MUSIC

Between their early-'70s Epic Records run and name change to Anglo Saxon Brown for Atlantic in 1976, Richmond, Virginia's Ujima tracked an unreleased album of modern soul emotion sensors. Shelved for five decades, Numero has unearthed these recordings, pairing infectious floor filler "Maybe" with mid-tempo ballad "All I Want Is You." Pre-order: Release date is March 20th - Orders will begin shipping in late February

Following a string of successful Blacksploitation soundtracks (Shaft In Africa, Brother on the Run) uber producer/arranger/maestro Johnny Pate bankrolled a one-off session to combat the overwhelming pessimism seeping into the American experiment. "Go For It" combines disco hustle and Pate's signature strings while the self-titled flip employees synth squiggles and acrostics for dance floor dominance.

A trio of Kansas City soul sweepers, from the sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers' 1970 sweet soul double sider "I Can Remember" was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald "Bump" Scott took his new group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remained unissued prior to Numero's discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper "Reaching For Our Star"—the last 45 released on Marva Whitney's peerless Forte label.

Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. On Parlor Greens’ debut LP In Green We Dream, they announced their existence boldly to the welcoming arms of funky instrumental fans around the world. Now, two years later, they’re back to up the ante. Three true masters of their respective crafts: Tim Carman (Canyon Lights, formerly of GA-20) on drums, Jimmy James (True Loves) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams.

Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going. The album’s opener, “Eat Your Greens,” kicks the doors off with a Charles Earland-inspired four on the floor beat, with Jimmy and Scone driving the tune down the tracks like an overloaded freight train, it simply cannot be stopped. On “Red Dog,” the group channels the absolute heaviest shade of early R&B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.

And while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away.

So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…Emer

Big Crown Records is proud to present the instrumental version of El Michels Affair’s 2025 instant classic 24 Hr Sports. The roster of vocal features on 24 Hr Sports is amazing, Clairo, Norah Jones, Florence Adooni, Shintaro Sakamoto, two different choirs, and even singing from the man himself, Leon Michels. The background vocals contributions are amazing; Lady Wray and Kevin Martin from Brainstory to name a few. But alas, there’s a new energy that shows up in the listen when you pair it down to the impeccable musicianship and Leon’s tried and true “Midas Touch” production. Leon plays a ton of instruments across the album and is joined by the regular cast of heavy hitters; Homer Steinweiss, Nick Movshon, Dave Guy, Marco Benevento, Hether, and more. There is even a saxophone solo by the late, great Rahsaan Roland Kirk.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA’s blending their signature cinematic soul sound with influences from Turkish Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls “a carnival of dusty funk and soul.” The EP starts off with the unreleased gem “Messy Grass” whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi’s Qanun dances over. On “Cham Cham” EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season’s “Perfect Harmony.” Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; “Poison Song,” “Uncut Gem,” “Smoked,” and “Progress” are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago’s Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

This Record Store Day 2026, Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshall Allen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Gilles Peterson’s Worldwide Awards, where Allen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’ , originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much- loved Sun Ra Lanquidity album in 1978, and a dense and deep re- work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova.

'Dear Children of Our Children, I Knew: Epilogue' is a new EP by Alabaster DePlume, recorded during the middle of his March 2025 US tour. DePlume had been playing shows with bassist Shahzad Ismaily and drummer Tcheser Holmes, performing music from his critically acclaimed album 'A Blade Because A Blade Is Whole' (released March 2025). The trio’s onstage rapport was so immediate and strong that, on an off day in Brooklyn, DePlume chose to capture that connection, recording this collection of instrumental pieces shaped by the experience of performing, sharing, and improvising off the music of A Blade for audiences across the US.

DePlume says: “Meeting with you all at the shows I sensed that you felt voiceless, on this ethical issue that also spelled out what we’re seeing today, in the form of ICE. That experience with you is etched into me, like graffiti or a poster on the wall. It’s my job to deliver your voice, and that’s what this record is. And to take action. That urgency compelled me to record then. And now here we are. As we said, this world is awakening to the reality it was already living.”

Dear Children serves as an epilogue to A Blade Because A Blade Is Whole, and as a companion bookend with his October 2024 EP 'Cremisan: Prologue to A Blade'.

As with almost everything that DePlume has put forth in recent years, the connection of all these works to Palestine is deep. The Cremisan EP itself was recorded in Palestine. Dear Children incorporates field recordings and samples of children playing and of normal life in the West Bank, and its cover art depicts wheatpaste posters of a drawing made by a 13-year-old boy from Gaza (used with permission). The inscription on the cover art says, in Arabic, “Dedicated to the mother of the martyr/witness Obaida Ahmed al-Qiram. May you rest in peace. From your student, the artist, Hasan Jawad Abudayyeh.”

1983, the 2006 debut album from Flying Lotus, will be officially re-released on vinyl as part of Record Store Day, as well as released on streaming platforms. The album, which was remastered for this occasion, will be available to stream on April 17th, while the physical release happens the following day on RSD. Brainfeeder Records proudly shares the release in a very full circle moment for FlyLo’s own imprint, and the title track ‘1983’ serves as a teaser for the album. A career that includes modern classics such as You’re Dead!, Cosmogramma, and Until the Quiet Comes began 20 years ago with 1983, Steven Ellison’s first LP as Flying Lotus. Made in the comfort of his grandmother’s bedroom, it broadcasts early transmissions from an artist just beginning to test his talents. Those talents are displayed in the music’s style, which draws from J Dilla, jazz, and Brazilian syncopation in a way only he could weave together. The Brazilian influence in particular played a significant role in Steve’s understanding of rhythm, a revelation delivered by a lesson from a street vendor in Copacabana. “It flipped my whole wig,” Ellison says, laughing at the memory. Lessons such as the vendor’s, along with his jazz heritage, interest in soundtracks, and interning at Stones Throw Records, are evident in these sonic collages. Though at its beginning stages, the sound present here is not that of a novice but of a visionary who saw what possibilities lay ahead, something encouraged by the label, Plug Research. “Give us the weird shit,” Ellison recalls them saying. It’s what ended up paying off in the end as 1983 kicked off a run of six studio albums, a body of work that encompasses just one scope of Flying Lotus’ output and influence.

On Interview with a Cat, Marcel Broodthaers turns a deadpan Q&A with a meowing interlocutor into a razor‑sharp miniature of conceptual art: a five‑minute 1970 audio piece where questions about painting, markets and museums collapse into one insistent “miaow.” ** Edition of 150 ** This limited 12" vinyl edition of Interview with a Cat restores one of the most mischievous and incisive works in Marcel Broodthaers’ oeuvre to its properly tactile form: a short audio recording cut into a disc, complete with a fold‑out insert carrying the English translation and transcript. Originally recorded in 1970 at his self‑invented Musée d’Art Moderne, Département des Aigles in Düsseldorf, the piece stages a seemingly absurd scenario. Broodthaers, in the role of earnest interviewer, poses serious questions about “new tendencies and trends in contemporary art” to a cat. The cat responds only with meows. What sounds, at first, merely hilarious quickly reveals itself as conceptually to the point: as the artist asks if a painting is “good,” whether it aligns with the latest shift from conceptual art to a “new kind of figuration,” whether it risks becoming a new academicism, the cat’s single, invariable language becomes the perfect mirror for an art world drowning in discourse and market speculation. Formally, the work is disarmingly simple: a voice, a cat, the faint resonance of the museum environment, five minutes of call and response. Yet this minimal setup opens onto many of Broodthaers’ core preoccupations. The Musée d’Art Moderne itself was a fictional institution that he founded and installed in real spaces, a long‑running project in which eagles, labels, vitrines and bureaucratic trappings were used to probe how museums create authority, value and meaning. Placing the “interview” there doubles the satire. The artist’s questions about innovation, markets, collectors and the fate of previous artworks are exactly the questions that haunt any institutional moment of aesthetic change. The cat’s refusal to answer in human language turns every enquiry into an echo chamber of anxiety. When Broodthaers finally arrives at the deadpan injunction to “close the Museums!” and plays with the Magritte‑echoing refrain “This is a pipe / This is not a pipe,” the piece tips fully into a poetic loop where representation, language and reality chase each other in circles, while the cat keeps on meowing. The vinyl edition underscores the work’s status as both artwork and object. To “own” Interview with a Cat is to own a record of a conversation that never resolves, a “document” that simultaneously mocks and inhabits the documentary mode. The fold‑out translation and transcript extend Broodthaers’ interest in the printed word as a material surface, where typography and layout participate in the performance of meaning and its breakdown. Listening on headphones or through speakers, one hears not only a relic of 1970s conceptualism, but a work whose humour and scepticism feel uncannily current in an era where artistic value is still framed by markets, labels and increasingly opaque discourse. Born in 1924, Marcel Broodthaers began as a poet and remained one even after he “became an artist” at the end of 1963, following two decades of near‑poverty and marginal literary activity. Briefly associated with surrealism and the post‑war “surréalisme‑révolutionnaire” milieu, he turned to making objects by literally embedding unsold copies of his poetry book in plaster, a gesture that fused language, sculpture and self‑irony. In the twelve years that followed, until his death in 1976, he built a dense, elusive and profoundly influential body of work embracing poetry, books, film, photography, slides, drawings, painting and sculpture. Again and again he tested how words and images interact, how rhetoric shapes our understanding of art, and how institutions script what can be seen and said. Interview with a Cat condenses many of these themes into a compact, accessible form - a tiny masterpiece of conceptual deadpan in which the most eloquent critical position belongs, quite literally, to the animal who refuses to explain.

A dub album released in 1978 and recorded at King Tubby’s studio. It features universal themes delivered through dubwise vocals and militant beats, all set against the sparse, stripped-down soundscape.

On Live 1979/80 + Rehearsal 1978, SODS are caught mid‑mutation: from Copenhagen’s first feral punk band to the darker, more avant‑garde force that would soon become Sort Sol, in a barrage of raw tapes, sweat and beautiful mistakes. Formed in Copenhagen in 1977, SODS have long been mythologised as Denmark’s first true punk band, but myth usually arrives without tapes. Live 1979/80 + Rehearsal 1978 finally drags that legend back to the concrete floor, offering a sequence of recordings that follow the group from its earliest, ultra‑raw convulsions to the first tremors of transformation into Sort Sol. You can hear how fast things move. In autumn 1978 they record their debut album Minutes to Go, a jagged, adrenal burst that quickly becomes a cornerstone of punk’s primal wave in Scandinavia. By 1980, with the second album Under en Sort Sol, the music is already turning more sombre, stranger at the edges, letting in shadows and a whiff of the avant‑garde. This new release threads those moments together, not as a tidy history lesson but as a sequence of volatile, imperfect performances, all fraying tape hiss and too‑loud PAs. The bulk of the collection is built around live shows from 1979 and 1980, spread across sides A, B and C in strict chronological order. These are rough, spirited performances of pieces mostly drawn from Minutes to Go and Under en Sort Sol, captured in the small Danish venues where SODS’ reputation was forged one flailing body at a time. Songs that on the studio records already sounded urgent here become even more breathless and unhinged: tempos pushed a notch too fast, vocals half‑barked, guitars skidding in and out of tune. The setlists trace the band’s rapid evolution, with the taut, riff‑driven blasts of the early material rubbing shoulders with tracks where atmosphere, dissonance and negative space start to matter as much as attack. Slotted among these is a single piece from Daggers and Guitars - the album that would not surface until 1983 as the first release under the Sort Sol name - heard here in its embryonic, punk‑era incarnation. There is also the “fantastic” outlier “Breathtaking Effect,” a song that, for unfathomable reasons, never found its way onto any original release. In this context it sounds like a missing hinge: catchy yet crooked, a hint of what SODS could have become in alternate timelines. If the live material shows a band learning to stretch inside the constraints of punk, side D rewinds to the moment before all of that solidifies. The final side is an ultra‑raw document of a high‑energy rehearsal from around the spring of 1978, recorded with no intention of polish. The fidelity is primitive, but that’s precisely its power. Here SODS are still figuring out how to play together, hammering at songs that are more attitude than arrangement, yet the chemistry is unmistakable: drums tumbling forward, bass lines trying to hold the floor, guitars sawing at the same two or three chords until they catch fire. It’s punk not as style but as bodily fact, a band using whatever gear and space they can find to force an entirely new noise into existence. Listening back from the vantage point of Sort Sol’s later acclaim, the rehearsal tape feels like the buried root system - gnarled, unpretty, essential. Across its four sides, Live 1979/80 + Rehearsal 1978 works as both archival excavation and still‑living shock. It documents the progression of SODS from feral pioneers to a group already leaning into darker, more idiosyncratic territory, but it never lets that story settle into tidy arcs. Instead, it preserves the grain of moment-to-moment decisions: the singer pushing a phrase too far, the band falling out of sync and clawing its way back, the electricity in a room when an unknown song hits hard enough to turn heads away from the bar. For listeners who came to Sort Sol through their later, more refined work, these tapes offer the jolt of origin, the sound of a band still naming itself through volume and velocity. For everyone else, they’re a reminder that punk’s foundational wave was not only written on records, but in nights like these and rehearsals like that - fleeting, volatile, and, decades later, still stubbornly alive on tape.

Mario de Vega - El Llamado (Der Aufruf) (LP) A whistle is one of the oldest forms of long-distance communication. A summons. A signal thrown across space, hoping for a reply. Mario de Vega takes that elemental premise and stretches it to global proportions. El Llamado (Der Aufruf) began as a performative work for solo or multiple voices, commissioned by the Maison des Arts Georges & Claude Pompidou in 2020. The raw material: whistles sourced from seventeen countries - Austria, Germany, Italy, China, Spain, Greece, Hong Kong, Portugal, France, India, Mexico, the United States, Poland, the Czech Republic, Russia, Japan, Nepal. Each instrument carries within it a different pitch, a different cultural memory of the human breath shaped into signal. On this fixed LP arrangement, de Vega layers these dispersed voices into a composition of austere and uncanny precision, accompanied by an outdoor activation performed by Yann Leguay at Saint-Cirq-Lapopie, France. The open air enters the record without warning - a sudden rupture of context that clarifies everything. Born in Mexico City in 1979 and working between Berlin and Mexico, de Vega has long explored the limits of sound as political and physical event - using frequencies that induce visceral reactions, making the negotiating process with institutions an integral part of the work. Here the approach is stripped back to something almost naked: breath, wind, the ancient act of calling out across a distance. The result is concentrated and disquieting, a study in how a universal gesture fractures into dozens of cultural particulars. Limited edition of 250 copies.

On Harmograph, Matteo Scaioli turns self-built synths and live tablas into a single breathing organism, stretching 35 minutes of big-room ambience into shifting patterns where pulse, overtones and hallucinated folk-memories slowly braid together. BRA (Big Room Ambient) opens its catalogue with a statement of intent. Harmograph by Matteo Scaioli presents the label’s ethos in concentrated form: ambient and experimental music conceived not as background wash, but as a large, resonant field where electronics and distant musical traditions interact on equal terms. Over just past half an hour, Scaioli builds a sonic environment that feels expansive enough to fill space - physical or internal - yet detailed enough to reward close, headphone-level attention. It is “big room” not because it is loud, but because it imagines a room whose walls keep receding the more you listen. At the core of the album lies a distinctive instrumentation. Scaioli works with self-built synthesizers and experimental electronics, machines whose quirks and instabilities are embraced rather than ironed out, and sets them against the hand-played complexity of tablas. The result is a soundworld where oscillators and drum skins seem to learn from each other. Long, hovering tones, subtly detuned pads and faintly granular textures form an ever-shifting backdrop, while the tablas articulate intricate rhythmic cycles that move between clearly marked patterns and more fluid, wave-like motion. Sometimes the electronics lead, sketching a harmonic or textural horizon for the percussion to illuminate from within; elsewhere the drums pull the music forward, their tactile presence giving the drifting synths a spine. Across its 35-plus minutes, Harmograph unfolds less as a suite of discrete tracks than as a continuous journey through related states. Motifs recur, but they do so in altered light - a phrase returns with different filtering, a rhythmic figure reappears at another tempo or density, a previously submerged detail moves to the centre. The balance between structure and improvisation is finely judged. Underneath, there is a clear sense of design: overarching rises and falls in intensity, carefully staged transitions, long arcs of harmonic colour. Within that frame, Scaioli allows himself to respond in the moment - stretching a tabla phrase when the groove demands it, letting a synth drone decay into unexpected overtones, following small accidents that open up new directions. As an opening salvo for BRA, Harmograph sets a high bar and a clear trajectory. It points toward “unexplored territories of contemporary sound” not by chasing novelty for its own sake, but by listening closely to how older rhythmic languages and hand‑built electronics can co-exist without one reducing the other to ornament. The album’s hypnotic, deeply organic feel comes from that refusal to choose: it is neither a straight fusion record nor a pure electronic abstraction, but a meeting ground where lineages intersect and something quietly new comes into focus. For listeners, it offers a space to inhabit rather than a problem to solve - a patient, evolving landscape that invites you to stay long enough to notice how much is moving beneath its surface.

dj echotree arrives on ZitStill with a singular artefact shaped by excavation and instinct. Built from fragments of found footage, spoken word and drifting jazz, the record unfolds as a seamless collage — guided by the steady pulse of the MPC and a commitment to human touch over polish. Emerging from noisy experiments and captured in a single twenty-four-hour immersion, the album carries the scent of spiritual jazz in the lineage of Sun Ra, grounded in lo-fi textures and presence. What remains is the lone preserved take: raw, immediate, and uncorrected. Pressed on one side only, the reverse is left blank save for a handwritten note from the artist — an intentional space that frames absence as part of the work. The sleeve artwork, assembled from roadside magazine cutouts, quietly reconfigures discarded images into something tactile and open-ended. This is less a product than an offering: a textured, gapless transmission best absorbed whole.

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience.

The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge, breaking cultural boundaries and dismantling aesthetic hierarchies.

In Part 1 of the album, you will hear boundless performances by daegeum player Hong Yoo with electronic musician Unjin, and gayageum player Hwayoung Lee with ambient duo Hosoo.

The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.

The digital release will be available on vurt.’s Bandcamp on August 31, 2025, followed by an LP release in Europe and Asia in December.

With their self-titled release on Titrate Records, Post Coma presents two twenty-minute passages shaped by a winter improvisation. What surfaces is a sense of detachment — at times even dissociation — treating the improvisation as a shared descent into the inner psyche. Listening as much to each other as to the remnants of their own decisions, the music emerges as a kind of cognitive experiment — a document of mutual attunement and the debris that gathers in its wake. The result lies suspended between motion and conclusion, leaving space for what lingers beyond.

Several years after the release of ‘Metamorphosis’ (with Sid Hille), Multicast Dynamics (Samuel van Dijk) reemerges on Astral Industries with ‘Circles’ - an enchanting two-part work venturing into deep unconscious realms. Sonic landscapes unfold in a sequence of hidden spaces and intimate revelations, featuring detailed sound design and rich thematic content.
 Circle One initiates the process, opening gently with glassy drones and the patter of distant voices. A faint light shimmers through swirling pools of liquid memories and melting forms. The atmosphere builds, and everything is engulfed in the act of transfiguration. 
 Passing through the threshold, Circle Two traverses further into cavernous territories. Boundless drifting soon becomes a gravitational pull toward something deeper. Submitted to the powerful undercurrent, incoming primordial pulsations signal a quest that reaches its fated culmination. Perhaps the revelation of something long-lost, entering the Circle eludes to that which on the surface remains hidden, yet its rediscovery inevitable.

Recorded in 1983 by roots reggae’s young prodigy Hugh Mundell and quietly released around 1987, the long‑hard‑to‑find hidden gem Arise finally returns in an official remastered edition.

RSD exclusive, fully licensed ! Never reissued and long lost, this UK dub foundation album Addis Rockers is the brainchild of Tony Addis from the legendary London studio “Addis Ababa.” This hidden gem helped define dub music in the 1980s. Remastered and featuring the original cover design.

For over five decades, Gary Marks, American singer, producer, pianist, and guitarist has written songs about politics, freedom and self awareness. The Gathering, his masterpiece album from 1974, was a folk and jazz mixture often compared to Tim Buckley. Lantern Heights Records has dedicated itself to putting together an album of Marks's most musically masterful, lyrically powerful works from the 1970s to the present - with international guest artists such as John Scofield and Chris McCandless. Brilliant cover work of art by Dario Campanile, internationally acclaimed Master Painter and creator of the Paramount logo.

Reissued for the first time ever the debut album of the Jamaican singer/producer, releasesd in 1983 for Soul Beat records. An ultra rare album recorded at Joe Gibb’s studio with a great band: Sly& Robbie, Earl Chinna Smith, Winston Wright and more… All tracks remastered for the first time!

A collection of tracks from the iconic bassist, producer and composer Jah Wobble (P.I.L.) that are from the early 12" singles he released between '83 and '86 on his own LAGO record label.

Recorded live at the Detroit Institute of Arts on July 20, 2025, A Tribute to Pharoah Sanders captures Detroit reed master Wendell Harrison and his ensemble TRIBE in a transcendent performance honoring Harrison’s longtime friend and fellow jazz icon. The concert—part of Detroit’s Concert of Colors festival and later broadcast on PBS—finds Harrison channeling Sanders’ spirit through deep tenor cries, hypnotic grooves, and Afro-spiritual improvisation. Joined by an exceptional group of musicians including Sky Covington, Pamela Wise, Michael Abbo, Sam Melkonian, Kevin Dalton Jones, Allen Denard, Edward Gooche, Stephen Grady, Roberto Warren, and special guests, Harrison leads an inspired exploration of sound and soul. This limited LP will be released on vinyl exclusively for Record Store Day 2026.