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LP
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12XU 171LP
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2026 repress. "Water Damage don't play songs. They invoke states. It's not rock and roll, it's ritual repetition therapy, like if Glenn Branca got stuck in a feedback loop with La Monte Young and they both forgot what year it was -- Texas 2025 or Berlin 1972 or maybe just eternity's parking lot. This isn't music for driving -- unless you're driving into the sun with your eyes rolled back and the gas pedal held down with a cinderblock of intent. Captured in Utrecht, Netherlands at the almighty Le Guess Who? Festival, where churches tremble and strobes reflect off every holy surface, Live at Le Guess Who? is a document of sustained sonic immolation. Eight members. Two drummers. Multiple stringed instruments. One saxophone. All hammering away at 'Reel 25,' captured live here shortly after the recorded version which would end up becoming the lead track on their most recent double LP Instruments. A single idea drilling into the molten center of your skull with the grace of a jackhammer ballet. It's not a show. It's a slow-motion landslide with amps. And for this particular descent into the drone abyss, Water Damage were joined by two very special fellow travelers and honorary members: Ajay Saggar (Bhajan Bhoy, University Challenged) adding six-string sorcery and smolder, and Patrick Shiroishi, the free-reed exorcist himself who is a guest on Instruments and just happened to be at Le Guess Who? as well, channeling ghosts through saxophones like he's trying to crack the sky. As if Water Damage weren't already enough of a wall, these two brought the ceiling and the floor. Water Damage, the Austin psych-drone monolith with the un-Googleable name and the wall-of-amplifiers ethos, doesn't just flirt with chaos -- they drag it behind the van and mic up the gravel. Their motto? 'Maximal Repetition Minimal Deviation.' Which sounds like the world's most menacing yoga class or a commandment from some amp-fried cult, and maybe it is. This ain't no avant-noise chin-stroke either. It's hot and dense and loud like a steel mill hallucination, and if you find yourself dissociating mid-set, that just means it's working. This is music that doesn't 'build' -- it grinds. It gnaws. And then it blooms. If you're lucky, it leaves you somewhere softer. Le Guess Who? handed them the altar. Water Damage, Saggar, and Shiroishi set it on fire."
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Book
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9780993351426
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304 pages. Hardcover. Omniverse - Sun Ra by Hartmut Geerken and Chris Trent. Expanded and revised hardback third edition. Published by Art Yard. Over thirty years after its first publication, Art Yard present the revised third edition of Hartmut Geerken's Omniverse - Sun Ra, a definitive hitch-hiker's guide to the Sun Ra galaxy. This new revised edition features a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra. Includes hundreds of images of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and colored LP sleeves. Bound in French fold cover, metallic foil blocking on blue Faimei cloth hardback. Comprehensive pictorial and annotated discography, including chronological discography and alphabetical record title, composition, personnel and record label indexes. Also features jackets and label indexes and hundreds of photographs of Sun Ra and His Arkestra in New York 1966 and Germany 1979 by Val Wilmer and Hartmut Geerken from Heliopolis Cairo Egypt 1971 an updated discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra. With essays, photo documents by Hartmut Geerken, Val Wilmer, Amiri Baraka, Robert L. Campbell, Chris Cutler, Gabi Geist, Salah Ragab, Sigrid Hauff, and Karl Heinz Kessler.
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2LP
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BEWITH 095LP
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2026 repress. Be With Records present a reissue of DJ Quik's Safe And Sound, originally released in 1995. Complete with "Tanqueray", the hidden track from the original CD release. DJ Quik is a giant of West Coast hip-hop. With 1995's Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He's released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he's also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik's tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton's more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues. By the time of his third album DJ Quik was a household name on the West Coast -- California's premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound -- the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman's talkbox -- defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting. Mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry.
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LP
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BEAT 040LP
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2026 repress. Espasmódicos were formed in the Malasaña council, Madrid, in the first days of 1981. J. Siemens (guitar), Kike Kruel (voice), and CSG71 (bass) were the first line-up, completed when Carlos Torero joined them as a drummer. Influenced by the first punk/hardcore bands coming out but also with some hard-rock elements, they quickly composed their first tracks. In 1982, the mighty DRO label released their first 7" called Recomendado para molestar a su vecino, featuring three songs that are one of the seminal steps into Spanish punk in this country. Karlox from Polansky y el Ardor guested on the saxophone, which was considered very unique amongst the bands in the first punk wave. When the 7" was released, the band started to become well-known and they performed on some Spanish TV shows to promote their work. Carlos Torero decided to leave the band and Carlos de Yebra, a studio-session drummer joined. In 1983 the band recorded their last songs: first they recorded the mighty tracks that went onto the great compilation Punk, qué punk? released by DRO. These songs were "TÃa, vete a cagar" and a cover version of the Sex Pistols song, "Belsen Was a Gas," something that launched the band into a weird status as the lyrics pointed to Nazism, something that the band were never really into. The second studio session for that year (and the last ever for the band) was to record their single Espasmódicos -- five songs together with great artwork by J. Siemens and Kike Kruel. Beat Generation is more than proud to release this LP together with a replica of the original artwork. On 180 gram vinyl.
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LP
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BONER 016LP
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2026 repress, black vinyl. "Ozma was recorded soon after Melvins made the move from Washington to San Francisco, and was their first release to include the diminutive yet mighty Lorax (Lori Temple Black) on bass. In fact, the first sound one hears at the album's opening is Lori standing on her tiptoes to switch on her amp, thereby warning the listener of the onslaught to come. Distorted, down-tuned doom riffs start, stop, lurch sideways with no warning, and seem to end before they start. Buzz Osborne adds extraneous guitar static and vocal squeals. Drummer Dale Crover plays as if he's inside a barrel going over Niagara Falls; the long, slow fall allows the space between beats to grow and grow until he crashes into the water with the vessel blasting apart in an explosion of drum rolls. The classic Melvins heavy grind is set up and broken up by assorted odd sidetracks: 'Revulsion / We Reach' flows forward slower and slower until it eventually melts into a gooey feedback drone. 'Raise a Paw' is a superball paddled against one's head by a grinning village idiot. 'Love Thing' enlists in the Kiss Army before getting dishonorably discharged."
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LP
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CCS 111LP
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2026 repress; LP version. Includes download code; beautiful poster inlay with cover photo and lyrics. On his third solo album, following the success of Éternel été, Ezechiel Pailhès, the founder of the electro duo Nôze is exploring, through piano and synths, the encounter between poetry and song. In this new work he has set to music verses by William Shakespeare, Victor Hugo, Pablo Neruda, and on three songs, those of the poet Marceline Desbordes-Valmore, a pioneer of romanticism who notably influenced Verlaine and Baudelaire. For Oh!, Pailhès wanted to explore further the adaptation of poems into songs. "Bien Certain" is, once again, taken from William Shakespeare. "Tu te rappelleras" comes from Pablo Neruda's collection La centaine d'amour. "Oh! Pourquoi te cacher?" is from Victor Hugo. As for "Sans l'oublier", "La sincere", and "J'avais froid", they were all written by Marceline Desbordes-Valmore, a 19th century French poetess, still fairly unknown. With Oh!, Pailhès has become more of a singer than ever before, through seven songs and four instrumental compositions, with intimate and warm modulations, carried by hypnotic piano melodies, instruments with unusual timbre and a subtle electronic production that recalls his past productions with his former duo Nôze. Produced in his Montreuil home studio, Oh! is nevertheless imbued with an emotion found in his previous albums, close to "saudade" or a slight melancholy, sometimes enhanced by chosen texts that evoke the disappointment of love, the longing, the distance between two people, or even men's weakness. From classical to pop music, the adaptation of poetry is part of a long tradition in France. On the album, songs like "La sincere" or "Tu te rappelleras" are probably closer to the way Serge Gainsbourg or Serge Reggiani approached poetry than Léo Ferré who is usually referred to in this regard. Lastly, "Constellation", "Wolf 359", "Almost there", and "Cakewalk", the four instrumental tracks on the album on which a sung or whispered voice sometimes appears, explore an inspiration close to previous albums, mixing piano, prepared piano (various objects are placed between the strings to transform its timbre), synthesizer, clavietta (a kind of melodica), not to forget a few collages and digital processes. Ballads with a cinematographic mood that respond in an abstract and dreamlike way to the texts of great poets...
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12"
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CLR 140EP
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Following the release of Chris Liebing's Evolver album, German duo FJAAK rework "Higher Things" which appeared on the full-length. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and Daniel Miller.
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2LP
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NRT 999D-LP
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"Black 2LP. Double LP set featuring two live shows recorded in 1971 and 1972 plus the complete 1-10 (with a touch of 11) album, recorded in 1972 and previously only released in short excerpts. As they became The Residents, San Francisco's most treasured sons produced a number of experimental tapes, and even ventured beyond their studio to perform on stage. This set captures both those live shows and a previously-unheard-in-its-entirety studio recording, 1-10 (With A Touch Of 11). Raw and unsophisticated, and deeply experimental with regards the studio material, all three recordings shine a light onto the group's early, intrauterine period, capturing them performing together, and represents an invaluable part of their formative story. Part of the band's ongoing pREServed series, providing an accompaniment to a collection of vinyl reissues of their better known 1970s recordings, Warning: Uninc bears little relation to the rest of recorded music history, a pattern The Residents have continued over the 50 years since these recordings were made."
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12"
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CE 310LP
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"New music track recording by former members of Christian Death: Rikk Agnew, James McGearty, David Glass, and Paul Roessler (45 Grave) on keyboard, featuring Rozz Williams on vocals. Soundtrack for the documentary film Rozz Williams: 'Romeo's Distress' by Nico B."
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LP
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STEP 014LP
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2026 repress. Originally released in 2014. "Nine years after Lookaftering, her last album of new material, legendary British singer-songwriter Vashti Bunyan returns with a breathtaking new LP. Recorded largely in her home studio, Heartleap is a unique and entrancing collection of ten songs comprising what Vashti is adamant will be her final album. Vashti's third album follows her rediscovery after thirty years in the wilderness, with the 2000 re-release of Just Another Diamond Day and the critical success of 2005's Lookaftering. Heartleap has a classic sound and is the first album where she herself has been in control of the whole process, from writing and arranging to playing and recording. Crafted predominantly from a studio setup in her Edinburgh home, the record was slowly pieced together, and reveals an artist at her peak, capturing her songs within fluid settings that masterfully marry content and form. Both Just Another Diamond Day and Lookaftering saw Vashti's songs arranged and framed by others. Joe Boyd's production and Robert Kirby's arranging of the former remain timelessly classy, while Max Richter's bold production of the latter was enhanced by contributions from a raft of supporting artists (including Joanna Newsom, Devendra Banhart, Vetiver and Adem), all eagerly adding their colors. Vashti is justly proud of Lookaftering, but Heartleap is an equally strong and even more personal record, standing solely on the merits and patient endeavor of its author rather than being buoyed by and filtered through the cachet and collaborative creativity of a powerful supporting cast. Recording her vocals when no one else was around to overhear freed Vashti up to deliver more confident performances. At the same time, the absence of studio deadlines enabled her to work slowly and lovingly in her own time, weaving together tracks out of numerous takes. Predominantly guitar- or piano-led, with additional instrumentation building throughout, the songs have no underpinning bassline or percussion, giving each instrument and voice the chance to pace itself. It took in total seven years to put together these ten songs. The first was written in 2007, the last just two months before mastering. A hiatus in recording came with the untimely passing of Robert Kirby in 2009. Robert had arranged three songs on Just Another Diamond Day and the pair had just reconnected and planned to work on new arrangements together -- just weeks before he died. It would be another two years before Vashti took the decision that she must arrange the music herself, with Robert always in mind. The subsequent three years saw her gradually picking the thread back up and working with renewed purpose. Slowly more songs found their way out of her. Seven became ten. The right final mix frustratingly eluded her until the album magically came together in a week in May 2014 -- when it was balanced and mastered beautifully. Like the deer on the cover painting, Heartleap moves gracefully, enchantingly. Overcoming adversity through sheer willpower, its very existence is a dazzling triumph."
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12"
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BEC 5610502
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Limited 2026 restock. White vinyl. Ed Banger Records presents Remedy, Breakbot's new EP. Creators of classic songs such as "Baby I'm Yours", Breakbot & Irfane are back with four new songs. Following "Remedy", the next single is "The Light".
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LP
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EFFICIENT 017LP
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2026 repress. Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics, and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds. The album's final form speaks of its origins, recorded intermittently over a two-year period (2017-2019). The extended time passage seeps into the song structures, spiraling and mutating from the same center -- the elegiac pulse of opener "Title" presages the hymnal lilt of "Straight Thru", before birthing the inverted bossa nova of "W/O Love". The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' "Stranger", the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities. The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honors the Melbourne-based earth dragon's Chinese and Russian heritage. Includes download code.
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LP
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FTR 832LP
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"Glorious vinylization of this 2022 Âduo session, originally issued as a cassette, documenting the first time Suzuki and Noyes ever collaborated. Ayami Suzuki has become known to cognoscenti for her brilliantly imagined vocal improvisations, through recordings with like-minded folks such as French vocalist/polymath Delphine Dora and avant hurdy gurdy player, TOMO. Rob Noyes has developed a parallel reputation as a master third-generation acoustic guitarist in the post-Takoma tradition. Originally based in the U.S. he wisely relocated to Tokyo several years ago. Which is where this meeting took place, and while I initially assumed the music had been composed to some degree. Rob assured me that was not true. He says, 'I think the recording can seem like something we took a lot of time with and discussed/composed to some degree, but we actually just agreed to meet at a rehearsal studio. It took a little more than an hour to track it all, without ever having played together before or even really discussing the approach we were going to take. I just tuned my guitar to a different tuning for each one and we let it roll.' The results kinda speak for themselves, but I was blown away by the notion they had never collaborated previously. The intimate nature of their blend recalls such long-time collusionists as Tim Buckley & Lee Underwood or Loren Connors & Suzanne Langille. Rob's delicate instrumental arcs create a perfect net for Ayami's vocals, which are usually wordless (although they always feel weighted with emotional content). It's a mesmeric pairing of voices. Which I can only hope is the first of many. Classic Fevers and Chills is a perfect soundtrack for spring, unconditionally magical." --Byron Coley, 2026
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CD
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GB 1555CD
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Binker Golding truly is the saxophonist of the moment. A highly skilled musician, accomplished composer, and occasional conductor, Golding has performed with everyone from Moses Boyd and Yussef Dayes to Evan Parker and Denys Baptise. Abstractions of Reality Past and Incredible Feathers is his first quartet album, and typically, it goes against the grain. The album constitutes a departure from Binker's more rhythm and riff-heavy collaboration with Moses Boyd as well as his avant-garde project with Elliott Galvin. With all compositions and arrangements by the band leader, there is a greater emphasis on harmonic and melodic development, harking back to the more through-composed jazz fusion of the '80s and '90s. All tracks were recorded at the legendary Abbey Road Studios and mixed by James Farber, whose prolific discography includes albums by Brad Meldhau, Michael Brecker, and Joe Lovano. Expect a contemporary twist in the form of London jazz scene heavyweights; Joe Armon-Jones on piano, Daniel Casimir on double bass, and Sam Jones on drums.
"Exceptional" --Gilles Peterson
"Binker's keening melodic lines are as intricate and impressionistic as the title." --The Guardian
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CD
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GB 1555CDOBI
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Japanese edition. Binker Golding truly is the saxophonist of the moment. A highly skilled musician, accomplished composer, and occasional conductor, Golding has performed with everyone from Moses Boyd and Yussef Dayes to Evan Parker and Denys Baptise. Abstractions of Reality Past and Incredible Feathers is his first quartet album, and typically, it goes against the grain. The album constitutes a departure from Binker's more rhythm and riff-heavy collaboration with Moses Boyd as well as his avant-garde project with Elliott Galvin. With all compositions and arrangements by the band leader, there is a greater emphasis on harmonic and melodic development, harking back to the more through-composed jazz fusion of the '80s and '90s. All tracks were recorded at the legendary Abbey Road Studios and mixed by James Farber, whose prolific discography includes albums by Brad Meldhau, Michael Brecker, and Joe Lovano. Expect a contemporary twist in the form of London jazz scene heavyweights; Joe Armon-Jones on piano, Daniel Casimir on double bass, and Sam Jones on drums.
"Exceptional" --Gilles Peterson
"Binker's keening melodic lines are as intricate and impressionistic as the title." --The Guardian
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LP
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GB 1555OBILP
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LP version. Japanese edition. Binker Golding truly is the saxophonist of the moment. A highly skilled musician, accomplished composer, and occasional conductor, Golding has performed with everyone from Moses Boyd and Yussef Dayes to Evan Parker and Denys Baptise. Abstractions of Reality Past and Incredible Feathers is his first quartet album, and typically, it goes against the grain. The album constitutes a departure from Binker's more rhythm and riff-heavy collaboration with Moses Boyd as well as his avant-garde project with Elliott Galvin. With all compositions and arrangements by the band leader, there is a greater emphasis on harmonic and melodic development, harking back to the more through-composed jazz fusion of the '80s and '90s. All tracks were recorded at the legendary Abbey Road Studios and mixed by James Farber, whose prolific discography includes albums by Brad Meldhau, Michael Brecker, and Joe Lovano. Expect a contemporary twist in the form of London jazz scene heavyweights; Joe Armon-Jones on piano, Daniel Casimir on double bass, and Sam Jones on drums.
"Exceptional" --Gilles Peterson
"Binker's keening melodic lines are as intricate and impressionistic as the title." --The Guardian
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2CD
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GB 1556ACECDOBI
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Japanese Edition 2xCD. Originally released in 2019. Gearbox presents the final ever recording of the legendary, influential drummer Buddy Rich, whose impact across jazz, rock, funk and soul is unrivalled to this day. The performances took place over two nights, the 19th & 20th of November 1986, at Ronnie Scott's in London, UK. This is a vitally important release, it being the final ever recording of Rich. He was considered at the time to be the best drummer in the world and was still very much at the top of his game, as can be heard from the recording. Having remained unreleased for over 30 years, and following a labor of love from Rich's own family, the music can now finally be heard by the public. From the liner notes, written by Buddy's daughter: "My dad chose set lists for the two nights that I hadn't heard before. He was always brilliant in choosing the right sets, but this time he shied away from the tried and true and went to places musically that were very different. It was as if he knew that he didn't have to prove anything anymore and could relax and go wherever he wanted and enjoy it. I think the end result proves just that. For two incredible nights I got to sit in the audience and cheer right along with everyone else. I will always remember that time as one of the greatest moments in my life. Now I can revel in the fact that, thankfully, his last recordings were caught on tape for all of us to enjoy forever. It has taken thirty-three years to finally get these recordings out. An absolute labor of love that I never gave up on. At times it was quite a struggle, but in the end it was all about the music."
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CD
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GB 1556CD
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Originally released in 2019. Gearbox presents the final ever recording of the legendary, influential drummer Buddy Rich, whose impact across jazz, rock, funk and soul is unrivalled to this day. The performances took place over two nights, the 19th & 20th of November 1986, at Ronnie Scott's in London, UK. This is a vitally important release, it being the final ever recording of Rich. He was considered at the time to be the best drummer in the world and was still very much at the top of his game, as can be heard from the recording. Having remained unreleased for over 30 years, and following a labor of love from Rich's own family, the music can now finally be heard by the public. From the liner notes, written by Buddy's daughter: "My dad chose set lists for the two nights that I hadn't heard before. He was always brilliant in choosing the right sets, but this time he shied away from the tried and true and went to places musically that were very different. It was as if he knew that he didn't have to prove anything anymore and could relax and go wherever he wanted and enjoy it. I think the end result proves just that. For two incredible nights I got to sit in the audience and cheer right along with everyone else. I will always remember that time as one of the greatest moments in my life. Now I can revel in the fact that, thankfully, his last recordings were caught on tape for all of us to enjoy forever. It has taken thirty-three years to finally get these recordings out. An absolute labor of love that I never gave up on. At times it was quite a struggle, but in the end it was all about the music."
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2CD
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GB 1556CDACE
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Deluxe Collector's Edition 2xCD. Originally released in 2019. Gearbox presents the final ever recording of the legendary, influential drummer Buddy Rich, whose impact across jazz, rock, funk and soul is unrivalled to this day. The performances took place over two nights, the 19th & 20th of November 1986, at Ronnie Scott's in London, UK. This is a vitally important release, it being the final ever recording of Rich. He was considered at the time to be the best drummer in the world and was still very much at the top of his game, as can be heard from the recording. Having remained unreleased for over 30 years, and following a labor of love from Rich's own family, the music can now finally be heard by the public. From the liner notes, written by Buddy's daughter: "My dad chose set lists for the two nights that I hadn't heard before. He was always brilliant in choosing the right sets, but this time he shied away from the tried and true and went to places musically that were very different. It was as if he knew that he didn't have to prove anything anymore and could relax and go wherever he wanted and enjoy it. I think the end result proves just that. For two incredible nights I got to sit in the audience and cheer right along with everyone else. I will always remember that time as one of the greatest moments in my life. Now I can revel in the fact that, thankfully, his last recordings were caught on tape for all of us to enjoy forever. It has taken thirty-three years to finally get these recordings out. An absolute labor of love that I never gave up on. At times it was quite a struggle, but in the end it was all about the music."
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2LP
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GB 1556LP
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LP version. Originally released in 2019. Gearbox presents the final ever recording of the legendary, influential drummer Buddy Rich, whose impact across jazz, rock, funk and soul is unrivalled to this day. The performances took place over two nights, the 19th & 20th of November 1986, at Ronnie Scott's in London, UK. This is a vitally important release, it being the final ever recording of Rich. He was considered at the time to be the best drummer in the world and was still very much at the top of his game, as can be heard from the recording. Having remained unreleased for over 30 years, and following a labor of love from Rich's own family, the music can now finally be heard by the public. From the liner notes, written by Buddy's daughter: "My dad chose set lists for the two nights that I hadn't heard before. He was always brilliant in choosing the right sets, but this time he shied away from the tried and true and went to places musically that were very different. It was as if he knew that he didn't have to prove anything anymore and could relax and go wherever he wanted and enjoy it. I think the end result proves just that. For two incredible nights I got to sit in the audience and cheer right along with everyone else. I will always remember that time as one of the greatest moments in my life. Now I can revel in the fact that, thankfully, his last recordings were caught on tape for all of us to enjoy forever. It has taken thirty-three years to finally get these recordings out. An absolute labor of love that I never gave up on. At times it was quite a struggle, but in the end it was all about the music."
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2LP
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GB 1556OBILP
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LP version. Japanese edition. Originally released in 2019. Gearbox presents the final ever recording of the legendary, influential drummer Buddy Rich, whose impact across jazz, rock, funk and soul is unrivalled to this day. The performances took place over two nights, the 19th & 20th of November 1986, at Ronnie Scott's in London, UK. This is a vitally important release, it being the final ever recording of Rich. He was considered at the time to be the best drummer in the world and was still very much at the top of his game, as can be heard from the recording. Having remained unreleased for over 30 years, and following a labor of love from Rich's own family, the music can now finally be heard by the public. From the liner notes, written by Buddy's daughter: "My dad chose set lists for the two nights that I hadn't heard before. He was always brilliant in choosing the right sets, but this time he shied away from the tried and true and went to places musically that were very different. It was as if he knew that he didn't have to prove anything anymore and could relax and go wherever he wanted and enjoy it. I think the end result proves just that. For two incredible nights I got to sit in the audience and cheer right along with everyone else. I will always remember that time as one of the greatest moments in my life. Now I can revel in the fact that, thankfully, his last recordings were caught on tape for all of us to enjoy forever. It has taken thirty-three years to finally get these recordings out. An absolute labor of love that I never gave up on. At times it was quite a struggle, but in the end it was all about the music."
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CD
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GB 1557CD
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Absurd in the Anthropocene is in line with Dan Rosenboom's abstract musicianship and virtuous experimentalism, and continually pushes the envelope. The album's inspirations run the gamut from Miles Davis and Ornette Coleman to Frank Zappa, Soundgarden, and Squarepusher, and its title refers to the complicated and often surreal times in which people live. Rosenboom, a musician at the forefront of Los Angeles' ever-thriving creative music scene, boasts an international reputation for boundary-pushing projects and relentless productivity. A trumpet virtuoso equally at home in improvised and classical music, the prolific musician has been featured on stages and festivals all over the world, and has been described as "a phenomenon" by the Los Angeles Times. Absurd in the Anthropocene is loaded with an absurd crew of musicians, including producer and keyboard master Jeff Babko, legendary drummers Vinnie Colaiuta, Gary Novak, and Zach Danziger, renowned bassists Jimmy Johnson, Tim Lefebvre and Jerry Watts Jr., Rosenboom's longtime collaborator Gavin Templeton and jazz icon David Binney on saxophones, guitarists Tim Conley, Alexander Noice, and Jake Vossler, electronics wizard Troy Ziegler, and horn-playing colleagues Brian Walsh, Ryan Dragon, Juliane Graile, and Javier Gonzalez.
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2LP
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GB 1557LP
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LP version. Absurd in the Anthropocene is in line with Dan Rosenboom's abstract musicianship and virtuous experimentalism, and continually pushes the envelope. The album's inspirations run the gamut from Miles Davis and Ornette Coleman to Frank Zappa, Soundgarden, and Squarepusher, and its title refers to the complicated and often surreal times in which people live. Rosenboom, a musician at the forefront of Los Angeles' ever-thriving creative music scene, boasts an international reputation for boundary-pushing projects and relentless productivity. A trumpet virtuoso equally at home in improvised and classical music, the prolific musician has been featured on stages and festivals all over the world, and has been described as "a phenomenon" by the Los Angeles Times. Absurd in the Anthropocene is loaded with an absurd crew of musicians, including producer and keyboard master Jeff Babko, legendary drummers Vinnie Colaiuta, Gary Novak, and Zach Danziger, renowned bassists Jimmy Johnson, Tim Lefebvre and Jerry Watts Jr., Rosenboom's longtime collaborator Gavin Templeton and jazz icon David Binney on saxophones, guitarists Tim Conley, Alexander Noice, and Jake Vossler, electronics wizard Troy Ziegler, and horn-playing colleagues Brian Walsh, Ryan Dragon, Juliane Graile, and Javier Gonzalez.
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12"
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GB 1558EP
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Originally released in 2020. Gearbox presents a two track-collaboration between the enigmatic Simon Ratcliffe from Basement Jaxx and powerhouse jazz duo Binker & Moses. Entitled Village of the Sun, this project embodies a hybrid of electronic beats, heady jazz improvisation, and sheer, raw energy. Ratcliffe says: "I've always liked improvised instrumental music. It has this intensity and eccentricity and takes me places. It connects with me deeply and resonates with me far more than traditional 'songs' with words. I approached Binker & Moses with these two tracks, just sonic skeletons really. They gave it flesh and blood -- it was just left for me to dress it." This stylistic crossover breaks new ground with a distinctive mix of Alice Coltrane-inspired spiritual jazz, pseudo-samba rhythms, and dreamy steel pan textures.
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CD
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GB 1559CDOBI
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Japanese edition. Originally released in 2021. After having released Don Cherry's Cherry Jam as a limited Record Store Day title in the Autumn of 2020, Gearbox presents this essential release. Cherry Jam sets the scene in '60s Copenhagen, a city which at the time proved instrumental in the hosting and development of jazz musicians both local and American. Cherry had performed and recorded there with Archie Shepp in 1963, toured with Albert Ayler in the autumn of 1964, and would go on to have a residency at the hip Cafe Montmartre in 1966. This recording is taken from the original tape of a 1965 radio broadcast, programmed by Denmark's national radio station (Danmark's Radio.) It was in this same year that Cherry would record his landmark Blue Note recording, Complete Communion, with Leandro "Gato" Barbieri on tenor saxophone, Henry Grimes on double bass, and Edward Blackwell on drums, as well as feature on fellow American expatriate George Russell's live album George Russell Sextet at Beethoven Hall. This particular line-up however, consisting of Danish musicians, has never been heard after its original broadcast date, and neither have the three original Don Cherry compositions that are featured on the recording credits. These four pieces show Don Cherry in the midst of his transformation from pivotal sideman in New York's avant-garde jazz scene to leader of his own groups and world traveler. His endless curiosity, free-thinking openness to different cultures, and rejection of musical boundaries paved the way for future creators in jazz, world music, and beyond.
"Hip as hell" - The Wire
"It captures a really interesting period in his career... This is my favorite sound. It is just so chill and smart and just cool." - Robin Hilton, NPR Music
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