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LP
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1332 132LP
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"Rakim is an American rapper best known as one half of the legendary rap duo Eric B. & Rakim. Rakim is considered a transformative figure in hip hop for raising the bar for MC technique higher than it had ever been. Rakim helped to pioneer the use of internal rhymes and multisyllabic rhymes, and he was among the first to demonstrate the possibilities of sitting down to write intricately crafted lyrics packed with clever word choices and metaphors rather than the more improvisational styles and simpler rhyme patterns that predominated before him. Rakim is also credited with creating the overall shift from the more simplistic old school flows to more complex flows. Rapper Kool Moe Dee explained that before Rakim the term "flow" wasn't widely used -- Rakim is basically the inventor of flow."
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LP
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VP 4178LP
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2025 repress. "Two Sevens Clash is the debut album by roots reggae band Culture, recorded with producer Joe Gibbs at his own Joe Gibbs Recording Studio in Kingston in 1976, and released on Gibbs' eponymous label in 1977 (see 1977 in music). The album's title is a reference to the date of July 7, 1977. Singer Joseph Hill said Two Sevens Clash, Culture's most influential record, was based on a prediction by Marcus Garvey, who said there would be chaos on July 7, 1977, when the 'sevens' met. With its apocalyptic message, the song created a stir in his Caribbean homeland and many Jamaican businesses and schools shuttered their doors for the day. The liner notes of the album read: 'One day Joseph Hill had a vision, while riding a bus, of 1977 as a year of judgment -- when two sevens clash -- when past injustices would be avenged. Lyrics and melodies came into his head as he rode and thus was born the song 'Two Sevens Clash' which became a massive hit in reggae circles both in Jamaica and abroad. The prophecies noted by the lyrics so profoundly captured the imagination of the people that on July 7, 1977 -- the day when sevens fully clashed (seventh day, seventh month, seventy-seventh year) a hush descended on Kingston; many people did not go outdoors, shops closed, an air of foreboding and expectation filled the city.' The album was reissued in 1988 with different cover art."
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2LP
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AUK 008LP
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2025 restock. Released on 180 gram black vinyl. Deluxe gatefold with printed inner sleeves. 2007 release -- originally released in 1995. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus And Mary Chain, Methodrone clearly is the sum of its influences. Thankfully, BJM does a very solid job with them throughout the album's course of over 70 minutes.
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2LP
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BFR 042LP
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LP version. "In celebration of their 30th anniversary, Dozer present Rewind to Return, a double album of singles, rare tracks and B-sides from across their proliferant history. Neither a chronological document nor a comprehensive assemblage of every non-album track, Rewind to Return is a carefully considered selection of the band's favorites, chosen for their meaning and impact. Brilliantly remastered by Karl Daniel Lidén, this collection was created as the best possible record to commemorate Dozer's vast catalog and untouchable three decade legacy at the forefront of the heavy underground."
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CD
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BB 492CD
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Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.
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LP
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BB 492LP
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LP version. Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.
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LP
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BB 492LTD-LP
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LP version. Color vinyl. Few debut albums arrive with the kind of self-contained logic and radical spirit found on the self-titled Faust. Released in 1971, it marked the beginning of a project that would sidestep genre and expectation, offering a fractured, exploratory take on rock music, blending tape experiments, improvised structures, and surreal collage. This Bureau B reissue offers a fresh opportunity to engage with one of the most curious and uncompromising records of its time. The story of Faust begins in 1969, when cultural journalist Uwe Nettelbeck met with Horst Schmolzi, an A&R man at Polydor in Hamburg. Schmolzi was looking for a German answer to The Beatles, but Nettelbeck had other ideas. With a generous advance in hand, he set out to assemble something far more radical. Nettlebeck headed into the Hamburg underground and fused members of the bands Nukleus and Campylognatus Citelli into a new six-piece lineup. From Nukleus came bassist Jean-Hervé Péron, guitarist Rudolf Sosna, and saxophonist Gunther Wüsthoff. From Campylognatus Citelli, he brought in keyboardist Hans-Joachim Irmler and drummers Werner "Zappi" Diermaier and Arnulf Meifert. Their debut album Faust feels deliberate in its unpredictability: a meticulously chaotic document of six musicians discovering a new musical language in real time. At its heart lies a groove so deep and syncopated it borders on funk, only to collapse into chaos once more. Drums stutter toward cohesion and then back away in terror. Guitars unravel into smoke. And in the final moments, the music recedes, leaving behind a broken narrative, fragmented speech, laughter, coughs, like a bedtime story told by ghosts of a Europe still recovering from war. Despite the experimental nature, surrealist lyrics and a complete rejection of conventional music form, this isn't an over intellectual exercise, or a display of willful antagonism. Instead, Faust packed these three sprawling, sputtering pieces with the breadth of human emotion, capturing the chaos and complexity of existence in an audio analogue to Jackson Pollock's abstract expressionism. More than 50 years on, it remains a thrilling reminder of what can happen when artists abandon the map and follow instinct instead.
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LP
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CTI 2T2LP2025
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Restocked; LP version. Composed, performed and produced by Cosey Fanni Tutti, this nine-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019's acclaimed album TUTTI. It is a personal reflection; a sonic realization of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swinging world events. Centering on her own strength and self will, the album's two distinct parts -- one rhythmic, one more meditative -- are connected by an overwhelmingly positive mood. Even in the more melancholic moments, there's a lightness that she explains is an "acknowledgement that it's alright to be sad, that's part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance." There are also threads from her most recent projects running through 2t2. Cosey's process and the different strands that make up her work form a totality of vision. She goes on to say, "Once you get creating and listening, weaving, collaging sound it's a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within." The artwork reflects this idea that the album is a "sound cameo," reflecting the light within the music, and the buzz of life that exists within all of Cosey's work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channeling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream.
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DAD 127LP
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Warehouse find, last copies. Down At Dawn present a collection of Blind Willie McTell's recordings titled Drive Away Blues. "And I know no one can sing the blues like Blind Willie McTell." That's what Bob Dylan said about Willie McTell the great singer and guitarist from Piedmont. The uncommon Atlanta street musician and twelve-string guitar specialist. A master interpreter in various styles from country blues to gospel to ragtime.
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LP
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FTR 810LP
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The bicoastal duo of Greg Hartunian (West) and Colby Nathan (East) have made music together for 15 years. For their third and most focused full length, Dimples displays that they are anything but spring chickies. Past injuries leave scars, old flames leave burns, and memories are little more mental syrup on a midnight sundae. Obscure Residue stays true to Dimples' bittersweet off-the-cuff pop sound while pushing the tempo up a bpm or two, honing in their codeine dream melodies with orchestral arrangements. The humor is subtle, but ever-present -- cherished, not precious. Nowhere is this more-clear than on "Passage of Time," the most elemental and stripped down track of the album. Nathan's voice accompanied by the guitar delivers a personal and resonant message, stating: "Open up/you may get burned/But keep shut/And never even get a turn/There's no easing the passage of time." Dimples' songs comment on the psychic clutter that people collect, filter, and then retain or abandon -- be it by choice, chance, or circumstance. This clutter can be physical, too -- as experienced during Dimples live performances. Nathan typically performs alone in an ever-mounting pile of nostalgic detritus. He uses elements of the recorded materials while mixing in real time cacophonous loops, projections of deeply layered video collage, mutating outfits, and interactive set designs. One can see him smirking as he folds himself into the canvas of light and freak accident. Hartunian prefers tending his desert garden over performing live. He chooses instead to paint a world of his own design. These paintings, utilized for Dimples' album artwork and incorporated into the live projections, display surreal worlds that act as shelter for these strange pop songs. For a band more familiar with questions than answers, Dimples share some glimpses of wisdom that time bestows. Cheeky lyrics reflect that wisdom lies in the acceptance of ignorance and how it sculpts perception. Obscure Residue feels lived in -- a lifelong friendship -- direct and obtuse, familiar yet abstract. Dimples proves that they understand that time proceeds without restraint, and what comes along and what is left behind is less a matter of choice and more a matter of fact. So they sing, "some currents cannot be resisted, they turn you right around."
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7"
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ILS 003EP
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"The third installment of the Italian Library Songbook series unveils a rare, previously unreleased instrumental by Italian library legend Giuliano Sorgini, 'Awakening (Part I),' featuring his friend and frequent collaborator Alessandro Alessandroni on guitar. In this special Four Flies series, forward-thinking producers, songwriters and vocalists from today's global scene put their spin on works from masters of Italian golden age film and library music, crafting fresh and groovy vocal tracks. This time around, it's the turn of Florence-born producer Clap! Clap! (Cristiano Crisci) and Japanese rapper COMA-CHI to reimagine Sorgini's piece for contemporary audiences."
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LP
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GB 124LP
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2025 repress; LP version. Yīn Yīn's dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn't really conducive to setting up a bustling music scene: and it's a place where the outsiders quickly recognize each other. Yīn Yīn are all "nightlife people", which meant their friendship initially came about through co-organizing and deejaying DIY parties. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking "a lot" of instruments to a rented rehearsal room in a small village near Maastricht. They asked friends to help out, and they became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals, and Gino Bombrini on percussion. A "united against the world" stance is also heard at the end of "Declined by Universe". It's a funny, maybe surreptitious statement of belief in what they do. Yīn Yīn also wanted to create an illusion of strength in other ways: "Declined By Universe" sounds as if there is a large group of people playing, not just the core band. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like "Chong Wang" the title track and "Nautilus" drop some thumping 1990s-style electric boogie and Italo disco chops along the way. Then there is "Shēnzou V.", which plots a stately course between eastern-inflected pop music, Italo, and Harmonia-style electronic meditations. The expansive richness in sound and feel may be down to the fact that more samples, drum computers, and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. "Faiyadansu", for example, started with a sample found on an old traditional Japanese koto record. Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members' preoccupations with the state of the world. An old trope musically the Age is most famously referenced in the hippie musical, Hair. Other direct references to cosmic times are in the track names "Kali Yuga" and "Satya Yuga": the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga.
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2LP
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HPS 342LP
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Double vinyl version. Includes bonus track. "Violence Dimension is our seventh full length release. We have come quite a distance in time and space since we released Horseback in 2010. One thing that binds us all is violence, be that within a video game, or in a movie or on the daily news. Violence affects our daily life, perhaps more than love or kindness ever will. We are all bound by death, whether we like it or not. This release explores the hinterland between being scared to live and bring scared to die, and punches holes in the idea that we must live our life by one set of rules. We all live in the violence dimension, and there is no escape." --Conan. Also available on blue vinyl (HPS 342LTD-LP) and splatter vinyl (HPS 342ULTRA-LP).
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2LP
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HPS 342LTD-LP
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Double vinyl version. Includes bonus track. Blue color vinyl. Double vinyl version. Includes bonus track. "Violence Dimension is our seventh full length release. We have come quite a distance in time and space since we released Horseback in 2010. One thing that binds us all is violence, be that within a video game, or in a movie or on the daily news. Violence affects our daily life, perhaps more than love or kindness ever will. We are all bound by death, whether we like it or not. This release explores the hinterland between being scared to live and bring scared to die, and punches holes in the idea that we must live our life by one set of rules. We all live in the violence dimension, and there is no escape." --Conan.
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2LP
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HYP 36051LP
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"Hypnotize Minds presents the only studio album by Da Headbussaz, a collaboration between Memphis' Three 6 Mafia and New Orleans' Fiend produced by Juicy J and DJ Paul. The album was originally released on CD in 2002 and is now available for the first time on vinyl."
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CD
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INT 34252CD
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"Blues as nostalgic roots music? No way! A blues avant-garde formed in the US some time ago which sensitively incorporates the achievements of tradition and transforms them into an aggressive music of the future. They need neither computers nor any other electronic means, but can build on the resources and repertoire of classical blues. Before acts like Hazmat Modine, the Black Keys, and Son Of Dave developed their future blues, it was first of all New York guitarist Elliott Sharp who made new audiences aware of electronically amplified blues. With his band Terraplane, he has been opening up new paths for the blues since the mid-1990s. His 1994 debut album Terraplane, which was recorded when the group was still a trio, is probably the most efficient synthesis of blues and punk in recent rock history. Elliott Sharp's guitar salvos on Do The Don't leave no doubt that this album is only going in one direction -- forward. To that end, he surrounds himself with a superb crew. The vocals are provided by the duo of Eric Mingus & Dean Bowman. Mingus lives up to his name; the son of jazz icon Charles Mingus is as nonconformist, powerful and full of energy as his father. Bassist David Hofstra played with the Microscopic Septet and, together with Sharp, in Wayne Horvitz's The President. The unflappable veteran, who crosses the line between avant-garde and tradition, was one of the founding members of Terraplane. Drummer Sim Cain is known particularly for his percussive thunder with the Rollins Band. Jazz musician Sam Furnace, who died shortly after the album was recorded, gave Terraplane's sound an earthiness with his baritone saxophone that makes the music moist and rich for all its urbanity. Hubert Sumlin enhances the CD as a special guest. Sumlin is not only one of the last surviving blues authorities, but to some extent is also Sharp's blues mentor."
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LP
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LTR 036LP
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2025 repress. Nils Frahm presents a new collection of solo piano music, his first album since 2022's three-hour Music For Animals. Day was recorded in the summer of 2022 in complete solitude and away from his studio at Berlin's famed Funkhaus complex. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favor of a nonetheless still-distinctive approach that's considerably more instrumentally complex and intricately arranged. Indeed, Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt, and Screws will once again revel in Day's familiar, personal style. Day contains six tracks, three over the six-minute mark. Characterized by its confidential mood, the album confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he's still a prolific master of affecting simplicity, tenderness and romance. In 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to "start over" with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love.
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LP
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MLC 020LP
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Label boss Le Motel and versatile pidgin-rap experimentalist Magugu return to Maloca for their second full-length EP, Bitter Better. Drawing roots once again from across the full club music continuum, the release is a tour de force through rugged rhythmic workouts and self-assured vocal flows as the duo continue to develop their shared universe. The EP marks a long-standing collaborative relationship which has existed between the two artists since 2021. Bitter Better shows them at their best as they continue to experiment across any BPM and genre possible, further unifying a collective musical voice defined by Le Motel's signature organic percussive detail and Magugu's confident and dynamic vocal delivery. Anthemic, heavy and unashamedly fun throughout, standard conventions get thrown out of the window from the first track. Available on vinyl, Bitter Better is also the artists' first ever shared physical release -- all five tracks appearing on side A. On the B side, the duo's first EP, 2023's Kindness Weakness can be found, making this record a must-have for long standing fans and those just discovering Le Motel and Magugu's output.
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OMM 560156LP
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2025 restock. Ohr present a reissue of Birth Control's Operation, originally released in 1971. Re-release of the second album of the Berlin outfit on the original Ohr label. Produced by the famous photographer Didi Zill in 1971 at Hansa Studios.
"Birth Control's second album, Operation, stands as one of the band's finest recordings, getting the vote as the second-best album of 1971 by one of Germany's leading music magazines. Operation has Birth Control employing a nine-piece string section as well as a smaller brass entourage in order to produce a larger sound, and while their progressive air is just beginning to flourish, a rather large difference in musical strength and instrumental craft is noted right away. Not fully abstract or left-of-center just yet, the powerful crunch of Bruno Frenzel's guitar surely leads the way, dominating the rhythms of every track while complimenting the aeronautics of the keyboard passages..." --Mike DeGagne, AllMusic
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PF 013LP
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2025 restock; LP version. "1979's 154 represented the final tableau in Wire's Harvest released '70s triptych and was the first Wire album to be released to a universal set of five star reviews from the British rock weeklies, thus it represented the point when the British 'pop culture establishment' publicly recognized Wire's primacy. '154 makes 95 percent of the competition look feeble' wrote Nick Kent in the NME, 'Wire are achieving a lot of things other--and more recognized--names have been striving for' wrote Chris Westwood in Record Mirror (a paper that had slagged off Pink Flag). 'The album is a musical tour de force' wrote Jon Savage in Melody Maker. Many said it was the album that Bowie and Eno had failed to make with Lodger (as hinted in the RM review), it was on John Lennon's playlist. Without a doubt, even if record sales did not bear it out, Wire had 'arrived.'"
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LP
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POTOMAK 819901
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2025 restock; 2002 release. LP version. Originally released in 1983, Einstürzende Neubauten's second album marks a radical progression in the band's sound as well as a revolutionary step forward in the realms of industrial and experimental music. Bassist Marc Chung (ex-Abwärts) and electronics engineer Alexander Hacke (later a member of Crime And The City Solution) joined the band during this time, and singer Blixa Bargeld also became a full-time member of Nick Cave And The Bad Seeds. Despite each members' background, Einstürzende Neubauten's ethos -- "Destruction is not negative, you must destroy to build" -- treaded on ground that was explicitly anti-music. Through their intuitive compositional approach and application of found, industrial objects into song forms, the band's sonic trajectory was intent on generating entirely alternate modes of music-making. In contrast to the all-out destructive barrage of their debut, however, Zeichnungen Des Patienten O.T. reveals an astonishing maturity in its varied and dynamic range of textures while still being no less uncompromising.
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SCR 389LP
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2025 restock; Legendary shoegaze band Chapterhouse share their first ever recordings on a new EP, White House Demos. The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about -- until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record." Of the four tracks that make up the EP, "Ecstasy" has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of "Guilt" was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of "Die Die Die" was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning "See That Girl," however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.
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CD
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STAR 3722CD
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Refused's classic debut album from 1994. Now including previous unseen photos, liner notes by David and Dennis of Refused and, as an extra bonus, the demo from Nov. 6, 1993 with the songs that ended up on the album plus cover songs by Inside Out, Sick Of It All, Mötley Crue, and Beastie Boys.
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STAR 3832CD
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Recorded 7/94 at Sunlight Studios, engineered by Fred Estby, mixed and produced by Tomas Skogsberg and Fred Estby. Music and lyrics by Refused, layout by Jose, Dennis and Adam at Hillebjork.
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STAR 4382CD
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Songs To Fan The Flames Of Discontent was first released in 1996 and catapulted the band Refused from Umea in northern Sweden into the hardcore punk premier league. The Scandinavians, who were known for their hard, uncompromising and irreverent lyrics, followed the album with extensive tours all over the world, for example with Kristofer Aström's Fireside, Madball and Entombed.
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