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viewing 1 To 25 of 25 items
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LP
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VP 4178LP
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2025 repress. "Two Sevens Clash is the debut album by roots reggae band Culture, recorded with producer Joe Gibbs at his own Joe Gibbs Recording Studio in Kingston in 1976, and released on Gibbs' eponymous label in 1977 (see 1977 in music). The album's title is a reference to the date of July 7, 1977. Singer Joseph Hill said Two Sevens Clash, Culture's most influential record, was based on a prediction by Marcus Garvey, who said there would be chaos on July 7, 1977, when the 'sevens' met. With its apocalyptic message, the song created a stir in his Caribbean homeland and many Jamaican businesses and schools shuttered their doors for the day. The liner notes of the album read: 'One day Joseph Hill had a vision, while riding a bus, of 1977 as a year of judgment -- when two sevens clash -- when past injustices would be avenged. Lyrics and melodies came into his head as he rode and thus was born the song 'Two Sevens Clash' which became a massive hit in reggae circles both in Jamaica and abroad. The prophecies noted by the lyrics so profoundly captured the imagination of the people that on July 7, 1977 -- the day when sevens fully clashed (seventh day, seventh month, seventy-seventh year) a hush descended on Kingston; many people did not go outdoors, shops closed, an air of foreboding and expectation filled the city.' The album was reissued in 1988 with different cover art."
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2LP
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AUK 008LP
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2025 restock. Released on 180 gram black vinyl. Deluxe gatefold with printed inner sleeves. 2007 release -- originally released in 1995. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus And Mary Chain, Methodrone clearly is the sum of its influences. Thankfully, BJM does a very solid job with them throughout the album's course of over 70 minutes.
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CTI 2T2LP2025
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Restocked; LP version. Composed, performed and produced by Cosey Fanni Tutti, this nine-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019's acclaimed album TUTTI. It is a personal reflection; a sonic realization of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swinging world events. Centering on her own strength and self will, the album's two distinct parts -- one rhythmic, one more meditative -- are connected by an overwhelmingly positive mood. Even in the more melancholic moments, there's a lightness that she explains is an "acknowledgement that it's alright to be sad, that's part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance." There are also threads from her most recent projects running through 2t2. Cosey's process and the different strands that make up her work form a totality of vision. She goes on to say, "Once you get creating and listening, weaving, collaging sound it's a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within." The artwork reflects this idea that the album is a "sound cameo," reflecting the light within the music, and the buzz of life that exists within all of Cosey's work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channeling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream.
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DAD 127LP
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Warehouse find, last copies. Down At Dawn present a collection of Blind Willie McTell's recordings titled Drive Away Blues. "And I know no one can sing the blues like Blind Willie McTell." That's what Bob Dylan said about Willie McTell the great singer and guitarist from Piedmont. The uncommon Atlanta street musician and twelve-string guitar specialist. A master interpreter in various styles from country blues to gospel to ragtime.
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GB 124LP
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2025 repress; LP version. Yīn Yīn's dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn't really conducive to setting up a bustling music scene: and it's a place where the outsiders quickly recognize each other. Yīn Yīn are all "nightlife people", which meant their friendship initially came about through co-organizing and deejaying DIY parties. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking "a lot" of instruments to a rented rehearsal room in a small village near Maastricht. They asked friends to help out, and they became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals, and Gino Bombrini on percussion. A "united against the world" stance is also heard at the end of "Declined by Universe". It's a funny, maybe surreptitious statement of belief in what they do. Yīn Yīn also wanted to create an illusion of strength in other ways: "Declined By Universe" sounds as if there is a large group of people playing, not just the core band. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like "Chong Wang" the title track and "Nautilus" drop some thumping 1990s-style electric boogie and Italo disco chops along the way. Then there is "Shēnzou V.", which plots a stately course between eastern-inflected pop music, Italo, and Harmonia-style electronic meditations. The expansive richness in sound and feel may be down to the fact that more samples, drum computers, and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. "Faiyadansu", for example, started with a sample found on an old traditional Japanese koto record. Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members' preoccupations with the state of the world. An old trope musically the Age is most famously referenced in the hippie musical, Hair. Other direct references to cosmic times are in the track names "Kali Yuga" and "Satya Yuga": the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga.
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LTR 036LP
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2025 repress. Nils Frahm presents a new collection of solo piano music, his first album since 2022's three-hour Music For Animals. Day was recorded in the summer of 2022 in complete solitude and away from his studio at Berlin's famed Funkhaus complex. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favor of a nonetheless still-distinctive approach that's considerably more instrumentally complex and intricately arranged. Indeed, Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt, and Screws will once again revel in Day's familiar, personal style. Day contains six tracks, three over the six-minute mark. Characterized by its confidential mood, the album confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he's still a prolific master of affecting simplicity, tenderness and romance. In 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to "start over" with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love.
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LP
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OMM 560156LP
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2025 restock. Ohr present a reissue of Birth Control's Operation, originally released in 1971. Re-release of the second album of the Berlin outfit on the original Ohr label. Produced by the famous photographer Didi Zill in 1971 at Hansa Studios.
"Birth Control's second album, Operation, stands as one of the band's finest recordings, getting the vote as the second-best album of 1971 by one of Germany's leading music magazines. Operation has Birth Control employing a nine-piece string section as well as a smaller brass entourage in order to produce a larger sound, and while their progressive air is just beginning to flourish, a rather large difference in musical strength and instrumental craft is noted right away. Not fully abstract or left-of-center just yet, the powerful crunch of Bruno Frenzel's guitar surely leads the way, dominating the rhythms of every track while complimenting the aeronautics of the keyboard passages..." --Mike DeGagne, AllMusic
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PF 013LP
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2025 restock; LP version. "1979's 154 represented the final tableau in Wire's Harvest released '70s triptych and was the first Wire album to be released to a universal set of five star reviews from the British rock weeklies, thus it represented the point when the British 'pop culture establishment' publicly recognized Wire's primacy. '154 makes 95 percent of the competition look feeble' wrote Nick Kent in the NME, 'Wire are achieving a lot of things other--and more recognized--names have been striving for' wrote Chris Westwood in Record Mirror (a paper that had slagged off Pink Flag). 'The album is a musical tour de force' wrote Jon Savage in Melody Maker. Many said it was the album that Bowie and Eno had failed to make with Lodger (as hinted in the RM review), it was on John Lennon's playlist. Without a doubt, even if record sales did not bear it out, Wire had 'arrived.'"
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LP
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POTOMAK 819901
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2025 restock; 2002 release. LP version. Originally released in 1983, Einstürzende Neubauten's second album marks a radical progression in the band's sound as well as a revolutionary step forward in the realms of industrial and experimental music. Bassist Marc Chung (ex-Abwärts) and electronics engineer Alexander Hacke (later a member of Crime And The City Solution) joined the band during this time, and singer Blixa Bargeld also became a full-time member of Nick Cave And The Bad Seeds. Despite each members' background, Einstürzende Neubauten's ethos -- "Destruction is not negative, you must destroy to build" -- treaded on ground that was explicitly anti-music. Through their intuitive compositional approach and application of found, industrial objects into song forms, the band's sonic trajectory was intent on generating entirely alternate modes of music-making. In contrast to the all-out destructive barrage of their debut, however, Zeichnungen Des Patienten O.T. reveals an astonishing maturity in its varied and dynamic range of textures while still being no less uncompromising.
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LP
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SCR 389LP
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2025 restock; Legendary shoegaze band Chapterhouse share their first ever recordings on a new EP, White House Demos. The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about -- until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record." Of the four tracks that make up the EP, "Ecstasy" has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of "Guilt" was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of "Die Die Die" was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning "See That Girl," however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.
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LP
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VMP 1145LP
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"Parton made her debut on the Porter Wagoner show in September of 1967, with their first album, Just Between You and Me, released mere months before Just Because I'm a Woman -- with the LP's names so similar in title, it's hard not to see them in conversation, as Parton's career had to be until she split ways with Wagoner in the '70s. But her profile and songwriting status was rising both with and without Wagoner, with Parton busy building the foundation of a career that would reach unparalleled heights in the years and decades to come: not because she was a woman, but not in spite of it, either. (AAA) lacquers cut from the master tapes by Ryan Smith, Sterling Sound. Pressed on exclusive 180 gram canary yellow galaxy vinyl. "
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LP
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VMP 1156LP
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"The debut album from the Stax songwriter and R&B legend was the VMP Classics Record of the Month for February 2021. (AAA) lacquers cut from the original analog tapes by Ryan Smith, Sterling Sound. 180 gram black audiophile vinyl pressed at QRP, Salina, KS. Includes exclusive listening notes booklet by Jared 'Jay B.' Boyd."
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2LP
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VMP 1168LP
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"The Diary, the legendary lost album and instrumentals from J Dilla, released posthumously in 2016, was the VMP Hip-Hop Record of the Month for November 2022. It's here on exclusive double LP purple and orange marble vinyl. (AAA) lacquers cut from the analog tapes by Ryan Smith, Sterling Sound. 180 gram audiophile vinyl pressed at QRP, Salina, KS. Includes extensive listening notes booklet by Andrew Winistorfer."
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LP
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VMP 1183LP
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"Kris Kristofferson was the true country outsider, a man who single-handedly pushed the genre leftward, changing forever the perception of its songwriters, its performers and its message. He was long-haired, anti-war and sang songs with drug use, sex and violence always lurking as dangers in the margins, at a time when Waylon and Willie were wearing sweaters and playing golf on their album covers. He was the outlaw, in a genre that would soon have people recording his songs, and co-opting his vision for a new version of country, to much greater financial success." (AAA) lacquers cut from tapes by Ryan Smith, Sterling Sound. Pressed on exclusive 180 gram "black and blue" galaxy vinyl. Listening notes by Andrew Winistorfer.
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2LP
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VMP 1241LP
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"Monk was dealing with a bevy of health problems at the time, so it's perhaps understandable that the show in Paris was like a capstone or Greatest Hits. But thanks to Monk's indelible ability to make everything emotional and poignant, his ace band and a bonus appearance from Philly Joe Jones, the set has an enchanting electricity. It captured Monk swinging through his greatest works and adding flourishes that sent the crowd into multiple tizzies. Listen as he takes on his standards and remakes them for their moment. Monk's legendary stand at the Salle Pleyel. Reissued for VMP's 10th anniversary. Lacquers cut by Barry Grint, Alchemy Mastering at AIR. Pressed on exclusive light blue galaxy vinyl ."
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LP
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VMP 2238LP
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"Townes Van Zandt's work, as far-reaching and as universal as it has become, begs for possessorship. It's a love language understood by all who find it, yet one that remains acutely difficult to translate to those who haven't. No one understood this better than his earliest fans. It's perhaps why his first studio album, For the Sake of the Song, remains a point of controversy among anyone who discovered Townes Van Zandt outside of these LP's grooves. Townes Van Zandt the songwriter was the antithesis of bells and whistles, and so an album with such accoutrements, as this album has in spades, rings false -- however unfairly -- among purists. Taken in context, though, For the Sake of the Song is a gorgeous study in polarity. Each anchor is an artist from wildly different backgrounds, united under the profound effect of songcraft. Heavyweight translucent blue vinyl. Remaster by Jason Ward at Chicago Mastering. Exclusive liner notes booklet."
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LP
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VMP 2270LP
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"'I Never Loved a Man the Way I Love You' runs the stylistic gambit without feeling Franklin is doing things just for show. The album isn't trying to function as a resumé of her skills. Genre shifts feel organic and natural. 'Don't Let Me Lose This Dream' is built on a bossa nova groove, while 'Do Right Woman Do Right Man' has a little country ballad flavor. 'Dr Feelgood (Love Is A Serious Business)' -- one of four songs penned by Franklin herself -- is a bluesy belter. She might have been Queen of the genre, but pigeonholing Franklin in soul is like calling Sugar Ray Leonard just a welterweight. She could shuffle through styles as smooth as velvet. Everything is stamped with her own distinct character. (AAA) lacquers cut from tapes by Ryan Smith, Sterling Sound. Pressed on exclusive 180 gram purple and white vinyl. Heavyweight casewrapped jacket with lyric booklet insert."
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LP
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VMP 2273LP
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"Nuff Said is Nina Simone's mostly live album recorded a few days after the assassination of Martin Luther King Jr. Powerful, beautiful, and one of her best albums. Limited to 2000 copies, the VMP exclusive version of Nina Simone's 'Nuff Said is pressed on (AAA) 180g Brown Marble vinyl at GZ Vinyl. The 1LP arrives in a single, tip-on, foil-stamped and numbered jacket. The (AAA) lacquers were cut from tapes by Ryan Smith at Sterling Sound. Limited to 2000 foil-stamped and numbered copies."
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LP
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VMP 2281LP
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"Originally released in 2016, Dolly Parton's Pure & Simple is available on vinyl for the first time exclusively at VMP. The album stemmed from the singer's live performances with minimal backing. During the its release, Parton shared, 'I may not be pure, but I'm as simple as they come! This new Pure & Simple project is really special to me because I'm taking my fans back to my roots. I feel like these songs have a pure, tender side and we didn't go overboard with arrangements.' Limited to 2000 copies, the VMP exclusive version of Dolly Parton's Pure & Simple is pressed on green galaxy vinyl at GZ Vinyl. The 1LP comes in a single, reverse board, numbered jacket with lacquers cut by Ryan Smith at Sterling Sound. First ever vinyl release. Pressed on exclusive green galaxy vinyl. Limited to 2000 numbered copies."
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LP
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VMP 2299LP
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"Over the span of just two years from 1946 and 1947, Bob Wills and His Texas Playboys recorded over 400 songs for Tiffany Music, Inc., and the recordings became known as the Tiffany Transcriptions. They were meant to be aired on radio for a show featuring the band, but the label folded by the end of the decade, leaving the Tiffany Transcriptions to be forgotten to time. But, music has the ability to persist through time and reemerge in ways previously unknown. After all, the Tiffany Transcriptions were unlike anything Bob Wills and His Texas Playboys had done prior. They were recorded in the quieter times during tours, typically with arrangements improvised in the moment, giving the band the freedom to create music that spoke directly from their hearts at any given moment. As the '80s approached, Kaleidoscope Records uncovered the Transcriptions, once again shining a spotlight on the band's music. This VMP exclusive variant features 14 previously unreleased tracks from the Tiffany Transcriptions on 1LP Clearwater Blue vinyl for the first time ever. 14 rare recordings, none ever before on LP. Newly remastered, featuring the incomparable Tommy Duncan. Blue vinyl pressing limited to 1500 hand-numbered copies."
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LP
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VMP 2300LP
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"There's always a risk you run, when championing a record like Talking to the People, of overstating your case. There's generally an easy-to-grapple-with reason why something that the vast majority of the listening public hasn't listened to hasn't been heard. Poor distribution, something slightly missing in the singles, critical misunderstanding, bad timing; all those things have coalesced to make many deserving records lose out on their just desserts. But pressing play on Talking to the People really does feel like something revelatory, something transcendent. It's like if the Bar-Kays of the early '70s had a woman on the mic, or if Funkadelic leaned more into rock, or if Sly Stone had half the budget. It's an album that feels contemporary -- it almost predicts Black genre experimentalists like SAULT -- but also fits so neatly in with everything happening in Detroit and Memphis funk in 1973. It failed to find an audience because the audience it predicts -- the musical omnivore who could see the strands between everything -- hardly existed in earnest by then. But listening today, it's almost too easy to find something to love. (AAA) lacquers cut from the original master tapes by Ryan Smith, Sterling Sound. Pressed on 180 gram black vinyl. Listening notes booklet by Andrew Winistorfer. "
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LP
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VMP 2312LP
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"If there is a single album nexus point between what Waylon's early career was like, and what his Imperial King of Country era was like, it's The Taker/Tulsa: The one album from his pre-outlaw period that stands above the rest, a record that would help break an outsider songwriter to the Nashville mainstream, prove Waylon had instincts that couldn't be taught and was maybe onto something that would flower into all his commercial success later on. (AAA) lacquers cut from tapes by Ryan Smith, Sterling Sound. Pressed on exclusive 180 gram olive green vinyl. Listening notes booklet by Andrew Winistorfer."
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LP
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VMP 2319LP
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"Tough Guys is a daring, widescreen, progressive funk album from one of the genre's finest craftsmen. Because Hayes was Black, and rooted in R&B radio, he didn't get lumped in with the prog-rock groups then making waves on the rock charts, but he should have been. He was making music as expansive and expressive as Emerson, Lake and Palmer, and Yes; he was just doing it in a different context. The soundtrack for Hayes' ¬first major film role, Tough Guys would echo throughout history as much for the way it matched the grimy, over-the-top story of the ¬film it accompanies, but also in the way its songs were chopped up and re-imagined, appearing in everything from Geto Boys songs to Quentin Tarantino movies. (AAA) lacquers cut from the original master tapes by Ryan Smith, Sterling Sound. 180 gram black audiophile vinyl pressed at QRP, Salina, KS. Includes exclusive listening notes booklet by Andrew Winistorfer. "
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VMP 2322LP
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"With 1975's Trident, McCoy Tyner finally achieved his true vision for the piano trio. In an era that finally -- and firmly -- established Tyner in the upper echelon of jazz masters, adored by critics, set at the top of festival bills and heartily supported by the record-buying public, Trident stands at the pinnacle of his brilliant album run from that decade. Trident might not seem as ambitious as Tyner's other '70s outings, but don't let its near-monochromatic gray and silver cover of McCoy by the ocean fool you; just beneath its surface is the heaviest, most vivid and deep music of his career. Trident finds him coming full circle, realizing his -- and just about any fantasy jazz fan's -- dream piano trio. Call it Money Jungle for the new decade, only one featuring cogent and telepathic alignment rather than clashing intergenerational conflict. Three titans, three defining masters of their instrument, with thousands of recording dates between them. (AAA) lacquers cut from the master tapes by Ryan Smith, Sterling Sound. Pressed on 180 gram black vinyl. Exclusive listening notes booklet by Andy Beta. "
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3CD
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XI 119CD
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2025 restock; 1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.
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