|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 38 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
WHYT 083TR-LP
|
Limited 2025 repress; double LP version. Transparent vinyl. New York-based artist James K returns with Friend. This album is full of electric pop anthems that blends ear-worming melodies with peak-time breaks, buzzing powerpunk guitars and a classic rave pulse, with K's signature enchanting vocals playfully spitting emotion. It's a hallucinatory pleasure, tearing through your body and mind. "Play" rushes with a rebellion of friends -- an electro fever daydream waking up everywhere you go. Hot off extensive tours worldwide, playing the likes of Pitchfork Festival, Dekmantel, iii Points, and Mutek, following in the footsteps of her last two critically acclaimed singles Friend comes on AD 93. RIYL: Cocteau Twins, Yves Tumor, Prodigy, Oklou, Grimes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BACIL 9623323CD
|
When rock music from Germany gained international recognition under the label "krautrock" in the 1970s, it was far more than a mind-expanding phenomenon. In basements, youth centers, and improvised studios, a vibrant scene emerged-shaped by fearless curiosity and a strong will to transcend traditional musical structures. Some bands produced only a single recording; others became experimental platforms for established musicians or transient fixtures in local underground milieus. What united them was a desire to cross boundaries: rock met jazz, folk merged with electronics, soul touched the avantgarde. These intersections produced soundscapes that remain powerful documents of a creatively restless era. The recordings collected here reflect that spirit-not only from the krautrock period, but also from the decades that followed, including contributions from both Germany and Austria. Featuring Skyline, Psi, Toto Blanke, Ragawerk, Lychee Lassi, Abadie, Zoppo Trump, Epsilon, Radio Noisz Ensemble, Mocolage, Dschinn, Frob, Emotion, Join In, Morpheus, Opossum, Zyma, and The Terrible Two.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 191LP
|
Hyper-limited ethereal ambient-guitar-soul, originally released on cassette only. First time ever vinyl release, on 140g vinyl. The phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. Originally out on cassette only, Be With presents the first ever vinyl issue. The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time -- a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you'll have some idea of how XI opens this future classic LP. The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC -- but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords. Be With is honored to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DDJ 065CD
|
Beat Records Company and Cabum Edizioni Musicali present the release of the original motion picture soundtrack of Rats Notte Di Terrore, the 1984 horror cult directed by Bruno Mattei and Claudio Fragasso. The score composed by Luigi Ceccarelli is an electronic symphony, for years requested by horror cinema fans. It has been processed in a wonderful stereo thanks to remastering of a multi-track original master of the period and a meticulous restoration and mix by the composer. After 40 years since its theatrical, it is release finally available this milestone music. The soundtrack finally available in this 40th anniversary featuring the amazing original artwork. Mix and project supervision by Luigi Ceccarelli, multi-track audio restoration by Giuliano Radiciotti.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BJR 118CD
|
After a critically praised debut in 2023 and numerous tours across Europe, Yalla Miku returns with 2, a new record that further asserts their unique identity. Still based in Geneva, the band moves forward with a reimagined lineup -- not as a departure, but as the natural continuation of a project envisioned from the start as a space for encounters, movement, and musical reinvention. Blending post-kraut grooves, mutant folklore and electronic trance, Yalla Miku continues to spark dialogue between traditions from the Horn of Africa and the most unrestrained experiments of Geneva's underground. The krar riffs of Samuel Ades Tesfagergsh, the sculptural bass of Louise Knobil, the taut percussion of Cyril Bondi, the raw electronics of Emma Souharce, and Cyril Yeterian's modified banjo weave a dense, collective sonic fabric, full of sharp turns and rhythmic surges. There's no smooth fusion here, nor any fixed folklore: 2 is an interplanetary journey where multiple voices overlap, clash or complement each other. It's a music of otherness, built as a shared space where each texture keeps its own roughness. With this second album, Yalla Miku digs deeper into its sound: raw, militant, unclassifiable -- for curious ears and open hearts.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BJR 118LP
|
LP version. After a critically praised debut in 2023 and numerous tours across Europe, Yalla Miku returns with 2, a new record that further asserts their unique identity. Still based in Geneva, the band moves forward with a reimagined lineup -- not as a departure, but as the natural continuation of a project envisioned from the start as a space for encounters, movement, and musical reinvention. Blending post-kraut grooves, mutant folklore and electronic trance, Yalla Miku continues to spark dialogue between traditions from the Horn of Africa and the most unrestrained experiments of Geneva's underground. The krar riffs of Samuel Ades Tesfagergsh, the sculptural bass of Louise Knobil, the taut percussion of Cyril Bondi, the raw electronics of Emma Souharce, and Cyril Yeterian's modified banjo weave a dense, collective sonic fabric, full of sharp turns and rhythmic surges. There's no smooth fusion here, nor any fixed folklore: 2 is an interplanetary journey where multiple voices overlap, clash or complement each other. It's a music of otherness, built as a shared space where each texture keeps its own roughness. With this second album, Yalla Miku digs deeper into its sound: raw, militant, unclassifiable -- for curious ears and open hearts.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CVSD 125CD
|
It's not a stretch to say that saxophonist and clarinetist Ken Vandermark's path into creative music was paved by Joe McPhee. In particular, McPhee's landmark 1976 LP Tenor -- recorded casually in a Swiss chalet and featuring four new compositions that effortlessly combined experimentation and lyricism -- was Vandermark's ear-opener. The two musicians would go on to begin a fruitful working relationship in 1996, a partnership that continues today, and now Vandermark has paid homage to his friend and mentor with a suite of compositions and improvisations. These solo works, performed on an array of horns (clarinet, bass clarinet, baritone and of course tenor saxophone), are as melodious and unapologetically beautiful as anything in Vandermark's oeuvre, interweaving tremendous swells of emotion and ingenious linear inventions. Vandermark played the six pieces in the suite in front of an invited audience at Corbett vs. Dempsey, the gallery's natural acoustic drawing out every nuance of his playing. He augmented the suite, each part of which is named for a flower with significance to McPhee or Vandermark, with several powerful free improvisations, all titled after "filler flowers," making the entire program a bouquet for Mr. McPhee. Exquisitely documented by Alex Inglizian, with cover art by Arch Connelly and liner notes by Vandermark.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CVSDLP 016LP
|
Who was that masked man? This question is on many lips having seen and heard the Defiant Jazz episode of the hit TV show Severance, the one in which the show's protagonists are allowed a company dance party, accompanied by a light show and increasingly wild, funky, saxophone-driven music. The masked man? None other than Joe McPhee, Poughkeepsie, New York's best kept secret, one of the great figures of contemporary improvised music. A living legend looming large, you might say. And now a presence in households around the globe. This "taster" is more than a "best of" record. Defiant Jazz includes "Shakey Jake," the dance party track, a funky upsetter from 1970 that shimmies and rolls at the same time it builds and explodes. The vinyl-only compilation then moves across time, touching on another early track, the spiritual jazz classic "Astral Spirits," from the 1972 CJR LP Trinity and a 1983 version of the Sonny Rollins tune "Oleo" from the hat Hut LP of the same name, with psychedelic guitar outbursts courtesy of Raymond Boni. The second side opens with "I See You Baby Shakin' That Ass," a self-proclaimed "throwdown" with McPhee as emcee and flamethrowing saxophonist, fronting two bands, Cato Salsa Experience and The Thing. A dance floor jack-in-the-box for anyone unlucky enough not to have heard it yet. The program concludes with a sensitive tenor/drum duet between McPhee and Paal Nilssen-Love. The cover features previously unpublished vintage photos of McPhee. If you already know Mr. McPhee's music, this compilation is designed to fulfill, and if you're new to him, it will thrill and chill. Win-win.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DAMGOOD 633CD
|
"'The undisputed kings of garage rock' (New York Times) are back once again! Two years on from their 2023 album Irregularis (The Great Hiatus), Thee Headcoats are back with a new record that ranks alongside the very best of their 1990s albums. Featuring 12 fab cuts (or ditties if you prefer) recorded at Ranscombe Studios in Rochester. The Sherlock Holmes Rhythm 'n' Beat Vernacular comes at the same time as Man-Trap, a brand-new album by Thee Headcoatees, which features the chaps on rhythm section duties."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DAMGOOD 635CD
|
"If you had an uneasy feeling that 2025 would somehow be the year of Thee Headcoatees, then give yourself a hearty handshake -- for surprisingly, 'tis true! Through sheer determination and tenacity, one-by-one, Ludella Black, Kyra LaRubia, Bongo Debbie and Holly Golightly were dragged kicking and screaming (the things they do best) out of the woodwork to lay down the 14 killer-diller cuts found on this, their latest long-playing release, the cunningly titled Man-Trap. That's no mean feat! So, in early 2025 recording time was booked at Rochester's Ranscombe Studios, gin and snacks were prepared, and in the twinkling of an eye the backing tracks were down -- Thee Headcoats back in their best rhythm section mode and Thee Headcoatees back singing. Billy Childish took the reins as producer. Undaunted by some geographical hiccups along the way, by late May the result was a new Headcoatees album!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DAMGOOD 635LP
|
LP version. "If you had an uneasy feeling that 2025 would somehow be the year of Thee Headcoatees, then give yourself a hearty handshake -- for surprisingly, 'tis true! Through sheer determination and tenacity, one-by-one, Ludella Black, Kyra LaRubia, Bongo Debbie and Holly Golightly were dragged kicking and screaming (the things they do best) out of the woodwork to lay down the 14 killer-diller cuts found on this, their latest long-playing release, the cunningly titled Man-Trap. That's no mean feat! So, in early 2025 recording time was booked at Rochester's Ranscombe Studios, gin and snacks were prepared, and in the twinkling of an eye the backing tracks were down -- Thee Headcoats back in their best rhythm section mode and Thee Headcoatees back singing. Billy Childish took the reins as producer. Undaunted by some geographical hiccups along the way, by late May the result was a new Headcoatees album!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
STEP 011LP
|
Double LP version. 2025 restock; deluxe Stoughton gatefold packaging. Singles and demos, 1964 to 1967. "Following the amazing success story of Vashti Bunyan's recent re-emergence as an artist after an exile of over 30 years, comes the release of Some Things Just Stick In Your Mind, a comprehensive compilation of early recordings dating from the period prior to Vashti's classic Just Another Diamond Day album which was originally released1970. Titled after Vashti's (Jagger/Richards-penned) debut single which opens the compilation, this double-album represents an attempt to both open out and draw a line under the past, and also to try to set the record straight about the disparity between how Vashti viewed (and still views) herself against the way she has been popularly perceived. Widely construed as a folk singer -- a tag she fundamentally disagrees with - these recordings instead reveal Vashti as a pop singer, however 'fragile' and unique."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIS 035LP
|
2025 restock, translucent green vinyl. This is Fugazi's second release, recorded in December 1988 with John Loder while the band was in England for a European tour. Originally released in 1989, 6 song EP. Remastered; printed inner sleeve with lyrics.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
EJR 003LP
|
A duo concert featuring universal artist and activist Moor Mother and Archie Shepp was planned for October 19, 2023, at the Enjoy Jazz Festival. However, a spinal disc operation on the then 86-year-old saxophone legend led to the cancellation of this eagerly awaited world premiere -- and to a spontaneous demonstration of respect. To honor the great Archie Shepp, one of the most influential intellectuals in jazz, an Enjoy Jazz all-star cast spontaneously recorded a tribute song during the festival -- organized by festival director Rainer Kern. The line-up consisted of Nicole Mitchell, the most important flutist in the history of jazz, as well as the Enjoy Jazz "Artists in Residence" for 2023 and 2024, Moor Mother (spoken word) and Nduduzo Makhathini (piano). In her lyrics, the poetess creates a powerful linguistic monument to Archie Shepp, whom she greatly admires, by playing with the titles of the saxophonist's legendary recordings (instead of with him himself). The title One For Archie is an allusion to Shepp's 1964 Impulse debut, Four For Trane, which, according to Jazzwise, is one of the "100 Jazz Albums That Shook The World." In her moving text, Moor Mother also celebrates Shepp's political and social commitment. The way Moor Mother rhythmically and aesthetically picks up on Shepp's unique playing style, which oscillates between rugged clarity and deep humanity, begins to improvise on it, and thereby creates new connections, is impressive proof of her masterful artistry. Her recitation is peppered with haunting dramatic climaxes that give listeners goosebumps due to their authenticity. The B-side features "They've Got A Plan," a song that is like a beacon. An intense and powerful invocation of "Agenda 2063," a master plan of the African Union to transform the continent socially, economically, and politically. Both tracks are available on vinyl for the first time.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 210-1LP
|
2025 restock; LP version, Volume 1. 180 gram vinyl; includes download code. Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 210-2LP
|
2025 restock; LP version, Volume 2. 180 gram vinyl; includes download code. Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 225LP
|
2025 repress. LP version. Includes 60x30cm poster. From the slums of Recife in Brazil's North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. His debut and sophomore albums Sangue Negro (2016) and Rasif (FARO 205CD/LP, 2018) arrived on a wave of instant acclaim. His new album Sankofa -- a spiritual quest into the forgotten stories, ancient philosophies and inspirational figures of Black Brazil -- is his most stunning and sincere work to date. But for Amaro Freitas, work isn't just playing the piano, his art delves far deeper than music theory and practice. Explaining the impetus behind Sankofa, Amaro elucidates the imperative behind his music: "I worked to try to understand my ancestors, my place, my history, as a black man. Brazil didn't tell us the truth about Brazil. The history of black people before slavery is rich with ancient philosophies. By understanding the history and the strength of our people, one can start to understand where our desires, dreams and wishes come from." Sankofa is an Adinkra symbol depicting a backward-facing bird. He soon came to understand what it represents, and it became the foundational concept for his new album. With the help of Jean Elton (bass) and Hugo Medeiros (drums), who have formed the Amaro Freitas Trio since the very beginning, Amaro employs intricate rhythmic patterns and time-signature variations as if reimagining the ancient designs of his ancestors, and every track is imbued with a message or a story Amaro is compelled to tell. "Baquaqua" highlights the seldom told story of the West African Mahommah Gardo Baquaqua, who was brought to Brazil as a slave but escaped to New York in 1847 where he learned to read and write. The delicate "Vila Bela" takes its name after an area near the Bolivian border, in Brazil's Mato Grosso region, where the 18th century Quilombola queen Tereza de Benguela led the black and indigenous community in resisting slavery for two decades. "Nascimento" is a warmhearted tribute to the great star of Minas Gerais, who Amaro sees as a talisman of contemporary Black Brazilian culture. "Ayeye", Sankofa's most joyful moment, means celebration in Yoruba and features gorgeous, fluttering piano, shuffling hi-hats and a stuttering bass groove, at times sounding as much like a D'Angelo or Alicia Keys hit as it does Bill Evans or Thelonious Monk. Named after a mythical bull from the tropical region of Maranhão, "Cazumbá" represents the interdependence of all living things. A jazz rock pulse represents a noisy urban city port, and as the track develops it's as if the group moves out into the tranquility of the rainforest river.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GOO 020LP
|
2025 repress; LP version. "One of Sonic Youth's most beloved albums, 1987's Sister incorporated the dissonance of their earlier releases into more traditional song structures. It's an innovative and thrilling work assuredly delivered by a band at the peak of their powers. Reissued on the band's Goofin' imprint, this 2016 pressing includes a digital download card with the vinyl edition."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HPS 363CD
|
With X-ÆON, Giöbia push their signature blend of mesmerizing neo-psychedelia and space rock into uncharted territory. Echoes of the '70s meet a bold, forward-looking vision, shaping an album that feels timeless. Each track offers a glimpse into a parallel reality, a plunge into a new era brimming with tension and mystery. Also available on black vinyl (HPS 363LP), blue vinyl (HPS 363LTD-LP), and splatter color vinyl (HPS 363ULTRA-LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HORA 020-2510CD
|
Recorded during a spellbinding performance in Italy at Jazz a Forlì in November 2024, La Giostra captures the magic of an unexpected yet natural meeting between two unique musical worlds. On one side, Guano Padano, Alessandro "Asso" Stefana, Zeno De Rossi, and Danilo Gallo -- known for their evocative blend of cinematic desertscapes, western dust, and psychedelic jazz. On the other, Enrico Rava -- a poetic and visionary composer who has graced the global jazz scene for decades with his unmistakable lyricism and fiery spirit. The album unfolds like a circular journey, suspended between reality and imagination. Slow, meditative passages give way to sudden bursts of energy; Rava's luminous trumpet lines weave seamlessly through Guano Padano's richly cinematic textures. The result is a sonic fresco of rare beauty -- steeped in dust, nostalgia, and glimpses of the future.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FREUD 095R-LP
|
"The resurrection of Sid Vicious continues with Sid Lives' -- a 2LP of Sid's last ever four shows. Containing 39 tracks, mostly previously unreleased, it comes packaged with comprehensive 8,000-word notes in the gatefold sleeve. This tells the story of Sid: firstly in an eyewitness account from surviving guitarist Steve Dior; secondly in a lengthy Sid, Nancy and Sex Pistols day-by-day timeline from pre-Pistols early days to his demise (and inevitable Nancy death theories); plus a song-by-song background. Since his death Sid has come to symbolize the Sex Pistols -- he never aged. Always courting controversy he out-did old college-mate Johnny Rotten in the punk outrage stakes. With an impressive rock'n'roll voice and an abundance of attitude, just three memorable solo singles was all that he left - plus an industry of posters, documentaries and films. These recordings, backed by the New York Dolls' late rhythm section of Arthur Kane and Jerry Nolan along with guitarist Steve Dior (at that time playing together as The Idols), show the direction Sid would have gone for his next recordings had he lived. This is the definitive Sid Vicious release for all fans of the punk-rock scene."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LMS 1725456
|
2025 limited restock; collector blue turquoise vinyl repress. What Are You Going to Do with Your Life? is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999. The album saw the band continue a trajectory set with 1997's Evergreen, embracing more introspective themes and melodic approach to its arrangements. Featuring an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, What Are You Going to Do with Your Life? featured two singles, the title track, and the atmospheric fan favorite "Rust," which would mark the band's final Top 40 UK single. Celebrating 25 years of What Are You Going to Do with Your Life?, the album is issued on vinyl for the very first time.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MACD 100CD
|
Viva Marina' celebrates the 100th release of Marina Records. The label was founded in Hamburg in 1993 by Stefan Kassel and Frank Lähnemann. Over the years the label released many outstanding albums by artists like The Pearlfishers, Shack, Brent Cash, The Bathers, James Kirk, The Free Design, Malcolm Ross, Ashby, Paul Quinn & The Independent Group, Der Plan, and many many more -- including the best-selling Beach Boys/Brian Wilson tribute album Caroline Now!. Viva Marina is the fourth of the label's acclaimed compilations -- following in the footsteps of In Bed With Marina, Ave Marina, and Goosebumps. These compilations have all been elaborate classy affairs with lots of attention to detail (packaging/design/liner notes/photography/mastering). Artefacts of beautifully curated Pop Art. The new compilation continues in that tradition. It features 21 tracks from the Marina roster and kindred spirits like Van Dyke Parks, The Kingfishers, Frank Schmiechen, and Michel van Dyke. Featuring many exclusive and previously unissued contributions. Also featuring Evelyn Pope, Warren Mcintyre, David Scott, Marina Unlimited Orchestra, Fascinator, The Tall Poppies, Oscar In Venice, Dislocation Dance, and the Colin Steele Quartet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
PP 010LP
|
"Four live versions of 'Eyes Of The World' pulled from wonderful quality audience tapes: 6/8/74, 2/3/78, 6/9/76, and 5/13/83. Hand screen printed psychedelic sleeves. Super limited press of 200 copies."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PHS 049LP
|
2025 restock; LP version. Disco music, Philadelphia sound, and Salsoul fever were also present in the rumba-pop and flamenco-funk scene of Spain in the late '70s/early '80s. Producers, sound engineers, and studio musicians collaborated closely with flamenco/rumba singers and bands. Among others, Pharaway Sounds offer a compilation highlighting the production/studio work that genius Josep Llobell did for the Belter label in Barcelona. 12 disco-rumba-flamenco-boogie bombs, a time machine to the Spanish boîtes and discotheques of the late '70s and the perfect soundtrack to an imaginary "Kinki" cinema soundtrack. Features Sangre Gitana, Rumba Tres, Los Gachós, Tobago, La Marelu, Barracuda, Juan Bautista, Las Deblas, El Turronero, and Sangre Gitana. Includes insert with liner notes by Txarly Brown (Achilifunk) and photos.
|
viewing 1 To 25 of 38 items
Next >>
|
|