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viewing 1 To 13 of 13 items
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2LP
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AUK 006LP
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2026 repress; 180 gram black vinyl for the first time. This 1997 album is seen as a classic Brian Jonestown Massacre release. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT, Tee Pee, and now on Anton Newcombe's own A Recordings label. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s, and incorporates influences from world music, especially Middle Eastern and Brazilian music.
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2LP
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AUK 027LP
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2026 repress. Tepid Peppermint Wonderland Volume 2 includes the second half of the double CD Tepid Peppermint Wonderland: A Retrospective (AUK 013CD, 2004), remastered for vinyl. Following Tepid Peppermint Wonderland Volume 1 (AUK 026LP, 2004), Volume 2 continues to mine the period of 1995 through 2004 and includes key tracks from all of The Brian Jonestown Massacre's albums as well as live recordings and many otherwise unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Beginning in 1995, The Brian Jonestown Massacre released numerous albums, first on BOMP!, the label that gave them their start, and later on TVT Records and Tee Pee Records. The band was essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase (the band name is a reference to Stones guitarist Brian Jones and Peoples Temple founder Jim Jones), but his work in the 2000s expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. Gatefold double LP version.
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LP
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GB 147LP
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2026 repress; LP version. YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man's land between Khruangbin and Kraftwerk, surf music, and Southeast Asian psychedelia, Stax soul, and mutant '80s disco, city pop, and Japanese instrumental folk (sōkyoku). Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Off-kilter disco tunes with a trans-local character, neo-Thai psych funk jams and folk-styled soul ballads remain central to their sonic identity, and the influx of fresh ideas results in an even more eclectic and effervescent sound image. Mount Matsu marks a step back from the occasionally more Moroder-esque, rhythm-machine and synth-heavy production style of YĪN YĪN. This is encapsulated in the analogue warmth of their valve amp guitar sounds, vintage synth lines and acoustic percussion timbres, evoking the buzz of being in the rehearsal space with the band. Infectious pentatonic melodicism calling for multiple rewinds!
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2LP
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KK 2258003LP
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2026 restock; double LP version. Poly-lined inner sleeves; gatefold. 180 gram, black double vinyl. The original analog master tapes were transferred with higher resolution and remastered with great care. Remastered by Dieter Dierks and Dennis Flüchter. Walter Wegmüller (1937-2020) was a Swiss-Jenish artist who grew up in difficult circumstances in Bern. After training in Basel, Bern, Paris, and London, he began his artistic career. In addition to painting and sculptural works, Walter Wegmüller occupied himself with the entire spectrum of art. He gained widespread international attention, especially from 1974 onwards, with the publication of his Zigeuner Tarot. He was successful at countless exhibitions in Europe and overseas and was repeatedly awarded prizes and distinctions. However, he never forgot his origins as a Verding child and "Rome child from the Kalderasch tribe." In 1973, he released the album Tarot with an all-star band. Successful musicians such as Klaus Schulze, Manuel Göttsching, Harald Grosskopf, Dieter Dierks, Hartmut Enke, Jürgen Dollase, and Walter Westrupp played in the band. It remained Walter Wegmüller's only foray into the world of music. The album was last released on vinyl in 1976, the CD in 2000. This version here is the first remaster ever.
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LP
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LIFE 058LP
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2026 repress. Outstanding and limited compilation of Turkish jazz-funk rarities. The release explores what happened when Western music styles such as modal jazz, bossa nova, fusion, and funk met Arabic folk music, tone scales and rhythm structures in the late sixties and seventies in Turkey and Egypt. Features Emin Findikoğlu, Mustafa Ökzent ve Orkestrasi, Erkut Taçkin, Fikret Kizilok, Erkin Koray, Aksu Orkestrasi, Ferdi Özbeğen, Erol Pekcan, Okay Temiz, Erol Pekcan Orkestrasi, and Durul Gence 10.
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LP
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MR 386LP
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2026 restock. Songbook #7 is the new volume of Mattin's Songbook series, one of the most interesting works in the current experimental, improv and noise field. Songbook #7 features Farahnaz Hatam, Colin Hacklander, Lucio Capece, Moor Mother, Cathleen Schuster, and Marcel Dickhage and was recorded in November 2017 at Digging the Global South Festival in Cologne, while Europe was (still is) slowly going down. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation emerges a strange record: a disintegrated manifesto exploring the truth of disagreement. Exactly 100 years ago Europe was really crumbling. However, there was a proposition for a collective future in process. This songbook takes two moments as historical inspiration in order to rethink the present: The first seven months of 1917 in revolutionary Russia, and the figure of Germaine Berton (pictured on the cover), the anarchist who in 1923 was accused of murdering Marius Plateau, director of the far-right organization French Action League. In a time of war and fascism, those were two very different answers: a collective attempt at social transformation and a desperate lonely gesture. Neither response really managed to succeed to overthrow capitalism but they had a motivation and a clear way to act, something that seems to be lacking right now. If previous songbooks dealt with the tension between improvisation and song structure, between an emphasis on the production of the moment and having a conceptual framework, here the tension is produced by conflating the present with the past, and in doing so the tension between communism and anarchism is also explored. Songbook #7 digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future, and the shortcomings of democracy in a capitalist system. If one wants some musical references you can imagine one of those collaborations between Red Crayola and Art And Language if it was produced by Roberta Settels, or if Rabit was asked to do a remix of Nono's La Fabbrica Illuminata, taking into account the Altoforno di Cornigliano factory's demolition in 2005. This great line-up tries to think the present through the lenses of radical historical moments and in doing so it achieves music both arcane and futuristic.
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LP
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EZRDR 116LP
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2026 repress. LP version. "'Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.' To hear Randy Holden describe the audience's reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. 'I wanted to do something that hadn't been done before,' Holden explains. 'I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That's what I was going for, way over the top.' And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It's incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility. Troubles with the album's release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn't seen a proper remaster and has yet to be available on digital platforms. 'The original mastering just destroyed the dynamics of it,' Holden says. 'They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.'"
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LP
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SPITTLE 031LP
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2026 repress, yellow vinyl. What exactly happened in the Italian underground/post punk scene of the '80s, is not entirely clear. Therefore, this collection of 13 incredible tunes helps track down the feeling and focuses on the blurry images of a period that was mixing influences from the UK/USA scenes with a more "national" approach to new music developments. The damage began in 1977 when a series of urban/suburban musical agitators, whether skilled or complete amateurs, decided to embrace instruments as weapons for a war against sonic stereotypes. Here's the result: a multiform sonic attack that marks the history of a movement that may have remained local in most cases but whose echo reflected the amazing creativity of a generation. Features Neon, Панков (Pankow), Le Masque, N.O.I.A., State Of Art, Jeunesse D'ivoire, Monuments, Rats, Fockewulf 190, Luc Orient, Illogico, 2+2=5, and La Maison.
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LP
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SV 137LP
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2026 restock. "Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to Superior Viaduct's knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver 'Rectomo' Powers, and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound. When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed -- nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world. Opener 'One Way Spit' could easily be mistaken for a lost KBD single -- from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On 'Tricia,' a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene. Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so. Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list."
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LP
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VAMPI 168LP
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2026 repress. "This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Joe Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at Nuyorican Poets Cafe in my neighborhood. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. The rhythm section was a band called TransLove Airways that I formed in 2002. To this core group I added pieces from a few other local bands: The Middle Initials, who are a great Temptations/Main Ingredient-style vocal group, and members of an incredible Latin band called Grupo Latin Vibe, who were responsible for almost all the percussion and the vibraphone solo on 'I'm The Fool Pt. 2'. There was also some fine trombone playing by Aaron Johnson of Antibalas and great flute work by Neal Sugarman and my cousin Sonny. Preparing for Call My Name, I listened to a lot of different records from the mid to late '70s. It has now been over ten years since the completion of this record, and so much has changed. The Call My Name sessions took place when Daptone had just moved to Bushwick, its now-famous current location. Gabe Roth was my first call whenever I had any recording to do. He was yet to become the legendary figure at the center of the Daptone/Truth & Soul universe. He was just a humble guy with an incredible talent and an impeccable ear who made authentic sounding records with inexpensive analog gear." -- Daniel Collás, producer of Call My Name
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LP
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VAMPI 320LP
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2026 repress; on 180g vinyl. In Everybody Loves the Sunshine (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach that defines his unique style. Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of '70s Black music. Summertime soul classic! This album not only solidified Ayers as a key figure in the world of jazz-funk but also marked a milestone in soul music and contemporary jazz. It features a sophisticated blend of irresistible grooves, smooth melodies, and a unique sound that has endured over the years, becoming a reference for multiple generations of musicians and listeners. By the mid-'70s, Ayers had already established his reputation with his band, Roy Ayers Ubiquity, and his distinctive use of the vibraphone, which became his personal trademark. However, with this album, Ayers ventured into a smoother, more accessible sound, partly in response to the rise of disco music and the growing interest in more experimental sounds within the music scene. Throughout its ten tracks, Ayers managed to create a sonic atmosphere that evoked both the warmth of summer and the sophistication of jazz from that era, set against a backdrop of modern soul. The production was carried out by Ayers himself, along with his producer and friend, David R. Williams, and features the wonderful sound of Phillip Woo's Fender Rhodes and the powerful energy of the rest of the band, achieving an unmistakable authenticity and freshness. Some of its most well-known songs include the title track, "Everybody Loves the Sunshine," "The Golden Rod," and "The Third Eye," which quickly became classics of jazz-funk and soul. This album is crucial in Roy Ayers' career, as it demonstrates his ability to remain relevant and creative in an ever-changing music industry.
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LP
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VAMPI 321LP
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2026 repress. An essential Roy Ayers album blending soulful jazz roots with crisp 1970s funk. Featuring Ayers' signature vibes, tight arrangements, and standout tracks like "The Boogie Back" (sampled by the likes of NWA, 2Pac, and De La Soul) and "Change Up the Groove," this LP is a must-have for any fan of jazz-funk and vintage grooves. Step into the vibrant soundscape of the 1970s with Change Up the Groove, a hidden gem from Roy Ayers Ubiquity's early Polygram years. Often overlooked in favor of Ayers' bigger hits, this soulful album is a masterclass in jazz-funk fusion, capturing the essence of Ayers' evolving style as he bridged the gap between his jazz roots and the rhythmic snap of the '70s funk revolution. From the very first track, Ayers' signature vibes take center stage, shimmering with emotion and groove. The album leans heavily into instrumental richness, with standout contributions from jazz greats like the legendary Bernard Purdie on drums. Strings weave in and out subtly, enhancing Ayers' already deep and textured arrangements. Change Up the Groove isn't just an album -- it's a snapshot of Roy Ayers' artistic evolution, full of rhythm, heart, and timeless groove. Whether you're a longtime fan or just discovering his legacy, this record is essential listening.
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2LP
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VL 900310LP
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2026 repress. Two 180-gram LPs with 15 bonus tracks from the deluxe CD edition. Despite his huge success with his 1971 political concept album What's Going On, Marvin Gaye left social concerns behind for those of a more intimate nature with this 1973 album. Let's Get It On album broke new ground, gaining its place in history as one of the most sexual albums ever recorded, laying the basis for every slow jam ever after, and making Gaye both socially concerned and sexy -- a potent commercial combination.
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