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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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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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LP
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DAK 028LP
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Guitar and pedal steel duets by Nicholas Merz (New Orthodox) and Pat Murano (Decimus). Komos Cowboys are here. Here with an LP debut. A debut that winds through the living room like a lab coat experiment, already in progress. Yea it doesn't feel like the first word from these chaps -- instead it's as if someone just flipped on the flashlight or the Zoom recorder and the Cowboys didn't look up. The result -- a sliding, blinking scene report on something that's been rolling for some time now. Maybe they've been up for days? Art by Sarah Merz. Silk screen by Alan Sherry at Siwa Prints.
"Listening to this churn of layer and tone is like smoking enough dispensary weed that if you simply turn your head, there appears another wholly unrelated universe, a new fresh-baked reality. I thought this was a hospital loading dock we were hanging our legs off of but it seems I'm mistaken because that's an airplane-sized egret in flight over what appears to be a lime-green digital pond, in full cartoon cauldron mode. Nice. Science fiction flicker. Moonlight UFO tracers. Frog dudes hanging out by the grill."-- Mike Donovan
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LP
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DAK 029LP
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Synthetic meditations on the zodiac as envisioned by Decimus Magnus Ausonius (310-395). Last in a series of twelve Decimus LPs. The 12-LP cycle of the zodiac of Decimus Magnus Ausonius was originally initiated in 2011. Over the course of 15 years, LPs were release on various labels including Kelippah, Digitalis, Planam, Holidays and more. This present LP represents the resolution of this arc. Silkscreened by Alan Sherry at Siwa Prints.
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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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LP
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EMV 003LP
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Never heard of Canberra's Samuel D. Rich, who rocked our nation's capital for approximately a mere 18 months circa 1973-74? No? That's OK. Up until about a year ago, nor had Eminent Vinyl. They -- they were a band -- played with a host of luminaries of the day -- everyone from The Aztecs, Stevie Wright, Buffalo, Hush, and Bakery to Mackenzie Theory and beyond, recorded this album then split up. Through a rather bizarre chain of events, these unreleased recordings landed in Eminient Vinyl's lap from band member Geoff Rosenberg, and now there is this incredible LP, Theme of Discontent. The group's sound was caught somewhere between the Oz-Prog of Spectrum, Mackenzie Theory, and Kahvas Jute, mixed with the acid-rock guitar flash of Santana and the psychedelic funk groove of early Chicago (minus the brass, and substitute it with a whole lotta flute, thanks). The band had some serious chops and an abundance of terrific original material, so they went into a studio in early 1974 and laid down an hour of tracks. By later in the year, they were no more, though the music was kept on a Betamax(!) tape and transferred to CD a couple of decades ago. Had they stuck around, they would have slotted into the Mushroom or Infinity stables nicely. Eminent Vinyl has taken the best 45 minutes of songs, had them remastered by Mikey Young and housed the release in an incredible package, complete with an informative four-page booklet designed by Luke Fraser. Fun fact: Canberra resident and law student, Peter Garrett, was such a big fan of the band that he tried out as their singer (he didn't get the job, but subsequently did pretty well in other pursuits). Theme of Discontent is a remarkable discovery for lovers of Australian rock of yore: completely unknown '70s music from the nation's capital ripe for listening in 2026.
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EMV 005LP
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Died Pretty's run of greatness possibly reached its peak with 1991's Doughboy Hollow. It was an album which finally and belatedly really saw the band rise above the musical underground and gain a wider audience. Spearheaded by incredible singles such as "D.C.," "Godbless," and "Sweetheart," Ron Peno, Brett Myers, Chris Walsh and co. were accompanied by the likes of cellist Sarah Peet and The Go-Betweens' Amanda Brown on violin to create a lush, widescreen sonic aura that still sounds magnificent 35 years later. This is truly one of the great Australian rock albums, remastered and ready for re-release.
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FLIES 078LP
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"Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble -- a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric. The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor. It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle. At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics -- entirely in English -- tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless. Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine -- together -- new possibilities for movement, resistance, and the future."
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LP
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FLIES 081LP
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"Nearly three years on from their self-titled debut, Psyché return with a new album that reinvigorates and expands their singular blend of groove and psychedelia. The band's name itself -- the ancient Greek word for 'mind' or 'soul' -- signals a deep-rooted love for psychedelic funk, while pointing towards a vast array of Mediterranean influences spanning Southern Europe, the Balkans, Anatolia, and the Maghreb. While their first record explored a mythical, timeless Mediterranean as a sort of 'elsewhere' -- reimagining ancient musical traditions through modern styles and sensibilities -- Psyché II adds a subtle political dimension and shifts the focus toward a wider, more contemporary geography. Here, the Mediterranean becomes a modern lingua franca -- a fluid bridge uniting diverse peoples, cultures, and musical legacies. In this vision, the band's native Naples serves as a vibrant crossroads where sounds from North Africa and the Middle East meet the echoes of distant shores like Brazil and Colombia. The album's core strength is the band's mastery of restraint -- their minimalist style. Veterans Marcello Giannini, Andrea De Fazio, Paolo Petrella, and Roberto Porzio -- all central figures in the Neapolitan scene through projects like Parbleu, Bassolino, and the Nu Genea Live Band -- excel at creating engaging, hypnotic music defined by few elements but deep, pulsating grooves. Their sound traverses cosmic funk and desert blues, cumbia, dub, and jazz, anchored by the use of analogue synths and propulsive basslines. The record gains further international and political weight through collaborations with Ziad Trabelsi on "Hurriya (We Must Resist)", an Anatolian-rock-style celebration of resilience and freedom with lyrics in Arabic, and Merve Daşdemir (formerly of Altın Gün) on "Yallah!", a proud unmasking of duplicity sung in Turkish and built upon the exotic rhythm of a Middle Eastern-inspired dance. Psyché II is the distillation of a journey through cultures and identities: an album where cross-pollination and a nomadic spirit become the tenets of a contemporary sound -- at once rooted in the Mediterranean and open to the world."
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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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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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5CD
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GF 011CD
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Dimensions: 314 × 314 × 8mm. Materials: die-cut laminated greyboard, archival case-wrapping. Media: 4× 80mm compact disc, 1× full-length compact disc. Electronic musician, composer, and conceptualist Joseph Branciforte joins pioneering Fender Rhodes artist Jozef Dumoulin on ITERAE, a compelling entry in the post-glitch canon. The album documents an acutely focused musical dialogue between two artists who have reimagined not only the sonic possibilities of amplified keyboard instruments, but the potential of technology to shape musical improvisation. Spanning 70 minutes, its eight modular sections hover between form and abstraction, precise sonic architecture and dream-like flow. ITERAE is issued as a bespoke multi-disc edition designed by Branciforte -- extending the music's own structural logic into physical form. ITERAE links two performers from opposite sides of the Atlantic known for their transformations of Fender Rhodes electric piano. Jozef Dumoulin is a Belgian keyboardist recognized for his role in redefining the Fender Rhodes as a 21st-century instrument, forging a highly personal musical language through extensive electronic manipulation. Joseph Branciforte is a composer, producer, and fellow Rhodes experimentalist known for bridging acoustic and electronic worlds in collaborations with Theo Bleckmann, Taylor Deupree, and Ryuichi Sakamoto. Both performers are fluent improvisers, with musical vocabularies drawing broadly from jazz, electronic, and contemporary music. Here, however, the focus is squarely on distillation: small fragments captured, transformed, and recombined into cascading, lattice-like structures. The result is a sound that merges aspects of the early glitch movement with bold explorations of harmony and form -- weaving together threads from modern classical, electroacoustic, and ambient to create something decisively of the present. The music unfolds with an unbroken focus and sense of direction, dense tapestries of glitches giving way to moments of deeply intuitive, harmonic convergence. The juxtaposition of open-ended improvisation and the precise, methodical compositional vision for which Branciforte is known creates a dynamic interplay, where flow and memory, improviser and editor remain in constant dialogue. ITERAE is issued as a bespoke multi-disc edition designed for both shelf and wall -- referencing the domestic scale of the vinyl LP while quietly subverting its familiar expectations. The format embodies the album's structural logic in physical form: four paired movements (⊏/⊐) distributed across four 80mm compact discs. Each disc can be played independently or sequenced freely, extending the music's own recursive methodology into its physical presentation. Each disc is housed within a die-cut matte greyboard panel. This outer layer is bonded to a rigid 4mm core, case-wrapped in white archival paper with a printed bottom spine -- allowing it to sit comfortably on a shelf alongside vinyl records. A full-length compact disc is included on the rear for universal playback, along with an integrated wall-hanging tab. Functioning both as a playable sound edition and sculptural object, the design reframes the album as a physical system.
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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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LP
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MOVATM 453LP
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"You don't have to be a cinephile to know Michael Winner's 1974 cult vigilante movie Death Wish. Starring the ever-stoic, quintessential action hero Charles Bronson, it was this film that defined the further careers of both Winner and Bronson. Right before this, they collaborated on The Stone Killer, in which Bronson plays a gritty detective from New York sent to L.A. to solve a case involving an old Sicilian Mafia family feud. The soundtrack is composed by jazz pianist and composer Roy Budd, who was also responsible for the much-praised soundtrack of the 1971 classic Get Carter starring Michael Caine. It begins with a gentle tender melody but it's a trick, as there is a 70-piece orchestra waiting to pounce. Suddenly the big picture is revealed and the listener enters a full-on Budd theme with a cool jazz accompaniment. The score perfectly demonstrates Budd's ability to blend jazz with orchestral arrangements in ways unparalleled by very few composers. In typical 1970s fashion, this soundtrack will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe. The Stone Killer is available as a limited edition of 1000 individually numbered copies on 'Blade Bullet' colored vinyl and includes an insert with liner notes and a fold-out replica of the original movie poster."
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