|
Recent Best Sellers
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
Book
|
|
9798993404004
|
270 pages. Soft-cover, fully illustrated. 196 x 268mm. Edited by Eva Prinz. Preface by Neneh Cherry. Afterword by Joe McPhee. New York, NY, USA -- musicians Mats Gustafsson, Neneh Cherry, Joe McPhee, and Thurston Moore, along with music writer Byron Coley, have contributed to an illustrated collector's guide to records -- replete with 270 pages of beatific album art, labels, sleeve notes and collector musings on their life-long obsessions of record collecting, with a distinct focus on the recorded history of free jazz and free improvisation. Compiling personal archives of their selections of recordings which could be contenders within a list defined by a parameter of 100 of the most essential releases presented in chronological order, acknowledging the music to be preternaturally noncompetitive, non-hierarchical, and of equal value, Now Jazz Now is a book for all adventurous music lovers, whether ravenous record collectors, avant-garde jazz enthusiasts, students of radical culture, or simply curiosity seekers in wonder to this music's illustrious history and lineage. The gleanings of Cherry, Coley, Gustafsson, McPhee and Moore will enlighten, delight, amuse, and bemuse all who follow their streams of consciousness, knowledge, perception, and, most importantly, unbridled respect and regard for a genre of music dedicated to the dignity of practicing freedom.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
V 28021LP
|
Limited repress. The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
VAMPI 341LP
|
The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in previous volumes, this fourth instalment in the series Cumbia Cumbia Cumbia!!! comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Featuring Carlos Haayen Y Su Combo, Bovea Y Sus Vallenatos, Álvaro Cárdenas Y Su Conjunto, Carlos Román Y Sus Estrellas, Luis Enrique Martínez Y Su Conjunto, Pello Torres Y Sus Diablos Del Ritmo, Banda 20 De Julio De Repelón, Andrés Landero Y Su Conjunto, Cumbia Mochila, Combo Maravilla, A.M. Camacho Y Cano, Eliceo García Y El Conjunto Palma Africana, Wasamaye African Rock, Conjunto Maravilla De Palo Alto, Manuel Villanueva Y Su Orquesta, Manuel Caraballo Y Su Conjunto, Pedro Salcedo Y Su Combo, Los Tiburones, Cumbia Bolivariana, Los Curramberos De Guayabal, Juan Polo Valencia, Lucho Better Y Su Orquesta, Florentino Montero Y Su Conjunto, Joe Montes Y Su Orquesta, Tere García Con Ramón Ropaín Y El Trío Fantasía, Los Indios Selectos Con Alberto Pacheco Y Su Acordeón, Rufo Garrido Y Su Orquesta, and Mincho Anaya Y Su Combo Moderno.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BALMAT 019LP
|
"Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something -- half-formed memories, thoughts caught in midair -- in some of the most abstract, searching music he has released. Just like 1977, 1979 surveys a synth-heavy array of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues. Like its predecessor, the new album's atmospheric cast sets it apart from much of the work Paradinas has released as µ-Ziq on Planet Mu. It's not strictly an ambient record, but it's close, as close as this famously mutable artist ever comes to inhabiting a particular genre. Paradinas' inspiration for the record began on visits to the Spanish cities of Ávila and Majadahona, where his family hails from. That might account for the sense that there are spirits flitting through this music, presences you can intuit if not quite grasp. But 1979 is also a record to meet on your own terms, and to find your own meanings in. It's a stunning record, every track a world unto itself: the mysterious contours of "Majadahonda at Dawn"; the playful melodic fillips of "Clari"; the airy melancholy of "Galletas"; the full-scale breakbeat abandon (yes, you read that right) of "Houzz 14," the rarest of dancefloor detours for Balmat. There are echoes of classic braindance and isolationist ambient and golden-age IDM; there are easter eggs and recurring themes and hidden symmetries. Despite what the title might suggest, it's less a trip back in time than a portal to another universe, a destination for(to?) which only Mike Paradinas knows the exact coordinates." --Philip Sherburne
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
TRALP 002LP
|
2025 repress. It's time. Miami's son, Nick León, presents his highly anticipated album A Tropical Entropy en su casa, TraTraTrax. After two #1 tracks of the year, "Xtasis" and "Bikini," Nick expands his "Arquitectronica" sonic universe to an exploration of decay, disillusionment, and psychedelia. Inspired by Joan Didion's novel Miami and his unique energy, as well as altered states of consciousness -- both chemically induced and sleep-deprived -- the album reflects León's personal experience of witnessing life and love fall apart against the backdrop of a crumbling society. The album is a manifesto from start to finish, featuring stellar collaborations with Ela Minus, Casey MQ, Erika de Casier, Xander Amahd, Jonny from Space, Esty & Mediopicky, and Lavurn. You'll find hazy tracks for the body and the mind; tracks to dedicate and feel deeply; tracks for heartbreak and tracks with the promise of future love. You will find themes of memory, sleep deprivation, decaying wildlife, and the suburban still life of Florida. A Tropical Entropy captures the haunting feeling of watching life unfold like a broken video recording -- frozen in the orange hue of a never -- ending sunset, signaling the final days of an apocalypse. In the meantime, León and TraTra will continue to establish their influence on the global circuit and their mission to keep releasing edgy music that connects la mente con el qlo.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 112LP
|
LP version. Wewantsounds presents the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan's leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan's music scene during the decade. Compiled by Nick Luscombe -- who previously curated Tokyo Dreaming for the label -- the set marks the first time Hitomi's music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny's work and its role in the evolution of Japanese funk and groove culture. Hitomi "Penny" Tohyama was one of the few female singers to fully embrace Japan's burgeoning funk and boogie movement of the 1980s. Born in Okinawa in 1957 and raised partly in California, she developed a cosmopolitan outlook that would shape her music. At a time when the country's pop scene was shifting toward slick, funk-oriented productions, Penny crafted a distinctive style that fused boogie, disco, and funk with her confident, soulful delivery. Her albums for Nippon Columbia recorded in the '80s capture this vibrant moment, combining sophisticated studio craft with the pulse of Tokyo's nightlife. The selection includes cult classics such as "Sexy Robot," "Love is the Competition," and "Instant Polaroid," with lesser-known gems such as "Exotic Yokogao" and "I Love You Shika Omoitsukanai." Together they showcase the singer's versatility, moving effortlessly between syncopated upbeat floorfillers and chilled mid-tempo grooves. While her music earned recognition at home, these releases were never widely available outside Japan and slowly became prized finds among DJs and collectors. Tokyo Funk Diva presents highlights from this catalogue for the first time in an international release. Compiled by broadcaster and tastemaker Nick Luscombe, the selection has been newly remastered and comes with Luscombe's liner notes, retracing Penny's career and her role in the evolution of Japanese boogie and disco. As he writes in the liner notes, "It's this deep musical craftsmanship -- both in the songwriting and performances -- that gives Penny Tohyama's work its lasting power. Her music feels as fresh and relevant today as it did when it was first released." With its mix of sharp production, irresistible rhythms, and Penny's unmistakable presence, Tokyo Funk Diva serves both as a long overdue introduction to one of Japan's original funk queens.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 339LP
|
Originally released in 1972, Toni Tornado's self-titled debut is a landmark in Brazilian soul and funk -- a gritty, groovy record that helped define the sound of the Black Rio movement. Blending deep soul, psychedelic funk, and bold orchestration, this album channels the revolutionary energy of James Brown with the tropical swagger of Rio's streets. From the urgent rhythms of "Torniente" to the undeniable strut of "Mané Beleza" and "Tornado," Toni's music pulses with a fierce sense of pride and liberation. It's the sound of a new cultural identity taking shape -- where African-American soul met Afro-Brazilian reality. Often compared to the legendary Tim Maia, Tornado brought his own explosive edge to Brazil's growing soul scene. By the 1970s, other Brazilian musicians, such as Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben, and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. Toni Tornado's voice carries grit and passion, his grooves hit hard, and his message is crystal clear -- Black is beautiful, and the funk is real. Back on vinyl for a new generation, this reissue is more than a collector's gem -- it's a time capsule from an era when music moved bodies and minds. Essential listening for fans of vintage soul, global funk, and revolutionary sounds. Reissue on 180g vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 115LP
|
2025 repress. 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".
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 084LP
|
2026 restock. One of King Tubby's finest works, originally released in 1974. Recorded at Tubby's famous 18 Drummly Ave. studio in Kingston during dub's early development period.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CSR 193B-LP
|
2025 repress. Ten-year Anniversary LP Edition. Out of print for nearly a decade, Cold Spring Records are proud to announce the much-demanded new vinyl edition of this legendary collaboration. Recoiled is a rambunctious alchemy, of magical COIL sensibilities and hi-tech home circa '90s mixing technique, all fused in the cave-like early studios of Danny Hyde/Peter Christopherson. These were the unrestrained studio mix downs of four songs which long time Coil admirer/collaborator Trent Reznor (Nine Inch Nails) requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde/Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. Recoiled includes a fuller, more opulent version of the track "Closer," which eventually made it onto the opening credits to the movie SE7EN. These five lengthy compositions are pre-Ableton/laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumored to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Four of the tracks were released on the download-only Uncoiled. A bonus, previously unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation. Beautifully remastered.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP+CD
|
|
BEC 5161605
|
2021 repress. Originally released in 1998. Gatefold double LP with a CD copy of the album. "The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock 'n' roll to French pop to experimental rock to techno... Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry." --All Music Guide
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SE 4617X-LP
|
2025 restock. "The album was produced by the band themselves, and issued in two different stereo mixes. The more widely distributed mix is the one done by MGM/Verve staff engineer Val Valentin. The other mix was done by Lou Reed, boosting his vocals and guitar solos, while reducing the level of other instruments. This version was dubbed the 'Closet Mix' by Sterling Morrison, because it sounded to him as if it had been recorded in a closet. The most dramatic difference is that the two versions use entirely different performances of 'Some Kinda Love', both taken from the same recording sessions."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 335LP
|
Originally released in 1972 on the Odeon label, Quarteto Em Cy stands as a high-water mark in the group's prolific discography -- and a hidden gem for collectors of Brazilian vinyl. Known for their intricate vocal harmonies and deep roots in the bossa nova movement, the quartet ventures into post-bossa territory here, where sophistication meets groove in all the right ways. Arrangements by Edu Lobo and Luiz Eça (of Tamba Trio) lend the album a richly layered sound -- elegant, jazzy, and emotionally resonant -- while the group's harmonies remain as mesmerizing as ever. It's a masterclass in vocal interplay and tasteful orchestration, with an unmistakable Brazilian soul running through every track. Highlights include their stunning interpretation of Milton Nascimento's "Tudo Que Você Podia Ser," along with deep cuts like "Quando o Carnaval Chegar," "Canto de Obá," and "Cantoria." These recordings capture a moment when the group, already respected collaborators of Vinícius de Moraes, Jobim, and Chico Buarque, hit a new creative stride. Long out of print and often cited as their finest work, this self-titled LP has become a sought-after piece among collectors of MPB, bossa, and '70s harmony pop. For those drawn to groups like The Free Design or The Mamas & The Papas -- but with a distinctly Brazilian elegance -- this album offers a rare and rewarding listen. Reissue on 180g vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VL 900051LP
|
2025 restock. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land. Deluxe gatefold jacket with peeling banana and "Chelsea Girls" bonus track on B5
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ABERRANT 007LP
|
2025 restock. An amazing showcase of disco, electro, funk, and more from the USSR 1979-1990. A mind-blowing introduction to the obscure world of soviet dance music. 12 tracks of pure soviet disco fever. Alright, put on your dancing shoes and get ready for a weird trip to the dancefloor, to a time when the Soviet Union -- still alive and under the flag of the hammer and sickle -- managed to produce some wonderfully odd and hypnotic disco hits, mutant funk smashers and electro hip breakers. Coming from all over the huge landscape that the USSR was, the artists on this killer compilation showcase a variety of visions on the subject of shaking the ass that will surprise even the most cynical connoisseur of the genre. Features Mirdza Zivere, Оригинал, Anzhelina Petrosova / Анжелина Петросова, Pervouralsk / Первоуральск, Güljan Hümmedowa / Гүльджан Хүммедова, Roza Rymbaeva / Роза Рымбаева, Махфират Ҳамрақулова & Гульшан, Janina Misčiukaitė, Verasy, Formula Dreyka / Формула Дрейка, Eolika, and Raduga / Радуга.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 036LP
|
2026 restock. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 085LP
|
2025 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
3LP
|
|
LPS PS019LP
|
Triple LP version. The legacy of wipE′out″ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn't just revolutionize the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground. Decades later, the game's impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out″'s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack. This is why Lapsus decided to go deeper into the slipstream and build the second volume you're now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn't fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga -- wipE′out″ HD and wipE′out″ Pure -- plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise. Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE's pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum and bass vanguard. Expect the DNA you remember -- accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft's hull, and at times even echoes of classic hardstyle -- now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. For the faithful -- crate-digging ravers, speed-run obsessives, and design nerds -- this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out″ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 105LP
|
LP version. Wewantsounds presents the release of Akiko Yano's cult 1979 album 7 O'Clock in Tokyo, recorded live in September 1978 at a pivotal moment in Japanese music history, just as Yellow Magic Orchestra was about to take the world by storm (Yano would tour the world with the group in 1979). Featuring a very funky Yano performance accompanied by Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi, plus Tatsuro Yamashita and Minako Yoshida, the album is presented outside Japan for the first time, with remastered audio, original artwork, and a four-page insert including new liner notes by Paul Bowler. Akiko Yano holds a unique place in Japan's musical history. Emerging in the mid-'70s while still in her early 20s, she quickly gained attention for her inventive songwriting, versatile singing, playful melodies, and genre-blending mix of pop, jazz, funk, and experimental sounds. Her influence has since reached far beyond Japan, earning her a devoted international following that includes Mac DeMarco, Clairo, and Jessy Lanza. By the late '70s, she had become closely connected with the members of Yellow Magic Orchestra, joining them on their first international tour in 1979. 7 O'Clock in Tokyo, captured live in September 1978, features Yano with a band including the three musicians performing a concert to support her third studio album, To-Ki-Me-Ki, just as YMO was preparing to take the world stage with their debut album. This performance offers a compelling snapshot of a pivotal moment in Japanese pop, when musical boundaries were being explored and new sounds were emerging. The concert highlights Yano's distinctive blend of Japanese pop and funk, with a superb rendition of "To-Ki-Me-Ki's" title track and "Katarun Kararan" from the same album, plus "Satchan," a playful piece performed with Yano accompanying herself on acoustic piano. The album closes with "Walk on the Way of Life," an eight-minute funky finale that brings the musicians together in a groovy performance, underlining both their versatility and the energy of the show.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP+CD
|
|
LR 340LP
|
2025 repress. Originally released in 1969, this album is one of the most significant in Brazilian musical history, spearheading the musical Tropicalia revolution lead by Brazilian legends Caetano Veloso and Gilberto Gil, not to mention Gal Costa and mutant rockers Os Mutantes. Not only were the artists experimenting with the music, they were also making a very strong political statement that spoke out very harshly against the military regime in Brazil at the time. This album helped land Veloso and Gil a brief stint in jail and eventually in political exile in the UK. Includes bonus CD of the album.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 3995LP
|
2025 restock of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
AA 8802LP
|
2026 restock. All tracks are exclusive to this release (not a compilation of material from the albums on the cover). Tracks: "Ghetto Version," "Ya Man Version," "Tubby's Version," "Pain Dub," "Cowboy Dubbing," "D'Rude Dubber," "Moving Version Dub," "Hardest Dub," "This Ah The Best," "King Edwards Dub," "Maria's Head Dub," "Homing Version," "Bless 'I' Dub" and "Crabbit Version."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 160LP
|
2025 repress; LP version. Includes "Todo en La Vida", the track featured in the Netflix Narcos series, "an ode to patience propelled by a yearning riff that wouldn't have been out of place in a Gainsbourg perv-jam").
The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medellín which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medellín. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogotá, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 325LP
|
2026 repress! This compilation brings together for the first time the best songs by Los Zheros, one of the most renowned cumbia bands to emerge in the early 1970s in Iquitos -- alongside groups like Los Rogers and Los Wemblers -- in the heart of Peru's Amazon capital. The unique Amazonian sound blended fast, percussive cumbia rhythms with electric guitars in a surf style -- a distinctive fusion that came to define Peruvian-recorded cumbia, markedly different from the traditional cumbia styles that developed in other cumbia-producing countries like Colombia. The album includes their psychedelic rock hit "Cuarto Oscuro," a highly sought-after track not only by cumbia collectors but also by garage and psychedelic DJs. This song also marked the beginning of their recording career in 1973. This compilation is a joint release with the Peruvian label Rey Record and comes with an insert featuring never- before-seen photos of the band, as well as liner notes by genre expert Víctor Zela (the mind behind the prestigious project La Cumbia de mis Viejos).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
EPR 082LP
|
LP version. Something is brewing in the state of Norway! Kronstad 23 are the latest trailblazers from northern Scandinavia: a creative force exploring the boundaries of musical genres, including but not limited to: psych rock, jazz, post-rock and Scandinavian folk music. The group of young players follows the footsteps of Motorpsycho, Elephant9 and El Paraiso's own Lotus, Fra Det Onde and Kanaan, carving out their path through the musical landscape in seemingly effortless ways! One minute you're floating on cosmic Pharoah Sanders waters, the next you're ascending on electrified if-Tortoise-played-Allman Brothers-style jamming. The band describes their approach as: "Sommermørket is an escape from inhumane technology and politics in search of something that feels authentic. The music breathes in the little that is left of old air and rises slowly into the hazy summer twilight like brittle thoughts that try to connect and fade away." Kronstad 23 was formed in Kronstad, Bergen, Norway in the Autumn of 2023. As old friends and musical collaborators, they rekindled a creative spark that had been dormant for over 10 years. Rarely rehearsed and often caught on first take, Sommermørket was recorded live on tape in the studio of Keyboardist Øyvind Vie Berg in Bergen, Norway. The record captures three sessions across one year, from spring and late summer in 2024 to winter of 2025.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 119LP
|
2025 restock; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GR 039LP
|
Pablo Yglesias -- AKA DJ Bongohea -- compiles for Grosso Recordings an amazing series with classic tunes from Caribbean music that became great successes of "Salsa." Featuring Arsenio Rodríguez Y Su Conjunto, Orquesta Cosmopolita, Tito Puente Y Su Conjunto, Orquesta América del '55, Conjunto Jóvenes Del Cayo, Tito Rodríguez and His Orchestra, Cheo Marquetti Y Su Conjunto, Arsenio Rodríguez Y Su Conjunto, Silvestre Méndez, Conjunto Casino, La Gloria Matancera, Beny Moré Y Su Orquesta, Estrellas De Chocolate, and Chappottín Y Sus Estrellas.
"This is the fourth volume in our series on the Roots of Salsa. The main criterion was to pick tracks that sounded adequate for today's DJs to play at a gig or were sufficiently interesting (or enough of a surprise to fans of the later version) to merit inclusion. The other measuring stick was that they needed to come from the old-school, before the more modern era (from 1962 on) and all of its recording innovations and marketing strategies. For now, listen to these dozen gems and then go back to their more familiar cousins from recent times and compare and contrast, and we're sure you'll be enlightened and entertained." --Pablo E. Yglesias, aka DJBongohead
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BORNBAD 187LP
|
LP version. The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz! Includes 6-page booklet with liner notes. Featuring Robert Pico, Annie Girardot, Spauv Georges, Zoé, Jacques Da Sylva, Valentin, Jacques Malia, Bernard Jamet, Jean-Pierre Lebrot, Les Concentrés, Les Missiles, Hegessipe, Marechalement Votre, Mamlouk, Mosaïque, Jean-Marc Garrigues, and Penuel.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 340LP
|
During the sixties, especially the second half, Bobby Marín was an up-and-coming young Nuyorican who was responsible, along with his brother Richard, for producing, writing, or coordinating recordings by Louie Ramírez, Machito, The Nitty Gritty, Willie Rosario, Joe Cuba, Johnny Zamot, Kako, and Azuquita, Charlie Palmieri, and others. Many of these artists were caught up in the ongoing boogaloo movement. So, it was not a surprise when Ismael Maisonave -- an unsung hero of Latin music and owner of Mary Lou Records -- approached Bobby with the idea of reissuing a Raphie Martínez album as a budget LP under a different name, resulting in La Cucaracha Brass. The songs selected for this compilation represent a point in time when the world was getting ready for an incipient monster called salsa, which would take over for years to come. The LP includes descargas, guaguancós, guarachas, as well as the declining boogaloo. It is a collection of recordings by different artists and was named Cucaracha Brass because at that time the group Tijuana Brass was very popular. Most of the songs were taken (six out of eight, presumably) from the Raphie Martínez and the National Combo LP Cool Man (Mary Lou 1002). However, there are noticeable differences between the two albums. "Latin Power" is an explosive instrumental guaracha and descarga, where the trumpet, congas, and timbales deliver powerful solos. "Takin' Over" -- an instrumental boogaloo -- appears as "We Are Taking Over" on Raphie Martínez's album (with a faster tempo and featuring a background voice). "Hey Mama," a boogaloo sung by Bobby Marín, is titled "Do It All Over" on Martínez's recording, featuring a different singer, different lyrics, and a different tempo. As well as the edited versions of tracks taken from Martínez's album, this album comprises songs taken from other Mary Lou Records releases such as Quique Rosa y La Sabrosa Orchestra (Mary Lou 1020).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FARO 253LP
|
LP version. Blue Note/Schema/Far Out Recordings artist shares a new compilation of golden age Italian library music. Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79. The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries. Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals -- making them virtually invisible to the general public for decades. At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies. The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco -- meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HHR 005LP
|
"By the time Jackie Mittoo released this outstanding album (his fourth), he had already gained a big reputation in the early days of reggae, ska and rocksteady for his contributions to the Studio One catalog and his work with the Skatalites. With his beloved Hammond organ, endless talent and a bag on influences that included Jamaican sounds, soul and funk, Mittoo created a cool, moving, warm and groovy sound that would explode in his amazing dance songs and has gained cult status among followers of Jamaican music, soul and funk lovers. A great collection of reggae-soul instrumentals by one of the most talented figures of the genre."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MTE 083LP
|
Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS). After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo's #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside. One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band's more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams' love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow. Speaking to the history & the inspirations behind the album, Abrams offers: "We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school." Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon." The core NIS ensemble heard on Perseverance Flow always address Abrams' writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams' invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time. Refracting the band's signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once -- "energetically nutritious" (October 2025 Issue 500 The Wire) supernatural information society.
"Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears" (Abrams).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 336LP
|
Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, Onda Esotérica. Recorded at New Orleans' Marigny Studios, the album deepens their signature psychedelic cumbia amazónica sound with exotic textures, vintage organ swells, and inventive reinterpretations of classics such as "Cumbia Arabe." As KUTX puts it, "Listening to Money Chicha feels a bit like taking a hit of acid, downing a couple shots of Tequila, and hopping a plane to 1960s Peru -- it's the kind of music that rewires your brain, awakens your spirit animal, and takes you places you've never been." Add in some South Texas swagger and bruising Latin funk, and Onda Esotérica emerges as the band's most adventurous and transportive work to date -- a kaleidoscopic journey equal parts ritual and revelation.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
PIC. DISC
|
|
LR 114LP
|
2025 repress; 2006 release. R.I.P. Ace Frehley. Considered the best of the four solo albums that Kiss released simultaneously in 1978, Ace Frehley does not stray far from Kiss's trademark heavy sound. With future David Letterman band members drummer Anton Fig and bassist Will Lee backing him up, Frehley shows that he is more than a songwriting match for bandmates Simmons and Stanley. In fact, the album yielded a Top 20 hit in "New York Groove."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
Book
|
|
9780997285062
|
Restocked, new lower pricing. Ecstatic Peace Library announce Linger On by Velvets-obsessed music journalist Ignacio Julià. This sumptuous new volume features interviews with Lou Reed, John Cale, Moe Tucker, Doug Yule, Nico, and the most in-depth interviews ever granted by Sterling Morrison, as well as never-before-published photographs by James Hamilton. The author of Linger On is an internationally respected and trusted Velvet Underground chronicler; he is the Barcelona-based rock n' roll editor Ignacio Julià, who also published books in Spanish and English on American post-punk band Sonic Youth. When members of The Velvet Underground toured in Spain Ruta 66 journalist Ignacio Julià was usually among their entourage, front row center at curtain call, backstage after the gig, in attendance of afterparties and sometimes discovered in the band's hotel rooms until lobby call. Since 1985, Ignacio Julià has obsessively followed the band's career, interviewing and wining and dining the members over the years, and publishing countless articles, intimate profiles and books in Spanish and English on The Velvet Underground. He is known among international Velvets fan clubs as one of the most dedicated chroniclers and archivists of studio bootlegs, live concert recordings, writings, and poetry to the extent that even the band's own members refer to his knowledge for fact-checking purposes. 11.7 x 8.27 inches; Portrait; 244 pages + PPC.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ST 2580LP
|
2025 limited restock. "Smile (sometimes stylized as SMiLE) is the unfinished album by the Beach Boys intended to follow their 1966 album Pet Sounds. the project came to be regarded as the most legendary unreleased album in popular music history. The album was produced and almost entirely composed by Brian Wilson with Van Dyke Parks, both of whom conceived the project as a 'teenage symphony to God' It was a concept album that was planned to feature word paintings, tape manipulation, experiments with musical acoustics, themes of youth and innocence, and comedic interludes, with influences drawn from mysticism, pre-rock and roll pop, doo-wop, jazz, ragtime, musique concrète, classical, American history, poetry, spirituality, and cartoons. A mythology grew around the project, and its unfulfilled potential inspired many, especially those in indie rock, post-punk, electronic, and chamber pop genres."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BB 493LP
|
LP version. So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
KOM 503LP
|
LP version. For the 26th time, the most consistent of all ambient compilations, in a constant flux of static change, is released on Kompakt. Joining good friends from the early days and reliable confidants are some new additions to the non-hierarchical charts of contemplative rapture culture. Leading the way is Micå, a Japanese electronic musician whose chiseled, graceful musical style has made it onto the new collection with two pieces. Also making his debut is Richard Ojijo, a seasoned sound engineer known, among other things, for his long-standing collaboration with the artist Marcel Odenbach and the Cologne-based label Magazine. Oskø aka Max Hytrek, a multi-talented newcomer to Kompakt and the music scene, debuts with his rapturously ecstatic piece "Ar Vag." He's followed by Sebastian Mullaert, appearing for the second time -- this time teamed up with Sebastian Lilja aka Hush Forever. After his surprise return after a 20 year hiatus, Kompakt are delighted that Tetsuo Sakae aka Pass Into Silence is back again this year with one of his distinctive sound gems. As are Dirk Leyers (Closer Musik) and Mikkel Metal. "Erlösung" (Redemption) is the title of Segensklang's closing track. A kind of ambient bolero into infinity. Or at least until next year... And what would Pop Ambient be without the iconic, artistic cover design of Veronika Unland, who once again, in her unmistakable way, says through the digital flower: The eye always listens. Also featuring Ümit Han, Würden & Schäfer, Luis Reich, Morgen Wurde, Tetsuroh Konishi, Thore Pfeiffer/Niko Tzoukmanis, Joachim Spieth, and Blank Gloss.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ICTUSRE 009LP
|
Live in Padova 1977, unreleased. This album is a historical document in several respects: echo of a creative season in its early, vigorous blossoming. It serves as a testament to the initial opening of the emerging Italian free music scene to Northern European experiences, which had already been in communication for years. The collaboration between Evan Parker and Andrea Centazzo had begun a few months before this concert held in Padova on December 12, 1977. In July, Parker came to Italy, specifically to Tuscany, for a series of concerts, including a duo performance with Derek Bailey in Pisa. Then he joined Centazzo, who had organized a seminar with him (likely the first of its kind in Italy) in San Marcello Pistoiese. At that time, Centazzo lived and worked in the countryside between Pistoia and Montecatini. On that occasion, Centazzo recalls recording studio material, which, along with material collected during the concert in San Marcello, became the album Duets 71977 (2016). Shortly after, the duo temporarily expanded into a trio with Alvin Curran, who recorded Real Time (ICTUSRE 010LP). By then, the Centro d'Arte had existed for more than thirty years as an association connected to the University, presenting seasons with a very open and research-oriented profile. In 1973, the Centro d'Arte started an autonomous jazz series, favoring contemporary and avant-garde artists such as the Art Ensemble of Chicago, Sam Rivers, Anthony Braxton, and musicians from the emerging European free jazz scene. The Centazzo/Parker duo was indeed one of the most experimental episodes presented by the Centro d'Arte in those years. The musical material heard on this album does not correspond to the entire concert but is a selection that emphasizes some particularly intense long sequences. It is worth remembering that about twenty minutes into the actual concert, some voices from the audience began to howl and even mock what they were listening to. Parker expressed his irritation through the music, but also with words in which he ironically described himself as a gladiator in the arena. In this portion of the concert, which is not included in the album, spoiled as it is by annoying distortions, you can hear him addressing the audience: "Bring back bullfighting, Bring back bullfighting... whoa... Bullfighting on ice!" and later shouting, "Bring on the lions!" In 2000, Stefano Bassanese converted the tape into a digital file (44100 Hz/16 bit) in his home studio. This forms the basis of the current restoration process, conducted at Outside Inside Studio by Matt Bordin, who is also responsible for editing and mastering.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ICTUSRE 010LP
|
Real Time is an extraordinary example of interaction between musicians coming from different worlds of new music. "I had the chance to perform with those two great musicians on other occasions: in duo with Alvin Curran and in duo, trio and sextet with Evan Parker. Alvin came from the American school, full of minimalist references, melodic structures and open to all kinds of contamination. Evan had left jazz to accomplish his own instrumental language, aiming at total improvisation. The idea of getting them to put together a trio that would perform several concerts and recording was one of the most exciting moments of my career. Our three languages found a common ground of expression where different musical backgrounds came together and created a unique blend for that period of time." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live in concert Rome, Italy December 13, 1977. Engineer: Nicola Bernardini. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
OUTS 047LP
|
Milton Nascimento's immaculate melodies and harmonies resound in full tone and color throughout this magnificent 1980 TV performance. A marvelous set of songs performed with masterful sensitivity by Nascimento on vocals and acoustic guitar along with one of his historical partners, the great pianist, arranger Wagner Tiso on piano and organ.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ICTUSRE 011LP
|
"It was a magical evening. Not only did the trio burst with a creative energy that was homogeneous and interactive, but the acoustics, usually inadequate, of the half-empty sports pavilion with a capacity of 10,000 people, gave the music an ethereal transparency and crystalline purity that the recording captured in all its singular beauty." --Andrea Centazzo Andrea Centazzo: percussion, percussion synthesizer; Alvin Curran: synthesizer, piano, trumpet; Evan Parker: soprano & tenor saxophones. Recorded live at Teatro Comunale, Pistoia, Italy December 14, 1977 by Carla Lugli. Remastered from the original tapes by Matt Bordin at Outside Inside Studio.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MR 491LP
|
European edition with exclusive Ed Colver photo-poster, width 60 cm x height 30 cm. Few records from the American punk underground have echoed as far and wide -- or as enduringly -- as the Adolescents' self-titled debut, first released by Frontier Records in 1981. Known to fans simply as "The Blue Album," this landmark release captured the raw pulse of Southern California's teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk's first wave. Formed in Fullerton, California, Adolescents brought together members of earlier OC punk outfits like Social Distortion and Agent Orange, fusing their varied influences into something uniquely their own. With songs like "Amoeba," "Kids of the Black Hole," and "No Way," the album offered more than just speed and volume -- it spoke directly to suburban alienation, youthful frustration, and the search for identity in a world that felt increasingly hostile and conformist. This new edition offers longtime listeners and new fans alike a chance to revisit -- or discover -- an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, Adolescents remains a vital listen, as relevant today as it was over four decades ago. It's an album that didn't just reflect its moment -- it shaped what punk could be: loud, smart, emotional, and unflinchingly real. Reissued with care and respect for its original spirit, "The Blue Album" stands not only as a milestone in punk history, but as a testament to the enduring power of youth in revolt.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 114LP
|
2025 repress. 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.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VAMPI 295LP
|
2025 repress. The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighborhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. Power-Fuerza is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers' Power-Fuerza, one of the best Latin funk albums ever recorded.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VOMIT 003LP
|
"Hard to believe a record like this didn't exist until now: a compilation of the classic first five 7"s (recorded between 1979 and 1982) of none other than the king of scum punk, the infamous GG Allin. Starting with the two 7"s recorded with The Jabbers, and continuing with the amazing triad of 'Gimme Some Head,' 'No Rules' and 'Public Animal N§.1,' this record is filled to the rims with nihilistic, hate fueled and surprisingly catchy punk rock hits. Includes a fold out poster."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GB 181LP
|
LP version. On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. As Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures and beats. As with their breakthrough album Mount Matsu (GB 147CD, 2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified -- Yatta! lifting it to an ecstatic next level. The result? An album that reveals a band whose groove just keeps getting deeper. Certainly, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing. From the beginning, YĪN YĪN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving -- an impulse that reaches its peak on Yatta! One major influence is the sound of Italo Disco -- the spacey brand of disco music that arose in Italy in the late 1970s. "It has something of a mystique," says Berkers. "All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created." Across the album, YĪN YĪN specialize in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination. If there's a general direction of travel in YĪN YĪN's expeditions, it's towards the east, with Asian influences coming through loud and clear. It's a fascination that has suffused YĪN YĪN's sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic '60s and '70s guitar music from Southeast Asia. Adopting Eastern tunings has imparted an unusual feel to YĪN YĪN's music and challenged them as songwriters, and Yatta! is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ATA 020LP
|
The spirit of KPM, DeWolfe, and I Marc 4 distilled in a lockup garage in Leeds. The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express (Theme From The Watcher). Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series: The Library Archive. Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the '60s & '70s, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound. The fierce Brass of "Whack, Slap & Blow" and "Kaye Okay" could both be a Keith Mansfield cut, acting as a theme tune to a glamorous Saturday night TV show circa 1972. "Duck Strut" is a cheeky slice of bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. "The Needle Nose," "Midnight Heist" and "Wiretap" are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. "Wigged Out" channels the wonky organ weirdness of Italian library legends I Marc 4 while "Nuclear Wind I & II" use Moog and Mellotron as electronic counterpoint to ethereal voices. "Siren's Sea's" acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer "Planet Nine" traverses the cosmos.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BJR 115LP
|
In the heart of 1990s Morocco, Cheb Nacer brought a new breeze to the popular music scene. Born in Oujda, he grew up surrounded by raï, staïfi and chaâbi before moving to Casablanca, where he blended these roots with the electronic sounds filling cabarets and clubs. Inspired by the international clips broadcast on 2M and RTM, he reimagined European hits in darija, creating a hybrid, dance-driven sound. "Olé Olé Olé" became a national hit, carried by bright synths and playful energy -- far from the sentimental pop dominating the airwaves. Between 1993 and 2006, he released a string of tapes, shows and hits, defining his unique style: spontaneous, raw and festive techno-raï born in studios, living rooms and wedding halls. Cheb Nacer embodied an era when the lines between cabaret and club blurred, when music circulated freely and reinvented itself without rules. Decades later, his songs still echo as the soundtrack of a generation tuned into global waves -- free, curious, and proud to dance their own way.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
NOTON 051LP
|
2025 repress; double LP version. Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with summvs in 2011, NOTON reissues all the five albums between June and October 2022. With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002), Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo has explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered. Remastered in collaboration with Calyx Mastering, the recordings are made available under the title Remaster, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.
|
|