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A powerful survey of 1970s Pinoy rock, spanning hard rock, glam, acid rock and heavy blues across a golden era of Philippine music. Drawn from recordings between 1971 and 1978, this compilation captures the grit, swagger and invention of a scene firing on all cylinders. Featuring key figures including Juan de la Cruz Band, Judas, Anak Bayan, Hot Dog, Maria Cafra, Sampaguita, Joey Smith and Wally Gonzalez, the collection moves from fuzz-laden stompers to groove-driven rock’n’roll with ease. Each track reflects a distinct strand of the era’s sound while contributing to a broader picture of a vibrant and often overlooked movement. An essential introduction to the depth and energy of 70s Philippine rock.
Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.
Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, “Onda Esotérica”.
Psychedelic cumbia amazónica with South Texas swagger. “Like taking a hit of acid, downing a couple shots of tequila, and hopping a plane to 1960s Peru” – KUTX.
Essential 1969 album from Gal Costa, one of the defining voices of the Tropicalia movement. It showcases a bold fusion of psychedelia, Brazilian pop, rock, and samba, featuring standout tracks like Caetano Veloso’s ‘Baby’ and Caetano and Gilberto Gil’s ‘Divino Maravilhoso,’ as well as songs written by other iconic artists such as Jorge Ben and Erasmo Carlos. A timeless classic that still sounds fresh and relevant.
Parisian label Latency presents "Without References / Cindy van Acker (Variations)", a new release by goat (JP) and legendary producer Ricardo Villalobos. For this project, Villalobos reinterprets two tracks – "Orin" and "Factory" – originally composed by goat (JP) for choreographer and performance artist Cindy van Acker’s dance piece "Without References". The release follows Latency’s recent publication of Villalobos’ variation on percussionist Mohammad Reza Mortazavi’s "Swamp" (Latency, 2025), continuing the label’s exploration of reinterpretation and rhythmic dialogue. goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In “Without References/Cindy Van Acker”, goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group’s simultaneously tribal and futuristic sound is reshaped by Villalobos’ distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions. Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet’s regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture. Cindy van Acker’s dance piece "Without References" features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s precise yet fluid movements, interacting with goat (JP)’s percussive, stripped-down compositions to create a visceral and immersive performance. The artwork features photographs by Magali Dougados from a staging of "Without References" at the Maison de la Culture de Seine-Saint-Denis.
Blue Abstraction compiles a selection of Jessica Williams’ lost prepared piano recordings. These recordings document the beginning of a vital, solitary phase in her career: a period of intense sonic experimentation that began with physically altering a 6’4” grand piano—creating a new instrument, and from there, creating a new music. The results are breathtaking; from melancholic soundscapes with Satie-esque lyricism to forcefully controlled cacophony, always grounded by the distinct emotional voicing of her melodic lines. Jessica Williams (1948–2022) was a pioneering trans jazz pianist and composer from Baltimore, where she studied at the Peabody Conservatory. Among countless other greats, she gigged with Philly Joe Jones, Dexter Gordon, Stan Getz, Tony Williams, Charlie Rouse, Jackie McLean, Roy Haynes, Charlie Haden, and Bobby Hutcherson, and recorded with Eddie Henderson, Eddie Harris, Leroy Vinnegar, Victor Lewis, and Ray Drummond. She received accolades from piano greats McCoy Tyner and Dave Brubeck. Williams could play anything and knew the standards deeply—expanding from there through her composing and arranging. Her first LP, The Portal of Antrim (Adelphi, 1976), included six solo piano improvisations, four pieces as a trio, and “Plath’s Return,” where she played all the instruments. After finishing her second album—a double LP of solo piano improvisations titled Portraits (Adelphi, 1977)—she moved to San Francisco and became the house pianist at the city’s premiere jazz spot, Keystone Korner. Thelonious Monk was one of Williams’ biggest influences. Her fifth LP, Update (Clean Cuts, 1982), features a take on “Ruby My Dear” and her sixth LP, Nothin’ But the Truth (BlackHawk, 1986), includes “’Round Midnight,” “Ugly Beauty,” and her tribute, “Monk’s Hat.” In a 1997 interview with Terry Gross, she recalled first hearing It’s Monk’s Time (Columbia, 1964): “[It] sounded like he was wearing boxing gloves, because I had heard all this precision piano playing—like Oscar [Peterson]—and this was a totally new thing for me. I grew to love Monk’s music, and I still do, but I had some questions about how he would do certain things.” Monk’s famous maxim—“The piano ain’t got no wrong notes”—opened up something essential for her. In 1985, with a head full of Monk’s dissonant harmonies, Williams began her prepared piano project. She altered the piano by placing vibrating and/or muting elements on top of and between the strings at varying distances across the harp—some sounding like bells or gongs (screws, bolts), others like percussion instruments (clothespins, hairpins, washers, erasers). The effect radically expanded the instrument’s possibilities, sometimes making it sound metallic or ghostly, other times muted, tactile, almost broken. Though pioneered by John Cage—who embraced chance and a sparse, meditative atmosphere—Williams brought an entirely new sensibility to the prepared piano, forging a personal musical language grounded in improvisation, nuanced timbral control, and compositional precision. Even the most dissonant elements land precisely within the parameters of her tonal framework. The resulting beauty and listenability of these works are a testament to Williams’ vision and mastery. The recordings on Blue Abstraction came out of three years of experimentation. She recorded at her own Quanta Studios and at Moon Studios (both in Sacramento), and two live performances at Noe Valley Ministry in San Francisco, on January 11 and May 10, 1986, as part of the Noe Valley Music Series. For Williams, these recordings were a personal transformation through the musical process. She described them as “temporal arrangements of sound and timbre... my self encoded on a chrome oxide surface [audio tape].” The process of listening back, she said, was “further investigation into my becoming.” The prepared piano gave her a language beyond technique—a direct link between sound, sensation, and the shifting contours of identity. She never returned to the prepared piano but continued to adopt its techniques—for example, emulating a koto on “Toshiko” from Songs for a New Century (Origin, 2008), or depressing multiple keys and reaching into the piano, strumming the strings to create a chord, on her compositions “Soldaji” from Live at Yoshi’s Volume Two (MAXJAZZ, 2005) and “Love and Hate” from Unity (Red and Blue, 2006). Though known for her recordings and live performances—especially of Monk tunes—Williams made some of her most forward-thinking music privately. Describing her childhood connection to the piano, she said, “I hit the notes, and I saw colors.” This immediate, sensorial relationship to sound persisted throughout her career, whether she was playing bebop standards or muting strings with hairpins. The music on this record disappeared for almost four decades. Perhaps the few who encountered it back then couldn’t fully understand what she had made. I’m excited to see what happens this time around. –Kye Potter Los Angeles
Thrill Jockey celebrate their 20th Anniversary with this new edition of the seminal first album from Totroise, finally available again on vinyl.
On May 28, 1969, four American musicians -- reed/wind players Roscoe Mitchell and Joseph Jarman, bassist Malachi Favors, and (accompanied by his wife, singer Fontella Bass) trumpeter Lester Bowie -- boarded the ocean liner S.S. United States, bound for Le Havre, France. After landing five days later, they moved on to Paris, where they got to work. On August 22, 1970, in the waning days of their stay overseas, the group, with Bass on vocals, would record their second release for EMI's Pathé Marconi: the movie soundtrack Les Stances à Sophie. The record, an exciting, eminently listenable combination of soul, classical, and jazz strains that survives as the Art Ensemble of Chicago's most stylistically diverse album, has long been admired by a devoted cult. Its durability is largely due to the popularity of its "hit": Over the years, "Theme de Yoyo" has been covered repeatedly, essayed by acts as varied as German funk band the Boogoos (and the offshoot Deep Jazz, both featuring singer Julia Fehenbeger), British nu-jazz combo the Cinematic Orchestra, Polish jazz man Wojtek Mazolewski, Norwegian rockers Motorpsycho, French dance music artist Étienne Jaumet, and London-based remixer, Shall I Bruk It. More than half a century later, "Theme de Yoyo" and Les Stances à Sophie still bring it. Limited-edition LP reissue from play loud! Productions, supplemented with new notes by U.S. music journalist Chris Morris.
Martin Rev’s fifth solo album – Strangeworld – was released on the cusp of the new millennium. The label responsible was Puu, a Finnish imprint belonging to Tommi Grönlund and Mika Vainio’s Sähkö Recordings which came to fame in the 1990s on the strength of its uncompromising minimalist sound.
Four years earlier, in 1996, Rev had unleashed See Me Ridin, an album which surprised its listeners with keyboard melody sketches and distilled doo-wop compositions. It was also the first solo album to feature Martin Rev on vocals.
Strangeworld started where its predecessor left off. Melodic passages dissolved into a thicket of fragments and set pieces, coalescing in a celestial shimmer between rhythm loops and Rev’s voice, which assumed the role of an additional instrument rather than a standard singing part.
When it was first released in 1997, White Heaven founder You Ishihara’s solo debut Passivité seemed to vanish into the ether, going largely unnoticed; the scant coverage it did receive in the Japanese music press was confused or even dismissive and it hardly reached an overseas audience in that moment just before the online music era. It was released by the short-lived Japanese Creativeman Disc label, which also produced albums by other luminaries of the Japanese underground, including Phew, Otomo Yoshihide, Taku Sugimoto, C.C.C.C. and Ground-Zero. Yet, even in that eclectic company, Ishihara’s album stood apart in a world all its own, out of time in that, or any other, era.
Passivité arrived at a pivotal point in Ishihara’s career, just as White Heaven dissolved and before the formation of his next group, The Stars. To realize the album, he recruited a choice group of players, including Michio Kurihara (White Heaven) on guitar, Chiyo Kemekawa (Yura Yura Teikoku) on bass, and Koji Shimura (Acid Mothers Temple) on drums, arranging them in no less than five configurations. The result revealed an expansive creative and even conceptual vision that could only find expression outside the band context. In the twenty-odd years since, the album has found adherents who, like P.S.F. Records founder Hideo Ikeezumi, praised its tremendous depth and discovered that they experienced something new each time they listened to it. Listening back today, Passivité sounds timeless and, in a sense, encapsulates the concepts, feeling, and brilliance that have marked the near 50-year career of one of the key figures in Japanese underground music.
Passivité is an entrancingly beautiful album that draws from rock and psychedelic music, the sounds of 60’s America as well as elements of jazz, bossa nova, soul, and even electronic music. It’s an enigmatic late-night meditation that unfolds in a cool darkness pierced by scattered flashes of light and heat. The album’s opening tracks “K” and “Nachbild,” as well as the second side’s nearly 15-minute “Nightwalker,” slowly float in the night, quietly seductive, stripped down, and soulful. Even as Ishihara seems to surrender to these nocturnal atmospheres, he cuts to songs that erupt with urgent energy, overdriven fuzz guitars, and even dives into an electronic excursion recorded 18 years before. Through all of this, there is a clarity and cohesion of vision. On Passivité, Ishihara both embraces and departs from his work with White Heaven. The music is deeply personal and intimate even as it operates on a conceptual level with a masterful nuance and subtlety.
Black Editions presents Passivité for the first time on vinyl in a meticulously remastered deluxe edition, including metallic silver tip-on jacket with gloss film laminate finish, matte pigment stamping, two inserts with liner notes in Japanese and English newly written by renowned music critic and editor Masato Matsumura (Studio Voice, Tokion) and the original notes by Shinji Shibayama (Nagisa Ni Te, Hallelujahs, Org Records).
Sans Merit arrives on Knekelhuis with his second album Trolley Polly. A radiant album from currently LA-based Australian musician Griffin James, one that leans into unguarded joy with a playful, disarming sincerity. The album rocks right away into our world. Lifting off where the guitar pedals mash the gas and go. While at other moments the acoustic guitar passages carry a neofolk intimacy, like the low-voiced choir singer cast out of a pastoral world, left to wander in his own solitude. These moments are swept up by surging shoegaze episodes, slipping into hazy hypnagogic pop interludes and wiry post-punk turns, giving the record a restless, shifting pulse. Beneath it all lies a lyrical sensitivity that grounds the album’s movement. Sans Merit reflects on the big questions in a world that feels increasingly fragile, balancing vulnerability with a self-aware, gently naïve humor, while staying attuned to the emotional undercurrents of everyday life. It’s this perspective that makes Trolley Polly feel so human, alive in its contradictions, and quietly comforting.
the second album by the Jacks—the pioneers of Japanese rock—released after the band’s breakup, is being reissued on vinyl for the first time in 30 years since its 1996 LP reissue!!
Selected tracks from the album are featured in Hideo Kojima’s video game, Death Stranding 2: On The Beach.
“Untitled II” is a grainy mixtape/sound collage produced by London-based artist, Koichi Yamanoha. Contains demo recordings on a 4-track cassette, humming by Yamanoha’s mother, sound sketches of sleep-talk. the sea recorded during the road trips, and guitar feedback at a local supermarket’s event, etc. Featuring multiple musicians including Josephine Foster, Bryan Michael Mills, and Naima Nefertari. 30 limited cassette tape edition comes with the Grimm Grimm original pillowcase (Designed by Yamanoha’s 7 years-old niece)
Grimm Grimm’s quiet, folk‑rooted songwriting and his experimental sound treatments come together in their most refined form on the 2020 album Ginormous
Masayuki Takayanagi, having absorbed free jazz, offers a response that brings the tumultuous 1970s to a close. His return to his roots—a tribute to Lennie Tristano and Lee Konitz—serves as a rite of passage to reach new heights in the coming era.
Les Rallizes Dénudés Takashi Mizutani's envisioned “Fourth Album” finally materializes after 35 years.
Chicago-based sound artist Kikù Hibino collaborates with Japanese noise pioneer Merzbow (Masami Akita) on Rococo ∞ Echomatter, released by Superpang. Exchanging material between Chicago and Tokyo, the duo cuts spoken voice and instruments into dense noise fields. Hibino’s sharp editing turns these ruptures into structure, where voice and noise collide as physical elements in motion.
Back to the golden nights of zouk clubs, where hip-hop, kompa, zouk and Caribbean grooves ruled the dance- floor. This selection documents a pivotal moment : a time when zouk was still not a fixed genre, but more a place, an atmosphere, somewhere people went to dance. It captures the spirit of an era: its creative effervescence, musical freedom, and the diversity of artists who shaped it. The very concept of “Kaz A Zouk” perfectly encapsulates this idea: a space where all styles could meet. Curated by Émile Omar, the driving force behind the Disques Debs and Radio Nova compilations — alongside Tropical Discoteq, Paris’s legendary tropical club night.
Lolina returns with gg, a track that has become a fixture of her live sets before finally making its way to release. Balancing pop, performance art and uneasy humour, the song moves through uncertainty and contradiction while keeping its momentum intact. This edition features the extended version of ‘gg’ alongside two reworkings that push the track in different directions. An Arca remix reshapes its off-kilter energy into something even more unpredictable, while NEW YORK offers an alternative perspective on the original’s distinctive atmosphere. Part club track, part commentary and part mystery, gg captures Lolina at her most elusive, turning confusion, tension and movement into something oddly compelling.