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viewing 1 To 23 of 23 items
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LP
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AMI 063LP
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"As long-time admirers of his six and twelve-string wizardry, Amish Records presents the release of James Blackshaw's (kinda) new album, Unraveling In Your Hands. Originally released digitally in November 2024, solely on James' Bandcamp. The album marks the first music James has released since his self-imposed hiatus in 2016. After much personal tumult including a broken shoulder, the loss of his job and the death of his beloved dog Dexter, James finally felt the pull back to music. He begun to work, not even knowing if his injury would allow him to play the guitar, and then Unraveling In Your Hands quietly appeared. The title track is the album's center piece, a 27-minute meditation of precise guitar phrasings and shimmering harmonics, recorded in a single take. In UNCUT, Jon Dale says it's 'an unrelenting, hypnotic stream of shivering strings, tiny flecks of light dazzling as you plunge deep into the repetition, while following a snaky melody through the thickets -- is certainly unforgettable.' 'Dexter' is a somber piece with a minimal organ melody enveloped by droning woodwinds and scratching strings provided by multi-instrumentalist and longtime collaborator, Charlotte Glasson. Finally, 'Why Keep Still?' moves back into familiar sonic territory with fingerpicked guitar accompanied by rolling piano notes. Pitchfork gave the album an 8.0 rating, stating, 'The lucidity and beauty of this music feels hard-won, something to revere and cherish.' Inspired by the '60s Takoma school of American Primitive guitar, minimalist composers and European classical music, James Blackshaw b. 1981 has been highly regarded for his works for solo acoustic guitar since his debut album in 2003, employing fingerpicking techniques to create drones, overtones and repeating patterns, alongside a strong inclination for melody, to create instrumental music that is both intelligent, hypnotic and emotional. James Blackshaw has released eleven solo studio albums, two EPs, two live recordings and appeared on numerous compilations, receiving praise and earning places on Best of Year lists from many online and printed publications. Since its release, the album has received significant critical acclaim, with reviews in Uncut, Mojo, Stereogum, Aquarium Drunkard, Dusted, and Brainwashed."
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12"
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AD 005EP
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2025 restock. Following the Imagine-A-Nation reissue (AD 004LP, 2016), Anotherday present a series of the first five releases, lovingly re-mastered, from the enigma that is Spencer Kincy, AKA Gemini. First up is Le Fusion. Originally released on Cajual Records in 1995, Le Fusion pairs Gemini's signature edgy techno tinged house bump with live instrumentation and frantic vocals over three untitled tracks in one of his most interesting releases. This release has been licensed directly from the man himself.
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LP
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BEWITH 093LP
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2025 restock. They say: "New directions in contemporary scoring." Be With Records say: "Contempo is one of the best full album listens in the KPM 1000 library." Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield. Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves. Rugged funk opener "The Fix" confidently displays its low-slung languid grooves with heavy drums, horns, and bass. The punchy "What's Cooking" follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to "Cut To Music" gives way to a more inclusive, relaxed funk that's all irresistible bass and stabbing horns. The mid-tempo "Man Alive" signals the time to really get down. Closing out the A side, fresh guitar licks drip all over the slick drums of "Funky Footage", with a New Orleans piano vibe coming on to really light a fire. The B side is more smoothed out, with beautifully arranged, sweeping strings, sax solos aplenty, and a real '70s soundtrack feel. The super sleek and sexy jazz funk of "Breezin'" is as light and magical as you'd hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of "Good Vibrations" is a string-drenched, wah-wah fueled ode to living your best life. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. "Sun Goddess" will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious "Love De Luxe" and its horizontal grooves have been much sampled, but here it proves that it doesn't need any help to get you in an intimate mood. Closer "Snake Hips" is a cool mid-pace slouch. Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is a rare example of a library record that is a genuinely great listen from start to finish. Reissued from the original analog tapes and remastered for vinyl by Simon Francis. 180 gram vinyl.
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BEWITH 121LP
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2025 restock. Reissue, originally released in 1979. Spatial & Co is a synth-drizzled, spaced-out bass-heavy discoid-funk masterpiece from French disco lord and Arpadys maestro Sauveur Mallia. Recorded for French library label Tele Music, in 1979, it's by turns cosmic funk and creeping crime funk, bursting with low slung, killer basslines, loping drum breaks, and sparkling percussion. It's so funky it hurts. Confidently swaggering out the gate is "Future Vision", with its loping yet dexterous bassline across strutting beats setting the scene. "Cosmic News", with its live crowd noises over killer bass work is reminiscent of Bernard & Nile's "Chic Cheer". The bass vs synth workout "Baby Bass" increases the propulsion whilst the dark and mysterious vibes of "Star Odyssey" serve as cosmic respite from being overpowered by funk. The temperature and tempo are raised with the bouncing sophisticated funk of "Meteor One", a slinky interstellar instrumental of the highest order before the sultry, melodic "Bass For Love" offers some attractive slow-mo sleaze to close out the first side. Opening up Side B, the menacing, beatless "Space Alert" sounds like all those sci-fi theme tunes from your childhood, synthesized into one glorious (black) whole. "Galaxy Wars" is next, another majestic cosmic gem, sans drums. The ultra-percussive flex of "All The Bass" sees the return of the frenetic funky bass and neck-snapping drums. The stretched-out funk of "O.V.N.I. Telex" is irresistible and cavernous in scope whilst the swirling, dramatic "Galactics" is an ominous yet melodic wonder. The throwaway funk-lite "Animals Bass" is a bit of a daft way to close out this otherwise flawless set but, hey, flirting with perfection is probably always more fun than actually achieving it. Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys/Voyage crew. Remastered by Simon Francis. Cut by Pete Norman. Original and iconic sleeve restored by Be With Records.
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BEWITH 125LP
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2025 restock. Nucleus's Elastic Rock is undisputedly a milestone in jazz-rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to "recognize rigid boundaries" and worked on delivering what they saw as a "total musical experience". Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with John Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. The serene "Striation", a Jeff Clyne and Chris Spedding collaboration, is led by bowed bass and is the epitome of calm before the late-night laidback vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor. The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. "Crude Blues (Part 1)" features an excellent oboe part by Karl Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section. The mesmeric epic "Torrid Zone" brilliantly encapsulates the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. The bubbling, fragile restraint of "Earth Mother" partially utilizes the "Torrid Zone" bassline but takes the energy in a different direction. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think?" The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began. Remastered from the original Vertigo master tapes by Simon Francis. Cut by Cicely Balston at AIR Studios.
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LP
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BB 281LTD-LP
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Limited anniversary edition: hand numbered, limited edition white vinyl, 500 copies available! Sophomore album from the French space rock electro combo Heldon. Here, mastermind Richard Pinhas has formed a duo with Georges Grunblatt. The music: an interplay of feather-light acoustic guitars, Mellotron textures, fuzzy sounds and heavy, spherical synthesizers. Before making his own music in the early '70s, Richard Pinhas was a King Crimson fan. By now the British group has buzzed in Pinhas' mind for decades, but their greatest impact came early, from something he couldn't even identify immediately. When he first saw them play, Pinhas was struck by music played during intermission. That influence is clear on the second Heldon album, Allez-Teia, originally released in 1975 on Pinhas's own Disjuncta label. The opening song, a soaring mix of string-like electronics and smeared guitar, is called "In the Wake of King Fripp," a reference both to the guitarist and King Crimson's second album In the Wake of Poseidon. The meditative "Omar Diop Blondin," in which free tones float above a repetitive guitar figure, is dedicated to Fripp and Eno. Allez-Teia -- whose title is a nod to "aletheia," the ancient Greek term for philosophical truth -- is hardly a tribute album. The pieces Pinhas crafts with partner Georges Grunblatt -- both playing guitar, Mellotron, and ARP synths -- are beatific on the surface but infused with undercurrents of tension. Over four decades after he made Allez-Teia, Pinhas's admiration for King Crimson remains profound. He actually met Fripp in 1974, and the two still stay in touch.
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2LP
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BB 282LTD-LP
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Limited anniversary edition: hand numbered, limited edition light blue double vinyl, 500 copies available! Third album from the French spacerock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock and Roll. Richard Pinhas' essential attack of searing guitar and space-bound synthesizer didn't change radically after the first two Heldon albums, 1974's Electronique Guerilla and 1975's Allez-Teia. But there's dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. The darkness of It's Always Rock and Roll is more about exploring what's hidden and overturning convention -- about diving beneath bright surfaces to find something more mysterious. If It's Always Rock and Roll stands up in Heldon's catalog, perhaps it's due to expansion -- both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. "I think the length of a track is part of the creation of the track," says Pinhas. "There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands." Like the Heldon albums that precede it, It's Always Rock and Roll is undoubtedly Pinhas' baby. But its depth-probing sounds earned it a godfather, too.
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12"
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EFFICIENT 035EP
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Efficient Space honors trailblazing Australian imprint Volition Records with Volition Cuts Vol. 1. Evolving from Andrew Penhallow's time at GAP Records, which smuggled Cabaret Voltaire, The Fall and the Factory catalogue into the region, Volition shifted focus to homegrown talent over imported sounds. Echoing its precursor's blend of indie friction and electronic curiosity, the label wired itself into the pulse of club and rave culture, linking city scenes and amplifying them for the mainstream. With retina-scorching design, uncompromising packaging and top-tier remixes, Volition consistently bent the major label machine to its will. No Volition retrospective would be complete without Sisters Underground's intergenerational anthem "In the Neighbourhood." Ōtara teenagers Brenda Makamoeafi and Hassanah Iroegbu brought their Pasifika perspective to Proud (An Urban-Pacific Streetsoul Compilation), a commercial success that platformed NZ rap and R&B with a clarity that outshone its overseas counterparts. The quiet architect of Volition's sound, producer prodigy Robert Racic flipped the classic as a hip-house dub before his untimely passing in 1996. Its A-side companion comes from Brisbane synth-pop unit Boxcar, who signed to Volition after frontman Dave Smith handed a cassette to Tom Ellard of Severed Heads during a school newspaper interview. That unlikely handoff led to their 1990 debut Vertigo. Here, their ritual-laced, body-jacking industrial is retooled by Miami freestyle maverick Tony Garcia. Further cherry-picking from the VOLT vaults, Sexing The Cherry unleash a bleep-addled meltdown from Brisbane's Edwin Morrow and Cherryn Lomas. "This Is A Dream" was recorded exclusively for High (A Dance Compilation), the first all-Australian V/A to top the ARIA charts, propelling the local movement into national consciousness. Closing the sampler, Sydney's Single Gun Theory joined Volition as they moved from post-punk abstraction and electronic collage toward downtempo, sample-based mysticism. Their 1994 ambient-pop reverie "Fall" is reimagined by Stuart Crichton and Apollo 440's Norman Fisher-Jones as full-throttle Goa trance, a final surge that channels the label's relentless push into new terrain. Volition Cuts Vol. 1 is dedicated to the loving memory of Volition's visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.
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GUESS 211LP
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2025 restock. 50th anniversary official reissue of this holy grail kraut album from 1972. Real underground heavy-prog/psychedelic hard-rock with raw, in-your-face production, German lyrics, insane acid-fuzz guitar, garage organ and dark, proto-doom atmosphere -- the real deal! Named after the famous Lovecraft book, Necronomicon formed in the German town of Aachen in 1970, first influenced by bands like Black Sabbath, Deep Purple, Pink Floyd, Hendrix... In 1972 they entered a small studio in the Dutch border and recorded in just five days a concept album named Tips zum Selbstmord. The title roughly translates as "Tips on how to commit suicide" but the message the band wanted to give had nothing to do with taking your own life but instead with how mankind was facing self-destruction, destroying its own planet by pollution, wars, exploitation and overpopulation. 500 copies of the album were privately pressed by the band, housed in a lavish, cross shaped multi fold-out cover. It was a graphical translation of what they wanted to express musically. Original copies are impossible to find, making it one of the most desirable and sought-after kraut/German albums ever. Here's a long overdue new vinyl reissue. RIYL: Black Sabbath, Amon Düül, Gila, Paternoster, Hawkwind, Gäa, German Oak, Pink Floyd, Hendrix. Faithful reproduction of the original multi-fold-out cross shaped cover; sourced from the original master tapes; insert with detailed liner notes and photos. "... one of the best and most unique German records of the early seventies." --Cosmic Dreams At Play "... Necronomicon has created a dark and powerful vision that blends psychedelic and progressive music with a proto-punk garage band sensibility" --Rolf Semprebon (AllMusic)
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LP
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GUESS 254LP
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2025 restock. Recorded when he was just nineteen, Dreaming With Alice by British folk musician/artist Mark Fry was (barely) released only in Italy in 1972, making it one of the rarest and most desirable acid-folk/psychedelic albums ever. Tracks like "The Witch" or "Mandolin Man" are considered nowadays classics of the genre. Original artwork in hard cardboard sleeve. Sourced from the original master tapes. Includes insert with liner notes by Mark Fry and photos. RIYL: Donovan, Nick Drake, Incredible String Band, Dr. Strangely Strange, Comus.
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3LP
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KOM 370-1LP
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2025 restock. Zauberberg -- Wolfgang Voigt's most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography -- finally stands alone once again and is released in the way its original splendor. Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box (KOM 370LP, 2016), Zauberberg is now released on his own label, Kompakt. Though this narcotic symphony is not the first release under the GAS moniker, Zauberberg is the first to disclose the true nature of Wolfgang Voigt's unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, Zauberberg is the definitive GAS album and a perfect starting point for those not familiar with his music. 180 gram vinyl.
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LP
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RU 001LP
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2025 restock. The inaugural release on KMRU's own fledgling OFNOT imprint, Dissolution Grip is an ambitious project that emerged from his studies at Berlin's prestigious UDK. Guided by Jasmine Guffond at Berlin's Universität der Künste (better known as UDK), KMRU looked at waveforms -- the visual representation of sound itself -- and embarked on a process where he would write scores from the shapes, gradually turning the scores into raw synth sounds. Each sound is birthed from one of KMRU's field recordings, but none of those recordings are audible in their original form. The album's opening side "Till Hurricane Bisect" is a 15-minute epic that evolves at its own glacial pace, carefully transforming blustering wind sounds into gasping drones, glassy oscillations and choked distortion. Cosmic and meditative, it's a testament to KMRU's skill as a sound engineer and patience as a composer, combining the gentle world building of his acclaimed Editions Mego album Peel (EMEGO 289CD/LP, 2020) with the rumbling energy of Limen, last year's collaboration with Aho Ssan. On the title track, KMRU takes the opportunity to flex his orchestral muscle, conducting a cast of warbling synth tones into a durational symphony. Starting as quietly as a whisper, Dissolution Grip expands at its own pace until it's a dense wall of harmony, powerful but never completely overwhelming. It is music embedded with a rich sense of place that informs us of KMRU's past and present, and signals where his musical philosophy might take us in the future.
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LP
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PL 142LP
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2025 restock; white vinyl. Play Loud! Productions present the first reissue of Roky Erickson's All That May Do My Rhyme, originally released in 1994. Roky Erickson is a legend. Former member of the 13th Floor Elevators, he was considered the white James Brown. Drug problems and diagnosed schizophrenia made him an outsider. By the '90s, he was struggling to survive on a $200 monthly social security check. In 1990, artists like R.E.M., ZZ Top, and the Jesus and Mary Chain recorded his songs for a tribute album. Erickson performed publicly for the first time in many years at the Austin Music Awards. In 1994, he returned to the studio with guitarists Charlie Sexton and the Butthole Surfers' Paul Leary to record All That May Do My Rhyme. This record was released on CD, cassette, and vinyl in 1994 on Paul Leary's Trance Syndicate Records. Notes from the original press release: "Trance Syndicate is pleased to present the first studio recording in almost a decade by one of the most gifted, most influential, most inspired singer/songwriters from the Republic of Texas since Buddy Holly. Roky Erickson is back! performing new songs and a few classics in one of the best studios in Texas, backed by some of Texas' finest musicians." This is no cheap live tape, crummy reissue, nor a slimy bootleg. This is the real thing.
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CD
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RM 4240CD
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A note from Lawrence English: "Time is a strange and elusive companion. Listening to Alan Lamb's Primal Image/Beauty, the traces of time are deep, and forever deepening. Recorded in 1981 and 1983 respectively, and then revised and refined across the coming half decade, each of these pieces traces Lamb's personal history through materiality and harmony. 'Primal Image' was the first composition Alan Lamb completed. Recorded on the Faraway Wind Organ, a long stretch of abandoned telephone line located on his family's farm close by the Fitzgerald National Park in Western Australia, this piece resolved an interest in the sonification of wires which had started many decades before. Lamb recounts pressing his ears to a telephone pole as a child, encouraged by his nanny to 'hear the sound the world made.' 'Primal Image' is a work of intense dynamism, a climatic sonic environment within which a complexity of harmony, timbre and texture intermingle, inviting us to lean in. Similarly, 'Beauty' maintains this offer of harmonic complexity. Recorded across some 20 hours, the piece is a condensation of vibration, a folding of time and listenership that speaks both to Lamb's passion for his instrument and the instrument itself as a source of unbounded, and evolving sonics. Lamb's music is one of both attentiveness and patience. It is a music that comes forth from the world, but is simultaneously hidden from most of us. It is a music of the moment, but also one of recurrence as vibrations travel along the material that is the metal wires. It is also a music which, by its very nature, is eternally in the present. Alan Lamb, as a conduit to this material music invites us to share his listening in these moments. He asks us to cast our ears outward into the world and in doing so unlock an interiority of the mind which remains forever compelling and more so fascinating."
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RM 4257CD
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A note from Andy and Klaus: "After playing together for years, our tide was turning. What began as a happy rhythm of show dates in Berlin, from cozy trios in Klaus' home studio to ten-piece ensembles at Ausland, was now ebbing away thanks to Andy's move to the US. Whenever an accustomed pattern shifts it can take time to readjust, to find the gravity that will pull to shape an orbit again. What had been working well between us remained on both our minds for a few years after: the tension between complimentary forms and reflexes -- from deep bass to airy hiss, from swift improvised gesture to slowly developing layer -- these still animated our imaginations. But they had been honed in live playing, a situation now vanishingly rare. Then Klaus simply suggested we work toward a record, in gradual steps, no pressure, by trading recordings and responding to them in turn. This would be a conversation in concrete sound objects as opposed to the intuitive communication and reciprocal flow of on-stage collaboration. A different listening, becoming a different sounding. Again we found seemingly opposing tendencies resonating to surprising effect in the long-distance, long-term recording and exchange process. A new productive tension was added to our process: between the excitatory becoming of live playing and the carving directly in fixed blocks of sound that felt more like writing than performing. We took our time, savored the eddies and deluges, gaps and jumps of building a work together asynchronously. Around the time we were working on the last track of this collection, Andy pored over Stefan Helreich's A Book of Waves, a brilliant exploration of the ocean wave in its many forms and meanings across science and cultures, from histories to technologies to ecologies. In both the title's turn of phrase and the depths it plumbed, we felt we had found an echo of our cyclical endeavor, circumnavigating an idea, a shadow of which we can finally share in the shape of this record."
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2x12"
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SMALL 063EP
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2025 repress. Following well-regarded outings on Phonica Records and Wolf Music, and a superb Many Shades Of House compilation released this year, Lausanne-based Lea Lisa joins Smallville Records with Poem For The Lost Souls, accompanied by remixes from Kuniyuki and Session Victim as a special double-12" package with gatefold cover. For these tracks, Lea Lisa has worked with several musicians in the studio to transform the warmth and organic feel of real instruments into her musical universe. The original mix of "Poem For The Lost Souls" leads, a jazzy house journey that ebbs and flows through fluttering flute melodies, ethereal chords, wandering piano and funk-infused bass grooves running atop organic percussion and disco tinged drums. On the B Side, the "Broken Mix" follows, as the name would suggest, rhythmically shifting focus towards off-kilter drum breaks alongside the other melodies and again -- all the ingredients that make a classic house track. Opening the C-side on record two, acclaimed Japanese artist and Mule Musiq regular Kuniyuki steps up to rework "Poem For The Lost Souls," in typical fashion the Sapporo born producer extracts the core grooves from the original and shapes it into something uniquely his own, laden with warmth, soul and dynamics. The duo Session Victim then round out the release on Side D with their interpretation, fusing together the original synth melodies with their own amalgamation of intricately intertwined keys and atmospherics, underpinned by a shuffled rhythm section and bouncy low-end drive. It's coming with a gatefold cover-artwork by Stefan Marx for a cherry-blossom glimpse of Yoyogi Park in Tokyo.
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LP
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SSLP 006LP
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2025 restock. LP version; includes download code. Soulsheriff Records presents a milestone in electronic music, Liaisons Dangereuses' legendary 1981 self-titled debut album, newly remastered and reissued for the first time since 2002. Liaisons Dangereuses still fascinates today, through its innovative sound and the mystery encompassing it. The 10 electrifying songs, produced by Chrislo Haas (DAF) and Beate Bartel (Mania D, Matador) and reinforced by Krishna Goineau's French and Spanish speech-attack lyrics, created a unique style. The album, anything other than a typical Berlin or Düsseldorf thing, became an international favorite. Songs like "Peut Être... Pas" and "Los Niños del Parque" played a decisive role in the development of house in Detroit and Chicago, as well as various forms of European techno.
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2LP
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VAMPI 141LP
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2025 repress; double LP version. Abelardo Carbonó, the godfather of champeta, was born in 1948 in Ciénaga, a small town between Santa Marta and Cartagena, Colombia. He started playing guitar when he was eight or nine, just playing along with his father. His family moved to Barranquilla in 1959. Upon his arrival, he quickly went to become a police cadet as it was pretty much all the city had to offer him in terms of employment. At the turn of the '80s, Abelardo had almost two decades of being in the police, a job he "wasn't very good at." With his brothers Jafeth (bass) and Abel (solo guitar), he progressively formed what was to become the nucleus of the bands to come, developing their signature: a sharp guitar, a strong bass, and a choir. The tropical pop sound, the groaning voice, the drum kit, the mix of rock and tropical guitar that one would hear later in Abelardo's work, were already visible in his personal way of playing Caribbean music, such as on "A otro perro con ese hueso." The vallenato cajón drum, a traditional feature one would rarely consider beyond vallenato circles, was used here and would be used extensively by Abelardo in various contexts. With its childish voices drowned in reverb, the swinging electric bass contrasting with the acoustic guitar, and the funny lyrics about a man who promises a lot as the choir rejects his affirmations, the tune stood out on a 12-song compilation released by Sonolux and gained Abelardo's band attention from the music industry. Other tracks like "Quiero a mi gente" and "Schallcarri" seem to testify once again that Fela Kuti's Shakara had a huge impact on the musicians from the coast. In fact, the most decisive influence was the African and Afro Caribbean one: it ranged from the Super Negro Bantous to South African music, the 45s from Kenya, and of course, Congolese and Haitian music. Funk and pop were also important, as were vallenato, cumbia and porro. For several years, Abelardo enjoyed the savoir faire and experience of the best studios around and worked with producers such as the great Eduardo Dávila, some sort of costeño Lee Perry, out of which came memorable sessions with collaborations by legends such as Michi Sarmiento and several artists from the Dolcey Gutiérrez Orchestra. On his albums for Felito, Abelardo recorded such gems as "Negra Kulenge," "Palenque," and "Carolina," magnified by a great sound and a unique mix. The rest of the world is finally about to discover the talent of this kind of Colombian Tom Zé -- a man that represents the psychedelic yet groovy side of the Caribbean musical world, and one of the best-kept secrets of Colombian music. Compiled by Lucas Silva of Palenque Records and annotated by Etienne Sevet.
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LP
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WWSLP 060LP
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2025 repress. Wewantsounds release Sharayet El Disco a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes") features Simone, Ammar El Sherei, and more obscure names from Cairo's cassette culture. Sharayet El Disco is part of an important mission for Moataz Rageb aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as Oum Kalthoum, Abdel Halim Hafez, and Warda take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including Mohsen Gaber's Alam El Phan, Sout El Hob, and Americana. Sharayet El Disco gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie of Simone's "Merci", via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn the cassette to the other side"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by David Hachour/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer Heba Tarek. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by Moataz Rageb. Also features Afaf Rady, Dr. Ezat Abou Ouf & el four M, FIrkIt el Ensan, Eman el Bahr Darwish, Firkit Americana Show, and Lebleba.
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LP
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WWSLP 074LP
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2025 repress; LP version. Wewantsounds announce an extensive reissue program of Meiko Kaji's first five albums released in Japan between 1972 and 1974 on Teichiku Records. The program, in partnership with Teichiku and Meiko Kaji, will see her first five albums reissued on vinyl for the first time ever in their original Japanese artwork and remastered audio. Famous for her early '70s exploitation movies (Lady Snowblood, the Female Prisoner Scorpion and Stray Cat Rock series) revered by Quentin Tarantino, Meiko Kaji was also a singer releasing albums to tie in with her movie career. These albums are a fascinating mix of Japanese pop and groove with superb funky cinematic orchestrations as displayed in Hajiki Uta. A cult icon on the international film scene, Japanese actress Meiko Kaji, born in Tokyo, has been put into the spotlight internationally by Quentin Tarantino when he heavily based his Kill Bill film on the 1973 revenge genre film Lady Snowblood. By the time she appeared in it, she had already made almost fifty feature films (she began her career in 1965) and she was one of the most famous exploitation actresses in Japan doubling as a sex symbol. This gave the studios the idea of getting her to start a singing career and release music closely associated with the films she starred in often singing the theme songs. Thus, she began releasing records at the dawn of the '70s, recording several 7" singles and five albums for Teichiku which have become sought-after and almost as cult as her films. Drawing on her film roles, the music on these albums were an uber-cool mix of kayokyoku (Japanese pop), traditional enka music, acid folk, and funky beats arranged by the best producers of the time in a cinematic way that could sound like Ennio Morricone or Jean-Claude Vannier. The album featured two film songs, namely "Urami Bushi" used for Female Prisoner Scorpion, and "Onna No Jumon" featured in Female Prisoner Scorpion - Jailhouse 41, which have been composed by Shunsuke Kikuchi who also composed the score for these films. Reissued with original artwork. Features new liner notes by Hashim Kotaro Bharoocha who has interviewed Meiko for the occasion. LP version comes in gatefold sleeve; OBI strip and insert.
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WWSLP 096LP
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2025 restock; LP version. Wewantsounds presents the release of one of Japan's most coveted albums of the '70s, Mangekyou by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal-clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time Mangekyou is available outside of Japan, featuring remastered audio, original artwork and a four-page insert including new liner notes by Paul Bowler. Yoshiko Sai holds a unique status in the Japanese music landscape. The Japanese singer songwriter made a strong impression with her blend of ethereal melodies, poetic lyrics and crystalline singing. A private, almost enigmatic artist, Sai only made four highly praised albums during the '70s and all but retired from the music industry in 1979, which adds to the mystic surrounding her persona. Only thanks to the persistence of Japanese guitarist Jojo Hiroshige from the noise group Hijokaidan did she come out of retirement to record new material in the 2000s. She was originally noticed by key record labels and swiftly signed to Black Records/Teichiku. This led to the recording of Mangekyou ("Kaleidoscope"), in the Spring of 1975. While she penned all the material for Mangekyou, the arrangements were assigned to Ace producer Yuji Ohno, one of the top arrangers in Tokyo at the time. Ohno helped craft the album's superb funk sound and also played keyboards. The album displays Sai's unique craftmanship when it comes to songwriting and alternates between mid and up-tempo songs such as "Yoru No Sei" (Night Spirit) and "Fuyu No Chikadou" (Winter Underpass) and more atmospheric ballads such as "Tsubaki Wa Ochita Kaya" (Did The Camellia Fall?) or "Yukionna" (Snow Woman). It's worth noting Ohno blended his rich arrangements with elements of Japanese traditional music, with the use of such instruments as the Shakuhachi (bamboo flute), Tsuzumi (hand drum), and Biwa (wooden lute), giving the music its unique twist. All in all, listening to Mangekyou is a unique experience and it's easy to see why the album and Yoshiko Sai garnered such a cult following over the years.
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2CD
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WRWTFWW 092CD
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WRWTFWW Records presents its third release from visionary Japanese ambient/experimental/environmental composer/producer Yutaka Hirose, this time with brand new album Voices, available on limited edition heavyweight-sleeved double LP as well as double CD, both with liner notes from the artist. Voices finds Yutaka Hirose expanding his signature spatial layering into a three-dimensional videography of sound, blending field recordings, electronic manipulations, and abstract narratives. The 12-track album is a journey through a crumbling library where books whisper, history collides, and sonic textures weave new realities. Chaos, memory, and transformation -- Hirose's voices echo throughout the space, creating a fully immersive sonic experience. The pioneering experimental and abstract electronic piece with deep hints of ambient and IDM is beautifully represented by the original artwork by Koji Shiroshita and Mifuku gracing the double LP and double digipack CD sleeves. Voices marks Yutaka Hirose's third full-length release on WRWTFWW Records, following his kankyõ ongaku classics Nova + 4 (an expanded version of his genre defining Soundscape 2: Nova album) and archival compilation TRACE: Sound Design Works 1986-1989.
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2LP
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WRWTFWW 092LP
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Double LP version. WRWTFWW Records presents its third release from visionary Japanese ambient/experimental/environmental composer/producer Yutaka Hirose, this time with brand new album Voices, available on limited edition heavyweight-sleeved double LP as well as double CD, both with liner notes from the artist. Voices finds Yutaka Hirose expanding his signature spatial layering into a three-dimensional videography of sound, blending field recordings, electronic manipulations, and abstract narratives. The 12-track album is a journey through a crumbling library where books whisper, history collides, and sonic textures weave new realities. Chaos, memory, and transformation -- Hirose's voices echo throughout the space, creating a fully immersive sonic experience. The pioneering experimental and abstract electronic piece with deep hints of ambient and IDM is beautifully represented by the original artwork by Koji Shiroshita and Mifuku gracing the double LP and double digipack CD sleeves. Voices marks Yutaka Hirose's third full-length release on WRWTFWW Records, following his kankyõ ongaku classics Nova + 4 (an expanded version of his genre defining Soundscape 2: Nova album) and archival compilation TRACE: Sound Design Works 1986-1989.
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