Yokota originally planned an ambient record, but Acid Mt. Fuji evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results. With references to Japanese folklore, nature and shrines, tracks like "Kinoko" and "Meijijingu" invite the listener to immerse themselves in the album's spiritual depths. Acid Mt. Fuji is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures. He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan. This triple vinyl deluxe edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 deluxe edition CD. The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the '90s Tokyo club scene firsthand as an insider. His compilation Japan Vibrations Vol. 1 captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe), and more.
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2LP
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OP 048LP
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2025 repress. Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
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12"
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PAMPA 004EP
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2025 repress. Hotshot house hunk Axel Boman delivers a stunning debut EP for Pampa. The title track, a collaboration with vocalist J Jonason, invites you to take part in a lazy afternoon cocktail party onboard an old sailing boat in Gothenburg's archipelago. Ten City are mixing up the White Russians and Giorgio Moroder's estranged Swedish grandson is peeling the shrimp. "Purple Drank" is a sleazy, sexy number that draws influences from Houston-style screw music, classic deep house and hypnotic techno.
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12"
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PAMPA 035EP
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2025 repress. Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category "Album": who will hear it where? also: mood, position, length. Second, thinking in category "Maxi-single": a spinning-tool for the club -- another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. "Nata Alma", a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Flip it and keep on moving: "Venq Tolep". A summer meadow, grass-stains, a gentle breeze, an early smell of hay.
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