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viewing 1 To 25 of 25 items
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LP
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BEWITH 178LP
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Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside. A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis "Blackbeard" Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond. His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more. cLOUD mUsIc features eight new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilized by anyone interested in having music for incidentals, films, TV and advertising etc. cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. Thrilling disco-flecked opener "Rebel Funk" comes bustling out the gate with deeply soulful, driving funk rhythms, a ponderous thumping bass combining brilliantly with a full band and chanting choral vocals. Spirited, joyful and dynamic, it's a true treat from the reggae maestro. The lush, deeply danceable "Raw Soul" combines funk and soul via bass, drums, electric guitar, sax and trumpet. The chilled, serene "Callaloo" presents a sunny, calypso-style reggae with dub rhythms, with steel drums and keyboards providing the sweet melody of deep bass and percussive rhythms. "Too Funky To Be True" is just that: slow bass and brass-led funk with melodies from strings and organ. It's sleazy, warm and refined. To close out the side, "Wind Up, Dub Down" is bright and breezy dub reggae with a bouncy rhythm and reflective, contented feel. The B-Side features jaw-dropping dubbed-out, strung-out, spaced-out versions of each of the first five tracks. The vinyl features artwork utilizing a unique photo by Dennis himself. Meticulously mastered and cut by both Simon Francis and Cicely Balston respectively, cLOUD mUsIc has been pressed to the highest possible quality at Record Industry in Holland.
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BORNBAD 027CD
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Think Michou meet les Ramones meet les Shangri La's meet John Waters. Originally released May 31, 2010. Cover photo by Vice Cooler.
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2LP
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BORNBAD 064LP
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2026 restock, last copies. Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African 'thumb piano'), it was just sitting there on a piece of furniture in my family's living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for 'unusual sounds' did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my 'serious' English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept 'world music.' Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like 'Agatha' and 'La condition masculine.' But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: 'Let's see what you can do with it!' That's when I really discovered something. Exploring the instrument and playing, I transcended the 'imperfect' aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his 'laboratory.' Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" --Patrick Bebey
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BORNBAD 187CD
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The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz! CD version includes 32-page booklet with liner notes. LP version includes 6-page booklet with liner notes. Featuring Robert Pico, Annie Girardot, Spauv Georges, Zoé, Jacques Da Sylva, Valentin, Jacques Malia, Bernard Jamet, Jean-Pierre Lebrot, Les Concentrés, Les Missiles, Hegessipe, Marechalement Votre, Mamlouk, Mosaïque, Jean-Marc Garrigues, and Penuel.
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BORNBAD 187LP
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LP version. The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz! Includes 6-page booklet with liner notes. Featuring Robert Pico, Annie Girardot, Spauv Georges, Zoé, Jacques Da Sylva, Valentin, Jacques Malia, Bernard Jamet, Jean-Pierre Lebrot, Les Concentrés, Les Missiles, Hegessipe, Marechalement Votre, Mamlouk, Mosaïque, Jean-Marc Garrigues, and Penuel.
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LP
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BORNBAD 190LP
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LP version. Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician's life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender's is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably: Melchior is a perfect cover-boy, and his very existence has put our man back to work. They set a path for phat electronic ventures (and by the way, mostly English-speaking). Sub- continental bass and massive drums, heavy-footed and unabashed: as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on "UFO" and "Waiting for the sign": Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo also sent her "Postcard", more vapor than song, unreal musical cotton candy of arrangements. Domotic, who mixes and co-produces, gives a nice spin to "Count to 10," a hip-hop/kraut crossover with a BEAK> flavor. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys and vocals trio, with Melchior as guest. Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone and François de Roubaix make Hitchcock-style cameos: discreet appearances that you'll watch out for. His new flirt is all but a toxic relationship. Melchior Vol. 1: the robo-bromance is not over yet.
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BORNBAD 192LP
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LP version. Jessica93, prodigal bastard of the glorious French squat scene, relocated on Born Bad. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That's where it gets tricky: every musical posse claims him. Grunge, sure, but Jessica doesn't indulge in necrophilia. His circuit is punk, he doesn't dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called 666 Tours De Périph (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again. At the heart of this cultural pentacle painted by French weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO's gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the '90s. A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. The record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There's your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language: French at last.
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CLE 080CD
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Sumrrá asks: "Can we free ourselves from prejudice, cultural and personal. How can we liberate ourselves from the bias and self-sabotage that we got from our ancestors, our environment, our society and our cultural background." REVOLUTI8N explores seven themes in the band's eighth album. Sumrrá express their thoughts through music and tone poems. They seek to trigger an inner Revoluti8n, to spark it. They are shooting an arrow towards the direction they believe the world collectively must look today. After 25 years and hundreds of concerts around the world, Sumrrá continues to look into the future. Pianist Manuel Gutierrez, double bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido perform with a maturity and freshness of ideas that has made their devoted fan base continue to grow. Smart, dynamic and emotional music from Galiza, Spain. Having already released seven albums, REVOLUTI8N, is their eighth. Also available on yellow/black splatter color vinyl (CLE 080LP).
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CLE 080LP
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LP version. Yellow/black splatter color vinyl. Gatefold sleeve. Sumrrá asks: "Can we free ourselves from prejudice, cultural and personal. How can we liberate ourselves from the bias and self-sabotage that we got from our ancestors, our environment, our society and our cultural background." REVOLUTI8N explores seven themes in the band's eighth album. Sumrrá express their thoughts through music and tone poems. They seek to trigger an inner Revoluti8n, to spark it. They are shooting an arrow towards the direction they believe the world collectively must look today. After 25 years and hundreds of concerts around the world, Sumrrá continues to look into the future. Pianist Manuel Gutierrez, double bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido perform with a maturity and freshness of ideas that has made their devoted fan base continue to grow. Smart, dynamic and emotional music from Galiza, Spain. Having already released seven albums, REVOLUTI8N, is their eighth.
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CT 084LP
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2026 restock. One of King Tubby's finest works, originally released in 1974. Recorded at Tubby's famous 18 Drummly Ave. studio in Kingston during dub's early development period.
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FARO 212LP
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2025 repress. LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.
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CD
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GB 181CD
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On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. As Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures and beats. As with their breakthrough album Mount Matsu (GB 147CD, 2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified -- Yatta! lifting it to an ecstatic next level. The result? An album that reveals a band whose groove just keeps getting deeper. Certainly, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing. From the beginning, YĪN YĪN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving -- an impulse that reaches its peak on Yatta! One major influence is the sound of Italo Disco -- the spacey brand of disco music that arose in Italy in the late 1970s. "It has something of a mystique," says Berkers. "All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created." Across the album, YĪN YĪN specialize in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination. If there's a general direction of travel in YĪN YĪN's expeditions, it's towards the east, with Asian influences coming through loud and clear. It's a fascination that has suffused YĪN YĪN's sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic '60s and '70s guitar music from Southeast Asia. Adopting Eastern tunings has imparted an unusual feel to YĪN YĪN's music and challenged them as songwriters, and Yatta! is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it.
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GB 181LP
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LP version. On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. As Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures and beats. As with their breakthrough album Mount Matsu (GB 147CD, 2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified -- Yatta! lifting it to an ecstatic next level. The result? An album that reveals a band whose groove just keeps getting deeper. Certainly, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing. From the beginning, YĪN YĪN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving -- an impulse that reaches its peak on Yatta! One major influence is the sound of Italo Disco -- the spacey brand of disco music that arose in Italy in the late 1970s. "It has something of a mystique," says Berkers. "All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created." Across the album, YĪN YĪN specialize in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination. If there's a general direction of travel in YĪN YĪN's expeditions, it's towards the east, with Asian influences coming through loud and clear. It's a fascination that has suffused YĪN YĪN's sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic '60s and '70s guitar music from Southeast Asia. Adopting Eastern tunings has imparted an unusual feel to YĪN YĪN's music and challenged them as songwriters, and Yatta! is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it.
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GGR 2021LP
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2026 restock, 2nd edition. As featured in Now Jazz Now: 100 Essential Free Jazz & Improvisation Recordings (1960-80). "Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since. We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers. This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it." --Matt Earley, Executive Producer. The musicians of Black Unity Trio are paid at least 70% of the profits from this release by Gotta Groove Records, Inc.
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GGR 2022LP
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2026 restock. "This long out-of-print holy grail private press album, originally released by the late Abdul Wadud himself in 1977, is finally being reissued on vinyl. The release date is what would have been his 76th birthday. There really is no easily comparable album in existence. Abdul Wadud used the cello to make music in a way that was never fore-sought for the instrument, and this album was the first physical representation of his genius. Sourced from the only copy of the original master tapes in existence. However, due to severe deterioration of the tape, the vinyl master lacquers were cut from a DSD transfer of the audio tape. Tape restoration and DSD transfer conducted by grammy-award winning mastering engineer Paul Blakemore. Lacquers cut by Clint Holley and Dave Polster at well-made music. Stampers plated with Gotta Groove Records proprietary groove-coated plating technology. Vinyl manufactured by Gotta Groove Records, and packaged in Gotta Groove anti-static dust sleeves. Contains restoration of original jacket artwork with spot gloss treatment, as well as never before-seen photo of Abdul with his children (Raheem and Aisha), along with a digital download code to redeem a high-resolution digital copy of the tape transfer. This reissue was originally sanctioned by Abdul himself. Unfortunately, he passed away on August 10, 2022. We thank his family, and particularly his son, Raheem DeVaughn, in assisting us see this masterpiece through to become available again on vinyl to a new generation."
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2LP
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GR 026LP
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2026 repress. Ignacio de Loyola Rodríguez Scull, aka Arsenio Rodríguez, was a Cuban musician, bandleader and prolific composer who developed the son montuno and other Afro-Cuban-based rhythms. Today, he is seen as one of the most important figures in Latin music, with his influence reaching beyond the Spanish speaking world to also include African popular music of the 20th century, though when he died he was not widely known by the public for his contributions and influence. He is also recognized (along with Israel "Cachao" López and Dámaso Pérez Prado) as one of the creators of mambo, what Rodríguez himself often referred to as "ritmo diablo". Some of his best-known, and most-often covered recordings from the '50s and early '60s are included here, among them "Dame un cachito pa' huele'," "Dundunbanza," "El reloj de pastora," "Cambia El Paso," and "Hay Fuego En El 23". Never one to stand still creatively, by the early 1960s Arsenio began introducing other experimental modes of expression taken from his new adopted home (jazz, r&b, rock) into his conjunto, incorporating saxophones and "walking" bass, as well as amplifying his guitar and even singing a few tunes himself (in a jocular, gruff tone). True to his racial pride, he often utilized African religious terms, melodies, rhythms and sonorities. Leaving New York and moving to Los Angeles in 1969/1970 to try his luck on the West Coast, Rodríguez unfortunately remained relatively unknown in California, and by most accounts audiences were indifferent to his by now old-style Cuban music, especially with the rise of Latin rock. In the late '60s and early '70s, Johnny Pacheco, the Dominican bandleader and musical director of Fania Records, had been recording versions of the conjunto and son montuno sound that Rodríguez and others like La Sonora Matancera had pioneered decades before, complete with trumpets and tres, and similar arrangements. Arsenio's innovative techniques, arrangements and compositions have had far reaching consequences because not only was the rise of salsa in the late '60s and '70s fueled in part by his Afro-Cuban son conjunto aesthetic, but one could argue that his pioneering influence can still be felt today through the edgy deconstructionist jazz and punk inflected music of Marc Ribot's Cubanos Postizos and Jacob Plasse's thrillingly eclectic ensemble Los Hacheros. The tracks here have been remastered and restored and some are presented on vinyl after many years. 350g cardboard printed on the reverse side.
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ICTUSRE 009LP
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Live in Padova 1977, unreleased. This album is a historical document in several respects: echo of a creative season in its early, vigorous blossoming. It serves as a testament to the initial opening of the emerging Italian free music scene to Northern European experiences, which had already been in communication for years. The collaboration between Evan Parker and Andrea Centazzo had begun a few months before this concert held in Padova on December 12, 1977. In July, Parker came to Italy, specifically to Tuscany, for a series of concerts, including a duo performance with Derek Bailey in Pisa. Then he joined Centazzo, who had organized a seminar with him (likely the first of its kind in Italy) in San Marcello Pistoiese. At that time, Centazzo lived and worked in the countryside between Pistoia and Montecatini. On that occasion, Centazzo recalls recording studio material, which, along with material collected during the concert in San Marcello, became the album Duets 71977 (2016). Shortly after, the duo temporarily expanded into a trio with Alvin Curran, who recorded Real Time (ICTUSRE 010LP). By then, the Centro d'Arte had existed for more than thirty years as an association connected to the University, presenting seasons with a very open and research-oriented profile. In 1973, the Centro d'Arte started an autonomous jazz series, favoring contemporary and avant-garde artists such as the Art Ensemble of Chicago, Sam Rivers, Anthony Braxton, and musicians from the emerging European free jazz scene. The Centazzo/Parker duo was indeed one of the most experimental episodes presented by the Centro d'Arte in those years. The musical material heard on this album does not correspond to the entire concert but is a selection that emphasizes some particularly intense long sequences. It is worth remembering that about twenty minutes into the actual concert, some voices from the audience began to howl and even mock what they were listening to. Parker expressed his irritation through the music, but also with words in which he ironically described himself as a gladiator in the arena. In this portion of the concert, which is not included in the album, spoiled as it is by annoying distortions, you can hear him addressing the audience: "Bring back bullfighting, Bring back bullfighting... whoa... Bullfighting on ice!" and later shouting, "Bring on the lions!" In 2000, Stefano Bassanese converted the tape into a digital file (44100 Hz/16 bit) in his home studio. This forms the basis of the current restoration process, conducted at Outside Inside Studio by Matt Bordin, who is also responsible for editing and mastering.
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LP
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ICTUSRE 010LP
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Real Time is an extraordinary example of interaction between musicians coming from different worlds of new music. "I had the chance to perform with those two great musicians on other occasions: in duo with Alvin Curran and in duo, trio and sextet with Evan Parker. Alvin came from the American school, full of minimalist references, melodic structures and open to all kinds of contamination. Evan had left jazz to accomplish his own instrumental language, aiming at total improvisation. The idea of getting them to put together a trio that would perform several concerts and recording was one of the most exciting moments of my career. Our three languages found a common ground of expression where different musical backgrounds came together and created a unique blend for that period of time." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live in concert Rome, Italy December 13, 1977. Engineer: Nicola Bernardini. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.
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ICTUSRE 011LP
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"It was a magical evening. Not only did the trio burst with a creative energy that was homogeneous and interactive, but the acoustics, usually inadequate, of the half-empty sports pavilion with a capacity of 10,000 people, gave the music an ethereal transparency and crystalline purity that the recording captured in all its singular beauty." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live at Teatro Comunale, Pistoia, Italy December 14, 1977 by Carla Lugli. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.
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LP
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JRLP 069LP
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2026 repress; LP version. What two great producers other than Lee Perry and Bunny Lee would be best suited for a Dub Soundclash? Both producers were integral at the birth of dub music and would share many rhythms and sessions -- their musical paths would cross all through their careers. It was in fact Bunny Lee's rhythm that provided the back drop to Lee Perry's "Shocks Of Mighty" cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry's position at WIRL Records. Yes, two producers whose paths always seemed to cross as it does with this release. Jamaican Recordings have selected some of Lee Perry's rhythms, the first half of this set, against some Bunny Lee rhythm on the second half. You can hear the distinctive sound of Lee Perry's Black Ark studio with his echoplex giving his trademark whirling sound against Bunny Lee's rhythms cut at many different studios. The winner of the Soundclash? That is up to you the listener... But in this dub session there is no loser...
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2CD
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LPS PS019CD
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The legacy of wipE′out″ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn't just revolutionize the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground. Decades later, the game's impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out″'s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack. This is why Lapsus decided to go deeper into the slipstream and build the second volume you're now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn't fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga -- wipE′out″ HD and wipE′out″ Pure -- plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise. Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE's pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum and bass vanguard. Expect the DNA you remember -- accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft's hull, and at times even echoes of classic hardstyle -- now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. For the faithful -- crate-digging ravers, speed-run obsessives, and design nerds -- this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out″ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.
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3LP
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LPS PS019LP
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Triple LP version. The legacy of wipE′out″ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn't just revolutionize the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground. Decades later, the game's impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out″'s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack. This is why Lapsus decided to go deeper into the slipstream and build the second volume you're now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn't fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga -- wipE′out″ HD and wipE′out″ Pure -- plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise. Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE's pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum and bass vanguard. Expect the DNA you remember -- accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft's hull, and at times even echoes of classic hardstyle -- now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. For the faithful -- crate-digging ravers, speed-run obsessives, and design nerds -- this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out″ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.
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MR 329LP
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2026 restock. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton
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LP
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POTOMAK 826141
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2026 restock; LP version. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening.
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LP
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VAMPI 325LP
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2026 repress! This compilation brings together for the first time the best songs by Los Zheros, one of the most renowned cumbia bands to emerge in the early 1970s in Iquitos -- alongside groups like Los Rogers and Los Wemblers -- in the heart of Peru's Amazon capital. The unique Amazonian sound blended fast, percussive cumbia rhythms with electric guitars in a surf style -- a distinctive fusion that came to define Peruvian-recorded cumbia, markedly different from the traditional cumbia styles that developed in other cumbia-producing countries like Colombia. The album includes their psychedelic rock hit "Cuarto Oscuro," a highly sought-after track not only by cumbia collectors but also by garage and psychedelic DJs. This song also marked the beginning of their recording career in 1973. This compilation is a joint release with the Peruvian label Rey Record and comes with an insert featuring never- before-seen photos of the band, as well as liner notes by genre expert Víctor Zela (the mind behind the prestigious project La Cumbia de mis Viejos).
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