MUSIC
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The band Unknown Mortal Orchestra sometimes enjoys making purely instrumental music. In addition to the vocal-based records they’re more well-known for, they’ve also begun to make an instrumental series called the IC where they spend time in a chosen city and improvise and collaborate on non-vocal music. Recently the band spent time in Colombia to make music and initiate their new keyboard player Christian Li. The resulting sessions have become IC-02 Bogota, a musical document of the time they spent in that exciting city and the possible background music for some strange parties and night drives in your future.
The first release by Adam Rudolph's Moving Pictures in over five years is a perfect example of creative music looking to the future while expressing the sound of now. The amazing chemistry and collective language amongst the musicians reflects their many years of developing and performing Rudolph's concept. These musicians each have direct and personal connections to the roots and history of jazz as they have performed with and have been mentored by key figures in 20th century creative music such as Ornette Coleman, Yusef Lateef, Roy Haynes, Don Cherry, Sam Rivers, Jon Hassel, and many more.
Audiophile Limited Edition Double Vinyl - 300 copies pressed
The exceptional and modern recorded sound of Glare of the Tiger was done by long-time collaborator James Dellatacoma, head engineer at Bill Laswell's Orange Music Studio.
"This recording is the fullest realization of aesthetic and concept, which I have been developing for the past three decades. My aim was to compose music that inspired the musicians to express their inner voice, while still maintaining a clear focus on aesthetic and overall sound. It is my feeling that to honor tradition, one should look forward and not backward. The tradition is to sound like yourself and create a NEW music that reflects the NOW. To put it another way, Yusef Lateef often said to me, "Brother Adam, we are evolutionists."
We are delighted to present the new 12" maxi on Dubatriation records, two extended tracks for complete immersion ! This opus defines the encounter of Panda Dub and Adi Shankara, two artists already signed to the label.
Like buried treasures, these tracks from a joint studio session have been unearthed and reworked for this release.
Infused with the orientalist flavours of French dub, these two tracks elevate the genre with their neat sound design. Panda Dub's ethnic samples and catchy melodies blend with Adi Shankara's rough and hypnotic textures.
Following the label's signature style, this record offers a deep and solemn musical experience. Embark on an introspective journey without further ado !
Nigeria 70: No Wahala returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk in the ‘70s and early ‘80s.
"The Nigeria 70 series is the gift that keeps on giving [...] a reliable source for some of the finest music to come out of 1970s and 80s Nigeria" (Pop Matters)
Graham Jonson is drawn to the comforts of melody and noise. How the two conspire in tension, tonally and atonally, stirring up memory and mood. This quality animates the technicolor world of quickly, quickly, the psych-pop project that emanates from Kenton Sound, his basement studio in Portland, Oregon. “Everywhere your eye lands, there’s another curio to marvel over,” noted Pitchfork’s Philip Sherburne when he visited Jonson’s recording space for a Rising feature just after the release of his “strikingly original” 2021 debut LP, The Long and Short of It. Since then, Jonson formed a live band, released his Easy Listening EP in 2023, got into production projects (for Moses Sumney, Kid LAROI, and SahBabii), and navigated the up-and-downs of a young musician, the sustainability of tours and relationships. While shaped by personal bouts and fallouts, his highly-anticipated full-length follow-up finds Jonson making music that’s universal, open-ended, and rewarding, like great songwriters can do. He set out to make a folk album but couldn’t help coloring it in with noise; a confluence of lush instrumentation and unexpected sounds. Ambitious yet intimate, hi-fi yet homespun, the idiosyncratic songs on I Heard That Noise curve around the contours of everyday life with warmth, wit, and dissonance.
When asked to unpack the inputs of I Heard That Noise, Jonson cites the unpredictable vocal melodies and sound design of Phil Elverum (The Microphones, Mount Eerie), the raw emotion of Dijon, and the timeless cadence of Nick Drake. While drums were the focus of Easy Listening, he challenged himself to think outside of the beat with new material: “to see how much I could do with a song, specifically with production, without having a beat to it… there are moments with drums but it was more about the space in between.” Songs utilize visceral delay and distortion; sometimes, they melt out of frame before the peak or take sharp turns with sudden chord changes or sweeping jolts he likens to “jump scares” in film. “Experimenting with the idea of being comfortable, and then some crazy shit flies at you, takes you out of it for a second, and then maybe brings you back in.” What makes these non-linear choices effective is that Jonson remains a natural pop architect, knowing where to push and pull, add and subtract; and essentially, how to draw in and hold one’s attention.
Themes reach from recent experiences — a breakup followed by “periods of either being miserable or, like, living…trying to better myself” — to childhood memories. There’s a recurring low-frequency hum in his neighborhood; he and his friends have come to know it as the “Kenton Sound” (which gives his studio its name), and they’ve narrowed it down to some industrial testing site nearby. Every time it vibrates, he thinks of that time he heard “that noise” while skateboarding outside his mom’s house. Similar, but louder, scarier, a sky siren of sorts. “I remember all the dogs started barking in the neighborhood at the same time...a really weird, bizarre phenomenon.” The thought pattern, scattered with a cathartic headspace, led him to record the title track, where an abrasive intro dissipates into a sweet piano ballad about remembering and surrendering.
Jonson has a knack for interludes and outros, and he’s in full stride here; the opener’s ambient wobbles snap into the stomp of “Enything,” which at one point swelled with so much information he needed to get a new computer. Above bright and jagged guitar lines, harmonized with backing vocals from friend and past tourmate Julia Logue, Jonson playfully rattles through everything he’d do (“for you”). He’s quick to admit he often dreads the process of writing lyrics, yet the loose wordplay of “Enything” is proof his subconscious runs clever.
On “Take It From Me,” subtle sonic flourishes surround acoustic strums and tender keys as Jonson recalls the resignation of a night when a relationship’s end was imminent (“a great storm is coming over the hill.”). He explains, “I've always found peace in knowing that other people, even if I don't know their exact experience, may have the same feeling that I do.” The mantra-like reprise of “Take It from Me” carries that notion, a soft reassurance before the song washes away.
Kenton Sound’s ceiling can attest to the truth of “I Punched Through A Wall.” Jonson says in reality, the act emerged from a silly intrusive thought. The image (“The silhouette of myself”) lent a figurative scene to wrap real angst around. “I feel love like a cannon ball / I like being ripped apart,” he sings over one of the record’s sweetest, most pop-forward arrangements. As the chorus takes its final pass, a gentle piano phrase gets clipped by an outburst of power chords and feedback, repeating the lines twice as loud.
“Raven” crosses fable-like fiction with the sad story of a friend who lost his way; and just when the track’s innocent country twang settles in, he pulls the rug out with near-metal levels of heavy. The juxtaposition gets to the heart of I Heard That Noise. By excavating the extremes of his sound, Jonson not only brings the best out of himself but introduces myriad ways to engage with his music, which grows ever more inviting and boundless.
<p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=824606394/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; width: 350px; height: 472px;">I Heard That Noise quickly, quickly</iframe></p>
One of very few labels we can think of around atm that have a certified buy-on-sight status, Wino consistently do it with 100% suss and 0% fuss, here with the solo debut of Wino co-founder Omid Geadizadeh, with Morgan Buckley on the remix.
A follow-up to that deadly Wino-E LP (quietly, inarguably one of the records of the year - just incred), 'Like The Sea Knows Blue' deploys a trio of percolating summer jams like some lost dubplate of skanking 1980’s basement jams relocated from NYC to Tehran, powered by a glorious santur. Think Tapes via Wackies, with added sunbeams.
On the remix, Morgan Buckley gives it a 90’s breakbeat heat, with subs and chopped vocal samples to boot.
They never miss.
Malian guitar sorcery of the highest order.
You shall not pass. Connecting Wasulu hunter music, griot praises, Senufo pastoral dances, Fula and Mandingo repertoire alongside Western psychedelia, blues and afro-beat, Zani Diabaté’s Super Djata Band was among Mali’s top orchestras of the 1980s. For their 1981 album, the Bamako-based orchestra discovers the wah-wah pedal, delivering six mind-ravishing guitar workouts for the proletariat.
For fans of: Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s
Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head-snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted.
Across five albums and a decade, Ouzo Bazooka have gained acclaim for their pioneering blend of Middle Eastern sounds, psych, and surf rock. The band has achieved international recognition for their music and performances, from the UK all the way to Japan, including The Great Escape, Fuji Rock, and Sziget Festivals. At one point, they played over 150 shows annually, solidifying their reputation as a powerhouse live act. Their critically acclaimed EP, Songs From 1001 Nights, was hailed as "a soaring adventure in exotic reverb and swirling lysergic synth hooks”.
Core member and multi-instrumentalist Uri Brauner Kinrot—musician, composer, and producer—has been active in the international music scene for over two decades. He has played in acclaimed and diverse groups such as Balkan Beat Box, Firewater, Shotnez, and Boom Pam, who also collaborated with Anatolian rock legend Selda Bağcan, and recorded frequently with Kutiman. Kinrot’s ear for production and arrangement has led him to work with internationally recognised artists, including Israeli-Persian musician Liraz.
Launched as a solo project, Ouzo Bazooka quickly morphed into a full-fledged group. However, Kapaim (Hebrew for “palms”) sees Kinrot refining the Ouzo Bazooka sound back into a largely solo endeavour. With more space to experiment, the mostly instrumental album is beautifully arranged and given room to breathe. The bass grooves, wonky synth motifs, head-nodding percussion, and soaring guitar solos create a hypnotic and uplifting experience.
Opening the album, “Asia” begins with an almost pensive bassline that initiates a languid groove. As drums, guitars, and synths join, the melody feels both thoughtful and nostalgic yet hopeful. The consistent bassline conveys a sense of roots and continuity as the song evolves.
The title track, “Kapaim”, urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks.
An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James’ heavily sampled “Nautilus” on “Seed”, before Kinrot makes a rare vocal appearance, imagining himself as a seed at the centre of the universe.
Having played a key role in the global instrumental movement, Kinrot stands among peers such as JJ Whitefield, Shawn Lee and Kutiman. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No’s Oxperiment, will find much to love.
A testament to Kinrot’s incredible talent - not least his meticulous arranging, production skills, and ear for soul, funk, and psychedelic rock, as well as his ability to blend musical traditions across cultures and eras - Kapaim carries a deep emotional resonance. It is Ouzo Bazooka’s most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.
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.
Artist: Flower Travellin' Band, 50 motorcycles and others
Album title: Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles
=Special Edition=
Format: 10-inch LP & CD + CD-R
Catalog #: EMC-023SP/OP-0018SP
Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. The event gained international acclaim for its adventurous architectural design, visual art and electronic music. Some of Japan’s most renowned composers were involved, but also present were the now-legendary rockers, the Flower Travellin' Band. A series of performances, billed as “Night Events” were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles”, but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. And what an event it was: a night-time sound-bomb with a fabled band, electronic sound and 50 motorcycles with horns blaring, spotlights, electronic billboards and a robot ― all flashing, roaring and howling at the night sky. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos. No download code/ticket available.
Special Edition includes a CD-R of a interview program with the producers of "Beam Penetration" in 1970. At the end of the program, the Flower Travellin' Band appeared with motorcycles and performed in the studio. Also includes insert with English translation of the interview.
TRACKS:
CD “Beam Penetration” (full-length) [45:49]
10-inch (excerpts)
Side A “Beam Penetration” [14:52]
Side B “Beam Penetration” [15:15]
CD-R (Special Editon only extra disc)
"Beam Penetration" Interview & Performance on TV shop on July 13, 1970
Artist: Flower Travellin' Band, 50 motorcycles and others
Album title: Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles
=Regular Edition=
Format: 10-inch LP & CD
Catalog #: EMC-023/OP-0018
Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. The event gained international acclaim for its adventurous architectural design, visual art and electronic music. Some of Japan’s most renowned composers were involved, but also present were the now-legendary rockers, the Flower Travellin' Band. A series of performances, billed as “Night Events” were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles”, but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. And what an event it was: a night-time sound-bomb with a fabled band, electronic sound and 50 motorcycles with horns blaring, spotlights, electronic billboards and a robot ― all flashing, roaring and howling at the night sky. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos. No download code/ticket available.
TRACKS:
CD “Beam Penetration” (full-length) [45:49]
10-inch (excerpts)
Side A “Beam Penetration” [14:52]
Side B “Beam Penetration” [15:15]
Anvar Kalandarov is a music archaeologist, musician and producer from Tashkent, Uzbekistan with a focus on unearthing rare and hard to find gems from across Central Asia. Last year he compiled Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Tatar Jazz, released in collaboration with Ostinato Records. He also runs his own label Maqom Soul Records. Digging Central Asia is a mixtape that journeys through the psychedelic landscapes of the Silk Road, featuring recordings recorded between the 1970s through to the early 1990s.
Recorded in 1970 during the same period of "Overground", UNDERGROUND was recorded into 2 volumes (RT 104 and RT 16), both released in the same year in may and june at Dirmaphon studios, Roma. Together with Overground these records are really fascinating instrumental Free Jazzy/Psych Library, released with the auxiliary of historical Rai session musicians like guitarist Silvano Chimenti and organist Giorgio Carnini. This record collects all Underground' tracks in 1 LP. Established Jazz composer, Sandro Brugnolini written some among the greatest Italian soundtracks and Library music ever.
It was so hard to get our heads around the William Onyeabor story when we first started working with him.. No one knew anything about him and that’s the way he liked it.
Now it’s 10 years later after releasing his records and what would have been William’s 79th birthday so we are releasing two of his magical lps in COLOR.
1978’s Atomic Bomb in Fission Red and 1980’s Body and Soul in Magic Ministries Blue.
You can pre-order them today on Bandcamp (it’s Bandcamp Friday), where were also throwing up some other paraphernalia, new and old.
Though we grew to love and respect Mr. Onyeabor, as we called him, we still know so little about him.
Love,
Luaka Bop
Reinvigorated by months of shutdown woodshedding, David developed new works for guitar, as well as a piano piece and an exceptionally eerie bit of musique concrète. Inspired by the deep dive into Gastr del Sol’s duo magic that facilitated last year’s compilation box, David opened his deeply personal solo pieces for engaging conversational gambits with modern masters Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley, and Cleek Schrey.<iframe style="border: 0; width: 350px; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=1317089149/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://davidgrubbs.bandcamp.com/album/whistle-from-above">Whistle from Above by David Grubbs</a></iframe>
Before morphing into the excellent psych trio, B.F. Trike, Hickory Wind (from Evansville, Indiana), released one brilliant, and extremely rare, country psych album in 1969. Just 100 copies were pressed for the Gigantic label, and originals have been known to change hands for a small fortune. The album features excellent vocals, plus an interesting mix of fuzz guitar, and droning organ, as well as some wonderfully melodic songs. This reissue also features four bonus tracks from the B.F. Trike album session, recorded for RCA Records in Nashville, Tennessee in 1971. The B.F. Trike album, however, remained in the vaults for 25 years, before it was finally uncovered and given its just recognition in the mid-nineties. </p><iframe width="560" height="315" src="https://www.youtube.com/embed/K3IzI2EcBpU?si=-aZLG1UwEr0lp9_M" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
