MUSIC

This 2-LP set and CD from EM Records chronicles the legacy of underground Japanese techno legends Cycheouts - pronounced ‘psyche outs’ in English. Originally formed in 1994, the group quickly became a centerpiece of Osaka's underground electronic scene. Led by main producer Akira Ohashi, Cycheouts melded influences from jungle, drum'n'bass, digital hardcore, and experimental noise music, all of which are explored in this compilation of tracks painstakingly selected by two true Cycheouts experts. Cycheouts' music and live performances went on to inspire a number of successful Japanese dance music acts, and can be seen as an origin point for the "nerdcore techno" movement of the early 2000s. This archive of the early work of Cycheouts provides an essential look at the birth and development of hardcore jungle in Japan, including multiple tracks featuring the full Cycheouts lineup with original vocals and multiple MCs. Most of these tracks are available on LP for the first time, and have been newly remastered for the format; the set also includes extensive liner notes in both English and Japanese.

It's a special one we're releasing today ! After the RSD we're happy to present you our own exclusive version of DOST 1&2 in two different colours. Derya Yıldırım & Grup Şimşek's Dost 1 & 2 reunited in a unique gold foiled album with an insert with lyrics and pictures ! Such a pleasure to deliver this beauty, especially as Dost 1 was sold out for a long time. And as usual, we're doing it with Catapulte Records ! "Dost" means "friend" in Turkish, a comrade, a brother, a sister and even more than that. The album is an appeal to those who believe in friendship; who believe in Dost.

Strut present the definitive vinyl edition of 'Nigeria 70'. First released in 2001, the collection inspired a new generation of labels and releases into Afro funk and Afro jazz fusions and helped to introduce the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts.

A masterpiece that has been loved since its publication in 1968 from the long-established folk music store Okora! Recorded in 1967, Central Africa is a field recording of the Republic of Burundi. There are only wonderful recordings that you can't see in Japan, such as the dubious sound of a stringed instrument similar to Gnawa and the unique singing style like an Inuit.

Continuing their exploration of São Tomé and Príncipe with DJ Tom B., Les Disques Bongo Joe proudly announces the release of África Negra Anthology Vol. 2. We've carefully selected and remastered 13 standout tracks for this volume, digitized from studio tapes by their tour manager. The album includes a booklet with updated liner notes and vintage photos of the group. África Negra, established in the early 1970s by Horacio and Emidio Pontes, is São Tomé and Príncipe's most renowned musical group. Their blend of Puxa and Rumba, infused with Leonildo Barros' guitar riffs, Armando Tito's bass lines, and vibrant percussion, gained them recognition beyond the archipelago. This volume offers a glimpse into their musical journey, featuring unreleased sessions from 1979 and 1990, showcasing lead vocalists like João Seria and Sergio Fonseca. Reformed around Leonildo Barros and Antonio Menezes since 2008, the group has released three albums since 2012 and resumed touring in recent years, with João since 2014. Their performances continue to captivate audiences with energetic rhythms, graceful harmonies, socially charged poetry, and distinctive dance moves, supported by their Lisbon-based tour manager, Afonso Simoes (Filho Unico), who facilitated the excavation of these tracks. Since the tragic passing of Joao Seria on May 4, 2023, followed by national funeral honors, 90s lead vocalist Sergio Fonseca has rejoined the group, accompanied by Iju, a renowned younger São Toméan vocalist, delivering an engaging show. Pacheco, known for his devastating bass riffs and unique style of playing, has also returned, having lived in Cape Verde since 1987 and recently resettled in São Tomé. This anthology is dedicated to the memory of General João Seria, Gabriel João, Sep 1, 1949 - May 4, 2023.

Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day. Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.” The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.

International Anthem is proud to present 'Step on Step', a double LP collection of home recordings marking the de-facto eponymous debut album by enigmatic producer, arranger, and composer Charles Stepney (1931-1976). The music that makes up Step on Step was created by Stepney alone, in the basement of his home on the Southside of Chicago, sometime in the late 1960s and early 1970s, before his untimely death in 1976. A Chicago born and bred arranger, producer, multi-instrumentalist and songwriter, Stepney is known for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, and as a staff producer for Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many more. In the decades since his passing, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly underappreciated figure… a genius relegated to the shadows. One of the signature elements of his “baroque soul” sound is the epic, expansive, orchestral expression of his horn and string arrangements (in many cases brought to life by members of the Chicago Symphony Orchestra), as heard on Minnie Riperton’s “Les Fleurs,” or Marlena Shaw’s “California Soul,” or Terry Callier’s “What Color Is Love.” Hence making it even more special that his de-facto debut LP Step on Step, which sees its first wide release nearly five decades after his death, is a collection of stripped-down 4-track tape recordings featuring Stepney, alone, performing all instruments with minimal means. It is, as said by Chicago culture historian (and author of Step on Step liner notes) Ayana Contreras, “the uncut funk,” an unprecedented depiction of an imbued composer imagining and conceiving music (some of which would eventually become massive studio productions) in its primal state. Step on Step features 23 tracks, most of which are original compositions by Stepney that were never again recorded by him or any other artist. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun,” with lyrics by Richard Rudolph). And in addition to the wordless croons of Stepney original and early single “Daddy’s Diddies,” Stepney’s actual voice is heard on a couple occasions across the album, testing microphones and inputs on his tape machine. All of the otherwise unrecorded, previously unnamed original compositions contained on Step on Step were given their titles by Stepney’s daughters Eibur, Charlene, and Chanté Stepney, whose voices are also heard throughout the album, telling stories and sharing memories about their father. The Stepney Sisters, who produced this album over many years, have long been engaged in efforts to celebrate their father’s legacy and bring his work into brighter light. They’ve cherished the tape reels left behind by their father in the basement of their home, transferring the audio on multiple occasions, and originally compiling the recordings for an ultra-limited CD on their own DIY label (The Charles Stepney Masters) in the early 2010s. “We always talk about how we were trying to develop this and would go to different people and they would go ‘what is this raw stuff…’ It was just the first level of something that became something really great,” says Chanté. “To get this type of intimate look into an artist’s process is really unknown and unheard of… so I just really appreciate the opportunity to give this. I am very happy for my Dad that we’re able to share this with the world in this way, with this amount of respect.” This new double LP collection on International Anthem presents “a genuine, beautiful, deeply emotional and personal effort by three women to reconnect with their father and validate their own memories of his passion and brilliance,” says label co-founder Scott McNiece. And it’s a long-overdue fulfillment of Stepney’s unsatiated plan to release a solo album – which he once vowed to his daughters that he would do, and that he would name it: “Step on Step.”

In the Spring of 1966, ESP was given a grant by the New York State Council on the Arts, to tour the five colleges in the state with music departments. Artists for this tour included the Sun Ra Arkestra, Burton Greene, Patty Waters, Giuseppi Logan and Ran Blake. Accompanied by an all star backup group from among the participants, Patty's performances resulted in the album, "College Tour", her second recording for ESP-Disk'. The album expands upon the vocal acrobatics that were heard on her first recording, "Sings". "College Tour" won second place for Vocal Recording in Jazz and Pop Magazine in 1970.

Patty Waters is internationally recognized as one of the first major avant-garde vocalists. Her ESP-Disk' recordings cemented her reputation as a vocal innovator, and according to liner notes and public opinion, one whose influence extended beyond jazz to Yoko Ono and Diamanda Galas.
 

A pillowcase filled to the brim with delectable Halloween treats from across the Numeroverse, Haunted Presence is a fun size mix of ghoulish garage, skeleton-rattling soul, mutant proto-metal, and spine-chilling ’60s kitsch. With a wingspan of 20 tracks, this double LP is certain to liven up any costume party, séance, or monster mash. Warning: Prolonged exposure may cause ear decay.

Sensational reissue for the first volume of iconic compilation Simla Beat 70. A psych garage manifesto, the record consisted of groups who appeared at the All-India Simla Beat ‘battle of the bands’ contest held in two years (1970 and '71) in Bombay. The annual event and the records were sponsored by The Imperial Tobacco Company. Bands from all around India would compete for first prize. The album - indeed - was not recorded live on the stage but in a primitive makeshift studio using very little overdubbing or sound reinforcement. The sound is generally influenced by the proto-garage western movement of the mid sixties and later became a massive cult for all the 70s rock fans.

Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Run of limited edition 10th anniversary Death Is Not The End tees screen-printed in white on black Gildan Heavy cotton short sleeve t-shirts.

“Music is a very personal thing. How you deal with your music is very closely linked with how you deal with your life. If you misuse your capacities as a musician, you’re misusing your capacities as a human being and you’re taking humanity in the wrong direction”
- Arthur Russell – 03/17/77 Soho Weekly News

“In outer space you can’t take your drums - you take your mind”
- Arthur Russell

In 1986 Arthur Russell was diagnosed with HIV, that same year he released his career-defining masterpiece ‘World of Echo’, the first and only solo album issued during his lifetime.

Arthur had found his voice and a fresh direction with a set of new, transformative material, unlike anything he or anyone else had previously released. His illness ensured that the artistic growth and sense of exploration encapsulated in ‘World of Echo’ would be tragically curtailed. Within six short years Arthur was gone.

Arthur’s final years were filled with a renewed commitment to creativity and unceasing live and recording work. He regularly performed the ‘World of Echo’ material and incorporated several of its compositions in collaborations with choreographers active in New York’s innovative dance community. Arthur worked closely with Diane Madden, Allison Salzinger, Stephanie Woodard and John Bernd, usually playing his cello and effects boxes off stage as the choreographers’ pieces were performed. In 1993 Arthur posthumously received a prestigious Bessie Composer Award for his work in the dance world.

Picture of Bunny Rabbit’ features nine previously unreleased performances from this era compiled from completed masters culled from two unique test pressings, including one, dated 9/15/85 by Arthur, provided by his mother and sister. A further four tracks were discovered in his tape archive. The track listing includes an exceptional and dramatic solo recording of “In The Light of a Miracle” and the enigmatic title instrumental “Picture of Bunny Rabbit”, written especially for a friends pet rabbit. The bulk of the material was recorded with engineer Eric Liljestrand at Battery Sound Studios, New York, which was located directly opposite the World Trade Center and at Arthur’s apartment studio in the East Village. 

A compilation of DEEP gospel from the 1960's and 1970's. all culled from the vaults of DJ Jumbo. This is the real stuff - all guitar forward ballads that address existential issues. limited edition with silver foil covers and artwork by Lonnie Holley!

A collection of haunted, brooding flamenco recordings taken from the early 1900s through to the late 1930s. Focussing in on the cante jondo (or “deep song”) style, seen as the original manifestation of flamenco singing - from which other elements emerged, such as dancing and playing - this survey captures and documents tracks from the form’s earliest recorded stars.

Compiled from ultra-rare dead stock pressed at a Soviet-era vinyl plant in Tashkent, Uzbekistan, this first-of-its-kind fully licensed album features a supreme selection of Uzbek disco, Tajik electronic folk, Uyghur guitar licks, Crimean Tatar jazz, Korean brass, and genre-defying styles from Soviet Central Asia. Drop the needle, and you're not just hearing rare Soviet dance music. You're journeying along the Silk Roads, revisiting raucous USSR disco nights, and immersing in grooves that inspired Soviet youth to envision a different future, ultimately unraveling the Iron Curtain from within. Слушать громко! __________ Ostinato Records is proud to announce Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Crimean Tatar Jazz from 1980s Soviet Central Asia, an unprecedented new anthology of revolutionary, rarely heard dance music from the former USSR. Synthesizing the Silk Roads is the soundtrack of a little-known revolution where Soviet DJs’ demand for homegrown music inadvertently reshaped world history. It spotlights Central Asian crossroads that bridged east and west, making more than a modest contribution to global culture. Drop the needle, and you’re not just hearing rare Soviet dance music. You’re journeying along the Silk Roads, revisiting raucous USSR disco nights, and immersing in grooves that inspired Soviet youth to envision a different future, ultimately unraveling the Iron Curtain from within. In the summer of 1941, as the Nazis invaded the USSR, Stalin ordered a mass evacuation. Sixteen million people were put on trains bound eastward to Soviet Central Asia, especially Tashkent, Uzbekistan’s picturesque capital. Among those onboard were gramophone engineers who later established the Tashkent Gramplastinok plant in 1945. This factory became central to Soviet record production, part of a network of plants churning out 200 million records by the 1970s. Rare dead stock of 1980s vinyl from this plant, shut down in 1991, forms the backbone of our groundbreaking 15-track compilation, complemented by live TV recordings and curated in collaboration with Uzbek label Maqom Soul. Fully licensed directly from the artists or their families and meticulously remastered, these songs – all recorded in Tashkent – unveil a diverse tapestry of sounds from Soviet Uzbekistan and its neighbors. More than a sanctuary, Tashkent was a crucible of sound. Nestled between Europe and Asia, its legacy as a key hub along the ancient Silk Roads gave it a cosmopolitan flair for centuries. As a mainstay of Soviet recording, it welcomed artists from across the Asian expanse of the USSR. Uzbek disco divos, Tajik women artists, Uyghur bands from Kazakhstan via Xinjiang in western China, Tatar musicians from the Crimean peninsula, and even a Korean orchestra found their voice in this vibrant scene. After Stalin’s death in 1953, the Soviet music scene opened up. Jazz clubs blossomed, rock venues infatuated with Deep Purple emerged, and by the late 1970s, 20,000 disco clubs sprouted across the USSR. Despite mandatory one-hour ideological lectures before DJs began their sets, these clubs, fueled by synthesizer dance music, became catalysts for new worldviews. Disco clubs were cash cows and the rise of “disco mafias” marked some of the first instances of private commerce in the Soviet Union. These underground networks capitalized on the lucrative disco club scene, trading in western clothing, vinyl records, and alcohol. This burgeoning capitalism played its own role in reshaping youth perspectives and contributing to the USSR’s eventual collapse. Tashkent’s musicians often had access to a wider array of technology than their Moscow counterparts. Thanks to Uzbekistan’s Bukharan Jewish community, leading importers of state-of-the-art music tech from the US and Japan, artists on this compilation were crafting sounds on Moog and Korg synthesizers, creating the signature sonic palette that emerged from the region. While artists like Natalia Nurumkhamedova believed Uzbekistan under the Soviet Union ushered “the heyday of art and culture,” artistic expression came at a price. Some featured artists faced KGB beatings, gulag imprisonment, or forced psychiatric treatment. Yet their resilience shines through, typified by Original Band’s disco hits recorded after their leader’s release from prison. The iron curtain of Soviet secrecy has long obscured fascinating cultural narratives. Synthesizing the Silk Roads lifts that veil at last, revealing an unexpected and still extraordinary musical revolution.

A 12" outing for the Ø:'s excellent Fermionit + the unreleased Kulmamomentti coming in the form of edits from members of the sähkö recordings crew (Kaukolampi & Jimi Tenor). Huge Tip! Mika Vainio was recording a new Ø-album since 2014. He almost got it ready before his too early passing in 2017. Mika's girlfriend Rikke Lundgreen from Oslo has been going through Mika's notes, numerous versions and takes of the album tracks. Now the collection of the tracks is completed, there were two tracks that Mika thought should not be included the album. They make this release. The shoter track Kulmamomentti is edited slightly longer by Jimi Tenor and Timo Kaukolampi.Ø (Mika Vainio) - Fermionit / Kulmamomentti (12")

韓国初のロック・バンドとされる「Add4」を率いた同国のロック・ミュージックのパイオニアであり、「ロックのゴッドファーザー」と称される、ロック・ギタリスト／シンガーソングライターのShin Joong-hyunの決定版的アンソロジーをストック。「Add4」の一員として1960年代から1970年代にかけて同国のサイケデリック・ロック・シーンを盛り上げたコリアン・ロックの父、Shin Joong Hyunのキャリアを網羅した一枚。

“...as important to Korean rock in 1970-75 as Phil Spector had been to America's pop scene a decade earlier, and every bit as busy.” - MOJO Shin Joong Hyun’s tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions but also reverberating with echoes of sound, some beautiful and life-giving, others restless and ungovernable. These career-spanning anthologies gather Shin’s work as a guitarist, songwriter, producer and arranger of mind-altering experimental pop, acid-folk, and extended psych-funk jams. A musical trip existing somewhere between Motown, Hendrix, and the Velvet Underground.

NTS presents European Primitive Guitar, a compilation of instrumental guitar compositions, mapping out European analogues of the American Primitive Guitar movement, spearheaded by John Fahey in the 1950s. European Primitive Guitar spans works directly influenced by and responding to Fahey’s approach to composition, alongside works by artists that arrived at similar conclusions independently. The music is, at once, both starkly traditional and contemporary. This is no more evident than with the opening song on the compilation, Spanish guitarist Albert Giménez’s 1982 composition Conte Xinès. The song draws on numerous idioms of music - flamenco, jazz, ambient music, and guitar soli - within its shimmering arpeggios, culminating as a decidedly Spanish music that has collected the ephemera of the guitar’s travels before returning home. The compilation also explores wider ideas around experimentalism happening in Europe during the time of this anthology. German composer Hans Reichel not only developed new ways of playing the instrument, but also new ways of building guitars - pushing the boundary of what a guitar could be and how it could sound. Ahead of its full release, listen/download material from Maurizio Angeletti (Italy, 1983), Albert Giménez (Spain, 1982) and Peter Finger (Germany, 1974). The physical release is accompanied by an extended essay from The Hum’s Bradford Bailey.

Cult Japanese outsider composer K. Yoshimatsu’s key 1980’s works are collected and reissued for the first time on new career retrospective Fossil Cocoon, binding ambient, abstract punk, music concréte and purist songwriting into a single unified artform. Over a furiously prolific period from 1980 to 1985, K. [Koshiro] Yoshimatsu composed, recorded and released some forty albums in the span of a few years. These records primarily appeared under his own name, some required aliases, and others saw him compose, arrange, and produce for friends and peers in his creative circle. All of them, however, surfaced on Japan’s cult and inimitably fertile DD. Records, an astonishingly exhaustive catalogue once described as “the most amazing DIY effort ever undertaken to document an alternative music scene”. Led by close Yoshimatsu associate T. [Tadashi] Kamada, DD. Records released exactly 222 cassettes of brazenly, addictively weird Japanese outsider music over a period of five years, each with typewritten liner notes and enigmatically constructed Xerox artwork of found materials. The cassettes remain the stuff of collectors’ dreams, fetching astronomic prices on the rare occasions they surface in record stores or private sales. However, a keen archivist, Koshiro Yoshimatsu’s master recordings remained in his possession (a not unreasonable outcome given that his work was all self-recorded in his home) and meticulously filed, ready for rediscovery. Conversely, label boss Tadashi Kamada is no longer in the public eye, and not even known to have any personal online presence. He is, writes one observer, “unlikely even aware of his cult following”. Only extensive retroactive cataloguing (ardently fuelled by the cratedigging detective work of German collector Jörg Optiz) can offer any remaining memorial to his extraordinary achievements with DD. Records. Koshiro Yoshimatsu was born in 1960 in Yamaguchi City in the Chugoku region of southern Japan. In 1978, then a student of Yamaguchi University and already deeply engaged in the local arts scene, Yoshimatsu was introduced to the Japanese communications magazine PUMP by his classmate and future bandmate F. [Fumie] Yasumura. In the classified ads he chanced upon the creative work and curatorial interests of the aforementioned Tadashi Kamada, at the time a medical student in a nearby town. From their correspondence bloomed an intensely symbiotic new friendship, initially trading homespun cassettes by mail and eventually co-forming a cassette-sharing postal society named The Recycle Circle. The Recycle Circle also included the idiosyncratic saxophonist T. [Takafumi] Isotani, a member of the university’s Light Music Club, with whom Yoshimatsu (now singing, and playing guitar, bass guitar, and synthesisers, as well as programming drum machines) went on to form the unique experimental band Juma. With fluctuating line-ups, Juma managed to compose, record, and release six albums (all via DD. Records) in a single year - 1981 - before disbanding. Yoshimatsu then graduated from Yamaguchi University and relocated to Hiroshima to pursue his passion for filmmaking, all the while continuing to release his own solo music on Kamada’s now-burgeoning label. Yoshimatsu’s first solo record was the mysteriously titled pʌls, released in 1981 while still a member of Juma, and receiving the distinction of being the third entry to DD. Records’ cassette catalogue numbers. It was not until the seventeenth that we see Yoshimatsu credited again as a solo artist, this time with the strange and delicate collage album Mirror Inside. Over the breadth of Yoshimatsu’s work - solo, ensemble, and in composition for labelmates - we see a remarkable generosity of musical talent. Some records (such as those produced for Fumie Yasamura, represented here in “Violet” and “Escape”) are formed of hazy, gliding 4-track pop songs coursing with hallucinogenic electricity. Others, such as 1982’s Poplar (and its namesake track on this collection), combine bucolic nylon-string guitar rambles, vibrantly coloured with sequenced MIDI arpeggiation and the dulcet bloops of early computer programming. Deeper still, “Pastel Nostalgia”, from the 1983 album of the same name, marries childlike piano with a wailing siren tone and dripping tap percussion. It is significantly creepier, more acerbic and disembodying than the ambient or New Age music of the era, despite a similarity in raw materials. Elsewhere, Yoshimatsu floats between ambient, rock guitar, new wave, industrial, musique concréte, abstract punk, vocal music, instrumental music and pure songwriting, all bound into a single, unified experience by his distinctive compositional voice. Compiling Fossil Cocoon was a task. Not only to pare down Yoshimatsu’s substantial catalogue into a neat collection, but also to compress these enormous abilities into single moments. Koshiro himself was an invaluable lighthouse throughout the curation process, guiding us through the depths and annals of his recording career, now forty years hence, shining light onto forgotten music rescued from home-recorded tapes. The result may be an expressly varied album, but it is held magically together by Yoshimatsu’s profoundly singular creative alchemy. Koshiro continues to reside in Hiroshima, and continues to work in film. James Vella Phantom Limb February 2024, Brighton, UK

From outsider disco to ambient to improvisational folk, the giant Arthur Russell's famous album "Calling Out of Context" has been reissued as Rough Trade analog edition!
Released in 2015, this work was recorded in 1982 and 1983, and the following year in 1985, the original 1/4 inch tape of the sound source produced as a test press board called "El Dinosaur", "Indian Ocean" and "Untitled".・From the master, Arthur Russell's partner Tom Lee and Steve Knutson compiled 9 tracks.
In addition to an unreleased/alternate take that emphasizes echoes and rhythm machines, the instrumental track "Ocean" is one of the most beautiful songs in the discography.
A must-have board for fans that includes "Movie"! !

A new series from Jazzman featuring selections from Greasy Mike, the notoriously shady Super Spiv from the dark underworld of super rare records! After many years in hiding, Greasy Mike has finally opened up his vinyl dungeon, and we were first to raid it! What did we find? Only the lowest of the lowball schlock n' roll 45s never known to exist! We have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto our selections. Watch out for more!!! But first - and just in time for your Halloween Horror Shock Hop - Greasy Mike has unearthed his all-time all-hallowed Halloween Monsters: The Zombie Walk, Night Sweats, the Chiller, Prowler and Screaming Vampire! Putrid pieces of raucous rot n' roll records direct from Greasy Mike's manky mitts! Not to be missed! Oww-ooooh!!!

The third in a new series from Jazzman featuring selections from Greasy Mike, the notoriously shady Super Spiv from the dark underworld of super rare records! After many years in hiding, we've finally persuaded Greasy Mike to open up his vinyl dungeon, and we were first to raid it! We have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto our black wax long player vinyl editions. Watch out for more!!! In this adventure Greasy Mike finds himself lost in the wilderness; hot, thirsty and alone under the unforgiving desert sun. He's been days without food and water; the heat of the day stifling almost beyond endurance, the cold of night a trial of torment. Survival seems impossible - or does it? Staggering across the sandy plains, the eerie yet unmistakable sound of a snake charmer's reed curiously winds its way into his ears. Instinctively he turns his head towards the sound - and lo! An oasis just ahead! Music, laughter - and belly dancers!!!