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LP
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12XU 176LP
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"The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut. The Sleeves is a somewhat counter intuitive take on the guitar/vocal duo formula, though it's not nearly as simplistic as 'the space between the notes' -- it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented."
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2LP
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AU 1001LP
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2026 restock. "The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur's vast archive. This first album Calling Out of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur's prime years 1985-90."
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AU 1023LP
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2026 restock; LP version. "In 1986 Arthur Russell was diagnosed with HIV, that same year he released his career-defining masterpiece World of Echo, the first and only solo album issued during his lifetime. Arthur had found his voice and a fresh direction with a set of new, transformative material, unlike anything he or anyone else had previously released. His illness ensured that the artistic growth and sense of exploration encapsulated in World of Echo would be tragically curtailed. Within six short years Arthur was gone. Arthur's final years were filled with a renewed commitment to creativity and unceasing live and recording work. He regularly performed the World of Echo material and incorporated several of its compositions in collaborations with choreographers active in New York's innovative dance community. Arthur worked closely with Diane Madden, Allison Salzinger, Stephanie Woodard and John Bernd, usually playing his cello and effects boxes off stage as the choreographers' pieces were performed. In 1993 Arthur posthumously received a prestigious Bessie Composer Award for his work in the dance world. Picture of Bunny Rabbit features nine previously unreleased performances from this era compiled from completed masters culled from two unique test pressings, including one, dated 9/15/85 by Arthur, provided by his mother and sister. A further four tracks were discovered in his tape archive. The track listing includes an exceptional and dramatic solo recording of 'In The Light of a Miracle' and the enigmatic title instrumental 'Picture of Bunny Rabbit', written especially for a friends pet rabbit. The bulk of the material was recorded with engineer Eric Liljestrand at Battery Sound Studios, New York, which was located directly opposite the World Trade Center and at Arthur's apartment studio in the East Village."
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LP+CD
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BEC 5161817
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2026 repress; second deluxe edition of Metronomy's highly-anticipated fourth album; still includes the CD, with a multi-level embossed jacket and printed inner sleeve; no longer has a gatefold sleeve or poster or 180 gram vinyl. On Love Letters, Joseph Mount has tried to do fresh things in an old-fashioned way, using richer methods of recording and injecting them with tight electronics and experiments in sound. Instead of constructing his music on computers, he used classic, slower techniques that forced him to take his time in the best possible sense. By recording onto tape, he was also forced to think about his music more purely, constructing it with more finesse. Melancholy still lurks in these hooks; loneliness still gleams along their edges. These are songs that carry you up and down in tides of feeling, in waves of pure sound. They also inject modern situations with timeless sentiments. "The Upsetter" is about having no reception when you want to send a message to someone special, for instance, and about the memory of listening to music when you were young. "Monstrous" is about holding on tight to everything you love, in a world you don't understand. "Reservoir" is about a place near where Mount's parents live, where glittering keyboards mimic "heartbeats drifting together." "Month of Sundays" shimmers its emotions through bright, shining guitars. All show the warmth, richness and depth being added to the Metronomy sound. New musical spirits inhabit this album, too. "I'm Aquarius" was inspired by Diana Ross and The Supremes' 1969 album, Let the Sunshine In, full of psychedelic atmospheres and gorgeous backing vocal shoop-shoops. Mount nearly left the song behind because he thought it didn't sound like him, before he realized his style was naturally growing and changing. This was also the time to start having new adventures, he quickly realized. "Boy Racers" came next, the spoken-word song he'd always wanted to write (but then ditched the spoken-word part because "it didn't sound very good"). Then came "Call Me," driven by glittering organ lines, and the exhilarating title-track, with a four-to-the-floor beat, skipping between Motown and Northern Soul. These songs go places Metronomy have never been before, and they do so spectacularly, all on a record where old friends take our hands, and lead us somewhere new. Love Letters is a classic electronic pop album which sends its message straight to your heart.
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LP
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BE 1011LP
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For more than three decades, Go Hirano has developed a quietly enthralling sound world on the peripheries of the Japanese underground. Emerging in the 1990s, Hirano released three albums with the revered PSF Records label and established himself as an artist with a unique sense of melody and atmosphere that was both entrancing and intimate. His work, largely recorded at home and in the field, de-emphasized technical perfection in favor of an unvarnished immediacy that imbued the quiet moments of daily life with a dreamlike splendor. On The Habit, Hirano brings together recordings that span decades of his playing the piano and other instruments on a daily basis. The core of the album was recorded in 2020 at Pianola Records in Tokyo, while other pieces draw from recordings dating as far back as the late 1980s. Through this span of years, a coherent vision emerges, marked by patient, subtle engagement with repetition, space, and resonance. Hirano works with a restrained palette -- piano, pianica, wind chime, percussion, and synthesizer -- to develop simple melodic figures that gradually shift in harmony and texture. Spacious piano chords expand through soft synthesizer tones. Near-imperceptible rhythmic frameworks intertwine with tranquil phrases that drift and merge with the sounds of the world around them. This synthesis of music and the environment in which it is created is critical to Hirano's approach. Rather than isolating the music from its surroundings, he embraces the atmosphere of the moment, the room in which each piece is played, capturing the subtle sounds and artifacts of the artist's daily experience and the surrounding natural world. For Hirano, these "imperfections" are pathways to vibrant, living expression. While he may share affinities with Ryuichi Sakamoto, Hiroshi Yoshimura, and even Brian Eno, Hirano's dedication to "initial, unadorned expression" and processing the environment through his own particular filter sets him apart. The Habit reveals a meditative, melodic language unfolding over the decades and within the many spaces of a life in music marked by a unique warmth and beauty. Co-released with Conatala label, Japan. Mastered by Makoto Oshiro. Lacquers cut by Rashad Becker, Clunk Studio, Berlin. Pressed at Optimal Media, Germany. Artwork by Yukiko Ikeda. Design by Rob Carmichael, SEEN. Produced by Peter Kolovos, Conatala, and Rie Hirano.
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2LP
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BB 100LP
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2026 restock. After the deluxe vinyl edition of the release of this classic German underground album (BB 100LTD-LP) sold out within a few months, Bureau B now makes a standard version of the vinyl album available. Still as a double LP in a fold-out cover on 180 gram vinyl, but without the bonus 7" and the extensive booklet that accompanied the deluxe edition. Therefore this version is also slightly less expensive than the former deluxe edition. The influential German post-punk electronic pop band Palais Schaumburg has reunited in the classic line-up. Since its release in 1981, their debut album has remained in a league of its own: fleet-footed and peculiar, abstract and pop, amateurish and savvy, it showed real alternatives to the then-pervasive crude search for identity found in the "new German wave." The band, which consisted entirely of divergent personalities, has reunited in this formation to rediscover their common ground, further develop, and to perform live. In this post-sampling era, with the current, dynamic changes in the creation and reception of music, their statement has lost none of its fascination. Anyone who sees and hears the combination of idiosyncratic bass riffs (Blunck), bizarre yet catchy rhythms (Hertwig, Blunck), Fehlmann's shrill horn and synthesizer fanfares, and Hiller's seemingly atonal staccato guitar work and oblique lyrical conglomerates, will immediately comprehend the influence of this band. Therefore, Bureau B are very pleased to reissue the important original works of Palais Schaumburg in an appropriate format. In 1980, two students met at the Hamburg Art Academy: Thomas Fehlmann, who appreciated art and music and wanted to connect them, and the musician Holger Hiller, who had escaped the fractious Hamburg alternative scene, preferring the art school's Conservatory of Music. The spirit of the early New German Wave blew through the country, the first independent labels vied for innovative artists, and the West German post-punk scene began to take shape. Hiller and Fehlmann brought in FM Einheit (from the band Abwärts) on drums and the Californian Chris Lunch on bass. But only shortly after the first single, with Timo Blunck's bass riffs and the adept drumming of Ralf Hertwig, did the band establish its classic line-up. Palais Schaumburg played numerous gigs in this line-up and recorded a second single -- then on the indie label Zick Zack. The recording of the album was enhanced by the British producer David Cunningham (Flying Lizards). Soon the music giant Phonogram came along waving a contract. Though it was predictable that the album would not exactly be a commercial success, its special position in German pop music soon became clear. The attention the album received was considerable, given the "awkwardness" of the music. These days, alongside the central works of the famous Krautrock bands, it is one of the most sought-after albums of German avant-garde music internationally.
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LP
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CT 114LP
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2026 restock. Originally released in 1981. Landmark dub record from legendary reggae producer Lee "Scratch" Perry, using a combination of established collaborators and new musicians: The Upsetters, Johnny Lover & The Towerchanters, Lee & The Blue Bell, Val Bennett, Brad Osbourne & The Towerchanters, Devion Iron, The Black Arks, and Ricky And Bunny.
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LP
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CT 115LP
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2026 restock.. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".
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CD
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CVSD 124CD
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Corbett vs. Dempsey presents the release of Cartographies of Flight by Marty Ehrlich. This new recording presents Ehrlich's compositions and woodwinds in the context of an illustrious sextet with Sara Schoenbeck, Ron Horton, Erik Friedlander, Matt Pavolka, and Satoshi Takeshi, with settings of poetry by Erica Hunt, read by the poet. One of the most significant voices to emerge from the fertile musical environs of 1970s St. Louis, making a mark in 1980s New York, Ehrlich has steadily amassed one of the great discographies in creative music. Cartographies of Flight introduces a vivid new chapter in this uniquely personal legacy. Produced by Marty Ehrlich. Recorded October 10th, 2024 at Samurai Hotel Studios. Mixed, mastered, and edited by Christopher Hoffman. Cover painting by Andrea Deszö.
"Dear Listener, This recording starts with a sound that has energized me over many years: the 'Dark Woods' of the clarinet, bassoon, cello and bass; the 'Bright Sparks' of the alto and trumpet; the wood and metal of the percussion bringing it all together. The album also contains many of my multitudes: settings of and improvisations with poetic text (here read by their author, Erica Hunt), the combination and contrasting of compositions with improvisations, and works both open and set; then the corralling of these elements into a large field, the beginning to end of a CD, or of a concert. Cartographies of Flight is a wonderful instrumentation, but it is the unique and expressive voices of these artists that I most wanted to engage with. Our performances had a galvanizing effect on me: I wanted to get into a recording studio to map, all pun intended, the flight of the music. The music on this CD moves quickly from one scene to the next. This is one path through, one 'line set afloat' to navigate this troubling and challenging time we live in. I hope it serves." --Marty Ehrlich.
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LP
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COSMR 032LP
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Repressed. Sought-after compilation exploring the Group Sound movement that swept Japan in the mid-1960s. Under the influence of the Beatles, dozens of Japanese bands devoted themselves to exporting a wide genre that ranged from surf-rock, garage fuzz, psych and wild R&B. Featuring the influential The Mops, the Filipino band (relocated to Hong Kong) D'Swooners, The Golden Cups, The Beavers, The Carnabeats, The Spiders, The Voltage, The Bunnys, and The Spiders.
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12"
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DC 102EP
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"What's new for the first time in over a decade? Squirrel Bait's self-titled 12" EP in the black. In '85-'87, their screamin' teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. 'Kid Dynamite' would ring in your head like a #1 single that had just unseated 'Sun God' from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively). With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now."
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LP
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DC 103LP
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"What's new for the first time in over a decade? Squirrel Bait's and Skag Heaven in the black. In '85-'87, their screamin' teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. 'Kid Dynamite' would ring in your head like a #1 single that had just unseated 'Sun God' from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively). With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now."
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LP
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EFFICIENT 019LP
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2026 repress; originally released in 2016. Wilson Tanner's 69 returns to Australian soil for a new season. A uniquely provincial take on ambient music, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) assembled their prized debut over a shared love of seafood, wine and LPG. Recorded in a Perth backyard, these two new friends reached for the tools at hand and made the best of the fine weather. Instrument and implement combine in a languorous bricolage of synthesizer, clarinet and building materials -- interrupted only by the occasional flutter of pigeon wings or a call to lunch. Back in print for the first time since 2017, Wilson Tanner hop into Efficient Space's expanding pot.
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CD
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FRO 31095CD
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"The very first release on Frontier Records in March 1980 was an EP by Flyboys, a power pop/punk band that began in 1977 with singer/songwriter John Curry and Jim 'Trash' Decker from The Crowd (and tangentially, Jay from The Simpletones, who would later sign to Posh Boy). Flyboys gigged all over the southland, paying their dues opening for every national and local punk band from Huntington Beach to Hollywood. They were anything but typical punks -- they wore day-glo clothes and Cuban heels and the songs were maddeningly catchy. Catchy hooks and John Curry's bleached-blonde, spikey pompadour were the bands trademarks. Their first release was the ultra-rare 'Square City/Crayon' World 45. Frontier's Lisa Fancher interviewed Flyboys for the LA Herald Examiner as she was a super fan, and got the notion to record an EP with the band. The process started in 1979 at Leon Russell's studio in North Hollywood CA, Jim Mankey from the original Sparks engineered (and Johnette Napolitano from Concrete Blonde was the receptionist!) the record. It took way too long to record and by the time Frontier finally released it, the band decided to call it quits. The EP was released to decent fanfare and gradually became a record collector favorite. Fast forward and Flyboys' bass player and sometime singer/songwriter Scott Lasken was leaving Los Angeles and discovered a reel of five unreleased, unheard (and not even remembered) Flyboys demos in his closet! Two songs -- 'Live for Today' and 'Every Day' -- did not appear on the Frontier EP but three of the demos do, but all are faster and looser due to the songs being so new and recorded for the first time. What a find that was! The Complete Flyboys 1978-1980 consists of the Frontier EP, the Square City 45 and five unheard, previously unreleased demos."
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LP
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FRO 31095LP
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LP version. "The very first release on Frontier Records in March 1980 was an EP by Flyboys, a power pop/punk band that began in 1977 with singer/songwriter John Curry and Jim 'Trash' Decker from The Crowd (and tangentially, Jay from The Simpletones, who would later sign to Posh Boy). Flyboys gigged all over the southland, paying their dues opening for every national and local punk band from Huntington Beach to Hollywood. They were anything but typical punks -- they wore day-glo clothes and Cuban heels and the songs were maddeningly catchy. Catchy hooks and John Curry's bleached-blonde, spikey pompadour were the bands trademarks. Their first release was the ultra-rare 'Square City/Crayon' World 45. Frontier's Lisa Fancher interviewed Flyboys for the LA Herald Examiner as she was a super fan, and got the notion to record an EP with the band. The process started in 1979 at Leon Russell's studio in North Hollywood CA, Jim Mankey from the original Sparks engineered (and Johnette Napolitano from Concrete Blonde was the receptionist!) the record. It took way too long to record and by the time Frontier finally released it, the band decided to call it quits. The EP was released to decent fanfare and gradually became a record collector favorite. Fast forward and Flyboys' bass player and sometime singer/songwriter Scott Lasken was leaving Los Angeles and discovered a reel of five unreleased, unheard (and not even remembered) Flyboys demos in his closet! Two songs -- 'Live for Today' and 'Every Day' -- did not appear on the Frontier EP but three of the demos do, but all are faster and looser due to the songs being so new and recorded for the first time. What a find that was! The Complete Flyboys 1978-1980 consists of the Frontier EP, the Square City 45 and five unheard, previously unreleased demos."
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LP
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GUESS 208LP
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2026 repress; reissue, originally released in 1969. One of the key albums when talking about psychedelic hard-rock and early proto-metal. Featuring the great John Du Cann (The Attack, Atomic Rooster, Hard Stuff) on guitar plus Mick Hawksworth (Fuzzy Duck, Alvin Lee) on heavy bass plus the powerful drumming of Ian McLane (Neat Change, Ray Owen's Moon). Andromeda was formed during the final days of Du Cann's previous band The Attack, when he decided to go in a full heavier and proggier musical direction. Recruiting his friend/roommate Mick Hawksworth on bass plus drummer Jack McCulloch (of One In A Million, soon to be replaced by Ian McLane), the power-trio was born. After initial interest from John Peel (Dandelion) and Kit Lambert (Track Records), Du Cann decided to go with a major label, RCA, who offered him the chance to self-produce their first album. Recorded at Advision Studios, the impressive Andromeda debut was released in 1969, housed in a sleeve designed by John with photos by Gered Mankowitz. But despite receiving excellent reviews and the band playing lots of gigs (some of them billed above bands like Black Sabbath), RCA didn't know what to do with such a heavy rock band. Tired of the lack of promotion and support, John accepted an offer to join Atomic Rooster... but that's another story. Remastered sound; original artwork in hard cardboard laminated sleeve; insert with liner notes and photos/memorabilia. "... One of the strongest early heavy prog bands..." --Aaron Milenski (Galactic Ramble)
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Book
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9781633451766
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Paperback. 150 pages. "One of the towering figures of 20th-century art holds forth on his controversial life and career in a previously unpublished set of interviews. Over six sessions between September 1951 and November 1952, Marcel Duchamp sat down with collectors and gallerists Harriet and Sidney Janis for a wide-ranging conversation about his inspirations and working processes, and his many opinions on the workings of the modern art world and its histories. The Janises, owners of the influential Sidney Janis Gallery, were ardent supporters of modern art and close friends with Duchamp. Harriet, an accomplished author, led the interviews with an eye toward writing a monograph on Duchamp, though this was never realized. Now, this previously unknown chronicle is available for the first time through the efforts of Carroll Janis, Sidney and Harriet's son. Under Harriet's expert guidance, Duchamp holds forth on his artistic philosophies, his career, his friends, his rivals and his lifelong obsession with chess. He provides an inside look at some of his most famous works, from his controversial 'Readymades' to 'The Large Glass.' Contextualized with illustrations, annotations and an introduction by Carroll Janis, this publication is a rich treasure trove of information on one of the 20th century's most controversial, groundbreaking and larger-than-life artists. Marcel Duchamp (1887-1968) dismantled the boundaries of what constitutes a work of art. Although he began his career as a painter, Duchamp was also a curator, conservator, art advisor, professional chess player, writer, inventor and celebrity. Following the completion of his conceptual masterpiece, 'The Large Glass' (1915-23), he abandoned traditional artmaking altogether. Today he is best known for his 'Readymades' -- ordinary objects such as a urinal or bicycle wheel, elevated to works of art -- which challenged traditional aesthetics and redefined authorship."
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3CD
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NW 80638CD
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2026 restock. "This three-disc set marks the first appearance on disc of the music of the African-American composer Julius Eastman (1940-1990), who died under unexplained circumstances and whose musical legacy was thought lost. This comprehensive and definitive document, which comprises almost all of Eastman's signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work. In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman's work and its importance: 'Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context... Applying minimalism's additive process to the building of sections, he developed a composing technique he called 'organic music,' a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.' Eastman was an energizing underground figure, one whose forms are clear, whose methods were powerful and persuasive, and whose thinking was supremely musical. His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation."
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3CD
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NW 80762CD
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2026 restock. "In the spring of 1964 Pauline Oliveros organized a festival celebrating the work of pianist David Tudor, which featured compositions by Oliveros, George Brecht, Toshi Ichiyanagi, Alvin Lucier, and John Cage. The Tudorfest was a watershed event in the brief history of the San Francisco Tape Music Center, which not only provided its members with an opportunity to collaborate with Tudor, but also to promote their own work. Co-sponsored by KPFA, the Tudorfest demonstrated the artistic diversity of the avant-garde, from the minimalistic explorations of barely audible piano sounds (played by Oliveros and Tudor) in Ichiyanagi's Music for Piano No. 4 (1960) to the instrumental chaos of Cage's Concert for Piano and Orchestra (1957-58) and Atlas Eclipticalis (1961), the often thunderous electronic outbursts in Tudor's interpretations of Cage's Cartridge Music (1 960) and Variations II (1961). Oliveros's collaboration with Tudor, Duo for Accordion and Bandoneon and Possible Mynah Bird Obbligato (1963-64) combined theatrical elements, improvisation, and a mynah bird named 'Ahmed.' The Tudorfest placed the Tape Music Center at the forefront of developments in new music around the country. Its success owed a great deal to David Tudor's influence. The performances on this 3-CD set have never been previously issued. It is the definitive document of this seminal event and constitutes a major addition to the discography of American experimental music."
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SF 132LP
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Recorded live on location, this is a style of music unlike anything you have ever heard before and the first album of the Himba people's music ever released from northwest Namibia. From the album's producer and recordist, Ian Brennan: "The Namib desert is the oldest in the world. Therefore, the driest. Italian-Rwandan photographer, Marilena Umuhoza Delli and I had come to record with possibly the most photographed people on earth, the Himba -- to listen rather than gaze at them as if on display. To share their voices as a counter to their visual objectification, particularly the inappropriate eroticization of the women who customarily go topless throughout daily life. We had to stress multiple times that we did not want the musicians to don touristic tribal costumes -- quite possibly the first music project in history that urged performers to cover-up rather than pleading with artists to expose more flesh. But it was to no avail. When the assigned hour arrived, the men all ditched the baseball caps and soccer jerseys that they routinely wear. And for the women, the reality is that they almost without exception keep their torsos bare, even in winter. We had to acquiesce. Forcing the issue would have only been the flipside of inauthenticity. The featured, traditional instrument is the Cattle Gun. It's rarely found these days and therefore, costly. Made from the lengthy horn of an Oryx and coated in mud, it is blown, resulting in a breathy, rattled tone. Via the use of live looping on three of the album's tracks, psychedelic vocal tapestries were created as if snatched from the ever-shifting skies that enshrined the valley from all sides. But even more esoteric results arose from members cupping hands over mouth to create chorusing and flanging effects sans electricity or gear. Rather than 'primitive' or traditional, the Himba music making is imbued with innovation and timelessness.' Limited edition pressing of 500 vinyl copies with four-page color insert including photos of the musicians and liner notes by Grammy-award winning producer and author, Ian Brennan.
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TR 603LP
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Restocked; LP version. Lande Hekt has quietly become one of the UK's best underground songwriters. On her 2021 debut full-length Going To Hell and 2022's House Without a View, she explored her queer identity, sobriety, and childhood trauma through the lens of heartfelt, conversational indie-pop, which led to spots opening for the likes of Alvvays, Throwing Muses, and The Beths. Her new album Lucky Now, written and recorded with producer Matthew Simms (Wire, It Hugs Back), reflects the most mature and confident version of Lande Hekt yet. Hekt's musical touchstones -- The Wedding Present, The Sundays, The Replacements -- remain the same, but at the same time she's delved deeper into other influences. Lucky Now is indebted to 1980s twee-pop and jangle-pop like The Pastels, Tallulah Gosh and The Bats, plus more modern iterations of the sound such as Autocamper and Jeanines, in its ecstatic, soaring melodies and gorgeous, tactile guitars. The sound is fitting for Hekt's new lyrical outlook, where, though despair and anxiety rear their heads, she digs deep to find the gratitude. "I wanted to try and push for something slightly more positive, which I'm trying to do more of generally -- just to not fall apart," Hekt says. In keeping with that, opening track "Kitchen ii" is a love song about sharing simple, domestic moments with a partner, while "Rabbits" is a song about hope inspired by one summer solstice spent on Glastonbury Tor. Meanwhile, the slower, acoustic-based "Middle of the Night" is about "reeling from a realization of being properly happy for the first time in my life," Hekt says. Hekt also returns to more politically-based songwriting, after largely avoiding politics in both life and music during a disillusioned period, on "Circular" and "A Million Broken Hearts". During the process of making the album, Hekt also moved from Bristol back to her hometown of Exeter. She wrote Lucky Now's closing track, "Coming Home", about the experience of returning there after a long tour; smelling the familiar smells, spotting the familiar faces. In a lot of ways, Lucky Now is about return -- return to joy, return to places and parts of the self once left behind. Who you once were can seem unreachable, but sometimes you can build a bridge.
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CD
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TR 608CD
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After releasing their first studio album in 2025, more than 40 years after disbanding, The Loft return with their second record. Badges, featuring ten tracks, captures what defined The Loft then and what continues to define them today. As pioneers of an entire genre, they have nothing to prove -- neither to themselves nor to anyone else -- and that ease and quiet confidence resonate through every song on the album. The record features ten new songs, recorded at producer Sean Read's (Dexys, Edwyn Collins, Iggy) Famous Times studio in Hackney and is released on the Tapete Records label. The Loft notoriously split up mid-set at the Hammersmith Palais 40 years ago after climbing to the top of the indie charts and are now releasing their second album of new material following on from the Top 20 vinyl chart success of 2025's debut, Everything Changes Everything Stays The Same. The original four members, Pete Astor, Dave Morgan, Bill Prince, and Andy Strickland have produced an album that continues, and moves forward, the story of The Loft, the band that helped define the sound of the Creation label and the emerging Indie genre. Badges has a sound that comes from a band who've been together, touring and playing consistently over the past two years -- relaxed, vibey, assured.
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LP
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TR 608LP
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LP version. After releasing their first studio album in 2025, more than 40 years after disbanding, The Loft return with their second record. Badges, featuring ten tracks, captures what defined The Loft then and what continues to define them today. As pioneers of an entire genre, they have nothing to prove -- neither to themselves nor to anyone else -- and that ease and quiet confidence resonate through every song on the album. The record features ten new songs, recorded at producer Sean Read's (Dexys, Edwyn Collins, Iggy) Famous Times studio in Hackney and is released on the Tapete Records label. The Loft notoriously split up mid-set at the Hammersmith Palais 40 years ago after climbing to the top of the indie charts and are now releasing their second album of new material following on from the Top 20 vinyl chart success of 2025's debut, Everything Changes Everything Stays The Same. The original four members, Pete Astor, Dave Morgan, Bill Prince, and Andy Strickland have produced an album that continues, and moves forward, the story of The Loft, the band that helped define the sound of the Creation label and the emerging Indie genre. Badges has a sound that comes from a band who've been together, touring and playing consistently over the past two years -- relaxed, vibey, assured.
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LP
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TARTALB 028LP
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Space Ghost returns with Dance Planet (Be Free Edition), a remastered, recut and expanded edition of his beloved 2022 album. Featuring refreshed artwork, newly remastered audio, and a brand-new digital remix package from not even noticed, RAMZi, Crystalline Reality, and Space Ghost himself, this is the definitive version of a modern house classic. Rooted in uplifting, soulful 4/4 traditions inspired by forebears like Larry Heard and Blaze, Dance Planet flows effortlessly between ambient reflection and warm, driving club cuts. The remaster brings added depth and clarity -- from the lush swells of "Afterglow" and the tripped-out breaks of "Dream Weaver" to the R&B-tinged groove of "UFO." Dancefloor staples like "Back To The Source" and "Soul Shower" retain their warmth and punch, while "Emotional Healer" and "Be Yourself (Motivational Mix)" continue to deliver Space Ghost's signature affirmation: don't be afraid to be yourself, don't be afraid to let go. Pressed on 140g black vinyl with new artwork and including a download code for the full extended album plus remixes. A timeless, feel-good house LP -- restored and expanded for collectors and selectors alike.
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LP
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VL 990020LP
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2026 repress, light blue vinyl. Vinyl Lovers presents a reissue of John Mayall & The Bluesbreakers's Blues Breakers With Eric Clapton, originally released in 1966. This seminal British blues album gave Clapton the chance to finally show his chops, not surprisingly, launching Clapton into stardom. Recorded in 1966 during Clapton's short stint with the Bluesbreakers, just after leaving the Yardbirds (the birth place of other legendary guitar players like Jimmy Page and Jeff Beck) and before he joined Cream. Includes 4 bonus tracks.
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