MUSIC

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: said perpetrator, he who answers to the name Mac DeMarco, has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip, and pretty much on his own. This Old Dog makes for his fifth in just over half a decade - bringing the total to 3 LPs and 2 EPs. According to the DMV, MacBriare Samuel Lanyon DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks.

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 limited-edition compilation LP was curated from the legendary Westbound Records catalog by participating Record Store Day stores, and marks the second installment of the Westbound Records Curated by Record Store Day series. Volume 2 showcases the label's lasting influence on hip-hop and beyond, with some of the most sampled tracks in the Wesbound vault. The track list for this compilation was carefully curated by the hardworking people in record stores themselves.

In March 2025, after 7 years as a live band, Ghost Funk Orchestra finally made their first overseas voyage to tour Europe and the UK. 'Live In Europe' is a document that showcases the eight-piece touring band at the height of its powers. The track list was constructed from two consecutive sold out shows, the first at Jassmine in Warsaw and the second at Paradiso in Amsterdam. It leans heavily on songs from 'An Ode To Escapism' and 'A New Kind Of Love,' while also including a few tracks from 'A Trip To The Moon,' a nod to the early GFO days with the song “Evil Minds,” and even a few brand new tunes. Both shows were professionally recorded, with Amsterdam’s recording being handled by the Abbey Road Institute. Please enjoy this RSD 2026 exclusive album!

Lee 'Scratch' Perry’s Disco Devil Vol. 5 continues this run of late-’70s Black Ark material, where extended mixes, heavy bass and studio experimentation collide. As with previous volumes, this set gathers rare and sought-after discomixes, pairing vocal cuts with Perry’s unmistakable dub touch. Junior Murvin features prominently, while cuts from Twin Roots, Watty Burnett, Keith Texon and Michael Campbell round out the selection. Across the record, Perry’s production blurs the line between song and version, letting rhythms stretch, echo and unravel into deep, hypnotic territory. A vital snapshot of the Black Ark at full power, capturing the looseness and invention that defined Perry’s most celebrated era.

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.

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence. record release of 200 copies, printed sleave, numbered.

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.

Just as the hippie era came to an end in America, a second 60s was beginning. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music “heavy,” because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, Watch Out, was the anthem of the counterculture. This is the first time their music has been issued outside of Zimbabwe. Matthew Shechmeister tells the story of Wells Fargo drawing on interviews with the band’s remaining members and numerous trips to Zimbabwe to investigate the genesis of the heavy rock scene under Ian Smith’s oppressive government, and its dissipation after Zimbabwe’s liberation. Never-before-published photographs and rare ephemera color the vibrant era of which this band was part.

Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and latin music, to rock-and-roll , rhythm-and-blues, surf, psychedelia, soul and many more) the few pre 75 Cambodian recordings that survived -most of them were destroyed- are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years.
 
Gathered in this amazing album are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made.

During the 60's and early 70's, Singapore had one of most vibrant and interesting music scenes in Asia and even the world, and this compilation presents undeniable proof of it. Focusing exclusively on the female presence on the scene (be it as solo singers, backed by other bands or as band leaders) "Singapore Nuggets. The Ladies", presents such and amazing collection of songs many will be shocked by the sheer genius of this ladies.
 
Ranging from Naive Pop to Fuzzed out Garage (and more!) all within the confines of Pop Yeh Yeh, the fresh, colorful, local sound of 60's Singapore in which western influences, Chinese, Arabic and Indian sounds were mixed by the locals to create a wonderfully idiosyncratic style. A must!

Bruce Haack's "The Electric Lucifer" is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69, it's an eminently listenable work where Pop-psychedelia and Moog musique-concrete sounds coalesce.

Grand Theft were a short-lived Seattle trio who detonated onto the scene in 1972 with a single, savage LP. Conceived as a tongue-in-cheek swipe at arena-rock excess, the project quickly shed its irony and became something far more visceral. Driven by Dave Baron’s barbed-wire guitar, Kevin Marin’s booming bass and Phil Kittgaard’s full-throttle howl, the band tore through their material in one chaotic studio session. The result is a raw, unpolished document of heavy rock at its most direct. Cuts like ‘Scream (It’s Eating Me Alive)’ and ‘Closer to Herfy’s’ channel late-night mania, inside humour and a growing appetite for abrasion. With DJ and manager Burl Barer fanning the flames, the record stirred regional buzz, a tongue-in-cheek “dream date” promotion and praise from Lester Bangs. Live appearances were scarce but explosive, adding to the mystique after the band dissolved. What started as a throwaway gag hardened into a cult proto-metal artefact — a reminder of how quickly a spark can turn into wildfire.

“The fifth studio album & last euphoric mind-trip to Kikagaku Moyo's imagined island. Best-suited for counting stars, looking at the ocean, and dancing in one’s daydream.”

High quality reissue of the monumental work August 1974 by Japanese experimental music ensemble Taj Mahal Travellers. Pressed on 180gr. vinyl with extensive liner notes by Julian Cowley.

In April 1972 a group of Japanese musicians set off from Rotterdam in a Volkswagen van. As they crossed Europe and then made their way through Asia they made music in a wide range of locations. They also paid close attention to the changing scene and to differing ways of life. Midway through May they reached their destination, the iconic Taj Mahal on the bank of the Yamuna river in Agra, India. The Taj Mahal Travellers had fulfilled physically the promise of the name they adopted when they formed in 1969. But their music had always been a journey, a sonic adventure designed to lead any listener’s imagination into unfamiliar territory.

The double album August 1974 was their second official release. The first July 15, 1972 is a live concert recording, but on 19th August 1974 the Taj Mahal Travellers entered the Tokyo studios of Nippon Columbia and produced what is arguably their definitive statement. The electronic dimension of their collective improvising was coordinated, as usual, by Kinji Hayashi. Guest percussionist Hirokazu Sato joined long-term group members Ryo Koike, Seiji Nagai, Yukio Tsuchiya, Michihiro Kimura, Tokio Hasegawa and Takehisa Kosugi.   

The enigmatic Takehisa Kosugi, whose soaring electric violin was such a vital element in their music, had been a pioneer of free improvisation and intermedia performance art with Group Ongaku at the start of the 60s. Later in that decade, before launching the Taj Mahal Travellers, he had become known internationally through his association with the Fluxus art movement. During the mid-70s the Travellers disbanded and while his colleagues more or less stopped performing as musicians Kosugi continued to reach new audiences across the course of several decades as a composer, regular performer and musical director for the acclaimed Merce Cunningham Dance Company. 

August 1974 captures vividly the characteristic sound of the Taj Mahal Travellers, haunting tones from an unusual combination of instruments, filtered through multiple layers of reverb and delay. Their music has strong stylistic affinities with the trippy ambience of cosmic and psychedelic rock, but the Taj Mahal Travellers were tuning in to other vibrations, drawing inspiration from the energies and rhythms of the world around them rather than projecting some alternative reality. Films of rolling ocean waves often provided a highly appropriate backdrop for their lengthy improvised concerts. This is truly electric music for the mind and body.

The PPU debut EP from Japan outfit Wool & The Pants. The Tokyo trio includes players; Yu Tokumo (Guitar / Vocals), Kento Enokida (Bass), and Aki Nakagomi (Drums). First discovered in 2017 by Mad Love, Tokumo has been making this music since 2008 drawing inspiration from Jagatara, Kimidori, Daisuke Tobari, Sakana, Think Tank, Les Rallizes Denudes, ECD, Haruomi Hosono, Can, Syd Barrett, Laraaji, and SunRa.

following the success of their 2024 PPU EP "ramble in the rainbow", TAMTAM returns to their studio "where they dwell"

A four-piece band based in Tokyo.
Initially playing reggae/dub music, the band gradually developed into an innovative fusion of diverse musical influences, such as jazz, soul, psyche pop, new age, and exotica.
The sound is based on groove and euphoria, with nostalgic melodies.
They have performed at iconic events in Japan such as Fuji Rock Festival, and also have been looking overseas since they performed in Canada(Toronto, Montreal, and Vancouver) in 2019.
The new EP "Ramble In The Rainbow"(2024) is their first international release on the US label Peoples Potential Unlimited.
The work shows their musical maturity, drawing inspiration from Sun Ra, Lee "Scratch" Perry, and Yasuaki Shimizu.

In fact, Organisation was the first iteration of Kraftwerk and if the band had managed to overrule its record label, RCA, Tone Float would have been credited as such. But given that the album was to be released only in the United Kingdom, the label opted for the more Anglicized name, "Organisation". Tone Float is the only album produced under this name and is a seminal example of the genre. Audiences in West Germany were fortunate enough to watch and listen to the whole album, played live for German television station, EDF, and it is this broadcast featured here.

Peel Sessions 1973-74 is a unique collection showcasing the legendary German experimental rock band’s dynamic live performances captured for BBC Radio 1’s John Peel sessions. This album brings together raw, electrifying recordings from 1973 and 1974, highlighting Can’s groundbreaking sound that blended psychedelic rock, avant-garde, and improvisational music. Fans and newcomers alike will experience the band’s creative energy and innovative spirit in an intimate setting outside the studio.

Featuring tracks that emphasize hypnotic rhythms, ecstatic grooves, and visionary experimentation, Peel Sessions 1973-74 stands as a vital document of can’s influential role in shaping modern music. Collectors and enthusiasts can look forward to remastered audio quality and detailed liner notes providing insight into the sessions' historical context.

Formed in Antwerp in 1966, Orange rose from the city’s fertile art and music scene to become one of Belgium’s most compelling underground rock bands. After several lineup changes, the group solidified its identity in 1969, making a national television debut and honing a sound rooted in psychedelia and melodic rock. Later that year, with Hugo Van Camp joining Marc Van Geystelen (lead guitar), Norbert De Lange (guitar/vocals) and Swa De Houwer (bass), the band recorded their debut single, ‘The Sun’ b/w ‘Wait Until Sunrise’, at Decca Studios in Brussels. Dark and brooding, ‘The Sun’ remains a striking artefact of Belgium’s late-’60s underground and has since earned lasting cult status.

Emerging from Italy’s contemporary underground scene, La Festa Delle Rane is the project of Naples-based musician Lucia Sole, whose new cassette release is a collaboration with UK label All Night Flight. Her music gently captures fleeting everyday moments, evoking dreamlike nostalgia through a childlike lens. With a simple setup of melodica, acoustic guitar, and flute, combined with percussion and brass, the sound balances intimate stillness and kaleidoscopic improvisation. Lo-fi recordings preserve the delicate textures of her innocent vocals, whispering glockenspiel, and distorted organ—tracing the breath and presence of space itself.

He is also well known for his sampling of Sekito Shigeo's ‘The Word II’ and collaborations with Haruomi Hosono. This cassette is a demo of Salad Days, the second studio album by Mac DeMarco, a musician from British Columbia, Canada, now based in Los Angeles, released on Captured Tracks in 2014.

Like in the days of Steely Dan, Harry Nilsson or Prince releasing a classic album every year (or less), ten years ago Mac DeMarco released the mini-LP Another One only about a year after the meteorically successful album Salad Days. An eight track release that expands the arsenal of Mac’s already impressive catalog, Another One was conceived and recorded entirely by Mac at his house in Far Rockaway, Queens, and displays the maturity of Mac’s progression as a songwriter: a little bit more refined, a little bit more sophisticated than his previous albums, but nonetheless chock-full of the guts and soul of any classic Mac release. The overall feeling of the mini-LP is lost love, or perhaps love never found, a topic that the world never tires of, and one that Mac can move through without it being a dour and somber experience. The record leaves you with the same satisfaction as an old Bogart movie: he’s still the hero, but he doesn’t quite get the girl. Great singer/songwriters don’t need to reinvent themselves; they just need to keep going and let the songs out in the world, and with that, Mac DeMarco gave us Another One. This limited edition 10 year anniversary pressing collects both Another One and newly remastered Another One Demos on 2 LPs housed in a gatefold jacket and pressed on clear and blue Far Rockaway vinyl. Includes a 12 page booklet with new liners written by Mac, and previously unpublished photos from the era by Laura-Lynn Petrick.