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“The idea of the black avant-garde exists, as it were, oxymoronically – as if black, on the one hand, and avant-garde, on the other hand, each depends for its coherence on the exclusion of the other. Now this is probably an overstatement of the case. Yet it’s all but justified by a vast interdisciplinary text representative not only of a problematically positivist conclusion that the avant-garde has been exclusively Euro-American, but of a deeper, perhaps unconscious, formulation of the avant-garde as necessarily not black. Part of what I’m after now is this: an assertion that the avant-garde is a black thing.”- Fred Moten
When we go searching for a Black avant-garde, we have to be prepared to look in unexpected places. The route to a Black avant-garde involves walking down – what some might consider – peculiar highways. Where they see strangeness, a road leading them nowhere, we see nothing but beauty. The paths Darren Cunningham went down, the highways he took to make Actress, are a chapter in the story of the Black avant-garde. Cunningham the footballer. Cunningham the Wulfrunian. Cunningham the ex-footballer. Cunningham the DJ. Cunningham the Londoner. Cunningham the producer. Cunningham the painter. Cunningham the writer. Cunningham the composer. This is where the Black avant-garde in Britain is made. This is where you have to go to find it.
Across an expansive discography of more than ten LPs, Actress has created his own arcane language of hermetic references and inter-dimensional electronic composition.
Radical Frame arrives 18 years since debut album Hazyville, and it feels like an apotheosis. The image realised. We get the full gamut of Actress signatures. Short bursts of broken down music. Tiny sketches of zoomed-in sound. Refracted dance floor heat. And we get more. We get appearances from CASISDEAD on ‘Live By You’ (another image, another mask) and Rainy Miller (another artist from the provinces, Preston).
Today, we get ‘Overchord’ - the centre of the album paired with its precursor ‘Live By You’. It arrives alongside a video by Anna van der Velde, featuring Cunningham trapped in a luxury prison of his own making, contained but not constrained.
Perhaps Radical Frame is a container for everything that Cunningham has built so far. A frame he is handing over to the next in line. The next artist to make their own way in the Black British avant-garde.
Anthology of all three albums in the Pentimento series, a remarkable late career renaissance by Jon Hassell, the pioneer of 'fourth world' music. Contains Listening To Pictures (2018), Seeing Through Sound (2020), and Music Is Invisible (2026), the latter a recording of his final ever live concert performance.
Maria W Horn takes inspiration from W.G. Sebald's The Rings of Saturn on Melting Pillars of Snow, a new collection of compositions for contrabass recorder, shō, percussion, electric guitar, voice and electronics. Performed with Anna Petrini, Mattias Hållsten, Magdalena Meitzner and Mats Erlandsson, the album explores shifting landscapes, deep time and fleeting moments through intricate chamber arrangements and electronic processing. Horn also contributes narration, while Michael Gira of SWANS guests on the opening single, 'Scythe of Saturn'.
TOTAL Allison de Groot is a clawhammer banjo player from Winnipeg, Canada whose work spans old-time, bluegrass, and folk traditions. A recipient of the Steve Martin Prize for Excellence in Banjo and an Americana Music Association Instrumentalist of the Year nominee, she is perhaps best known for her duo with fiddler Tatiana Hargreaves, whose albums Hurricane Clarice and their self-titled debut earned recognition from the IBMA, the Canadian Folk Music Awards, and the JUNOs. Rich Ruth is a Nashville-based multi-instrumentalist (born Michael Ruth) who records for Third Man Records. His solo albums draw from ambient, spiritual jazz, minimalism, and synth-driven post-rock, compositions that begin with looping drones and synthesizers and expand outward through collaboration. He is also a third of Shrunken Elvis, a Nashville trio born from long European drives and winter jam sessions, uniting Ruth with pedal steel guitarist Spencer Cullum and guitarist Sean Thompson in a shared creative space that prizes intuition over ambition. Their well-received self-titled debut arrived in 2025. The two came together when Ruth was set to produce a solo record for de Groot. Over the course of about a year in Ruth's Nashville studio, the project quietly shifted: the two began composing together, and what emerged is shaped as much by space and process as by melody. De Groot's clawhammer banjo moves through looping and delay, set against Ruth's synthesizer arrangements in a way that balances the tactile immediacy of acoustic instruments with the enveloping qualities of electronics. Patrick M'Gonigle contributed violin and string arrangements throughout, while Shrunken Elvis bandmate Spencer Cullum brings his pedal steel to several tracks, adding another layer of atmospheric depth to the record's palette. Shortly after completing the album, the group debuted the material live at Big Ears Festival as one of the event's surprise performances, a stripped, minimalist set that reflected the spirit of the recordings. The album captures two distinct musical voices finding not so much a meeting point as a new, shared language.
In Cyano, synthesist and composer Emily A. Sprague questions self, other, ecology, and life in a distant realm. Conjured around the idea of an imagined planet whose inhabitants are rebuilding forbidden capacities for expressivity and emotional connection, Cyano is a meditation on visibility, psychic transformation, light transmission, and worlds beyond our knowing materialized through an intuitive use of modular synthesizers and voice.
The Whole Of The Moon” is a classic. It’s a song about awe and hope and love for the people who show us the best of this often broken world, the blessed few who show the way and introduce us to things and thoughts. Keith McIvor aka JD Twitch of Optimo was one of those people, and this version of the track - electronic, euphoric, open-hearted - was made by some members of the broader Optimo community after his terminal brain cancer diagnosis in 2025. The task of making a version that could’ve been heard on the dance floor at Planet Peach, Mas, or the Sub Club on a Sunday night or Monday morning brought them together across oceans, an act of joy amidst so much loss. It was never intended to be released, but as it made its way to friends and others, it also felt wrong not to. Its sentiment is universal and applies to so many incredible people in music and beyond that are sadly missed. So here is the Watergirls’ first and last track, presented as a limited white label with some particularly lethal mixes from Sean Johnston of Hardway Bros and A Love From Outer Space. We’re giving all the profits to charity. It’s meant to be played out. It’s meant to make two friends hug and sing into each other’s faces. It’s for Keith and for everyone like him.
Buh Records presents Anthology 2: Works for the Experimental Orchestra of Native Instruments, a double album that deepens the exploration of the work of Bolivian composer Cergio Prudencio (La Paz, 1955) and his inseparable bond with the Experimental Orchestra of Native Instruments (OEIN), the project he co-founded in 1980 and of which he is now emeritus director. Like Anthology 1, widely praised by the international music press, this second installment continues to reveal the conceptual, aesthetic, and sonic magnitude of one of the most radical contemporary-music endeavors to emerge from Latin America. The OEIN is a unique ensemble within the international musical landscape. Its approach begins by embracing the traditional instruments of the Andean highlands in all their dimensions: their materiality, modes of sound production, tuning systems, cultural contexts, and the Indigenous philosophies that sustain them. It is grounded in central principles of Aymara music—arca-ira alternation, the formation of large “troops” of instrumentalists, and the communal energy of wakiña—integrating them into a creative process that articulates both tradition and contemporaneity. For Prudencio, these foundations are living structures that allow for the projection of an ever-expanding musical thought. Anthology 2 brings together works composed between 1989 and 2014 and performed by the OEIN and its chamber ensemble. Cantos crepusculares (1999), written for the Donaueschingen Festival, unfolds a sonic continuum in which successive atmospheres evoke the shifting light of twilight. Cantos ofertorios (2008), conceived during residencies in Bellagio and completed in La Paz, incorporates multiphonics, massive textures, and a performative gesture referencing the prayers and offerings of Aymara yatiris.
A powerful survey of 1970s Pinoy rock, spanning hard rock, glam, acid rock and heavy blues across a golden era of Philippine music. Drawn from recordings between 1971 and 1978, this compilation captures the grit, swagger and invention of a scene firing on all cylinders. Featuring key figures including Juan de la Cruz Band, Judas, Anak Bayan, Hot Dog, Maria Cafra, Sampaguita, Joey Smith and Wally Gonzalez, the collection moves from fuzz-laden stompers to groove-driven rock’n’roll with ease. Each track reflects a distinct strand of the era’s sound while contributing to a broader picture of a vibrant and often overlooked movement. An essential introduction to the depth and energy of 70s Philippine rock.
Following the incredible (and successful) compilation Taiwan Disco, the master minds behind Aberrant Records present this delicious record. Subtitled Disco Divas, Funky Queens and Psych Ladies from Asia from the 70s to the Early 90s you don't have to take a wild guess to figure out what you'll find here, a treasure trove filled with exotic jewels from Thailand, Taiwan, Malaysia, Singapore, Hong Kong, Indonesia, and South Korea, from Asian funk to psych-tinged awesomeness, disco madness and much more. Features Chailai & Sawanee, Chantana Kittiyapan, Lei Si Si, Ding Dai, Yasmin, Wong Foong Foong, XYZ, Fatimah Razak, Chen Qiong Mei, Sum Sum & Pan Pan, Grace Simon, and Hit Girls.
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.
Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.
Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, “Onda Esotérica”.
Psychedelic cumbia amazónica with South Texas swagger. “Like taking a hit of acid, downing a couple shots of tequila, and hopping a plane to 1960s Peru” – KUTX.
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.
Tejiendo Nubes Contra la Muerte brings together poet and visual artist Cecilia Vicuña with Colombian pianist and composer Ricardo Gallo and the trio Hombre de Barro, featuring Ernesto "Teto" Ocampo, Urián Sarmiento, and Juan Manuel Toro. The album is rooted in a shared concern for the care of life, water, and the environment, finding in Vicuña's poetry a meeting point between contemporary creation and ancestral knowledge. The music was created collectively and spontaneously during the recording session. Gallo plays piano and synthesizers, Ocampo guitar, flutes, and harmonica, and Toro cello and flutes, while Vicuña's voice moves between spoken word, chant, whisper, breath, and silence. The result is an open, intuitive work in which improvisation becomes a space for dialogue between different forms of knowledge and sensibility. Cecilia Vicuña is a Chilean poet and visual artist based in New York. In the mid-1960s, she developed the concept of "Precarious Art" to name what disappears. The album features a selection of poems from Cloud Net, a book that addresses climate change through a perspective connected to Indigenous knowledge and dates back to the late 1990s. For the past decade, Vicuña and Ricardo Gallo have collaborated on poetic and sonic explorations encompassing recordings, live performances, installations, sound works, and videos. Gallo, a composer and improviser based in New York, maintains close ties to Bogotá's vibrant music scene. The members of Hombre de Barro combine extensive musical careers with research into Colombia's diverse musical traditions. Ocampo developed a profound body of research into Indigenous music; Sarmiento documents and records rural musical traditions through his label Sonidos Enraizados; and Toro has researched the music of the Inga people and other communities in southern Colombia. The album was recorded in La Calera, in the mountains outside Bogotá, in July 2022. A little over a year later, Teto Ocampo passed away; the album is dedicated to his memory. The session was supported by producer Julián Gallo and later mixed and mastered by Marc Urselli in New York. The cover features a work by Vicuña originally created for the Cloud Net exhibition, with the complete design by Raúl Zea. The LP includes an insert containing the poems performed on the album, in both Spanish and English translation.
A selection of artists -- ranging from big names to obscure and mysterious gems -- from the '60s and '70s, the golden years of modern Persian music. A trip to a time when western sounds mixed with traditional Iranian music to create a new, unique and magical sound, full of soul, personality and emotion. 13 mind-blowing tracks of pure, unaltered, Persian bliss. Includes notes on the artists. Featuring Mehrpouya, Bijan, The Rebels, The Golden Ring, Tak Khal Ha, The Littles, Zangoleah, Fereshteh, Shahram Shabpareh, Googoosh, Kourosh Yaghmaei, Betti, and Mahasti.
A look at a time, just before the Islamic Revolution of 1978, when Tehran was buzzing with the vibrant sounds of Western funk and soul blended with the rich traditions of Persian music, creating an exciting new sound that has to be heard to be believed. Featuring a selection of artists ranging from the era's biggest names to more obscure gems. Get ready to be blown away by 10 ultra-groovy tracks of incredible Persian funk. Includes notes on the artists. Featuring Hamid Shabkhiz, Kourosh Yaghmaei, Mehrpouya, Googoosh, Neli, Shamaizadeh, Nooshafarin, Zia, Taherzadeh, and Morteza.
Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. “Vento Sul” (1972) represents a pivotal moment in Valle’s artistic evolution, revealing a composer unafraid to reinvent himself and push the boundaries of Brazilian popular music. From the hypnotic title track to highlights such as ‘Democústico,’ ‘Revolução Orgânica,’ ‘Paisagem de Mariana,’ and ‘Pista O2,’ the album remains a breathtaking achievement whose influence continues to resonate more than five decades later. This reissue shines a well-deserved spotlight on a landmark recording—an essential chapter in Brazilian music and an indispensable addition to any collection of psychedelic, progressive, jazz, or MPB classics. Pressed on 180g vinyl. AUDIO: www.youtube.com/watch?v=70Jon7Xx7wU&list=PLzuN-sCVylt0zM0lZH28aLA8SyYlzk9kj Marcos Valle es uno de esos artistas que no puedes pasar por alto si sientes el más mínimo interés por la música brasileña. “Vento Sul” (1972) representa un momento decisivo en la evolución artística de Valle, revelando a un compositor sin miedo a reinventarse y a ampliar los límites de la música popular brasileña. Desde la hipnótica canción que da título al álbum hasta temas destacados como ‘Democústico’, ‘Revolução Orgânica’, ‘Paisagem de Mariana’ y ‘Pista O2’, el disco sigue siendo una obra deslumbrante cuya influencia continúa resonando más de cinco décadas después. Esta reedición pone el foco, con todo merecimiento, sobre una grabación histórica que supone un capítulo esencial de la música brasileña y una pieza imprescindible para cualquier colección de clásicos del rock psicodélico, rock progresivo, jazz o MPB. Prensado en vinilo de 180 gr.
Lesser known than the highly sought-after ‘A Gira’, yet every bit as perfect for the dancefloor, Trio Ternura’s ‘Razão De Ser’ (1972) blends Brazilian scents, soul music, and stunning vocal harmonies into a timeless masterpiece. Reissued here for the very first time and cut at 45 RPM for superior sound quality. AUDIO: www.youtube.com/watch?v=nfBEJyN0gO0 Menos conocido que el codiciadísimo ‘A Gira’, pero igual de perfecto para la pista de baile, ‘Razão De Ser’ (1972), de Trio Ternura, combina los aires brasileños, la música soul y unas impresionantes armonías vocales para dar forma a una obra maestra atemporal. Reeditado aquí por primera vez y masterizado a 45 RPM para ofrecer una calidad de sonido superior.
“Iker Munduate is an artist and musician who brings a delicate sense of composition and design... Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura" - Derek Walmsley Continuing from where he left it 2 years ago after a sold out debut LP released on Hegoa, Iker is back with his follow up “Sinkronia”. A gripping take on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker’s attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca’s Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao’s UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work.
“La Proyección”, the debut LP by Jose María Lluch, architect and musician from San Sebastian, appears as a transition, a gradual shift that happened over time. Intimate and innocent, disconnected and erratic at times, the 11 compositions presented here are extracted from recordings spanning 9 years, between 2015-2024. Humbly assorted in his home studio, the music here is for letting your mind drift. The processes of composition, recording, and editing intertwine. Field recordings from daily chores, fingerpicking guitar, soothing harmonics, tape manipulation and ethereal soundscapes, all combined with naive openness. We uncover joy found in imperfection. It is rare the occasion on which we have the chance to have a peak at someone's work, unattended, without specific context, after years spent making music simply to break away, not for anyone but for themselves. The songs in “La Proyección” unveil exactly that essence, found through collective memory. “La Proyección”, el álbum debut de José María Lluch, arquitecto y músico de San Sebastián, se presenta como una transición, un cambio gradual que se produjo con el tiempo. Íntimas e inocentes, a veces desconectadas y erráticas, las 11 composiciones que aquí se presentan provienen de grabaciones que abarcan 9 años, entre 2015 y 2024. Humildemente reunidas en su estudio casero, la música invita a dejar volar la imaginación. Los procesos de composición, grabación y edición se entrelazan. Grabaciones de campo de tareas cotidianas, guitarra fingerpicking, armónicos suaves, manipulación de cinta y paisajes sonoros etéreos, todo combinado con una apertura ingenua. Es raro tener la oportunidad de asomarse al trabajo de alguien, sin supervisión, sin un contexto específico, después de años dedicados a hacer música sin un fin comercial. Las canciones de “La Proyección” revelan precisamente esa esencia, hallada a través de la memoria colectiva.
Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope, Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. Ghetto Records Presents (1970) by Eddie Lebrón was one of them. Lebrón was Ghetto Records's first artist. Bataan supervised the pianist's recording sessions and, importantly, understood Lebrón's desire to have an English-language soul ballad on his album, which was to become a feature of all future releases. To supplement Lebrón's backing band, Orquesta Suave, who had a background in R&B and doo-wop, Bataan brought in high school chum Abdul O'Dool to sing the old chestnut "(I Love You) For Sentimental Reasons." Lebrón was Puerto Rican and raised in New York from the age of five, making him part of the generation of Nuyoricans that expressed themselves through salsa. In addition to playing the piano and leading Eddie Lebrón and His Orchestra Suave, as the band was then called, Lebrón also composed and arranged the tunes on the record. Aside from being distinguished as the debut of both Ghetto Records and Eddie Lebrón's band, Ghetto Records Presents sported an eye-catching cover by Izzy Sanabria. The album is a real treat for heavy salsa and Latin soul lovers that has become a much in-demand record among collectors worldwide. Lebrón and Orquesta Suave parted ways after recording this album largely because Lebrón was increasingly in demand as a sideman. In fact, he continued to play piano with, and compose and arrange for, a host of important salsa outfits over the next two decades. Vampisoul are now reissuing Ghetto Records Presents once again thanks to our collaboration with Now-Again Records. This release includes an insert with liner notes and two bonus tracks.
Here we have a very special reissue, a landmark in the history of Spanish pop music: "La chica de plexiglas" and "La vision," the first two singles by El Aviador Dro y sus Obreros Especializados (released in 1980 and 1981), together with two tracks rescued from a lost 1980 recording session that were never released as a single. The collection is presented exactly as it was originally compiled on a 1983 mini-LP. To this day, this remains the most advanced techno-punk ever made in Spain. Think a Spanish version of Kraftwerk meets Devo meets The Residents. Futuristic electronic music created back when computers were the size of an entire room. Out of print since 1985, we're delighted to bring this groundbreaking gem of early-'80s Spanish pop back into circulation in collaboration with Discos Banana. Tracklisting>> Side A 1. La Chica De Plexiglas 2.Vano Temporal 3. Gestalt Side B 1.La Vision 2. Hal 9000 3. Laser
To celebrate 20 years of this incredible album by Masami Akita, we are doing a limited edition gatefold vinyl pressing on baby pink colored vinyl limited to 300 copies worldwide.