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viewing 1 To 25 of 66 items
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2LP
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AMI 058LP
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"Amish Records presents an expanded, gatefold 2LP version of P.G. Six's second album, The Well of Memory, originally released in 2004. This 2025 expanded edition has beautiful new artwork, reimagined by Meredyth Sparks and comes with a bonus LP entitled Lost and Live. The LP includes six previously unreleased songs from The Well of Memory sessions and a handful of live versions of songs from the album. Continuing many of the themes introduced on Parlor Tricks and Porch Favorites, PG Six's well-received first record, The Well Of Memory made further nods towards '60s folk artists like Bert Jansch, Pentangle, Incredible String Band, and John Fahey, while also fitting in with contemporary musicians like New York psych folk posterboy Devendra Banhardt, Anglo-folk traditionalist Alasdair Roberts, and West Coast psych guitarist Ben Chasny of Six Organs of Admittance. Pat's lyrics draw on narrative force, spinning mythology in abstract patterns that stretch moments of clarity between dreamlike sequences. His music, composed away from the bustle of the city in upstate New York, breathes as solemn spirituals."
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7"
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BE 017-5EP
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Two previously lost gems from the 1985 sessions that produced one of the key albums in Japanese underground music, the Hallelujahs' psychedelic pop masterpiece Eat Meat Swear and Oath (肉を喰らひて誓ひをたてよ). The first, "Pie-Para-Para," bounces and bops in a dreamlike haze and could comfortably sit beside anything on the LP. Written by guitarist Naoki Zushi (Hijokaidan, Idiot O'Clock), it features two guitar solos, with Shinji Shibayama (Nagisa Ni Te) up first, jagged, fuzzed and loose followed by Zushi himself closing out with a trademark electric guitar freak-out. Inexplicably, this is the only known recording of the song. The B-Side, the wistful "Star," had been included on the LP but here has an even more gorgeously ethereal air with a different mix that includes previous unheard choral harmonies. Cut and 45 RPM housed in a full color sleeve and includes a hand sealed and stamped envelope containing seven full color photographs of the band members taken during the 1984-1986 Hallelujahs studio sessions.
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LP
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BB 125LP
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2025 restock; LP version. 180 gram vinyl pressing. Bureau B presents Flieg Vogel fliege by Hans-Joachim Roedelius, released by Sky Records in 1982. Flieg Vogel fliege (trans. "Fly Bird Fly") is the fifth installment of the "Selfportrait" series, with musical sketches and ideas recorded by Roedelius between the years of 1973 and 1979 on a Revox tape machine in his living room. In contrast to the previous self-portraits, which he left untouched, Roedelius revised these recordings and embellished them with further tracks. "Measured against its predecessors, however, the audio quality is notably superior on this edition. Roedelius clearly improved the sound of the old tapes in the process of compiling the pieces at the Erpel Studio in Vienna, also taking the opportunity to add a few tracks. Strictly speaking, these relatively complex multi-track recordings can no longer be bracketed together with the fleeting sketches as heard on the earlier albums. Now and again, they bear a resemblance to the character of the Cluster LP Sowiesoso. Having arrived in Austria following a protracted lean period, Roedelius finally had the chance to work in a studio which was not only well-equipped, but was also run by a kindred spirit sound engineer. The favorable working conditions, a myriad of new impressions and, by no means least, his personal happiness, saw Roedelius and his music flourish. This is discernable on Flieg Vogel fliege, even if only some of the music was created in his new adopted home. If complete insouciance, the acceptance of little musical mistakes and inaccuracies were symptomatic of the earlier self-portraits, then a mild formal rigor runs through this volume. Not that Roedelius allows this to hinder him in any way. The joy of playing and talent for improvisation celebrate a cheerful resurrection once again. His spontaneity and exuberance, the ability to express thoughts and feelings through music, none of this was lost. This confirms Flieg Vogel fliege as an authentic and undisguised Roedelius portrait. With a little patina, perhaps. But music by the same man today reveals exactly the same individual, perhaps a little wiser, and of course, some years older. And there you have it: Roedelius is and shall remain the merry fool from the jardin au fou." --Asmus Tietchens
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LP
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BSR 843LP
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"Originally issued in 2007 on Secret Records as a companion CD to Lester 'Dillinger' Bullock's spirited deejay album, Ten To One, whose bold, brash braggadocio can still be heard echoing in and out, in and out and in and out of the mix here over a superb selection of dubwise rhythms from Niney The Observer. Pressed on 180 gram vinyl."
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LP
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BSR 922PT-LP
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"Rasta Pon Top is a classic roots reggae album by the Twinkle Brothers, a Jamaican reggae group formed in the early 1960s. Rasta Pon Top is known for its strong Rastafarian themes, uplifting lyrics, and infectious rhythm, which are hallmarks of the group's music. The Twinkle Brothers, led and produced by Norman Grant, have been influential in the reggae scene for decades."
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LP
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JACK 076CV-LP
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Color vinyl version. Dear Boss presents The Ramones As Seen On TV.
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JACK 076LP
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Dear Boss presents The Ramones As Seen On TV. Also available in color vinyl (JACK 076CV-LP).
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2LP
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JACK 079CV-LP
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Red/green color vinyl version. The Cure deliver a powerful live performance at Hollywood Rock Festival in Rio de Janeiro, January 26th, 1996. A captivating set blending gothic atmospheres with timeless hits.
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2LP
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JACK 079LP
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The Cure deliver a powerful live performance at Hollywood Rock Festival in Rio de Janeiro, January 26th, 1996. A captivating set blending gothic atmospheres with timeless hits.
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LP
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JACK 085LP
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The Stone Roses live at Kan-i Hoken Hall, Tokyo, October 24th, 1989. A rare and raw performance capturing the band's early energy on their first visit to Japan.
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LP
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JACK 085R-LP
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Red color vinyl version. The Stone Roses live at Kan-i Hoken Hall, Tokyo, October 24th, 1989. A rare and raw performance capturing the band's early energy on their first visit to Japan.
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LP
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JACK 085Y-LP
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Marble color vinyl version. The Stone Roses live at Kan-i Hoken Hall, Tokyo, October 24th, 1989. A rare and raw performance capturing the band's early energy on their first visit to Japan.
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LP
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DMOO 090LP
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The complete original soundtrack to Federico Fellini's iconic 8½ features music by the legendary Nino Rota. The film, starring Marcello Mastroianni, Anouk Aimée, and Claudia Cardinale, won two Academy Awards, including Best Foreign Language Film, and received three additional nominations. Recognized by the New York Film Critics Circle as the best foreign language film, 8½ remains a cinematic masterpiece, complemented by Rota's unforgettable score.
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LP
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DMOO 091LP
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Recorded in jazz's golden year of 1959, Mingus Dynasty is often overshadowed by Mingus Ah Um, but it stands as one of Charles Mingus' most ambitious works. Expanding his regular band with additional players, he pushed his compositions into more intricate territory. With a lineup featuring Richard Williams, Jimmy Knepper, John Handy, Booker Ervin, Roland Hanna, and Dannie Richmond -- plus guests like Benny Golson and Jerome Richardson -- Mingus crafted a dynamic set blending gospel-infused grooves, Ellington tributes, and the sweeping masterpiece "Far Wells, Mill Valley." A daring, essential listen.
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LP
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DMOO 092LP
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Jorge Ben's 1963 debut, Samba Esquema Novo, introduced his infectious blend of bossa nova and samba, propelled by the timeless "Mas Que Nada" and "Chove Chuva." While his later sound leaned more into rock and Afro-Brazilian rhythms, this album bursts with swirling melodies, rich harmonies, and big-band energy, all anchored by Ben's distinctive, minor-key guitar work. A vibrant, era-defining classic.
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LP
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DMOO 093LP
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Antonio Carlos Jobim's first American album is a masterpiece of understated elegance, presenting a dozen songs that would become bossa nova standards. Despite claiming to be out of practice, Jobim's sparse, single-hand piano style lets his flowing melodies shine. Claus Ogerman's signature arrangements -- airy flutes, brooding strings, and lush harmonies -- enhance timeless gems like "Desafinado," "Corcovado," "The Girl from Ipanema," and "One Note Samba." A defining moment in bossa nova's global ascent.
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7"
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FLIES 062EP
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"Following the cinematic jazz-funk of Ufo Bar (2021), Banda Maje are back, ready to take you on another sonic journey across Salifornia -- and beyond. Their new 7" single via Four Flies offers an exciting glimpse into the expanded horizons of Banda Maje, serving as a prelude to their sophomore album, Costa Sud. Peppe Maiellano -- the band's composer and mastermind -- has further refined his unique Mediterranean sound. A deep connection to Italian and Neapolitan roots remains, as evidenced in the heartfelt cover of Peppino di Capri's 1981 track, 'Mo?' on Side A. Maiellano keeps things simple, staying faithful to the original, yet manages to freshen the track for today's listeners, making the lyrics resonate with his compelling vocal rendition. But Maiellano has also embraced new influences, particularly Brazilian music, as showcased in the infectious '(Roda De) Samba Maje' on Side B. This roda-de-samba version of the upcoming album track 'Samba Maje,' a collaboration with the Amor Pela Roda group featuring Antonio Motuori on percussion and Pasquale Del Solio on cavaquinho, gives listeners a taste of Maiellano's vision for Costa Sud -- a 'music of the South' that transcends geographical and time boundaries, bridging Italy, Brazil, Africa, and contemporary vibes."
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LP
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FLIES 074LP
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"Azzurro 80's new album -- his first ever on LP -- is a beautifully faded polaroid that, like a true flash back, plunges listeners into the heart of the 1980s. It's a sonic journey that captures the essence of a decade, distant yet vividly etched in our collective memory. The Roman producer unleashes his sonic vision with even greater intensity than before, weaving through dreamy Italo-disco, electric atmospheres, soundtrack worthy synth pop, and boogie funk grooves. Each track opens a window onto an era the artist experienced only fleetingly as a child, yet he evokes it with a powerful and refreshingly original touch. Much like a classic library music record, these tracks conjure a wealth of images, scenes, and visual sequences-perfect soundtracks for imagined films or evocative advertising campaigns: as seductive as a perfume ad, as desirable as a car commercial, and brimming with the bright future the '80s promised. It's no surprise that cinematic references spring to mind even before musical ones. The album echoes the dreamy atmospheres of early '80s Italian cinema, particularly films like Carlo Verdone's Acqua e Sapone (1983) and Carlo Vanzina's Amarsi Un Po (1984). Meanwhile, flashes of New Romantic aesthetics and hints of electro-funk transport you to a neon-lit dance floor where a DJ is spinning the vinyl copy of Flashback. Azzurro 80's new album is a vibrant, energetic work, balancing groove and emotion in equal measure and infused with a sense of nostalgia that feels remarkably contemporary."
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2LP
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GET 51281PC-LP
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"Get In Where You Fit In was originally released in October of 1993 and would be Too $hort's fourth album in a row to be certified platinum. Production was handled by Ant Banks and The Dangerous Crew, which featured live instrumentation, incorporated P Funk samples, and G Funk synths. The lead single 'I'm a Player' sampled Bootsy Collins' funky bass of 'Hollywood Squares' and Quincy Jones' son QDIII produced the epic Bay Area G Funk laden classic track 'Just Another Day.' And it wouldn't be a Too $hort record without some pimp and sex tales like 'Blow Job Betty,' 'All My Bitches Are Gone,' and the upbeat 'Gotta Get Some Lovin.' Bay Area legends Spice 1, Ant Banks, and Mhisani aka Goldy join in on the posse cut 'The Dangerous Crew' followed by a track with more Bay Area legends Rappin' Ron and Ant Diddley Dog dissin' ex Dangerous Crew member MC Pooh on the title track. Get On Down has repressed this Too $hort '90s fan favorite album on purple-and-clear colored vinyl."
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LP
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GET 51503B-LP
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"'In my category, I'm the one and only,' proclaimed Oakland legend Too $hort on his 1990 single 'Short But Funky.' Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on 'Short But Funky,' he also reminds listeners of an important fact: 'There's a serious side to everything I say.' Short Dog's In The House was $hort's sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, '70s drenched beats made for cars on the boulevard, and no-nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled 'It's Your Life' or the album's lead single, 'The Ghetto.' The album's second single 'Short But Funky' landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn't going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on 'Dead Or Alive.' And although it's mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on 'Ain't Nothin' But A Word To Me,' featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on blue and ruby color-in color vinyl."
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2LP
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GET 52747LP
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"It takes grindin' to be a king and Houston's Mike Jones' work ethic of 'You Don't Work, You Don't Eat, You Don't Grind, You Don't Shine' had his phone blowing up in 2005 with the release of his major label debut Who is Mike Jones? on Asylum/Swisha House/Warner Records. Mike Jones started rapping in the early 2000s and he released a couple of independent albums on his own label Ice Age Entertainment before linking up with Michael '5000' Watts of Swisha House. He recorded the underground single 'Still Tippin' with Texas contemporaries Paul Wall and Slim Thug, which appeared on the Swisha House compilation The Day Hell Broke Loose 2. The song, full of southern hip-hop slang and braggadocio, was an ode to the classic car culture in Houston, Texas, and could be heard bumpin' out the trunks of cars nationwide with its heavy bass and classical string loops. Before the release of Who Is Mike Jones? girls would ignore him, but after the release of 'Still Tippin' they were all up on him, which led to the release of the single 'Back Then' where he shouted out his real cell phone number that played a major part in the marketing and promotion of the album. You could call 281-330-8004 and get his voicemail and leave a message, but sometimes he would answer, which led to spreading the word of Mike Jones' debut album. Back Then was also a top-selling ringtone because (back then) you had to buy and download ringtones, unlike today. Mike truly went viral before going viral was even a thing. After dropping the two hit singles, Who Is Mike Jones? was released on April 19th, 2005, and would sell over a million copies that year, leading to certified platinum status. Twenty years later, this Texas Rap classic still holds up with features from other H-Town legends including S.U.C.'s Big Moe (RIP), Bun B, Paul Wall and Lil Keke. Juicy J and DJ Paul of Three 6 Mafia added their Memphis touch to the 'Got It Sewed Up Remix' and the album ends with a heartfelt dedication to Mike Jones' late Grandmother on 'Grandma.' Get On Down now presents the first vinyl reissue of Who Is Mike Jones? in a limited-edition silver and red color-in-color pressing packaged with a full color printed insert to commemorate the 20th anniversary of this H-Town classic."
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2LP
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GET 52752LP
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"The '90s were all about hip-hop groups. Brooklyn's Junior M.A.F.I.A., consisting of members Lil' Kim, Lil' Cease, Trife, Larceny, Nino Brown, Chico Del Vec, MC Klepto, Capone, and Bugsy, formed under the guidance of The Notorious B.I.G. after he released his classic debut album Ready To Die. At the end of the summer of 1995, Junior M.A.F.I.A. released their debut album Conspiracy on Big Beat Records featuring the lead single 'Player's Anthem' which featured Biggie and was produced by the late great DJ Clark Kent. Clark Kent produced three other songs including the second single 'I Need You Tonight' featuring Biggie's wife Faith Evans on the chorus. The third single, 'Get Money,' another Biggie feature produced by EZ Elpee with its classic flip of the Roy Ayers produced Sylvia Striplin track 'You Can't Turn Me Away' was certified platinum. With eight members deep, it was difficult to stand out, but Lil' Kim and Lil' Cease would be the breakout stars and go on to release solo albums. The group disbanded after Notorious B.I.G. was murdered in 1997, but left behind songs that still hold up today and remain a big part of Biggie's legacy, as well as producer DJ Clark Kent. Out of print on vinyl since 2017, Get On Down is proud to present this '90s hip-hop classic as a limited-edition reissue pressed on splatter colored vinyl and packaged in a gatefold jacket."
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7"
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VPGS 7119EP
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"1985, Wayne Smith, Noel Davey, and King Jammy recorded and released a track that would change the world of music forever. Wayne Smith's titanic 'Under Me Sleng Teng' revolutionized reggae and ushered in the new digital age of dancehall. The recording thrilled dancehalls in Jamaica and beyond, and went stratospheric when the riddim was played in a radio soundclash between David Rodigan and Barry Gordon, aka Barry G. To mark the occasion, Greensleeves Records are bringing back the vibes with a new 7" vinyl with the original vocal and hard-hitting dub, complete with a fresh graphic sleeve and the proper Jammy's label design."
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LP
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GUESS 236LP
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2025 restock. Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition. Recorded in 1970 but never released at the time, featuring future members of Roky Erickson's backing band Bleib Alien/The Aliens. Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson's first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi/horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found. It was through Mike Waugh's friendship with Elevators drummer John Ike Walton that Billy Miller and the band hooked up with the local label/studio Sonobeat, who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller's strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller's house on Castle Hill (west Austin). Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. It wasn't until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print. For this new edition, Guerssen tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney. Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration/remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.
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CD
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HAB 031CD
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"Habibi Funk presents its 31st release which happens to be its third Various Artist compilation. The album is dedicated to the cassette tape scene in Libya from the late '80s to early 2000s, from disco to reggae to pop. All songs previously unreleased outside of Libya and not available on any DSP platforms. This compilation isn't a sweeping history of Libyan music -- it's a personal journey into the sounds the label fell in love with while digging through tapes, conversations, and stories across Libya and beyond. Rather than spotlighting the country's most famous musical exports, the compilation brings forward a mix of overlooked gems and local classics of the cassette era: artists whose work thrived despite political limitations, and scarce international exposure. The music featured here blends reggae rhythms, synthy disco grooves, gritty pop, house, and funk, a vibrant collision of genres that reflects Libya's unique sonic landscape from the 1980s to the early 2000s. Many of these recordings were recovered from the TK7 cassette factory in Sousse, Tunisia, a now-demolished site that once played a quiet but vital role in distributing and manufacturing Libyan music. Other tracks were digitized in a Cairo hotel room in 2021, where Habibi Funk transferred nearly 100 tapes over the course of three days, on-site using a high-grade cassette deck brought into Egypt. From that trove emerged artists like Ahmed Ben Ali, Cheb Bakr, and Najib Alhoush & The Free Music. Their sounds sit alongside contributions from this release from the likes of Khaled Al Melody, Fathi Aldiyqz & Sons of Africa Band, City Lights Band, Libya Music Band, and Group Hewaya. What ties all the artists on this comp together is a boundary- pushing approach to genre and style: recorded in small studios, exchanged by hand, and shaped by a cross-pollination of influences, from Benghazi to Tripoli and beyond. All tracks are licensed from their creators and in the case of the artists being deceased from their estates."
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