Recent Best Sellers
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRJ 001LP
|
2023 repress; New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LP/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. LP version is mastered at half speed; 140 gram vinyl with sticker.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BEWITH 166LP
|
Bahamadia's 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With presents the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible vibe from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true '90s hip-hop fanatics. The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-'90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences. With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia's flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Incredibly, only the European and Japanese CD versions of Kollage were released with the brilliantly breezy "Path To Rhythm," featuring Ursula Rucker. Whilst ostensibly a "bonus track," it's anything but. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level," it's absolutely essential. Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years -- and for far too long -- it was a criminally underrated record, an increasingly hidden gem. This Be With double LP reissue has been mastered for vinyl by Simon Francis, cut by Cicely Balston, and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BORNBAD 039LP
|
2024 restock; Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 079LP
|
Wewantsounds presents this reissue of Brion Gysin's cult avant-funk album produced by Ramuntcho Matta in the early '80s. The hugely influential Gysin who, with his friend William Burroughs, was revered by the likes of David Bowie, Brian Jones, Laurie Anderson, and Genesis P-Orridge, is accompanied here by Matta -- on his return from a two-year spell in New York -- and French post punk stalwarts Yann Le Ker (from the group Modern Guy) and Frederic Cousseau (from Suicide Romeo) plus special guests including Don Cherry, Elli Medeiros, Lizzy Mercier Descloux, Caroline Loeb, and Senegalese drummer Prosper Niang (Xalam). This is the first time the album is reissued on vinyl, newly remastered from the original tapes, augmented with bonus tracks and a two-page color insert featuring new liner notes by Gysin scholar Jason Weiss.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 083LP
|
LP version. Wewantsounds continues its extensive Meiko Kaji reissue program in partnership with Teichiku Records and Meiko Kaji herself, with the release of Gincho Wataridori, her debut album from 1972. This is the first time the album is reissued since release and it comes with its original Japanese artwork and newly remastered audio. Famous for her '70s exploitation movies, Meiko Kaji also released a string of great albums on Teichiku mixing Japanese pop and cinematic grooves. This reissue comes with deluxe gatefold sleeve LP, OBI strip and a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. Renowned for her roles in the highly acclaimed Stray Cat Rock and Female Prisoner Scorpion film series, Kaji became one of the most famous exploitation actresses in Japan in the early '70s. Invited by film studios to sing the theme for many of her films, she ended up recording five albums for Teichiku between 1972 and 1974, which have become increasingly sought-after over the years. Gincho Wataridori was the very first album released by Meiko Kaji in 1972 and is a great mix of kayokyoku (Japanese Pop), traditional Enka Music, psych rock and '70s cinematic groove. The album features the song "Gincho Wataridori" a theme song for the eponymous gangster film released by Toei Films in 1972 (and known outside of Japan as "Wandering Ginza Butterfly"). On the cover of the album, Meiko actually wears the kimono she wears in the film. The song showcases Kaji's distinctive singing over a funky backbeat and fuzz guitar. Ginchou Wataridori was produced by two seasoned Teichiku producers, Yorifumi Ito and Kenji Nakajima and features a superb mix of pop songs ("Hakodate Monogatari"), funky ones ("Koini Inochio," "Shitto") and atmospheric ones ("Jingi Komoriuta") making the perfect setting for Meiko Kaji's unique singing, reflecting the cool, dangerous atmosphere of the films she would star in. The first of a series of five LPs produced for Teichiku between 1972 and 1974, Gincho Wataridori marks the beginning of Meiko Kaji's fruitful career as a recording artist and is a unique testament of her singing talent which Wewantsounds reissues in its full glory with gatefold sleeve, remastered from the original master tapes.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 073LP
|
LP version. Wewantsounds continues its Akiko Yano reissue series with the release of the singer's third studio album To Ki Me Ki, recorded in New York and released in 1978 in Japan. It follows her cult Iroha Ni Konpeitou LP and keeps the similar blend of Japanese pop and New York funk found in the latter. To Ki Me Ki features such musicians as Rick Marotta, Will Lee, and David Spinozza, and also programmer Hideki Matsutake who would soon join the YMO with Akiko. To Ki Me Ki is reissued outside of Japan for the first time, remastered in Tokyo by revered engineer Mitsuo Koike and featuring original artwork by Tsutomu Murakami with four-page color insert and new liner notes by Paul Bowler.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SPGRM 009LP
|
Entirely computer-generated, Jessica Ekomane's "Manifolds" is a work that explores the multiple possibilities of polyphonic writing, extending it to the "multiphonic" universe where sources and timbres diffract themselves in the listening space. The different voices of the composition no longer follow the traditional parallel trajectories of musical dialogue, but find themselves propelled as if into a particle accelerator, a "collider" freed from all formal rhetoric to reach a state of liberation of energies that is truly confounding. It is then that, in the multi-layered universe of sonic electrons, as if against its own will, a "chant" of overwhelming humanity is revealed. Laurel Halo's "Octavia," a piece for piano and electronics, explores the relationship between melodic motifs and textures in a singular way, intermittent moments of melody, harmony and sound materials connecting and disconnecting, to indicate a series of nets or webs, swaying in and out of one another. These sonic nets gently float, spin and merge, and the effect is one of gently floating over an abyss. The work is inspired by the "spiderweb city" of the same name in Italo Calvino's Invisible Cities: "Below there is nothing for hundreds of feet: a few clouds glide past; further down you can glimpse the chasm's bed. Suspended over the abyss, the life of Octavia's inhabitants is less uncertain than in other cities. They know the net will last only so long."
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BB 440LP
|
LP version. "Martin Rev's eponymous debut solo record was released in 1980, not long after the second Suicide LP appeared. It is one of the most seminal albums to have emerged in the early years of electronic music?. The tension between his hypnotic drum machine salvoes and Alan Vega's irrepressibly expressive voice on stage or in the studio created an electrifying mix, and yet these six supremely minimal compositions were no less impactful without Vega's voice. There is an enchanting simplicity to the beautiful bubblegum melodies of the opening pieces 'Mari' and 'Baby Oh Baby' (the only track with a Rev vocal, everything else is instrumental). Like a clandestine heart, embedded in dissonant textures and infinite rhythm loops, echoing the doo-wop and rock and roll songs at the tempestuous epicenter of New York, the place which had such a profound influence on the youthful Martin Rev, there is also an incongruousness to Rev's own music, etched into the DNA he shares with the city?. Above all, there's a sense that Suicide's records and the solo works of Martin Rev could not be any more different to those of their European contemporaries such as Kraftwerk, Tangerine Dream or Jean-Michel Jarre. If this is music as dystopian psychedelia, it glows nevertheless with substantial warmth. Sounds grab you instantaneously and, by virtue of endless repetition, never let you go. Rev's 1980 debut thus offers us something of great value: an insight into the beginnings of an impressive solo career which would play such an important role in the development of successive generations of artists. It is as enthralling today as it was when it first appeared." --Daniel Jahn, July 2023
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HE 65001LP
|
The Shadow of Your Smile is a studio album by Astrud Gilberto. With arrangements by Don Sebesky, Claus Ogerman, and João Donato, it was released via Verve Records in 1965. It peaked at number 66 on the Billboard 200 chart.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SR 545LP
|
Those recordings of gongs orchestras were produced in 2003 and 2004 during funeral ceremonies in two Kung villages and one Jaraï village in Ratanakiri province, Cambodia by Laurent Jeanneau (Kink Gong), during a time when the jungle had not been replaced by rubber plantations. Focusing on funeral ceremonies, these hypnotics pieces are intense and haunting sonic experiments.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BEC 5772110
|
2023 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ARCHIVE 060LP
|
Kashmiri Queens presents a more accessible side of Muslimgauze, featuring a faster tempo and fewer sonic overtones than his previous endeavors. The music's core is rooted in drone and raga samples complemented by a rich array of ethnic percussions. This 12" stands out for its authenticity, allowing the sounds of tablas, sitars, and various ethnic wind instruments to flourish openly without being interrupted. There's a notable departure from the usual style in one track, adopting a floating, ambient-like approach. While the music maintains a strong percussive quality, vocals make only occasional appearances throughout the tracks. It marks a departure from the artist's previous abrupt transitions, favoring a more concentrated and steady approach to the music. Sounds are allowed to linger for extended durations, providing a deeper listening experience. The beats take a backseat this time, although they remain a significant part of the musical tapestry. Notably, track nine is completely beatless, showcasing the artist's ability to create dramatic and twisted sonic landscapes with looped and distorted vocal excerpts. The tracks featured on Kashmiri Queens maintain a clean and polished sound, allowing the instrumentation and composition to shine. The third track weaves together drums, bells, a female singer, and enigmatic extended tones to create a compelling sonic journey. Track four introduces a drum-loop with a sussurus element and a backwards orchestral loop, culminating in an unexpected rhythm shift. Track ten employs a metallic tapping loop as its foundation, creating a distinctive rhythm in collaboration with the tabla. It also incorporates elements of strings, offering a dynamic soundscape reminiscent of early Muslimgauze work. The penultimate track is a moody and minimal masterpiece that plays with layers of metal loops, tabla, and zither, demonstrating the artist's innovative approach. In summary, Kashmiri Queens is an impressive addition to the Muslimgauze discography, staying true to their signature sound while introducing distinct elements that make it a must-have for fans of their work.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BEWITH 159LP
|
2024 repress. Bobby Caldwell's second album, Cat In The Hat, from 1980, is a work of soulful sophistication. Featuring the eternal "Open Your Eyes", sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted. Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans -- and soul music enthusiasts worldwide -- can radiate in the deep beauty of this seminal album. Remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed at Record Industry in Holland.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MIR 100705LP
|
2024 repress. Originally only available on an ultra-rare Japanese bootleg, Mirurmir announces the first official issue of the groundbreaking and mind-blowing soundtrack to Tarkovsky's masterpiece, Solaris. Composed by the electronic music pioneer, Edward Artemiev, Solaris was the first project in what proved to be a fruitful collaboration between director and composer. An absolutely essential piece of electronic music and Russian cinema history, lovingly reissued in a gorgeous gatefold package including previously unseen photos from the Tarkovsky archives and a cover pulled from the Italian poster for the film. Remastered from the original film soundtrack and pressed on high quality 180-gram vinyl.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BJR 098LP
|
LP version. Merengue Típico: Nueva Generación! delves into the heart of Dominican merengue, a genre whose significance often eludes the spotlight. Bongo Joe's venture into unexplored terrain takes the listner to the Caribbean, specifically the Dominican Republic, shedding light on its musical tapestry. Curated by Xavier Daive, aka Funky Bompa, the compilation unveils rare '60s and '70s gems, providing a glimpse into a transformative period following the fall of the Trujillo regime. With over 20 years in the Dominican Republic, Xavier Daive meticulously sources original 45s, offering a snapshot of merengue's evolution during a creatively charged era post-Trujillo. The genre's roots, dating back to the 19th-century Dominican Republic, predate salsa, establishing its unique identity with the introduction of accordions via German trade ships. The genre's classic típico configuration emerged in the mid-'60s, leaving a lasting impact on its evolution. Focused on the explosive '60s and '70s merengue típico scene, influenced by genre pioneers like "Tatico" Henríquez and Trio Reynoso, the compilation showcases technical finesse and high-speed rhythms. Tracks like Rafaelito Román's "Que Mala Suerte" embody the genre's infectious energy. Aristides Ramírez's "Los Lanbones" adds a touch of humor, cautioning against pub freeloaders. Merengue Típico: Nueva Generación transcends the realms of a typical reissue; it's an immersive journey into the roots of Dominican merengue, expanding its narrative beyond borders to enrich the global musical landscape. This compilation goes beyond individual tracks, providing a historical and cultural context, enriching the listener's understanding of the genre's evolution in the Dominican Republic during a crucial period. Designed for both connoisseurs and wild dancefloors, this compilation is not only a historical and cultural exploration but also a treasure trove for DJs seeking to infuse their sets with the vibrant rhythms of merengue típico. Also featuring Trio Rosario, Fefita La Grande, Bilo Y Sus Típicos, Negrito Figueroa, Trio Royecell, and Victor Suriel Y Trio Rio Verde.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BORNBAD 064LP
|
2024 restock. Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African 'thumb piano'), it was just sitting there on a piece of furniture in my family's living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for 'unusual sounds' did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my 'serious' English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept 'world music.' Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like 'Agatha' and 'La condition masculine.' But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: 'Let's see what you can do with it!' That's when I really discovered something. Exploring the instrument and playing, I transcended the 'imperfect' aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his 'laboratory.' Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" --Patrick Bebey
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BORNBAD 086LP
|
2024 repress. French pop connoisseurs La Femme present Mystère. La Femme have made a huge mark on modern Paris's cultural landscape, with the two sides of the city - the glamour and the grit - ingrained in their music. Since the release of their debut album, Psycho Tropical Berlin (BORNBAD 051LP, 2013), their rise has only gained momentum with fans including directors Jacques Audiard and Romain Gavras to legends Jean Michel Jarre and Hedi Slimane. Returning with a more psychedelic sound and guest vocalists that slice through the starkest of electro beats, Mystère sees La Femme celebrating their wonderful city. From the chattering tête-à-tête heard on "Conversations Nocturnes" to the throbbing disco beat of "SSD", a direct reference to the pulsing nightlife hotspot and multi-cultural district Strasbourg Saint Denis where the band is based. Mystère's true intrigue however, lies in La Femme's enigmatic questioning of falling in and out of love. A compendium of short stories describing loves and losses, each song breaks down language barriers through an inventive and astute knack for melody. The elation of a passionate encounter is captured on the ricocheting electronics of "Tatiana", the melancholic acoustic guitar echoes in "Le Vide Est Ton Nouveau Prenom" and the sorrow of a war-torn couple in "Psyzook". Whether delicate or drenched in dirty disco, the impact of Clémence, Marlon and Sacha's gothic mantras mixed with the guest vocal talent of Clara Luciani, Jane Peynot, Naomi Greene, Mathilde Marlière, Angela Hureau, Battista Acquaviva and Sarah Ben Abdallah is perhaps where La Femme's true meaning can be found. Sacha on his band's all-inclusive philosophy: "We don't like the idea of having a leader or a chief: everyone brings to the band what they can and want." Recorded between a castle in Brittany and a Paris basement before being finished up with Sonny Diperri (Animal Collective) in LA, Mystère once again sees backgrounds blurred and worlds collide. The band's chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it's layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons's disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band's new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HE 72005LP
|
Masayuki "Jojo" Takayanagi (1932 - 1991) was a Japanese jazz/free improvisational musician. He was active in the Japanese jazz scene from the late 1950s. He was one of the earliest noise guitar improvisers, and the first (with Keith Rowe) to use the table-top guitar.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SR 548LP
|
This LP reveals the extraordinary diversity of research -- almost all hidden -- by Spanish musicians in the '50s and '60s. Those pieces were composed while the country was under the tyranny of Francisco Franco. It is truly the ultimate grail, developed by musicologist Miguel Álvarez-Fernández: he is its curator, editor and commentator. This undoubtedly marks a major step in the approach and understanding of this music which had to fight to exist before the death of Franco in 1975. Miguel Álvarez-Fernández (Madrid, 1979) is a writer. He hosts the weekly radio broadcast Ars Sonora -- dedicated to sound art and experimental music, and offering hundreds of freely available podcasts on Radio Clásica (Spanish National Radio). Five Spanish Pionniers of Eletronic and Experimental Music aims to present five composers who most often work outside the rules and without the possibility of help from their own country. Jose Val del Omar (1904-1982) is essentially a creator, a filmmaker developing a dreamlike art -- not without links with Federico Garcia Lorca or Luis Buñuel. Eduardo Polonio (b. 1941) has published, in forty years, more than a hundred works. Josep Maria Mestres Quadreny (1929-2011) joined the Manuel de Falla Circle in 1952 and in 1974 he founded the Laboratori de Música Electroacústica Phonos. During his life he collaborated with Joan Miró and Antoni Tàpies. Juan Hidalgo (1927-2018) participated in the music festival XII Internationale Ferienkurse Fur Neue Musik in Darmstadt in 1957. The following year he met the American composers John Cage and David Tudor. A member of Fluxus, in 1966 he participated with Gustav Metzger, Otto Muehl, Wolf Vostell, and Hermann Nitsch in the Destruction in Art Symposium in London. Cristóbal Halffter (1930-2021) was soon considered one of the most important composers of his generation. As a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, he worked with Pierre Boulez, Karlheinz Stockhausen, and Luciano Berio.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WWSLP 085LP
|
Wewantsounds, in collaboration with Corbett vs. Dempsey, reissues one of the great albums out of the BAG galaxy recorded by Luther Thomas and a cohort of musicians including Joe Bowie, Charles Bobo Shaw, Floyd LeFlore, and Lester Bowie. Recorded live in 1973 at The Berea Presbyterian Church in St. Louis, the album consists of two tracks, the formidable, aptly titled "Funky Donkey" and the spiritual "Una New York." Released as a private press on Thomas' own Creative Consciousness Records, it's reissued here for the first time since the '70s, marking the recording's 50th anniversary, and features original artwork, remastered audio and new liner notes by Howard Mandel. Closely associated to the Black Artists Group in St. Louis, the Human Arts Ensemble was a loose collective of musicians sharing many of its musicians, such as Joseph Bowie, Floyd LeFlore and Charles Bobo Shaw. The album was reissued on CD on John Corbett's Atavistic label in 2001 but this is the first time Funky Donkey Vol.1 is reissued on vinyl, remastered by Colorsound Studio in Paris and featuring liner notes by Howard Mandel, exactly fifty years after this groundbreaking concert was recorded, which Wewantsounds is happy to put back into circulation.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
TROST 246LP
|
LP version. Peter Brötzmann collaborated with many artists in his career, regularly adding new compatriots into the fold, and Norwegian drummer Paal Nilssen-Love became one of his staunchest allies after the percussionist joined the Chicago Tentet in 2004. They worked in various contexts, including this inexhaustible, hard-hitting duo. Most of the albums they've issued have captured live performances, but in 2015 they made this stunning studio recording. As Nilssen-Love says in the liner notes, "Peter had acquired a contra-alto clarinet and was very enthusiastic about the sound of this instrument. I had also bought several Korean gongs which I hadn't used yet." They met up for a two-day session in Antwerp that August, and from the outset it feels different from much of their work.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
AU 1002LP
|
2024 restock. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SVVRCH 075LP
|
Reissue, originally released in 1976. After running a sound system and studying electronics overseas, Spanish Town-based Harry Mudie began releasing rhythm and blues recordings by local performers, enjoying more concerted success during the reggae era of the late 1960s and mid-1970s, crafting lasting hits with artists like Dennis Walks and the Spanish Town-based toaster, I Roy. The first volume of the Dub Conference series, made with King Tubby, has stripped-down cuts of some of Mudie's greatest productions, including "Lorna's Dance," a percussion and horns take of "Caught You In A Lie," and a strings cut of the Heptones' "Love Without Feeling."
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRJ 002LP
|
2023 repress. New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DOME 001LP
|
2024 repress. With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July 1980), Dome 2 (October 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Now available as standalone LP; Includes download card. New artwork by Dave Coppenhall. B.C. Gilbert: voices, guitars, bass, percussion, tapes, drums; G. Lewis: voices, guitars, bass, percussion, tapes, synthesizer; A.M.C. - voice on "Cruel When Complete". Recorded on March 10th & 16th, 1980 and April 1st, 1980; Produced by B.C. Gilbert and G. Lewis; Engineer - Eric Radcliffe; Asst. engineer - John Fryer; Floating-point re-master by Russell Haswell, August 2011; Cut at Dubplates & Mastering by Rashad Becker, August 2011.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FARO 190X-LP
|
Following on from their seminal Light As A Feather LP (FARO 170CD), Outubro (October) was originally released in 1980 and began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members' performances -- each with such distinct personality and together so perfectly balanced -- their perfectionist attitude to sound is maintained across the production on the album, beautifully coloring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics. The album hosts a wonderful mix of tempos and styles, from Alex Malheiros' earth-shaking slap-bass on "Dear Limmertz," which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece "Un Amigo," while Ivan "Mamao" Conti's signature swing on "Maracana" exemplifies the root of Azymuth's "samba doidoi" (crazy samba) philosophy. The two cover versions on the album consist of the title track which was originally penned by Milton Nascimento and Chick Corea's "500 Miles High," both of which magically reimagine the originals and further demonstrate the immense virtuosity of this cult recording. This Far Out Recordings release is mixed and mastered from the original tapes. Pressed on blue color vinyl.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MIND 865LP
|
The show at Tavastia, in Helsinki, Finland, recorded on June 18th 1993, Townes Van Zandt's first visit to the country. Stripped back, it features just the voice and guitar of TVZ, a voice that whilst still full of conviction, appears somewhat more fragile than on the previous recordings. Described by Billboard magazine as "largely-obscure-if-legendary," Townes Van Zandt was a remarkable singer/songwriter, and this release is worthy of consideration, shining, as it does, more bright rays of light on a much-missed songsmith.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DOME 002LP
|
2024 repress. With the demise of Wire in 1980, founding members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio, Dome took the ethic of "using the studio as a compositional tool" and recorded and released three albums on their own label in the space of 12 months: Dome (DOME 001LP, 2019), Dome 2 (1980), and Dome 3 (1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in 1982. These albums represent some of the most beautifully stark and above all, timeless exercises in studio experimentation from early the 1980s alternative music scene. Previously issued in the out of print DOME 1-4+5 box set in 2011, Dome 2 is now available as standalone LP, with new artwork by Dave Coppenhall. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker. Includes download.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VL 900051LP
|
2022 repress. 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
|
|
COSMR 023LP
|
A late '60s Japanese compilation investigating the so-called "group sound" movement. Includes early recordings by a series of musicians later to perform with legendary bands such as the Flower Travellin' Band, Speed Glue & Shinki, Les Rallizes Denudes, and Foodbrain. Featuring Golden Cups, Dynamite, Outcast, Carnabeats, Tempters, Beavers, Bunnys, Mops, Spiders, D'Swooners, Zoo Nee Woo, Fingers, Outcast, and Bunnys.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 084LP
|
2023 repress. 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 # |
|
|
|
3LP
|
|
BORNBAD 166LP
|
The French equivalent of the English "Derby Service," the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released! When you finally had your own record, you could give it away or sell it to friends, family or after concerts. You could also drop it off at the nearest record shop, with undisguised pride. It was also a calling card that could be sent to radio stations or music labels, in the hope of launching a career. At the time, the advertisements published in the press by the Kiosque d'Orphée opened up the field of possibilities for provincial composers. It was now possible to make their own record, without having to go through the process of signing with a label. This album is the conclusion of a long investigation, begun six years ago. It took a long time to find the records, scattered all over the place, in the homes of collectors and sometimes the musicians themselves, and then to listen to them, sometimes painstakingly, to unearth these moments of grace. From this work, 23 tracks remain, but there are dozens of others that could have been included, so Born Bad had to choose, and the choice had to be as universal as possible. Featuring Mar Vista, Kënnlisch, Crystal Eyes, Walrus, Gérard Alfonsi, Geoffroy, Amphyrite, Eole, Capucine, Rictus, Inscir Transit Express, Polaris, Joël Boutolleau, Spotch Forcey, Demon & Wizard, Temple Sun, Chantal Weber, Jean Claude Zemour, Rhodes & Co, Guidon, Edmond et Clafoutis, Dominique A, Didier Bocquet, and Alain Meunier.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DOME 003LP
|
2024 repress. With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July, 1980), Dome 2 (October, 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker, August 2011. New artwork by Dave Coppenhall. Includes download card.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
TURBO 229LP
|
Double LP version. The creative partnership between Tiga & Hudson Mohawke expresses a mutual love of "hardcore romance," a liminal state where the bounds between euphoria, melancholy and the raw power of friendship disintegrate completely. Recorded in Los Angeles from 2019-2023, these commonalities ebbed and flowed through various recording sessions, culminating in their debut album -- L'Ecstasy. Originally conceived as a hardcore rave project focusing on bleary-eyed 6am catharsis, the breadth of the project expanded to encompass their shared love of the music surrounding the '90s ravebiome, with chill-out quasi-IDM ambient creating space for the album's tentpole anthems to breathe. Featuring guest appearances by luminaries like Abra, Channel Tres, Elisabeth Troy, and Jesse Boykins III, as well as album artwork by Turner Prizewinning photographer Wolfgang Tillmans, the result is delivered with two friends churning out the kind of music they want to hear, want each other to hear, and hope to hear you wanting to hear too.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
SR 461CD
|
The anthology Spectra Ex Machina brings together rare documents pertaining to so-called occult phenomena, most of them taken from little-known archives. In the course of three volumes, this series traces an audio history of parapsychology through the exploration of spiritualism and haunted houses (Vol. 1); musician mediums (Vol. 2); experiences of extrasensory perceptions (clairvoyance, psychokinesis, etc.) and electronic voice phenomena (Vol. 3). The documents gathered here are, by their extravagance and far-fetched aspects, more than the mere objects of belief one would be tempted to reduce them to. They are vestiges of aberrant phenomena, fossils of an unknown civilization buried in the depths of the unconscious that are revived, in a way, when audiences listen to them. They can be understood as "works," in the full artistic sense of the word, and constitute a kind of "cabinet of sound curiosities" that is worthy of aesthetic interest. Sometimes imbued with a disconcerting dramatic intensity, these documents bear the features of an authentic time machine, placing the listener in the position of a witness of the time immersed in the dim darkness of the experimental hall. And it is at that precise moment that the aesthetic power of these archives takes precedence over their probative value. Their somewhat old-fashioned charm, maintained by the surface noise of magnetic tapes and old wax disks, gets stronger with each listen. Comes with 32-page booklet.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FTR 539LP
|
2024 restock."Pleased as punch are we to be reissuing Michael Hurley's long-lost 1984 album, Blue Navigator. Admittedly, Secret Seven and Mississippi collaborated on a dandy 8-track version a decade ago, but the record has mostly been available as an obscure import CD -- if at all -- for many a year. The reason for this is that the Rooster Records HQ burned down in 1987, taking master tapes, extra covers and whatever else there was with it. This was a general bummer, but especially so for us Hurley fans, since his final LP with Rounder was Snockgrass in 1980, and he didn't hook up with Fundamental to do Watertower until 1987. The disappearance of Blue Navigator from this earth left a sizable hole. Which we'd now like to think has been plugged. Recorded with a cast of Northern Vermont hepcats including guitarist Jon Weber (of Dan Hicks' original Hot Licks), head Rooster William Wright on guitar and mandolin, Nancy Beavan on vocals, Gordon Stone on pedal steel and various other goners, all playing some sweet rural swing displaying exactly how Hurley became the toast of the snowmobile club circuit during his days in the North Country. A mix of old favorites -- 'Werewolf,' 'Open Up (Eternal Lips)' -- new favorites -- 'Code of the Mountains,' 'Ghost Woman Blues' -- and even a re-write -- 'Blue Navigator' -- it's a great, very casual sounding session, revealing more layers the more you listen. The instrumentation varies a lot between tunes, but the music always flows with Snocky grace and assurance. For this reissue, Michael has written a set of illustrated liner notes that scoot around just the way his conversation does on a long car ride. Which makes me miss the open road as much as anything else today. Just close your eyes, sink back into the music on Blue Navigator and pretend you're drifting through the hills and valleys of the Green Mountain State on your way to a cold growler of beer. You'll soon feel like a million bucks. Promise!" --Byron Coley, 2020
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BORNBAD 051LP
|
2023 repress. French indie-rock band La Femme is a conundrum -- an episodic band with various faces. La Femme was born during the X years in Biarritz, France, when Sasha and Marlon started composing music on their guitars and recording it onto Garage Band. Together they ride surfboards, pianos and synthesizers as they explore various styles from '60s yé-yé French pop to California surf music. Marlon moved to Paris, and there he met Sam, who played bass. Together, they formed SOS Mademoiselle along with Olivier Peynot, and played vintage French rock, as Sasha was practicing his scales in reverb surf band Les Redoutables. Sasha then joined his friends in Paris, where they discovered French cold wave and synth pop, Marie et les Garçons being one of their favorites. They polished a style that could be described as one of the following: surf-wave, bizarre-wave, strange-wave, weird-witch-wave, silly mental-wave or psycho-tropical Berlin. Joined in 2010 by drummer Noé and female singer Clémence. La Femme formed its first live roster in a few days and took shape that same year with its first anthem, "Sur la planche," a song that was made to be hummed and whistled while riding a surfboard. Later on, La Femme released their second EP, Paris 2012. Soon joined by fancy rhythm drummer Nunez Ritter von Merguez aka La Sauterelle and singer Clara Luciani, as well as a whole roster of female singers, they now present their debut album Psycho Tropical Berlin where rock, pop, rococo Bauhaus, as well as influences from Kraftwerk and Elli & Jacno conjoin just to please you. Printed innersleeves.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BB 280LTD-LP
|
In 1973, 22-year-old Richard Pinhas was well on his way to becoming a full-time philosopher. He had almost finished his Ph.D and begun teaching at the University of Paris. But he also had a hobby: writing music and recording it himself. When he submitted a few tracks to British label E.G. (home of King Crimson and Roxy Music), the imprint was interested, but Pinhas was frustrated to find out he'd have to wait a year for them to release anything. So Pinhas put out his first album on his own label, Disjuncta. He called the project Heldon (from a location in Norman Spinrad's 1972 sci-fi novel The Iron Dream). It might have been the first self-released rock record in France. Most of Electronique Guerilla was made by Pinhas alone, but "Ouais, Marchais, Mieux Qu'en 68" featured five collaborators, including one of his mentors, Gilles Deleuze. Over winding guitars and pointed percussion, the French philosopher reads lyrics taken from Friedrich Nietzsche's The Voyager and His Shadow. Despite being self-released -- with Pinhas himself delivering some stock directly to record stores -- Electronique Guerilla quickly sold over 19,000 copies. That convinced Pinhas he should make and release more music by himself -- but he would have little time for philosophy. It's a choice he's stuck to for four decades, and the fiery Electronique Guerilla provided a potent spark.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HE 70003LP
|
Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
KEPLARREV 017LP
|
2003 album by Tujiko Noriko on vinyl for the first time, featuring new artwork. Edition of 500 copies with black poly-lined inners, and download featuring eight tracks. Keplar presents the first-ever vinyl edition of the 2003 album From Tokyo to Naiagara by Tujiko Noriko. This reissue with new artwork by Joji Koyama is an abridged version of the album as Tomlab label owner Tom Steinle and producer Aki Onda had originally intended to publish it alongside the original CD version. Written by the France-based Tujiko while she still lived in Japan, From Tokyo to Naiagara followed up on her two seminal Mego albums and marked a turning point in both the artist's career and personal life. Tujiko worked primarily with a Yamaha synthesizer and an MPC sampler while also incorporating contributions by other musicians such as Onda, Riow Arai, and Sakana Hosomi into the pieces. Sometimes approaching an IDM and clicks'n'cuts-style production or working with trip-hop and hip-hop beats while using conventional song structures in the most unconventional of ways, the album showcases her multifaceted influences and skills as a singer and musician to full effect. Tujiko describes producing it in close collaboration with Onda, who would relocate to New York City shortly after, as "quite Tokyo and very local." This music is looking back while moving forward. It is probably no surprise that its reissue too evokes tender memories of Onda and Steinle in Tujiko, while also reminding her of what lies ahead. Influenced in equal parts by the experience of strolling through previously unknown Tokyoite back alleys and thinking about the paths not (yet) taken, From Tokyo to Naiagara is precisely that: the perfect travel companion for a journey that leads its listeners from past to future.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
TR 537LP
|
LP version. The second release in Tapete's great series of radio sessions are the collected BBC recordings of Comet Gain, the rough diamond of the international pop underground, the indie punk Monkees, the noise pop collective Numero Uno! Radio Sessions BBC 1996 - 2011 contains three John Peel sessions from 1996 and 1997 as well as a Marc Riley session from 2011. One thing is for sure: a world in which such a great, anarchic, idiosyncratic band, simply perfect in its imperfection, is invited to Abbey Road Studios for radio sessions by the country's biggest broadcaster, among others, can't be that bad. All those who are already fans of Comet Gain should have this album, and everyone else too.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
SOW 005LP
|
2024 repress. Sowing Records present a reissue of Dorothy Ashby's debut album, The Jazz Harpist, originally released in 1957 by the Regent label. Recognized as the woman who gave the harp a jazz voice, here, Ashby is at the head of a highly distinctive combo featuring Frank Wess on flute, Eddie Jones or Wendell Marshall on bass and master Ed Thigpen on drums. The Jazz Harpist is an unprecedented mix of evocative classic sounds and jazz soul, awarded by AllMusic as her first and best album, period! Clear vinyl.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HE 69012LP
|
With her tenure on Verve drawing to a close, Astrud Gilberto steps further away from her bossa nova roots with I Haven't Got Anything Better to Do, an intimate, nocturnal set closer in scope and spirit to the Baroque pop of Burt Bacharach, whose "Trains and Boats and Planes" is beautifully rendered here. Mistakenly considered a minor entry in the Gilberto canon, I Haven't Got Anything Better to Do is instead a minor masterpiece. Each song is ideally suited to her distinctive style and the disc as a whole maintains a consistency of mood and feeling largely unmatched in her catalog.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DOX 878LP
|
2024 repress. Although Sonny Clark was just 31 years old when he passed away, he still managed to carve out his place in history as one of jazz music's top pianists. Blues in the Night, recorded in December 1958 for Blue Note, was a trio session featuring Sonny Clark on piano, Paul Chambers on bass, and Wes Landers on drums. Blues in the Night is an extremely rare LP that was shelved until 1979, when it finally released as part of the Japanese Blue Note series by King Records. It has since also been released on CD, but it has never been reissued on vinyl. The session finds the piano trio playing an array of standard tunes that were originally intended for release as jukebox singles. The final track, "Gee Baby, Ain't I Good to You (Alt. Take)," recorded in November 1958, was taken from Sonny Clark's Art of the Trio session, also recorded at the Van Gelder studio, and featuring Jymie Merritt instead of Paul Chambers on bass. 180-gram vinyl.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BEWITH 028LP
|
2023 repress. Be With Records present the first ever official reissue of Kimiko Kasai with Herbie Hancock's Butterfly, originally released in 1979. The positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock. Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie, and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin, and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie/Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years. The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story", and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As". This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket -- complete with obi strip and sumptuous four-page folded insert -- has been faithfully restored. Mastered by Simon Francis, and pressed on 180 gram vinyl.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CTLP 1045LP
|
2023 restock; LP version. "Once again Clocktower bring you the massive and powerful tracks, such as 'Cloak & Dagger' DJ style led by King Tubby and Lee Perry. And they've also included the slow style of 'Cloak & Dagger' which you will never stop listening for generations to come, young and old. Then the following tracks of 'Blackboard Jungle' with two incomparable versions that will open up your ears to the greatest musicians on bass and drums, etc. We from Clocktower say listen, enjoy, party, and dance to all the fine production. We have compiled this for all who loves reggae music production beyond compare. Music of life." --Alfred Newman Not a reissue, a new compilation of early Lee Scratch Perry material, not previously issued in this form. With tracks recorded from the early '70s with material from Clocktower 7" only releases, etc.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
CVSD 105CD
|
At the tail end of 1996, saxophonist Mars Williams and drummer Hamid Drake took the tall corner stage at Chicago's Empty Bottle for two sets of duets. The rock club had just started a weekly Jazz & Improvised Music Series, curated by Ken Vandemark and John Corbett, which would run for nearly a decade. This rare pairing brought together two pivotal figures in the city's creative music scene, both of whom had extensive experience in diverse areas of music, from the free jazz focus of this intimate encounter to Mars's stints in rock with the Waitresses and the Psychedelic Furs and Hamid's work in Mandingo Griot Society, playing in reggae house bands, and lending rhythms to hits by Herbie Hancock. As eclectic as these inputs were, in the deep souls of Williams and Drake they added to the players' burgeoning inventive resources, rather than urging the players to pastichery. In the venerable dialogical lineage of saxophone and drum kit, these two contemporary ninjas indeed invented their own approach, very different, for instance, from other such duo settings for Drake, like those with Fred Anderson, Peter Brötzmann, Joe McPhee, or Ken Vandermark. Here, the fiery reed-work of Williams lends the concert a special urgency and punch, Drake's funk trap imbued with G-force, his cymbals ringing with nuance, his toms speaking like a whole West African drum choir. Williams responds to this positive energy with one of his most commanding performances, starting with his composition "The Worm" (written for Dennis Rodman of the Bulls), and continuing through a series of phenomenal improvisations. Released by CvsD as part of a series of archival Mars Williams CDs, hand selected by Williams shortly before his untimely death in 2023, I Know You Are But What Am I? goes on the record proclaiming the lasting power of Mars Williams, especially in the company of a master like Hamid Drake.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
RRS 121LP
|
2024 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
JRLP 058LP
|
2024 repress; LP version. Most people associate Tuff Gong with Bob Marley, and rightly so, as he was often called Tuff Gong and his early releases came out on the Tuff Gong label. But Tuff Gong was also the name of a recording complex named after Bob Marley that included a top-level recording studio, pressing plant, and distribution center. Marley had taken over the former residence of Island Records boss Chris Blackwell -- Island House, 56 Hope Road -- around 1974. Two days before the Smile Jamaica Concert, on December 3, 1976, the house was ambushed by gunmen. Marley's manager, Don Taylor was hit five times, Marley was shot in the arm, and his wife Rita was hit in the head by a stray bullet -- but none of the injuries were fatal. Immediately after the concert Marley started his self-imposed exile from Jamaica, settling in London, England. This would lead to the aptly named Exodus album being recorded there in the summer of 1977. It would not be until the One Love Peace Concert in Kingston's National Stadium on the April 22, 1978, that Marley would return to the island. Marley felt it was important to show his commitment to the people of Jamaica, and upon his return to 56 Hope Road, he began the construction of his own recording studio with the help of music mogul Tommy Cowan. Unfortunately, Marley's short life would end on the May 11, 1981, from cancer. His passing would lead to 56 Hope Road being turned into a museum. A new location would have to be found to carry on Marley's work; this turned out to be 220 Marcus Garvey Drive, Kingston 11. Rita Marley and Tuff Gong International bought the facility, and hired engineers including Errol Brown (Treasure Isle Studios) and Hopeton Brown aka Scientist, so named for his groundbreaking style by the great producer Bunny "Striker" Lee, who had worked with him previously at King Tubby's studio and Channel One Studios. Watch This! Dubbing at Tuff Gong focuses on the work carried out by the great Scientist on the songs of the Black Solidarity label (run by Ossie Thomas aka Joe the Boss), at Tuff Gong, one of the foremost recording, pressing, and distribution facilities on the Jamaican island, set up from the work of Bob Marley to carry forward reggae music.
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ET 938-02LP
|
Christina Kubisch (b. 1948) belongs to the first generation of sound artists and is among the most prominent European artists working in sound installation and electroacoustic composition today. Many of her works involve ephemeral phenomena such as ultraviolet light, solar energy and electromagnetic induction. She transforms them to make them perceivable acoustically and visually, thereby reminding the spectator of their presence while also allowing their aesthetic qualities to crystallize. Among her most well-known works is a project called Electrical Walks which employs specially-built headphones that receive electromagnetic signals from the environment and convert them into sound. She uses these headphones for auditory dérives through any given territory, guided by the sounds that are inaudible to passersby, and stopping wherever they seem interesting. Things like light systems, wireless communication systems, ATMs, anti-theft security devices, surveillance cameras, neon advertising, etc., have proven to emit particularly strong signals worth of being explored, often even sounding quite musical. Finally, Kubisch compiles her findings into a map and allows the public to use the headphones themselves to set off for own journeys. One sound source that has shown to be particularly worthwhile, and surprisingly varied throughout different countries, is public transportation. Zenger Station thus focuses on the electromagnetic sound qualities of trams, buses and related infrastructure. Side A is taken by the "Zenger Station" suite of three single pieces, composed from recordings Kubisch made in Prague in 2021 and 2022 and titled after the transformer station of the same name. Side B has a piece from 2021 called "A bus meets a tram meets a trolley" including tram, electric bus and trolley bus recordings from Rome, Bangkok and Bratislava, respectively. Edition of 300 with full-color sleeve and four-sided insert with photos, liner notes and an extensive interview with Christina Kubisch by Christoph Cox.
|
|