MUSIC

It has been 50 years since its release. This album, which can be called the bible for guitarists, has never faded away, and is a memorable first solo album produced in the fall of 1974, when he went to the U.S. on his own. The intense guitar playing from his beloved Stratocaster set members of Little Feat, Sly & the Family Stone, Santana, and Tower of Power on fire, and created an overwhelming band sound with a funky groove. Combined with Takashi Matsumoto's windy lyrics, a unique world unfolds. This is an unprecedented historical masterpiece that changed the standard of Japanese rock music. BAND WAGON,” a milestone set by Shigeru Suzuki, one of Japan's leading guitar legends who is still active as a musician, rings out!

When electronic pioneers, Coldcut, dropped their groundbreaking Journeys by DJ mixtape in 1995, one of its standout moments came towards the very end of the mix. Amidst the era’s finest beat-makers and electronic visionaries, the DJ duo teased a hypnotic, looping double bass line, followed by haunting sax, thunderous drums, and guitar, before seamlessly blending into the Radiophonic Workshop's Doctor Who Theme. That earworm bass line? It’s the signature sound of Red Snapper’s Hot Flush, forever etched in the listener’s brain.

Fast forward 30 years, and Red Snapper is reissuing their Reeled & Skinned compilation on Warp. The collection includes Hot Flush in both its original form and the remix by Andrew Weatherall’s Sabres of Paradise. It brings together the trio's self-released early EPs from ’94 and ’95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike.

Now, Reeled & Skinned is available on vinyl again for the first time in decades, remastered and featuring an additional track, Area 51, recorded during the same period.
 

Japanese edition with Obi, PJ Harvey is one of the most important singer/songwriters in the UK music scene, the only two-time winner of the Mercury Prize and one of the 100 greatest singers in history as chosen by Q magazine. 

This is a work synonymous with the Aphex Twin, featuring one of the most popular songs of their career, "Girl/Boy Song".

Long-awaited reissue of this rare Jamaican compilation, originally licensed in 1964 on local imprint Soulsville Center. Prince Buster is the obvious matador here with five exclusive tracks. Also featuring ska stalwarts The Maytals, Don Drummond, Roland Alphonso, The Skatalites, Gaynor & Errol, Millie Small & Roy Panton, and Owen Gray.

LP version on CLEAR vinyl in PVC sleeve with double-sided printed clear plastic insert. CD version is the mini replica of the vinyl version, in slim plastic case with clear insert.

“Love Will Tear Us Apart” should have been the band’s most shining moment…instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy.

This special edition LP features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the “radio version”) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time).

The remaining tracks include “These Days” (which appeared on the original “Love Will Tear Us Apart” single), along with “Transmission” (their debut single released in 1979) and “Atmosphere” (originally released as a France-only single) in 1980.

Closing out the Special Sound Series in style, we are proud to present the long-awaited vinyl reissue of Shigeo Sekito’s 1985, an instrumental masterpiece that arrived nearly a decade after his iconic Kareinaru Electone Special Sound Series of the 1970s. A true pioneer in the world of Electone music, Sekito’s name—instantly recognizable in katakana—has left an indelible mark on the genre. This album showcases his signature artistry across eight captivating tracks, blending originals and covers with his distinct sonic palette. The cosmic allure of the original composition “Amish At Dusk” stands out among the set, while the Manhattan Transfer cover “Twilight Zone, Twilight Tone” brims with dynamic, fast-paced arrangements. Meanwhile, Sekito’s take on The Crusaders’ “Rhapsody And Blues” unfolds with a laid-back groove, gradually building into an uplifting crescendo. Drifting between chill-out and ambient sensibilities, 1985 captures a wistful, melancholic beauty— where the rich textures of the Electone transport listeners into a world of nostalgia and dreamlike introspection. This final reissue in the series is a must-have for collectors and fans alike. Experience 1985 in its warm, analog glory, now on vinyl.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** The first-ever reissue of Gianni Marchetti's 1978 LP "Solstitium", released as part of RCA's venerable "Original Cast" series in a handful of promo copies only, sits among the most rare and enigmatic artifacts of Italian library music, it is heralded by collectors as one of the greatest free-standing gestures in the entire genre.

Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Solstitium".

The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi, and of course Gianni Marchetti.

If ever there was an LP to expand the notions of Library music’s vast potential and scope, Gianni Marchetti’s Solstitium has to be it. Nearly 50 years on, it feels as fresh and forward thinking as anything that has come since.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** "Equinox", Gianni Marchetti's 1977 twin album of "Solstitium", released in a handful of promo copies by RCA in their renowned "Original Cast" series, takes us on a journey through the author's groovier and wilder temperament, feeling as fresh and surprising today as the day it was made, offering immediate understanding of the reasons why it has remained one of his most sought after - and virtually impossible to find - titles over the decades.

Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Equinox".

The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi - and of course Gianni Marchetti.

Flirting with the cinematic through its depth of emotiveness and scale, dynamics ding behind an aural shroud, is a stunning and ambitious, freestanding work which, had it been made in another context, would likely have been celebrated for decades, far and wide. Absolutely engrossing and creatively challenging at every turn.

Ornette! is the seventh album by Ornette Coleman as a bandleader and the second credited to his quartet (following This Is Our Music). Though considered one of his early works, by the time it was recorded on 31st January 1961, Coleman was already an established jazz legend. His reputation had been cemented by the release of ground-breaking albums such as The Shape of Jazz to Come and Free Jazz.

These two albums embody the central, seemingly contrasting, elements of Coleman's early career: a meticulously crafted approach to melodic innovation and free improvisation, often with only minimal pre-determined structure. Ornette! bridges these two aspects, leaning more towards the former with its focus on melodic exploration, while still incorporating elements of Coleman's characteristic spontaneity.

The album’s opening track, W.R.U., exemplifies Coleman’s refusal to conform to audience expectations or traditional jazz conventions. The theme is sardonic and intricate—too demanding to fit into established jazz frameworks yet too deliberate to be dismissed as pure improvisation. The track encapsulates Coleman’s vision of "free jazz" as music freed not only from rigid structures but also from the constraints of genre classification, a limitation Coleman resisted throughout his career.

Critics have speculated that Coleman’s angular, unconventional sound may reflect his interest in psychoanalysis, suggesting that his music operates on both personal and artistic levels. This interpretation is bolstered by the track titles, which are acronyms of Sigmund Freud’s notable works and essays, hinting at deeper layers of meaning within the compositions.

The album’s brilliance also lies in the exceptional chemistry among its musicians. Don Cherry’s pocket trumpet—a defining feature of Coleman’s early recordings—remains a vital counterpart to Coleman’s alto saxophone. Ed Blackwell, who had appeared on the previous quartet album, demonstrates his rhythmic creativity and technical brilliance, particularly on T. & T., while Scott LaFaro, the newest member of the ensemble, contributes adventurous and daring bass work, most notably in his dynamic solo toward the end of W.R.U. Despite joining after the departure of long-time collaborator Charlie Haden, LaFaro integrates seamlessly, and his bold playing adds a fresh dimension to the group.

While Ornette! is less celebrated than some of Coleman’s other albums, it is a pivotal work in his artistic evolution. Upon its release, it was well-received by DownBeat magazine and later gained increased recognition from critics and publications such as The Village Voice, The Penguin Guide to Jazz Recordings, and Pitchfork. Over time, it has achieved cult status within Coleman’s discography, recognized as a critical document in the development of his innovative musical approach.

The long unavailable ninth album by Brazilian star Jorge Ben. Released in 1972, "Ben" comes from one of Jorge Ben’s most artistically important phases, the early 70s. The album has some of Ben’s most famous songs, “Taj Mahal” (plagiarized by Rod Stewart on his song “Da Ya Think I’m Sexy?”, as the British singer admitted himself in 2012), and “Fio Maravilha”, paying homage to Flamengo’s iconic football player Fio Maravilha.

Originally conceived as a promotional pre-release dub version of Man From Wareika, this album is enhanced with an array of rare and previously unreleased bonus tracks from the Island vaults, ensuring that this is by some way a finest collection of the trombone maestro’s timeless work. Available for the very first time on vinyl this is a must have for any dub fanatic.

roduced and engineered by Jah Wobble at home in his bedroom (hence the title), the album was originally released in spring 1983, showing a different side in the bass player evolution. His proper 2nd album after a major label stint with Virgin - for his debut - and the stratospheric collaborations with Holger Czukay & The Edge. A mystical hybrid of dub fusion, ethereal wave and global beat, still ahead of his time.

During the mid-1970s, Jorge Ben could do no wrong. Known as the father of samba rock, Ben gained an international audience with an infectious singing style marked by bright optimism and funny satire; A Tábua de Esmeralda deviated from the script by delving into the alchemy of the Middle Ages, as well as the second coming of Jesus, but the production is so nuanced and his voice so agreeable that the album was a surefire hit, and Ben manages to squeeze in some groovy numbers saluting womanhood, and slave leader Zumbi dos Palmares. The result is a must-have Jorge Ben gem that has stood the test of time, and then some!

★ With obi ★ Gary Marks ‘ Gathering’ is exactly what you would call a miracle. Self-produced in 1974 and engineered at Vitra Sonic Recording Studios in New York, the album introduced the crispy talent of the guitarist/pianist and producer. A genuine blend of folksy harmonies and jazzy arrangements, the record could have been possibly the missing link between Tim Buckley ‘Starsailor’ and some early seventies Impulse ! Session. Now it’s about time to get a hold of this masterpiece

”Gathering includes guitar legend John Scofield, the amazing jazz pianist Michael Cochrane, and one the of the top vibraphonists in the world, David Samuels. But at the time none of them were known to the general public. In fact, Gathering was the recording debut for all of us.” (from Gary Marks liner notes) 

The legendary 1975 Fairfield Hall Croydon broadcast now available as a high quality vinyl pressing. Broadcast as part of a short UK tour following the release in 1974 of Autobahn.

2025 repress forthcoming in Feb. One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A..

The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.

Reissue, originally released in 1963. Ellis Regina one of the greatest Brazilian interpreters of all time. Originally released in 1963 when she was not even 20 years old, this was her fourth album and second for Columbia Records. Still a few steps before she became a star, here Ellis Regina's fresh and extremely ductile voice shines on top of sophisticated jazz arrangements by Astor Silva and a mixed repertoire based on charming romantic songs and vibrant sambas, all composed by Brazilian authors, among them a couple of highlights such as Baden Powell's "Se Você. Quiser" and "O Ben do Amor" the title track composed by guitarist Rildo Hora. This is an early and fine statement in Regina's fast way to the peak of Brazilian music history.

Alice Coltrane had an enormous legacy to overcome in her late husband-- her debut album, "A Monastic Trio" stuck pretty close to what John Coltrane's last bands were doing the studio, "Huntington Ashram Monastary" finds her branching out. Recorded in mid-1969, a year after her debut and two years after the death of her husband, Coltrane performs on piano and harp and is backed by bassist Ron Carter and drummer Rashied Ali. Musically, it's a bit more relaxed than before, with Coltrane's playing a bit less dense and significantly looser. At its best, this looseness translates into inventiveness in ideas with Ali's gentle percussion and Carter's stunning virtuosity holding things nicely together-- the opener and title track is a good example of this-- Carter sets up a deep groove, Ali frames everything, and Coltrane and suprisingly nimble on harp. Likewise, "Paramahansa Lake" and "IHS" find Coltrane surprisingly inventive-- escaping the stereotypes of the harp on the former and playing in a bluesy, Monk-like piano on the latter, with Carter and Ali anchoring ("IHS" also features some superb arco playing from Carter).

Victory present a reissue of Pacific, originally released in 1978. Reuniting the best session musicians Japan had to offer to make an album that would evoke the atmospheres of the South Pacific islands, the kind of places Japanese people spend their vacations. Pacific is a treat to the ears; its theme of the southern Pacific ocean and its warm cerulean waters relax its listeners with a fusion of city pop, soft jazz, and that good old 1970s funk while remaining surprisingly fully instrumental throughout all contributions from artists Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. A true cult LP and an inspiration for a lot of so called "vaporware" music. LP includes insert.

Scientist was only 20 years old when, working with fellow producer "Junjo" Lawes, he came up with this 1980 stunner, a sinuous groove party with cartoonlike special effects (a lot of bongs and boings like pans hitting one another, blips and squeals that sound like a Pac-Man game). All the "song" titles are references to boxing (a motif that Scientist was obviously mining for all it was worth), and all are great individual bits of dub sound that cohere into a meaningful whole. As it says on the jacket, "This ya a youthful sound fe come mash y'down."

First released in Brazil in 1960 this is Joao Gilberto's second studio effort. A seminal album that just one year later introduced Bossa Nova to the United States. Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado" and "Outra Vez". An essential piece of work in the whole history of Brazilian music.

Kraftwerk 2 is the second studio album by German electronic band Kraftwerk, entirely written and performed by founding Kraftwerk members Ralf Hütter and Florian Schneider in late 1971 and released in January 1972. Perhaps the least characteristic album of their output, it features no synthesizers, the instrumentation being largely electric guitar, bass guitar, flute and violin. On the second side, the more rock-oriented origins of the group still cling on, mostly without any percussion whatsoever.