MUSIC

Formed in 1971, Nass El Ghiwane's five members first performed together as actors under the Moroccan playwright and director Tayeb Seddiki. Following their debut performance as a band in Rabat at Seddiki's Mohammed V Theatre, their songs became the 1970s anthems of Moroccan youth -- nationalist, rebellious, experimental and bygone all, at once. Their music echoes medieval Moroccan oral traditions, traditional poetics and tales of Sufi mystics, and they were the first to introduce the banjo and colloquial Moroccan Arabic in their version of the Shaabi genre. For an outstanding biography of the band, the documentary film Transes by Ahmend El Maanouni will blow your mind and showcase the importance of this band for Moroccan and Algerian culture. This reissue of their second LP, fully re-mastered, featuring exact repro of the original cover from 1973 is one of the most in-demand LPs in their legendary discography. Edition of 500.

2025 limited restock. Deep, deep, earth music from Tsutomu Ōhashi and the Geinoh Yamashirogumi crew. A macrosymphony composed for the International Garden and Greenery Exposition in Osaka, Japan, 1990, Ecophony Gaia, was supposed to be the stunning, aural centerpiece for a light and water performance system echoing the sentiment of the venue: "Harmonious Coexistence of Nature and Mankind". Ecophony Gaia was in its truest essence the final part of a trilogy that began with 1986's Ecophony Rinne, continued, in 1988, with their most-known work the soundtrack to Katsuhiro Otomo's dystopian, cyber-punk film Akira (released as Symphonic Suite Akira), and this release mere months later. Looking back one can break up these releases into a holy musical trinity: Ecophony Rinne = spirit, Symphonic Suite Akira = body, and Ecophony Gaia = Gaia/earth. Ecophony Gaia is Geinoh Yamashirogumi's most hopeful release. Rebirth, the hardest thing to capture in music, is something Ecophony Gaia expounds upon through sonics and feeling. You hear this in light echoes from Symphonic Suite Akira coursing through Ecophony Gaia, acting as symbols saying: "not everything from the past needs to be discarded, that certain things, when rethought of, hold a heavier power". The Japanese Noh music you heard trapezing through Akira's "Illusion" walks positively untethered in Ecophony Gaia's "Euphony", Indonesian gong chimes that hit darkly in Akira's "Tetsuo" transform Ecophony Gaia's "Catastrophe" into the light sublime, serene music that it is. What's left over are the songs that point to new directions. Those that derive their influence from things that aren't easily quantifiable. The introduction of field recordings to a warmer palette of sound makes Ecophony Gaia Geinoh Yamashirogumi's first roots album. Of course, these roots belong to worldlier kind of music. Rhythms that sound like water coursing downstream from brook to ocean, electronic layers that hum and cycle through, string instruments that hover like atmosphere, wind instruments that sound like air and breath, and the powerful sound of human voices presenting divinity through communal chant -- those all constitute the ecosystem of Ecophony Gaia. Things that you've heard/felt before, renewed in a different luster. When you hear the album, notice how there are two sides to its whole: "Chaos" ending in "Euphony", "Catastrophe" ending in "Gaia". It would be a disservice to describe the way it sounds, it's an album based on belief not premonition. All you'll find in Ecophony Gaia are movements. Hopeful movements. Needed movement.

"When you notice the cheerful mystery playing with the synths, the edges of this small world start to look slightly distorted. In any era, someone is always creating mysterious music on their own." (7FO) Music in DNA is an album recorded in the early 1980s in New York City and self-released in 1984 in Japan by Yasuhito Ohno, a young Japanese man breaking free from the constraints of his homeland. The album is a naive burst of outsider DIY enthusiasm, inspired by the multiple avant-garde movements of the era, in music, painting and performance, as well as the native energy of 80s NYC. Ohno channeled his youthful “edge” and zeal into open-minded lo-fi musical explorations using a mere two machines: the then-new technological glories of a four-track cassette recorder and that polyphonic synthesizer masterpiece, the Roland Juno-60; on several pieces he vocalizes. These seven tracks have a zestful, innocent, anything-goes charm, free from preciousness and self-consciousness: a raw and youthful human spirit at play in a new world. Ohno was also inspired by the humanistic promise of the general technological developments of the day, including DNA research, personal computing, and early computer graphics, an example of which can be found on the cover. Ohno later returned to Japan, becoming a renowned composer/producer. In an era of jaded cynicism, Music in DNA is a welcome taste of big-hearted innocence, a revival of a raw self. Available on CD/LP/Digital, with E/J liner notes by the artist.

"When you notice the cheerful mystery playing with the synths, the edges of this small world start to look slightly distorted. In any era, someone is always creating mysterious music on their own." (7FO) Music in DNA is an album recorded in the early 1980s in New York City and self-released in 1984 in Japan by Yasuhito Ohno, a young Japanese man breaking free from the constraints of his homeland. The album is a naive burst of outsider DIY enthusiasm, inspired by the multiple avant-garde movements of the era, in music, painting and performance, as well as the native energy of 80s NYC. Ohno channeled his youthful “edge” and zeal into open-minded lo-fi musical explorations using a mere two machines: the then-new technological glories of a four-track cassette recorder and that polyphonic synthesizer masterpiece, the Roland Juno-60; on several pieces he vocalizes. These seven tracks have a zestful, innocent, anything-goes charm, free from preciousness and self-consciousness: a raw and youthful human spirit at play in a new world. Ohno was also inspired by the humanistic promise of the general technological developments of the day, including DNA research, personal computing, and early computer graphics, an example of which can be found on the cover. Ohno later returned to Japan, becoming a renowned composer/producer. In an era of jaded cynicism, Music in DNA is a welcome taste of big-hearted innocence, a revival of a raw self. Available on CD/LP/Digital, with E/J liner notes by the artist.

The second compilation of FORM@ RECORDS. Although this work hasn't decided on a particular direction, it's a wonderful album that naturally gathers pure things and far surpasses the previous work.

Following Virgo's Landform Code and Remnants, we're happy to continue our collaboration with with FORM@T RECORDS.

Various Artists

Art Form I

Limited Edition Double LP.

First ever vinyl release of the unheralded classic compilation from 1997.

From the vaults of cult Japanese label FORM@ RECORDS.

A fascinating dive into Tokyo’s electronic music underground of the late 90s - timeless and unique IDM, techno, ambient, acid.

For fans of Warp’s Artificial Intelligence series, Ken Ishii, Carl Craig, B12, The Black Dog, deep electronic music, experimental soundscapes, time capsules of underground music movements.

Also available: Virgo albums Landform Code and Remnants, FORM@ compilations Art Form 2 and Re-Form Ver-1.0

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over.

Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore.

It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Works of the great Somei Satoh / Mandala Trilogy + 1 bonus track - Shomyo Buddhist chant vocalization and infinity ambient abyss transform into superb mystic and meditative harmonics.

"Mandala", "Mantra" and "Tantra" were recorded separately in 1982, 1986 and 1990. "Mandala" was included on the album Mandala/ Sumeru that was released on ALM (Kojima Recordings) and it was recorded at the NHK Studio of Electronic Music. "Mantra" was a NHK commissioned work (recorded at the same studio). "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording. Although each composition’s production comes from a different era, they all use Satoh’s own vocals as sound as well as electronics.

Includes bonus track "Mai", a composition commissioned by harpist Ayako Shinozaki recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Although it is not an electronic music piece, this composition complements the world that Satoh expresses in Mandala Trilogy.

Deep deep deep into the abyss.

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.

Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.

The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.

Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).

The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today. Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.

Meditations Bestseller! Steve Hiett's only album "At the Shore..." is still very popular as a masterpiece of AOR/light mellow with too much unusual transparency and floating feeling. The album has been co-released by Melbourne's Efficient Space and Be With Records for the first time on vinyl! Steve Hiett has worked as an art director and designer, and has also worked as a photographer for top fashion magazines such as VOGUE and MARIE CLAIRE. The original album, released by CBS/Sony in 1983, is known to be extremely rare and hard to find. The album was released only in Japan and was not distributed worldwide, despite the fact that it featured a superb lineup that represented the Japanese music scene at the time: Toru Okada of the Moonriders, Hirofumi Suzuki, Masahiro Mukawa, and Kazuhiko Kato. This is a very rare album. Remastered from the original master tapes. Don't miss it!

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marcia Griffiths. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

At long last, this legendary gem returns! A coveted treasure among Japanese jazz collectors, the album showcases bassist Hideto Kanai directing a 17‑member big band in a powerful and forward‑thinking exploration of orchestral jazz.

Side A
1. 夢は今日も / Dream Again Today
2. 造花の原野_1976 / Wilderness of False Flowers_1976
3. 白い目覚め / White Awakening
4. Guitar Solo 1（ボーナス・トラック *Vinyl Only）

Side B
1. カーニバル / Carnival
2. 氷の炎 / Flame of Ice

Side C
1. Guitar Solo 2（ボーナス・トラック *Vinyl Only）
2, 夜、暗殺者の夜 / The Night, Assassin’s Night
3. お前の眼に夜を見た / Saw the Night in Your Eyes

Side D
1. イビスキュスの花　或いは満ち足りた死 / Hibiscus Flower otherwise Dying Satisfied
2.  Enter the Mirror

First time on CD for this classic Merzbow duo album from 1983...
......Material Action is a favorite among early Merzbow free-music, junk-noise workouts. Psychedelic improvised instrumental energy abounds on this essential early recording that is PURE MERZ.

Masami Akita plays tapes, percussion, electro-acoustic noise, organ
Kiyoshi Mizutani overdubs tapes, synthesizer, violin, machine noise

A key work from the golden era of Impulse! Records, Love in Us All is a 1974 masterpiece by spiritual jazz seeker Pharoah Sanders, now reissued on vinyl. As the title suggests, this album is a sonic journey of devotion and transcendence toward the “love within us all.” A powerful balance of mysticism and compassion, chaos and serenity—this is truly music shaped by love and the cosmos. An eternal resonance, more vital now than ever.

Collision Drive is Alan Vega’s second solo studio album, originally released in 1981. If his debut laid the groundwork for a raw, minimalist take on rockabilly and blues, Collision Drive expands the palette with a grittier, more layered, and unfiltered energy. Here Vega’s lyrics channel universal themes deeply rooted in his fascination with street life, science fiction, politics, comics, love and the mysteries of the universe. It’s a record that pulses with feeling and rebellion, displaying the full spectrum of human experience and Vega’s evolving vision.

Alan was always reinventing himself, creating and refining his mastery of variation while maintaining his own unparalleled and identifiable aesthetic. Sonically, this album is more dynamic than his first. Ditching drum machines for a live drummer, and enlisting a hard rock band to back him, Collision Drive offered a different view of Vega’s artistic vision. The aching punk rockabilly of “Magdalena 82” unfolds with a hypnotic blend of guitar slides and frenetic energy, while Vega’s cover of “Be Bop A Lula” transforms Gene Vincent’s classic into an aggressively charged, manic howl. Elsewhere, tracks like the hard-driving cosmic rock n roll “Raver” push into psychobilly territory. Vega was relentlessly innovative, continuously paving new ground.

Newly remastered by Josh Bonati from the original tapes, Collision Drive receives a reverent reissue from Sacred Bones Records.

Here we witness the full ascension into his own mythology: part rockabilly outlaw, part cosmic preacher, part outsider visionary. Broader in scope than his debut but just as uncompromising, Collision Drive is a bold and personal exploration of sound and identity. Raw, electrifying, and groundbreaking, it remains a cult cornerstone of outsider rock and a touchstone in the evolution of art-punk and experimental pop from one of New York’s most fearless icons.

Alan Vega’s self-titled debut solo album was released in 1980 during the same period Suicide released their second album, Suicide: Alan Vega and Martin Rev. While Suicide’s label ZE Records was interested in pushing the duo toward a synthetic disco sound inspired by Moroder’s production on Donna Summer’s “I Feel Love,” Vega felt a pull in a different direction. He wanted to dig deeper into the roots of his own sonic identity, fueled by rockabilly, early rock n roll, and his enduring love for Elvis Presley. Filling the gaps between recording with Suicide, and fleshing out the songs he was writing on his own, Vega started to create his first record and performing live to develop this sound.

As with his visual art, Vega layered sound in a minimalist, dynamic and intentional way. The result was a fiercely singular album built from raw materials and deeply rooted in Vega’s artistic vision. Tracks like the classic anthem “Jukebox Babe” with its jiving rhythm and minimalist swagger, captured that approach completely and went on to become a hit in France. “Kung Foo Cowboy” takes on a southern twist, strongly leaning into the blues, while the golden pop shine of “Ice Drummer” rings in melodic yet plaintive vocals, marching drums and a tasteful harmonica solo. “Bye Bye Bayou” is a haunted slice of mutant rockabilly that fuses 50s rock with Vega’s eccentric performance style and was later reimagined in the 2009 cover by LCD Soundsystem, introducing Vega’s solo work to a new generation. Similarly, The Flaming Lips’s 1994 cover of “Ice Drummer” paid homage to Vega’s outsider spirit.

Now remastered by Josh Bonati from the original tapes and available on streaming services for the first time, Alan Vega has been faithfully reissued by Sacred Bones Records, preserving the raw intensity of Vega’s original recordings while making them newly accessible to listeners around the world.

Alan Vega is more than a solo debut, it’s a declaration of artistic independence and freedom from one of New York’s most influential and uncompromising artists. Stripped of Suicide’s intense electronics yet retaining Vega’s outsider energy and edge, the album translates early rock 'n roll through an art-punk filter that stands the test of time as a cult masterpiece in its own right.

Released in 1970, Funkadelic’s self-titled debut was a radical collision of psychedelic rock, gospel, blues, and soul — a chaotic, genre-defying statement that redefined the possibilities of Black music. Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself.Backed by a ferocious young band — including Eddie Hazel, Billy Bass Nelson, Tawl Ross, Tiki Fulwood, and Mickey Atkins — the album rejected convention in favor of raw groove and existential noise. Tracks like “I Got a Thing…” and “What Is Soul” pulse with menace and joy, bookended by surreal monologues that echo both street philosophy and space-age gospel.As part of Org Music’s Westbound Records reissue series, this edition restores the album’s full impact across multiple formats. The deluxe double LP, mastered at 45RPM directly from tape by Dave Gardner at DSG Mastering, offers the highest fidelity to date. Gardner and restoration specialist Catherine Vericolli archived and restored the original master tapes at 54 Sound Studios in Ferndale, Michigan, with assistance from in-house engineer Nick King. A single LP edition, cut from high-resolution tape transfers, is also available, alongside CD, cassette, and digital formats.A sonic revolution in its time and a lasting influence ever since, Funkadelic remains a groundbreaking testament to music without rules and freedom without limits.

Unfolding over twelve nocturnal and nostalgic hours, Walk Don’t Run is a buddy-comedy-thriller chronicling the unraveling of a lifelong friendship one manic diner dash, hijacked Woodie Wagon, Big Dipper roller coaster ride, and 3AM surf sesh at a time. Soundtracked by demos culled from the Ry-Ko discard pile, Moody's instrumental shortcut is a snapshot of the mid-’60s surf music crash. In keeping with the film’s overnight theme, Walk Don’t Run trades in the loping, dreamy balladry of the era, shooting the echo-y curls of the private beach underground well after dark. If you want to stay friends—WALK DON'T RUN.

One of the most stunning and unique albums of the Ethiopian golden age of jazz, never re-issued in full until now! This album was the only LP released by the mysterious Aselefech Ashine and Getenesh Kebret, two young women backed by one of the hardest-charging jazz and funk bands of the Ethiopian scene. The record was a huge hit in Ethiopia in 1976, but the artists never released another album. We managed to track them down and bring this amazing record back to the world. Dizzying close harmonies and indestructible grooves on this lost classic from Ethiopia's Golden Age. Aselefech Ashine and Getenesh Kebret, two young women raised in the bustling cosmopolitan milieu of late-empire Addis Ababa, released one single and a full-length LP in 1976 before disappearing from the music business entirely. Originally released on Kaifa, the label responsible for some of the heaviest and funkiest Ethiopian records of all time, Beauties was a hit, selling out in a few days. But it came out at the beginning of two decades of darkness and oppression in Ethiopia, and this is the first full reissue of this overlooked classic. Beauties is at once totally unique and an amalgamation of all that came before it during Ethiopia's explosive two decades of creativity in the 60s and 70s. Fans of Ethio-jazz will hear Mulatu in the dark, minor-key piano runs, turning in on themselves on songs like "Amlak Abet Abet" and "Metche Neow." Interlocking percussion and rock steady basslines are a signature of the Army Band, which also backed greats like Tlahoun Gesesse and Mahmoud Ahmed. Arranger Teshome Sisay is also an incredible flutist, playing with both sensitivity and swagger on tracks like the majestic "Ayinouma." But the vocals are the most stunning part. Aselefech and Getenesh met at the legendary Hager Fikir Theatre in Addis, where centuries-old Ethiopian culture combined with the modern music of the capital's elite. Trained in traditional music, their dual vocals lead in extremely close harmony, intertwined and infinitely creative in their phrasing. By the time this record was released, the Derg Regime was imposing strict crackdowns on music and artistic expression. Targeted as allies of the deposed Emperor Haille Selassie, the artists (and most musicians) had to keep a low profile. This is one of the last great releases of the Ethiopian Golden Era. Though she was never able to release a second record, Aselefech Ashine is proud of her work. From her home in Addis she says: "I have full confidence that this album will be popular and a hit when it is released again now!" We are proud to release this album in collaboration with Domino Sound in New Orleans and through direct license from the artists. Old-school "tip-on" jacket faithfully recreates the amazing original artwork, lyric translations, photos, and an interview with Ashine accompany.

During his time with the Yosuke Yamashita Trio, he poured his heart and soul into every single note. In the early 1970s, he wove flashes of inspiration and impulse into his melodies, blowing with powerful intensity. And now, on this album, Seiichi Nakamura undergoes yet another transformation. As he himself says, “It’s the feeling of sharing a space together and soaring freely like a bird. That’s the ideal,” the overlapping sounds and pauses richly expand the space, through which Nakamura’s saxophone dashes with exuberance. The expansive and exhilarating “Wolf’s Theme,” inspired by author Kazumasa Hirai’s “Wolf Guy” series, “Harappa,” where a nostalgic melody shines against a laid-back groove; “Body & Soul” and “I Can’t Get Started,” which weave together standards with care and elegance; and “Viva Giappone,” with its delightful sense of dynamism and openness—here, Nakamura’s ideal is magnificently realized. Featuring Toshiyuki Daitoku, Aki Takase, and Ryojiro Furusawa.

Big Crown Records is proud to present the remastered vinyl reissue of the cult classic “Sounding Out The City” by El Michels Affair. Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels’ first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60’s garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80’s 1/4″ reel to reel 8 track intended for home recordings, and began recording music in a 10×10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it’s release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labeled as “cinematic soul”. However, in 2005 it found it’s way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC’s. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair’s second record, “Enter the 37th Chamber” which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.

One of the most important works in hip-hop history, Nas's legendary 1994 debut album, Illmatic. Nas, hailing from Queensbridge, New York, crafted lyrics at the age of 20 that blend the harsh realities of the streets with poetic imagination, achieving an astonishing level of perfection. The album features a lineup of producers including DJ Premier, Pete Rock, Large Professor, and Q-Tip, with beats rooted in jazz and soul samples, blending hard-hitting rhythms with lyrical depth. In just 10 tracks and under 40 minutes, the album condenses the aesthetics and realism of East Coast hip-hop. It is a masterpiece that maximizes the potential of rap as an art form and serves as definitive proof of hip-hop's establishment as an art form.