LP version. Gatefold sleeve with OBI. Wewantsounds present a first time reissue of Sunrise From West Sea, Stomu Yamash'ta's cult LP originally released in 1971. A deep, cosmic, at time ambient performance recorded live and featuring two other Japanese legends: Takehisa Kosugi from the Taj-Mahal Travellers and jazz pianist Masahiko Satoh. The line-up also included Hideakira Sakurai on electric shamisen. Stomu Yamash'ta has been hailed as one of the best percussionists in the world by John Cage. Yamash'ta and Satoh recorded the landmark album Metempsychosis for Nippon Columbia in 1971. 1971 was also the year Yamash'ta released his highly-acclaimed Red Buddha solo album which was released in Europe and in the US. Inspired by the Metempsychosis experience Yamash'ta set to recreate the flowing energy of the album in a live setting with a smaller line-up. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, just a few days after the end of the Red Buddha recording sessions, the all-night concert was recorded in front of an invite-only audience consisting of friends and musicians. Yamash'ta enrolled Satoh on keyboards together Taj Mahal Travellers leader Takehisa Kosugi, whom he'd met through his mentor, Japanese composer Toru Takemitsu. Hideakira Sakurai on electric shamisen was also added the lineup. Edited down to fit two sides of an album that will become Sunrise From West Sea, the performance is both hypnotic and ethereal. It starts with Kosugi's distinctive electric violin and develops into a deep, spiritual free form conversation between the four musicians, giving them all the space they need to freely improvise and interact with each other, mixing electronics, percussion, electric organ, and shamizen without ever clashing. The interaction alternates between quiet, tranquil Eastern meditations and more paced parts, fuelled by Yamash'ta's extraordinary percussion playing. Later known for his involvement in soundtracks for Robert Altman's 1972 film Images -- collaborating with John Williams -- and Nic Roeg's 1976 classic The Man Who Fell To Earth, and also for his foray into fusion with his group Go, Yamash'ta never reached the creativity heard in Sunrise From West Sea again. The album was recorded during one of the most fertile periods in Japan where such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz musicians like Masahiko Satoh and Yamash'ta were revolutionizing the Japanese music scene. Includes new introduction by Paul Bowler. Remastered from the master tapes.

The psychedelic French garage duo The Limiñanas and German-French music composer and sound engineer David Menke wrote two original soundtracks together for documentaries. The Ballad Of Linda L for the Arte eponymous documentary about the life of Linda Lovelace. And The Devil Inside Me for the Netflix series Monsters Inside: The 24 Faces Of Billy Milligan. 100% new music, fuzz guitars, and garage rock. This release collects the two OSTs. Gatefold sleeve.

After three albums based purely on synthesizers, the Danish duo Videodrones take a leap by adding live drums and guitars to their latest album. A natural step, considering that Jakob Skøtt, one half of the duo, spends his time drumming in Causa Sui, as well as a slew of jazz-infused projects on El Paraiso Records. All basic tracks were recorded in an improv session at Jonas Munk's studio in Odense, capturing both synths and drums live. The expansion of drums adds a natural '70s groove, maintaining a spontaneous vibe that also soaks into the analog synths of modular wizard Kristoffer Ovesen. The improvised sessions were later honed, edited, and layered, bringing forth the best of both spontaneous ideas, as well a multi-dimensional approach bringing a new depth to Videodrones' extensive cinematic undercurrent of sounds. With the addition of echo and reverb drenched guitars, the duo is tapping into sounds in new realms yet strangely familiar. After The Fall may conceptually nod it's head towards a gloomy state of affairs, but akin to the Italian post-apocalyptic movies of the '80s, doomsday never felt this heady and funky before.

"No shortage of dune buggy up the canyon honey slide action here. The first tinges of sonic solvent action provide a loosened effect, but just as the tongue gets lazy, the swagger is spat gently from the tip as clarity bursts into the room with the urgency a hungry baby. Delicate without feeling soft. Brash without feeling harsh and at times Dimples swing fucking hard, like JJ and Leon without forcing it one bit. But if you don't like 'new music' this might not be your cuppa. Soul Chateau, isn't an updated prettied up throwback, it's all here and now, in the present time's glory, gore, majestic beauty, and glimmering perpetual urgency. Co-written, equally played, produced, and recorded by Greg Hartunian and Colby Nathan, Dimples is a truly collaborative project. After much of the album was tracked, Greg was involved in a near fatal car accident, rear ended in the right lane on California's treacherous Highway 5. This left Greg, normally an extremely active worker, in a back brace, and in chronic pain. A majority of the song sculpting was done while Greg was recovering. References to mortality, albeit not heavy handed, join the album's themes. Trialed seeds of brotherly music making; communion, collaboration and dedication. Forms of renewal through sonic therapy. Extracting the nuggets from their extended duo jams, Dimples shape these improvisations into luminous, hooky psychedelic electro camp fire sing-alongs, with the occasional guest spot from New England familiar shredders like Big Blood, Tom Kovacevic, and Keith Waters. "There's no waste, only composition. There's no time, only transition." Melding the dry Mediterranean subtropical climate of Glendale, California with the humid and sometimes frigid Continental climate of Maine, Greg, and Colby work the magic, whether it's in the Tropico Beauty studio of the San Fernando Valley, or South Portland's Laughable Recordings home studio. Topping off the listening experience is the incredible album artwork featuring a series of oil paintings by Salvador Charlí, Hartunian's alter ego with a paintbrush. The paintings depict the colorful and surreal inner workings of the world where the Soul Chateau stands tall on the hill. Through the spontaneity of improv and the deliberate and dedicated practice of song writing, what results is a diverse bouquet of carefully gathered fragrant blooms." --Dan Beckman-Moon, 2022

On Epiphanies, the first-ever "concept-compilation" to be released by Hallow Ground, artists such as Maria W Horn, FUJI||||||||||TA, Lawrence English, Siavash Amini, and Norman Westberg, who all have previously released music on the Swiss label, were commissioned to pursue a non-rational creative process in approaching the phenomenon of epiphany through sound. In very different ways, all of the compositions on the compilation draw on the unique emotional powers of certain acoustic instruments, obfuscating the borders between physicality and abstraction. The results, whether long-form, short vignettes, profane and concrete sounds, or spiritual and abstract pieces, perfectly encapsulate what Hallow Ground as a label has stood for since its inception in the year 2013: challenging not only conventional notions of what music is supposed to sound like but also the listeners' perception through the power of sound. On Epiphanies, Hallow Ground also welcomes artists including Magda Drozd, Akira Sileas, and Valentina Magaletti to make their first ever contributions to the label. For those who greet this compilation with open ears and minds, these 81 minutes will deliver on its title. Also features Remo Seeland (with Laya Ensemble), A Frei, Amosphère, Samuel Savenberg, Laurin Huber, Miki Yui, Reinier van Houdt, and Martina Lussi. White vinyl; gatefold cover; silver stamped, spotgloss-printed.

"Magma has been one of France's most influential bands since their founding in 1969. They released their fifth studio album Kohntarkosz in 1974, which set them off in a completely new musical direction. The band used a more restrained approach, which resulted in every hit seeming to weight twenty tons by contrast. The result is a mysterious atmosphere which holds the listener in awe. For this recording, and in particular the track 'Coltrane Sundia', the band used John Coltrane as the main inspiration, creating a vibrant tribute. Kohntarkosz is housed in a gatefold sleeve and is available as a limited edition of 2000 individually numbered copies on yellow & red marbled vinyl."

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. In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S.

It's been a long way. All seems to blend naturally with A Long Way, the debut album from Parisian duo Jacques Bon & Drux. Jacques is a long-term friend, who was running the Paris branch of the Smallville record store for 13 years (2006-2019). He made himself a name also outside of Paris as a DJ and with music released on Giegling, Kann, Mule Musiq, and of course Smallville. Jacques shares his studio in Paris with Vincent Drux, a producer and sound engineer, who recently started his own imprint Cabale Records. Both got together naturally in the studio for hour-long sessions to craft an album together. House music at its most meticulous form. First, as a short form, in which every track captures another time zone of the dancefloor experience. And then as longform, as a whole album with a narrative that combines futuristic aesthetics, classic ethos, and human warmth. From the rolling percussion and windy-city style bassline of opener "Distant Voices", with its cut yet longing distant voices, through deepy, dubby, and raw "Celeste", the haunting synths of "Mirage"; The snares that arrive mid through "Space Ways" and launch into another level; The techy vibe ride of "Radiance"; The late night chords and peak time beat programming of "Your Wings"; And then final couple stick the landing with enough energy, deepness and beauty - "Elevate", which channels Bon and Drux's inner Fred P, and "Sandstorm", a mastery percussive tale with a long, repetitive chord that opens and closes, teases until it disappears and remains nothing but a whispery dying effect.

Delayed... First-ever official biography of Swell Maps, Swell Maps 1972-1980 penned by band member and co-founder Jowe Head. Swell Maps were formed in Jowe's home town of Solihull, England with various school friends in 1972.The group, also featuring the late Nikki Sudden and Nikki's brother, the late Epic Soundtracks, along with Phones Sportsman, John Cockrill, and Richard Earl emerged in the late 1970s, and are now known as legendary pioneers of what is now referred to as "alternative rock" or "post-punk" with their blend of punk rock mixed with experimental and psychedelic sounds. Together they released four 7" singles, the first in 1977 on their own Rather Records and two critically acclaimed albums in a brief but dramatic career, that led to them topping the UK independent charts, and influencing bands such as Sonic Youth, Nirvana, and Blur. After Swell Maps broke up in 1980, Jowe joined the Television Personalities. Ten years with the TVPs saw Jowe making more influential records, touring Europe regularly, and playing in Japan and the USA. Today he still regularly releases recordings, solo and with multiple groups, and is the steward of the Swell Maps legacy. In this 155-page biography of the band, Jowe takes us to each members' formative years and reveals what made them experiment with challenging music and eventually come together to form Swell Maps. Through his own recollections and utilizing interviews with former members, he explores the early days of the band, and details stories that bring the reader into the inner workings of the band as they traveled through the late '70s cultural scene in Europe. The last section of the book updates the whereabouts of all the key players. The book includes dozens of full-color images of band memorabilia from the author's personal collection, including photos, posters, flyers, artwork, original lyrics, and more. Contains 7" with six exclusive never-before-released tracks culled from the band and solo member archives. Packed with full color photos and images of posters, flyers, album art, and other assorted band ephemera. Detailed appendix contains a discography, notes on selected songs, concert dates, and set lists among other items. Full-color 152-page hardcover book, approximately 297mm x 210mm; edition of 1000.

"The first Swell Maps single I bought still to this day gives me a soul scorched buzz'n'rush... The Swell Maps had a lot to do with my upbringing." --Thurston Moore

"Jowe Head spent time in two of the UK's coolest underground bands: Swell Maps and Television Personalities... a lovably skewed indie-pop tunesmith." --Time Out New York

"On the cover: Reynols. As one of the most singular groups in all of rock release their first western album in two decades, following drummer Miguel Tomasin's Henry Viscardi Award for achievement in the disability community, the Argentinian trio talk to Emily Pothast about their mission to include all sounds, experiences and abilities in their kaleidoscopic vision. Plus, inside the issue: the Global Ear section features reports from the musical undergrounds in Ukraine and Russia; UK dubmaster Dennis Bovell contributes the Inner Sleeve column; Phil Freeman meets freewheeling Brazilian saxophonist Ivo Perelman, and much more."

Marcia Bassett on the release: "Past and present assimilated by the human mind invoke the invisible. A memory of standing at the edge of Brunnsviken as leaves the color of gold fall through my frame of focus. A season in transition set against a darkening sky, the rise and fall of repetitions stretch through and between time. I recorded Midnight Xpander at the EMS studios in Stockholm Sweden in late October, 2019. Further assembling and mixing took place during the very unsettling year of 2020. Working from my home studio, intuitive exploration drew abstractions and hallucinatory fueled celestial interactions. The Night-blooming Cereus, Queen of the night, blooms, departing as the sun rises at dawn. Variations of sensitive progression punctuated by delicate bells and field recordings meld into the Buchla-heavy thickness weaving a cyclical backdrop of a mechanical churning, programmable and manipulated by patches, connecting one point to the other. Jagged lines, explosive sound gestures, scraping, and resonance of open-faced piano strings brought to life by the Piezothing set against a dense buzzing drone open side two. Exploration variables both manipulated and discovered in real-time performance, cross over, an X, the light refractions between sky and water, myself in change, the changing season, a private world, continually revealed in contemporary restlessness." Full color jacket; hand embellished and numbered edition; edition of 200.

2022 repress on black vinyl. One of the most innovative artists working in contemporary Brazilian music, Kiko Dinucci offers an explosive take on 21st century Brazil, absorbing the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell -- yet filters it through his uniquely "punk" musical vision. His style is raw -- technically, he attacks the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries and candomblé. For fans of: Metá Metá, Juçara Marçal, Jeff Parker, Itamar Assumpação, M. Takara. Features Ava Rocha, OGI, and Juçara Marçal.

"Folk music textures with a chunky, percussive playing style that recalls Kiko's experience in the city's punk scene... vivid playing, with rhythmic, resonant thrums." --Pitchfork

"My alternative album of the week... outstanding from start to finish." --Gilles Peterson

Unexpected restock of this long-gone clear, 180 gram vinyl version; Last copies in the word. Edition of 500. Something Else is the first full-length offering from The Brian Jonestown Massacre in 2018. A self-titled full-length album is to follow in the fall of 2018. This is the 17th full-length release from the band, and the style is less experimental and returns to the traditional sound of the band. Recorded between 2017 and 2018, this nine-track album will please old and new fans alike. In 2017 the band did a brief tour of the US and Mexico City to support the band's 2017 album release, Don't Get Lost (AUK 040CD/LP), a relatively quiet year for the Brian Jonestown Massacre.

White vinyl. Ed Banger Records presents Remedy, Breakbot's new EP. Creators of classic songs such as "Baby I'm Yours", Breakbot & Irfane are back with four new songs. Following "Remedy", the next single is "The Light".

El Palmas Music are back with a third instalment of rare Venezuelan sounds from the '60s and '70s, a wild trip through salsa, boogaloo, garage rock, jazz, and delinquent pop. This fertile musical period has always been the focus of the Color de Trópico series, and continues to be the case on this third instalment, though it should also be noted that the tracks are getting rarer and rarer, indicative of the curatorship of DJ El Palmas and El Drágon Criollo. Color de Trópico Vol. 3 starts with Un, Dos, Tres Y ... Fuera's "Aquella Noche", a song that's fully indicative of Venezuela's coastline with the much-loved group giving a llanero rhythm a fully Afro-Caribbean makeover with pulsating bass and an electric keyboard. It possesses some of that same mid-70s vitality and need to experiment as Grupo Vaquedanus, the band of sax maestro Santiago Baquedano, and their cover of Dave Brubeck's "Take Five", here fashioned as "Toma Cinco" (recorded as Grupo Baquedanu's). Girl group Los Pájaros hit hard with a boogaloo with simple instructions. Pop stars Geminis 5 were at it too with a fuzzy ballad "Tus 16 Años", and Junior Squad injected a bit of San Francisco hippy charm into affairs with their loose adaptation of The Turtles' "She'd Rather Be With Me", retitled as "Siempre Para Ti" and sounding as rough, ready and full of youthful vim as anything made north of Mexico. On the farthest end of the pop spectrum is The Pets with their cult hit "El Entierro de Un Hombre Rico que Murió de Hambre" ("The Burial of a Rich Man Who Died of Starvation"), a true countercultural anthem that even dips into "The Funeral March" for a minute. The salsa ensembles and their big band predecessors are always an important element of any Color de Trópico compilation. On Vol. 3, you find one of the earliest salsa groups in Venezuela, Los Megatones De Lucho, who recorded a pachanga, "Yo Se Que Tu", long before salsa was even a thing. Influenced by Venezuela's very own Los Dementes and Joe Cuba's sextet, Príncipe Y Su Sexteto were one of Venezuela's most prominent salsa ensembles. On their 1969 track "San De Manique" you get a different vibe altogether, it's a creeping son with just vocals, bass, and congas for its opening minute, before really kicking into action with a twisted guitar line and wild percussion, while always retaining a raw, Afro-Latin feel. One of Venezuela's most beloved salseros, Johnny Sede, pipes up with a classic salsa, "Guararé", showing how the style had developed in just a few short years. Also features Los Terrícolas.

Reginald Omas Mamode IV returns with his fourth solo album -- the resolute, soulful, confident, sonically sure Stand Strong, released via Five Easy Pieces. Reginald Omas Mamode IV stands strong in process, sensibility and message; speaking authentically against our collective future and the struggle of the Afro Diaspora people, the enslavement and colonisation of his and many others ancestors. His clear modus operandi focuses on a desire for peace, unity, love and a revised value system to insight a wider societal change. "Music, it's a beautiful, spiritual and powerful thing" says Reginald. "It transcends boundaries and cultures, brings people together, it can instigate the worst and the best in us." Running through Stand Strong are themes encompassing a distaste for humanity's collective responses to the hierarchical systems that the ruling classes have conjured, past abuses and present economic and physical slavery on our and our children's future. Throughout, the overall message remains of hope for a better future. There's a subtlety in delivering these ideas and concepts: Afro Mulatto expressions and inspirations of negro spiritual are articulated with clarity through intuitive instrumentalism, raw drums, natty funk bass, soulful Fender Rhodes, and Creole percussive patterns. "Through this powerful vessel we call music, my hope is to inspire love, unity, and raise a positive consciousness and vibration." Reginald Omas Mamode IV's three previous solo albums received continuing critical success from Mojo ("A brand-new-retro delight"), Mixmag ("Peckham beat brilliance"), Record Collector ("Equal parts D'Angelo to J Dilla"), The Wire ("Soul music turned all the way inward"), DJ Mag ("A masterpiece"), and more. He was nominated for "Album of the Year" at Gilles Peterson's Worldwide Awards 2017. For fans of: J Dilla, Loyle Carner, Wayne Snow, Andrew Ashong, Slum Village, D'Angelo, Erykah Badu, J Electronica.

Heist Recordings welcomes late '80s DMC World DJ Championship contender, techno veteran, and house royalty, Orlando Voorn to the label with his Heist Mastercuts EP. Orlando Voorn is a man who needs little introduction. He's played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hip-hop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as Frequency on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game. The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for this EP. On top of that, he delivers a new track in the form of soulful house bomb "Be With You". "Be With You" starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It's clever sampling and Orlando's soulful touch that make this track tick. Next up is the vinyl only track "Love Feelings" -- originally released in '96 on Urban Sounds of Amsterdam. Think 130+ BPM vintage house grooves with hazy pads and you'll get an idea of what's coming. "Love Feelings" is an up-tempo dreamhouse track that, even though it's almost 25 years old, still ticks all the boxes of a contemporary festival groover. On the B-side you'll find two versions of "Tenderness": the original mix and the "Late Night Dub", both originally released on Clubstitute Records back in '95. The original has a '90s garage groove with male vocal chops, old school house keys and strings. The late-night dub is exactly that: a dreamy ethereal deep house groove with warm synth hits, introverted percussion some very on point sax loops. The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings.

Mad About Records present a first-time reissue of Leo Acosta's Acosta, originally released in 1970. Legendary Mexican psych Latin jazz funk. Leobardo Acosta Quintanar was born in Huetamo, Michoacán in 1925. He was a notable drummer, composer, arranger, and orchestrator. In 1970, he recorded a last LP for Capitol with a small combo formed with some of his closest peers. The sound engineer for these sessions, Rogiero Silva, recalls that it happened in the night time. Leo was always very demanding in his studio hours with all of his musicians and that he did not tolerate mistakes or setbacks, but he was fully relaxed and enjoying this one very much. For this last LP, entitled Acosta but known as El Leon, all the compositions are originals, unlike his previous albums where the labels required him to record at least six songs that were hits on the popularity charts. Deluxe hard-cardboard sleeve; OBI; includes two-page info sheet with Leo Acosta story in English and Spanish by Carlos Tropicaza.

First time worldwide reissue, originally released in 1965. British jazz masterpiece from 1965 featuring Neil Ardley, Ian Carr, Barbara Thompson, and John Hiseman. In the mid-60s London scene, the New Jazz Orchestra was one of those unavoidable big-band groups (originally started as Clive Burrows Orchestra), where almost everyone who was anyone on the scene or almost transited through the group, which was normally the vehicle for composer Neil Ardley. You'll find in the Western Reunion album, among others, stellar names like Ian Carr (of Rendell-Carr Quintet and Nucleus fame), Barb Thompson, Tony Reeves, John Hiseman (all three of future Colosseum fame), Trevor Watts (future Amalgam), plus a bunch more of lesser-known, but no-less gifted musicians like Paul Rutherford, etc. The line-up would fluctuate to include many other household names, The New Jazz Orchestra was formed in December 1963, its name reflecting both the youth of its members -- their average age was only 23 -- and their mission to perform the new kind of orchestral jazz that was then developing in America but still to be heard in Britain. The personnel included such (then) non-jazz instruments as flute, horn and tuba in addition to the standard brass, saxes and rhythm line-up of the big band. This is the NJO's first album, recorded in March 1965 before an invited audience to make the young band feel at ease. The NJO was the offspring of a popular weekend jazz club, the "Jazzhouse" based at the Green Man, Blackheath (demolished to make way for Allison Close) where the "house" band was the Ian Bird Quintet (initially comprising Ian Bird, tenor sax; Clive Burrows, baritone sax; Johnny Mealing, piano; Tony Reeves, bass and Trevor Tomkins, drums -- Mealing and Tomkins left to join the newly formed Rendell-Carr Quintet and were succeeded by Paul Raymond and Jon Hiseman respectively). The ensemble featured many London-based jazz musicians, such as Harry Beckett, Jack Bruce, Ian Carr, Dave Gelly, Michael Gibbs, Dick Heckstall-Smith, Jon Hiseman, Henry Lowther, Don Rendell, Frank Ricotti, Paul Rutherford, Barbara Thompson, Trevor Tomkins, Michael Phillipson, Les Carter, Tom Harris, Trevor Watts, and Lionel Grigson. Ardley, Gibbs, Carter, Rutherford, Michael Garrick, and composer Mike Taylor all contributed pieces and arrangements. Under exclusive license of Universal Music Portugal. 180 gram vinyl.

On Delta Estácio Blues, São-Paulo-based singer, composer and actor, Juçara Marçal delivers an electric, unflinching take on contemporary Brazil where samba, tropicalia and maracatu are reimagined via hip-hop production techniques. Created under an oppressive political climate as Brazil suffered from the pandemic, pain, anguish, chaos and anger run through Delta Estácio Blues. Co-produced by Marçal with fellow Metá Metá founder Kiko Dinucci, the album was partly inspired by Danny Brown's 2017 leftfield rap masterwork Atrocity Exhibition. For fans of: Metá Metá, Moor Mother, Kiko Dinucci, Damon Locks, Neneh Cherry. "Melding industrial 808s with melodic softness, Marçal weaves disparate strands into a playful and powerful whole." --The Guardian

Unissued recordings by this very loud power trio from San Francisco, modeled after Cream, Blue Cheer, or The Jimi Hendrix Experience. Including their fantastic studio demo from 1968 plus raw and wild live tracks from 1969. Boogie (or The Boogie) was probably the first hard-blues/proto-metal group that emerged from the San Francisco scene. This power-trio was formed by Barry "The Bee" Bastian (Canned Heat, Lee Michaels...) on guitar/vocals; John Barrett (The Rhythm Dukes) on bass, and Fuzzy John Oxendine (Roky Erickson & The Aliens, Jerry Miller Band...) on drums. Comrades of Moby Grape (who even let Boogie use their rehearsal space) and the Sons Of Champlin, they played at all the legendary venues (The Ark, Avalon, Fillmore...) sharing stage with bands like Buffalo Springfield, Quicksilver, Ace Of Cups, Flamin' Groovies, or Country Joe & The Fish. Their explosive show at the Sky River Rock Festival (August, 1968, the first outdoor multi-band Rock Festival held in the United States) to an audience of 150,000 people, is still remembered today. Sadly, their convulsed story, which includes undercover narcs and marijuana busts, left them with no record deal. But a studio demo -- recorded in 1968 at Pacific High Recorders -- including three tracks, "In Freak Town", "To Me" and a terrific, fuzzed out seven-minute-long cover of "Wade In The Water", plus some live recordings from 1969, survived. Previously available only as part of a private CD released by Barry Bastian, here's the first ever vinyl release. Hard cardboard sleeve; insert with rare photos and detailed liner notes by San Fran rock historian Bruno Ceriotti; includes download card with the full album plus three bonus tracks. "Arguably the greatest San Francisco's rock n' roll band of the '60s who never released anything" --Bruno Ceriotti.

One of the hidden treasures from Venezuela, Grupo Geyser were pioneers in fusing psychedelic rock with Latin and Afro Cuban rhythms. Here's their first ever vinyl retrospective, including their four singles originally released between 1970-73. Los Geyser aka Grupo Geyser formed in Caracas, Venezuela, in the mid-60s by brothers Publio and Ebenezer García. Initially influenced by the British and American bands of the time, the band experienced different line-ups and they gradually incorporated Latin/Afro-Cuban influences to their music, along with instruments like bongos, tumbadoras, or sax, thanks to musicians like Roberto Monasterios. Led by Publio García, who was the main songwriter, Grupo Geyser always played their own songs, refusing to do covers. They got to release a few self-produced 45s during 1970-1973 and they were pioneers in not only fusing psychedelic rock with Latin and Afro-Cuban rhythms but also in home-recording and multi-tracking with their song "La Súper Lombriz Atómica", recorded by brothers Publio and Ebenezer at their home studio playing all the instruments themselves. The band even caught the attention of famous singer Alfredo Sadel, who took them under his wing and received interest from the US market. This comp includes all their 45 sides: from heavy Latin-psych-fuzz-groove ("Óyeme Guajira", "Piénsalo Bien") to freak-beatish psych with Farfisa ("Tú Me Caes Mal"), bluesy acid psych ("Sodoma y Gomorra", and more. Includes color insert with detailed liner notes by band member Publio Garcia and photos.

Three track EP with "Weirdo", "Original Weirdo", and "Imaginary Thugfunk".

Venezuelan aggressive guaguanco originally released in 1967 and reissued for the very first time. Frank y Sus Inquietos is a little-commented Venezuelan treasure in our time, an amazing, almost unknown jewel of Venezuelan hard salsa, treasured with zeal by music lovers of all times. This group is evidence of the musical communion of the young Caracas of the late '60s with the sounds of the Caribbean in their nascent marriage with urban aggressiveness. As a result of these meetings of "friends who played instruments" such as congas, bongos, piano, timbales and their fiery discharges on the top floor of Block 3 of La Silsa, a building located in this humble and highly populated Caracas popular area, the repertoire of songs by the homonym Frank y Sus Inquietos (1969), with an exquisite imagination and brimming with vitality, authentic vocals and choirs, overwhelming percussion, strong bass and fierce piano conducted by Frank González.

LP version. Far Out Recordings present a reissue of José Roberto Trio's self-titled album, originally released in 1966. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.

Double LP version. Orange vinyl. GLOK is the electronic alter ego of Andy Bell; best-known as the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo career too. His first album proper as GLOK -- Pattern Recognition -- is released via Ransom Note Records' sister label Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's foray into dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, Pattern Recognition has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mindstates across that transition. Each side has a distinct feel that's different to the last but inherently cohesive -- much like the changes an individual goes through over seven days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -- with just a hint of ambient, new age and contemporary classical too. For fans of: Andy Bell, Ride, Andrew Weatherall, Death In Vegas, Daniel Avery, Pye Corner Audio, Underworld, The Lucid Dream. Features Shiarra, Shamon Cassette, Sinead O'Brien, and C.A.R..

2022 repress; LP version. Scientist's name can be found all over any dub record collection; he was a protégé of King Tubby, and many would say that when dub fell on quieter times it was Scientist who breathed new life into it. His pared-down mixing style suited the dancehall reggae sound that arrived as the '70s rolled into the '80s. This 1982 album includes the priceless dub of Johnny Osbourne's classic "Give a Little Love," as well as further cuts of the likes of Hugh Mundell and Wayne Jarrett. Scientist is always in control. This reissue includes the complete original album (which listed its tracks only as "Five Dangerous Matches" on each side), plus six bonus tracks.

"Doc at the Radar Station is the eleventh album by American blues rock band Captain Beefheart and the Magic Band. Released in 1980, this album resulted in a resurgence of Beefheart's (also known as Don Van Vliet) popularity. The album, which was self-produced by Beefheart, was critically acclaimed as well. It would be Beefheart's second-to-last album before his retirement from music. The album is now available on black vinyl. 180 gram audiophile vinyl."

Completely new mastered vinyl re-issue of the classic and highly sought-after New Jackson EP from 2011.

Rose Hobart announce the reissue of Jay Clarkson's 1999 masterpiece Kindle, available on vinyl for the first time. Clarkson is one of Aotearoa/New Zealand's most singular songwriters, with a history that includes membership of The Playthings and The Expendables, both groups who released records with the legendary New Zealand label Flying Nun, as well as subsequent solo albums, along with her bands Breathing Cage and (now) The Containers. Clarkson wrote and recorded Kindle after relocating from Christchurch to Dunedin in the mid '90s, settling into a new mode of music making and embracing the possibilities of home recording. Supported with funding from Creative NZ, Clarkson bought a four-track recorder -- the tried-and-trusted Tascam 424 Mark II, the cornerstone of any good, self-respecting home studio -- and set about to make perhaps her most hushed, gorgeous set of songs yet. For the songs on Kindle, Clarkson approached lyric writing differently -- for a number of songs, she used what she has called the "open a book at random and point your finger" method to get her creativity flowing, borrowing (with adjustments) from Graham Greene and Thomas Merton, amongst others, locating evocative potential in found language and then expanding outwards. Elsewhere, Clarkson's songs are sparked by people and events that coincide with her everyday life, or they become more philosophically reflective, as in the hypnotic "Wheeling", where a repeating, intricate web of guitar underscores a song reflecting life's dualities and circularity. The album's sound world is deep and dappled, with clacking drum machines (loaned to Jay by Robert Scott of The Clean and The Bats), richly wound guitars, and humming keyboards all providing a perfect setting for Clarkson's astonishing voice, which is at once generous and wry. Clarkson has previously reflected upon the "transitional head-space" she was in while writing and recording Kindle, and that certainly seems to have informed the emotional complexity of these songs and performances -- it's an album of grace and wisdom. Clarkson would go on to make more music, such as her lovely 2007 album, Over The Mountain, recorded with Johannes Contag, and a recent solo set, Spur, released on Austrian label Zelle in 2015. She continues to perform live when circumstances allow, with her group The Containers, and in 2016 was invited to perform at the Celtic Connections Festival in Glasgow. But Kindle stands as singular in her catalogue and her career -- a moment of inwards reflection, things pared back to basics, Jay alone in the home studio, writing for the intimacies of the moment. Includes download code; edition of 250.

The trio's music creates a strong sense of place, yet you can't quite put your finger on the exact location. There are crescendos that remind me of the vibrant frenzy once experienced in the Amazonian rainforest. Jan Bang injects into the mix both snippets of his co-creators' performances and samples collected over time for deployment in just the right context. You hear faint orchestral swells and then voices, both spoken and sung, the recordings degraded so far as to be barely recognizable. These add a strange authenticity to this imagined territory, the acoustic purity of David Toop and Mark Wastell's instruments providing a counterpoint that expands the stage.

Personnel: Jan Bang - live sampling, samples; David Toop - lapsteel guitar, flutes, whistles, small percussion, harmonica, elastic, paper; Mark Wastell - Paiste 32" tam tam, gongs, beaters, brushes, sticks, bow, autoharp. Recorded by Shaun Crook, London, November 22, 2019. Compositional structure by Mark Wastell. Mixed and mastered by Rupert Clervaux. Cover image by Crimson Wastell. Liner notes by David Nibloe. Design by Matthew Brandi. Produced by Mark Wastell.

Double LP version. 180 gram vinyl; gatefold sleeve; includes download card. In the years since their formation, WhoMadeWho have established themselves as one of the most important underground bands of their generation. The Danish group, consisting of Tomas Høffding, Tomas Barfod, and Jeppe Kjellberg, has an exceptional sense of emotional depth, heartbreaking melodies, and brilliant songwriting, boasting an expansive discography currently spanning a total of six albums and a plethora of EPs, singles and remixes released on labels such as Kompakt, Innervisions, and Life & Death. On the road, they are internationally renowned for their professionalism and outstanding live performances and have become regular fixtures at some of the world's most notable musical festivals, including Roskilde, Sonar, Melt!, and Burning Man to name just a few. The in-demand Scandinavian outfit now confirm details of their upcoming long player, UUUU. Set for release via long-standing German record label Embassy One, UUUU is the seventh full-length studio album from WhoMadeWho. A beautifully crafted record featuring thirteen original productions. Features Rampa, Kat Frankie, and AVA4K.

Who is Magou? All Toy Tonics knows is that, two years ago, the label released a 12" EP that created a little buzz on this artist without a face and social media. The only clue is that Magou is allegedly a mysterious side-project by an otherwise well-known Italian music maker, producer, and DJ. Who cares about fame? This one is all about the music, so Toy Tonics is now back with a sassy double-LP release of Magou's full album. Who Is Magou? contains eight killers and no fillers, all based on elements of disco vibes, acid, synthpop, new wave, electro boogie, deep house blended in a classy, understated manner which supersedes the cheese and sleaze typically associated with Italo disco or the "anything goes" pastiche of postmodern retromania. Just listen to "Sample Dream": a rolling groove monster that creates deep euphoria on dancers for sure. Also "Round Round" is a maybe odd but sharp DJ tool: a quirky Balearic synth-funk trip -- that sort of old school track that record collectors would be killing for, had it been released in 1984. "Pas Jolie" goes even further and probably as fat as disco can get: a beefy chunk of synth house/Italo dance fusion, powered by a throbbing, relentless bass line. Then, on "Dejarte" Magou goes deeper in the feeling with this hazier slab of dub disco, with a hint of Mediterranean flavor and Balearic beat. With "Heather's Body" Magou plays with early '80s fitness disco-boogie aesthetic, absorbed during endless Sunday afternoons spent in front of brash Italian TV revues. "Eco" is dedicated to the renowned Italian semiologist, popular cultural critic and novelist, Umberto Eco. The author is featured on an acid disco-funk number and Umberto's chopped voiceover appear to be lecturing dancer with a witty commentary. While the 1980s Italo was often quite cheesy and referencing shallow popular culture tropes, Magou nobilitates the dancefloor by "showcasing" some 20th century intellectuals, such as Eco and Borges. In fact, Magou dedicates a whole track to Argentinian writer Jorge Luis Borges -- the funkiest cut in the album, with bouncing bass licks and endless grooving joy. Italian maestro Ennio Morricone is given an homage on the final track: a great outro which combines city pop atmosphere, un-acid TB-303 sequences, and a highly cinematic children choir, reminiscent of Italian Giallo movies.

Awe Kid explores ideas of trans-humanism, evolution and digital immortality on Body Logic, a fantastically lush new album for Atomnation. The immersive ten track record plays with organic, breathing textures punctuated by moments of digital unreal-ness to result in an album permeated with a dream-like quality. This contrast is mirrored by the artwork from Portugal's acclaimed The Royal Studio. Awe Kid is an alias of Sine Language Records co-founder Rick Parsons. It is the product of years spent exploring a multitude of different music. From early days in post-hardcore groups and on to a love of '90s Warp, electronic jazz, and more experimental niches, the multi-instrumentalist has now settled on his own unique fusion of breaks, ambient and left-field dance music. This deft studio wizard mixes up melodic nostalgia with forward-thinking sound design using whatever he can get his hands on, from analog and modular hardware, to samplers, field recordings to digital techniques. Says Parsons, "I love working with digital processes because you get these unexpected moments where you dial something in, that somehow takes on a tangible, organic form in the real world. Searching for these sweet spots was the motivation for the album, contrasting natural textures against synthetic elements, and finding ways to create something that feels like it exists outside of the computer." While the album pays homage to dance music traditions, such as the broken beat of title track "Body Logic", and full-throttle breaks of "Zenith", these are assimilated and repurposed to create something that defies genre categorization. The listener's journey is perfectly paced, with broody but uplifting cuts of electronica giving way to shimmering, celestial melodies, and dusty breakbeats emerging from dense layers of atmosphere, only for the mood to be reset with soothing, suspenseful synths and haunting vocal samples. Elsewhere, devastatingly emotional ambient is followed by punchy grooves and propulsive melodies to make for a real ride.

Denis Kaznacheev's first full-length album. Triple-LP in gatefold sleeve, artwork by Igor Skaletsky.