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インド中央部を流れる聖河ナルマダ川は、神話では瞑想するシヴァ神から流れ出た汗が川となったと言われ、あの聖なるガンジス川ですら黒牛に姿を変えて沐浴に来るとされる。その聖河ナルマダ流域の小さな村で産出される「ババグーリ」と呼ばれるインド瑪瑙です。このババグーリは聖者のビーズ（石）として現地では扱われ、日本国内ではデザイナーであるヨーガン・レール(1944-2014)が収集していたことでも知られいます。その自然が作り出した完全性漂うタイムレスな美しさは、瞑想的であり心の静止を齎します。

約6.5 x 7.0 cm,205grams

インド中央部を流れる聖河ナルマダ川は、神話では瞑想するシヴァ神から流れ出た汗が川となったと言われ、あの聖なるガンジス川ですら黒牛に姿を変えて沐浴に来るとされる。その聖河ナルマダ流域の小さな村で産出される「ババグーリ」と呼ばれるインド瑪瑙です。このババグーリは聖者のビーズ（石）として現地では扱われ、日本国内ではデザイナーであるヨーガン・レール(1944-2014)が収集していたことでも知られいます。その自然が作り出した完全性漂うタイムレスな美しさは、瞑想的であり心の静止を齎します。

約5.0 x 3.5cm,75grams

インド中央部を流れる聖河ナルマダ川は、神話では瞑想するシヴァ神から流れ出た汗が川となったと言われ、あの聖なるガンジス川ですら黒牛に姿を変えて沐浴に来るとされる。その聖河ナルマダ流域の小さな村で産出される「ババグーリ」と呼ばれるインド瑪瑙です。このババグーリは聖者のビーズ（石）として現地では扱われ、日本国内ではデザイナーであるヨーガン・レール(1944-2014)が収集していたことでも知られいます。その自然が作り出した完全性漂うタイムレスな美しさは、瞑想的であり心の静止を齎します。

5.5 x 3.5 cm,71grams

インド中央部を流れる聖河ナルマダ川は、神話では瞑想するシヴァ神から流れ出た汗が川となったと言われ、あの聖なるガンジス川ですら黒牛に姿を変えて沐浴に来るとされる。その聖河ナルマダ流域の小さな村で産出される「ババグーリ」と呼ばれるインド瑪瑙です。このババグーリは聖者のビーズ（石）として現地では扱われ、日本国内ではデザイナーであるヨーガン・レール(1944-2014)が収集していたことでも知られいます。その自然が作り出した完全性漂うタイムレスな美しさは、瞑想的であり心の静止を齎します。

5.0 x 2.5 cm,24grams

インド中央部を流れる聖河ナルマダ川は、神話では瞑想するシヴァ神から流れ出た汗が川となったと言われ、あの聖なるガンジス川ですら黒牛に姿を変えて沐浴に来るとされる。その聖河ナルマダ流域の小さな村で産出される「ババグーリ」と呼ばれるインド瑪瑙です。このババグーリは聖者のビーズ（石）として現地では扱われ、日本国内ではデザイナーであるヨーガン・レール(1944-2014)が収集していたことでも知られいます。その自然が作り出した完全性漂うタイムレスな美しさは、瞑想的であり心の静止を齎します。

約6.5 x 4.5 cm,140grams

Originally conceived as a mock live bootleg for Turn Us Alias 2020 (Macao’s Saturnalia festival online edition), Stock Fantasy Zone is the new album by Babau dedicated to the unearthly delights of unconscious reticular motion, wacky 2D shredding and daily side quests. Directly from inside the Stack, finally imagine a zone where all activities are possible but purposeless, all primary objectives are achieved without even moving and the game-logic has finally disappeared leaving back a virtual fauna of forsaken babbling Npc’s and uncharted, yet to be tested stockpiles of maps and levels. Lofty low poly structures, tentacular mickey-mousing gesticulations, already obsolete sonic ontologies and the unsung age of Dreamcast fantasy frenzy. All and all, just another day spent testing the margins and edges of the simulation without leaving your Sofa. Don’t wait! Enter the Stock Fantasy Zone! Stock Fantasy Zone has been mentioned by Simon Reynolds among his 2020 albums of the year and two tracks have been selected by Kode9 for a mixtape released by Club To Club Festival.

First Babe Roots album perfectly executed. This is the perfect balance between dub structures and reggae rhythms. Album composed and produced by Babe Roots in Berlin (DE) and Turin (IT) between 2013 and 2016. Mastered by Mathieu Berthet at Berthet Mastering Paris. Artwork by Miranda. 12" 180gr black vinyl.

Newdubhall, a Newdubhall organized by Undefined, releases left-field modern electronic dub artists from Japan and abroad, including Kazufumi Kodama, Deadbeat, Janka, etc. The 7th Newdubhall will feature Babe Roots, an icon of electronic modern dub after 5 years. Babe Roots, an icon of electronic modern dub.

Following the success of last years Babe Roots EP, Echocord revisits the package with reworks from Forest Drive West, Mike Schommer, Felix K, DB1 and Babe Roots themself.

London’s DB1 leads the package with his take on ‘Work Hard’, a mostly beatless interpretation fuelled by oscillating white noise, winding dub chords and snippets of the original’s dub reggae vocals. Hidden Hawai’s Felix K then ups the energy levels with a high-octane take on ‘Sufferation Time’, driven by upfront, shuffled and distorted drums and unfaltering, tension building dub swells.

The hotly tipped Forest Drive West steps up next to remix ‘Jah Nuh Dead’, a typically classy reimagining from the Livity Sound artist, stipping things back to ethereal pads, off-kilter percussion and sporadic echoes of the original composition. Former Deepchord member Mike Schommer’s take on ‘Bless Me’ follows, the pioneer of contemporary dub techno delivers a cinematic rework employing sweeping voices, glitched out electronics and resonant swells alongside the bouncy dub reggae groove of the original.

Lastly Babe Roots revisit one of their own compositions, ‘Sufferation Time’, delivering a more refined feel this time round with more impetus on drums and dark, hypnotic synths to contrast the original’s more vocal focused feel.

Bedroom pop duo Babeheaven return after a short hiatus with a vulnerable "post rave" sound that's like Air split with Frank Ocean.

'Slower Than Sound' is billed as music that you might listen to on the bus back home after a night out and we can see it. Nancy Andersen's voice is just as lulling as it was on Babeheaven's debut album 'Home For Now' and Jamie Travis's instrumentation is warmer and more restrained this time around, a throb of exotica-ish Mellotrons, fingerpicked arpeggios and clunky drum machine loops. It's a creative rebirth for the duo, who sound as if they've checked in again after a few years of heartbreak and burnout. And when they allow themselves to really strip things down, like on the introspective 'Loud Thoughts', a track that features a star turn from Samba Jean-Baptiste, things get really interesting.

Laxmichand "Babla" Shah began his career and a drummer and percussionist on Bollywood soundtracks composed by his older brothers Kalyanji V. Shah and Anandji V. Shah, and then made history through Babla's Disco Sensation, the adventurous disco and synth-pop recasting of popular film hits released by Polydor in the late 1970s. This rare beast kicked off the "Disco Dandia" craze and is a total killer from start to finish, the sitar funk grooves and eastern melodies clashing with all kinds of Moog madness. It's a crate-diggers special that was sampled by Metro Area and others -- grab your copy now and play loud for best effect!

Coming from the city of Gao, on the edge of the Saharan desert, Malian producer Baba ‘’Babsy’’ Konate is one of the key figures in the development of "Gao Rap", a regional genre of modern autotuned Songhoi music. After presenting some of his work on our Gao Rap compilation from 2018, Tounga is the first release of the artist’s solo work, gathering a decade of tracks that merge sweet autotuned vocals, crunchy drum loops and plucked digital harpsichord, in a playful testament to 2000s PC music, with the sample packs of a modest FruityLoops project. The result is familiar yet otherworldly, drawing from an abundance of distinct cultural expression: folkloric takamba from the Songhai, Hausa film soundtracks from Northern Nigeria, Hip Hop from Bamako and Ragga from Niamey. After relocating to Bamako and learning the art of production from his brother (the acclaimed guitarist Oumar Konate), Babsy traveled to Gao with a mobile studio, setting up shop in the center of town, soon inundated with rappers wanting to record. These ephemeral studios laid the foundation for the emergent new genre, shaped by Babsy's signature sound of fluttering melody lines and lush vocals. His productions soon became synonymous with the regional style of modern Gao music. Global audiences might place Babsy's compositions alongside trap or soundcloud experiments, with collaged pastiche, hyper kitsch, and lo-fi aesthetics. This mix of disparate influences is best heard on tracks like the upbeat ‘’Erness Fassa’’, a dedication to a close friend, that sports a vaguely Caribbean flavor with elastic, highly addictive spacey beats, or the hypnotic programming and quivering synth pads of "Tounga", where Babsy asks Malians in exile to remember home and to their families they left behind. Though the sound may converge with familiar genres, Babsy's tracks are soulfully earnest, with love ballads, praise songs and advice. Tounga perfectly illustrates his ability to take whatever's around and experiment in free-form innovations, forging a style that’s both his own and a new direction for Songhai music.

Dutch electronic no-wave outfit Baby Berserk is making a thrilling return to Bongo Joe Records this Fall with their highly anticipated album, "Slightly Hysterical Girls With Pearls." Following the release of two compelling 7'' singles—"What I Mean/Sleepless" and "Toxic Kisses/Wartime"—and a real world tour, the band is back with a full-length record that pushes the boundaries of their eclectic sound.

Known for their seamless blend of music and fashion, Baby Berserk captures the essence of contemporary nightlife, balancing the raw energy of a live band with the infectious pulse of club music. Their latest work offers a refreshing and invigorating boost for the mind, body, and soul.

"Slightly Hysterical Girls With Pearls" isn’t just an album; it’s a statement. It’s about embracing who you are, kicking out the negativity, and finding power in the primal urge to live life on your own terms. With a sound that mixes slow, groovy beats with sharp, slithering synths and a relentless rhythm, Baby Berserk invites you to lose yourself in the music and emerge stronger, more vibrant, and unapologetically yourself.

Eric Broucek was the ur-engineer of the most fertile era of DFA Studios, from about 2003 to 2008 (no one knows anything precisely about that time, as it’s all lost in the fog of chaos). His hand was on all of the remixes, LPs, dance 12s. He was there in that over-designed gear dungeon almost every day, recording, mixing, struggling to not roll his eyes at Tim and me. And somewhere in that fog, he quietly dropped limited runs of three 12-inch delayed reaction bombs on his own label Stickydisc Recordings—two under the name Babytalk, and one as Watussi with another DFA regular, Morgan Wiley.

Back in the day, Eric did not want his music released on DFA. He wanted to forge his own identity, which he did, sending out music that wandered from the DFA path with its uniquely wonky, upended and understated power. His music is so unlike everything else of that era, so profoundly singular, that it still sounds completely out of time.

A few years back, I started DJing the tracks again, and saw how the world was still surprised by what Eric had made, and the idea of this compilation was born.

So, in the end, Eric, we totally got to release your records anyway. We heart you, man.

-James Murphy

Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany made significant noise in 2024 when French film Anatomy of a Fall won an Academy Award for best original screenplay. Bacao’s cover of 50 Cent’s “PIMP” was featured so heavily in the film and plays such a huge role in the storyline that it became synonymous with its success. Subsequently, they ushered in the first appearance of steel pans in the orchestra pit at the Academy Awards so they could play the tune as director Justine Triet walked on stage to accept the award. All of this brought a lot of new fans to Bacao and pushed the streaming numbers of “PIMP” well past 40 million. For those in the know, this tune made its way into underground fame back in 2008 when it was first pressed on band leader Bjorn Wagner’s own Mocambo imprint and was often mistaken for the original sample source from which 50 made his hit. All accolades and international fame aside, “PIMP” is literally just the tip of the Bacao iceberg. With four full length albums and a tall stack of 7” singles that have become staples to DJs around the world, they have been prolific since signing with Big Crown in 2014. Despite the constant releases and elaborate catalog, every recording session has borne more fruit than could fit on an album, leaving a handful of tunes in the recording vault. Here on Big Crown Vaults Vol. 4 we open up that vault and give all (well, most of) those tunes a proper pressing and release. The album opens up with their cover of the Bob James uber-classic breakbeat “Nautilus” and they put a spin on the original that puts it directly in the must have category for all hip hop and breakbeat enthusiasts. Keeping their foot on the gas, they give the BRSB treatment to the Khruangbin classic “Maria También” with their signature bottom heavy drums taking the energy of the tune to a whole new place. Infamous for digging deep in the crates when picking material to reinterpret, they next take on Royce the 5’9”'s J Dilla produced “Let’s Grow”. Originally the B side to the first pressing of “PIMP” (and making an appearance on the very limited first 2LP pressing of their debut album 55) we put the “PIMP (Version)” on here where they give their original recording the proper dub treatment with melodica and tape echo galore. They turn up the tempo and the funk covering the Jackson 5’s “Great To Be Here” and again dive deep into obscurity with the Billy Jones dancefloor burner “Lookout Baby (Here I Come)”. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they are going to take on, it is equally intriguing to see what original tunes they’ve cooked up. While BCR Vaults Vol. 4 only has one original, “Kaiso Noir”, it’s an uptempo crowd-pleaser that sounds like a mix between a b-boy break and a James Bond score. This collection of songs spans from 2008 to 2023 and runs a variety of genres from hip hop to jazz to soul and pop through the Bacao lens. The band is already at work on their 5th full length studio album and this compilation should be the perfect thing to hold fans over until it arrives.

Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany have amassed a cult following around the globe. With a slew of classic 7”s and three critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their fourth album BRSB, Bacao are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to underground album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they do it is equally intriguing to see what original tunes they cooked upland this record is foul of stand out originals. The album opener, “In The Crosshairs” is a rough and tough mid tempo head nodder while both “Grilled” & “Treasure Quest” pick up the tempo with heavy African Funk influences on both. Bacao goes deep with “Hazy Memories”, a bass heavy slow burner that walks a line between hypnotic and hype. All these originals stand as testament that the term “cover band” is a shoe that could never fit Bacao. However, in the tradition of steel pan music, they do a heavy amount of covers. This time around there is a big West Coast Hip Hop influence with covers of Game & 50 Cent’s “How We Do”, Dr Dre & Snoop Dogg’s “Nuthin But A G Thang”, and Tupac’s “Got My Mind Made Up” all of which take on new energy and lend themselves to the BRSB steel treatment. Bacao puts another certified dancefloor filler on their resume with their cover of Claudja Barry’s uber Disco classic “Love For The Sake Of Love” which they flip into a dubbed out affair aptly changing even the title to “Love For The Sake Of Dub”. Pulling from the contemporary smash hit section of Hop Hop they cover Drake’s “Hotline Bling” and “Love$ick” by Mura Masa & A$AP Rocky. Then they go very unexpected with “Stranger Things Theme” where they take the synth heavy theme song to the hit show and give it a more hypnotizing tone than the original.By the time BRSB is through, Bacao has taken the listener on a journey spanning a myriad of energies, tempos, and moods while keeping it all under one umbrella. For all that, these songs are alive, and they will be taken out of the context of this album and sewn into the fabric of DJ sets around the globe for many years to come. Bacao Rhythm & Steel Band continues building their legacy and pushing the boundaries of steel pan music forward with another rock solid musical offering. Enjoy.

Moroccan Jajouka master Bachir Attar meets American experimental musician Elliot Shrap for a live jam of drum machines and traditional Moroccan instruments in 1990. Bachir Attar's Career spans five decades and represents the transcendental sounds of Jajouka, a small Moroccan village situated between Fes and Tangier, known for its unique mystical sound. Fans include William Burroughs and The Rolling Stones with which Bachir recorded with in 1989. A year later Attar collaborated with the prolific avant-garde jazz musician Elliot Sharp on this very Album. Both Sharp and Attar have dedicated their careers to exploring the meeting points between east and west and this album is a unique example of two brilliant minds creating a new, ultra trippy sonic experience. This release is a first collaboration between Fortuna Records and our friends Dikraphone Records out of Morocco, serious unearthers of lost Moroccan music. Look out for more Dikraphone-Fortuna collaborations in the future!

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with its innovative sound and uncompromising attitude.

This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with its innovative sound and uncompromising attitude.

This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with its innovative sound and uncompromising attitude.

This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

"I And I Survive" is a 1982 EP by Bad Brains, released on the heels of their iconic self-titled debut album. Like the band's subsequent album "Rock for Light", the recordings were produced by Ric Ocasek. The release was previously out of print for nearly four decades. This reissue marks the third release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains’ recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

In 1982 on the West Coast of the United States, this recording captured Bad Brains at the most dangerous and explosive moment in hardcore history. It documents the band’s raw, early energy just as they were breaking out of the Washington, D.C. underground scene and launching themselves onto the national stage.