NEW ARRIVALS

Unhinged, damaged art-punk from San Diego's mid-'90s Gravity scene. Gathered here are Clikatat Ikatowi’s three albums—Orchestrated And Conducted By..., River Of Souls, and a first time vinyl pressing for their 1993 demo, all remixed and remastered from the original analog tapes. The accompanying 24-page book pairs Tony Rettman’s colorful essay with dozens of period photos and flyers, an in-depth history of a city and scene that defined the shape of noise to come.

Venomous Tex-Mex R&B and early rock n’ roll from San Antonio’s West Side scene. From 1961-67, Bexar county kingmaker Abe Epstein cut every teen combo to grace the Patio An daluz stage, launching the careers of Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners, and hundreds more throughout the decade. Spread across two luxurious slabs of vinyl, The Cobra Label compiles 28 neuro toxic sides from Epstein’s first bite in the biz.

いざ、第4の扉へ。自国のソウル、ゴスペル、ファンクにとどまらず、ニューエイジ・ミュージック始祖ヤソスや日本からは原マスミまで、世界各地のオブスキュアなサウンドを掘り起こしてきた米国の大名門であり、コンピに定評のある〈Numero〉から新物件！ニューエイジ・ミュージック始祖の1人IasosやLaraaji、Joanna Brouk、Don Slepian、Master Wilburn Burchetteといったレジェンドが残した傑作曲を一挙特集した、「Private Issue New Age (PINA)」の世界への、新たな入門盤的コンピレーション・アルバム『Bliss Out For Days』が登場！シアトルの〈Light in the Attic〉が手掛けた自主盤ニューエイジ・コンピ金字塔『I Am The Center』と是非セットで聴きたい内容！静かに漂う弦楽器や、くすんだ録音の、しかし美しいピアノがアンビエンスの宇宙として広がる、極上の逸品！オールドスタイルなチップオンジャケット仕様。32ページのブックレットが付属。

Portland's finest practitioners of Great Black Music offering to the planet! All Is Sound could not be a more apt title for this. Through saxophone, cello, piano, and flutes The Cosmic Tones Research Trio created a truly beautiful record. All Is Sound breaks new ground. At its heart, it's healing/meditation music, but the Gospel and Blues roots are in there too...as well as hints of forward-looking Spiritual jazz. As sincere a record as you could ever hope for. Music is indeed the healing force of the universe.

The mid-2000s underground stir surrounding Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, feels nearly lost to time. West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afro-beat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music. Presented with a minimalist black circle LP design, the set possessed an uncanny escapist sensibility, underscored by track titles like “Life’s A Beach!” but otherwise entirely on the suggestion of that sound, imagined, displaced, and subconsciously amalgamated. Some called it “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside. Featuring six free-flowed tracks that glide between hypnotic instrumental terrain and anthemic pop architecture, West Coast succeeded in its premise, a trance-inducing, deja vu-like destination instantly identifiable and endlessly replayable. By late 2007, following its expanded CD repackaging as Yearbook 1, the songs were staples of year-end lists, including best album write-ups by Pitchfork, FACT Magazine, and Rough Trade. While Lissvik and Hägg kept busy, Studio’s proper follow-up never came, thus adding to West Coast’s strange allure and legacy. In 2025, the record sees renewed appreciation, remastered and reissued by Ghostly International. West Coast took shape throughout much of Studio's existence. The earliest recordings trace back to sessions held at Lissvik’s art school and Hägg’s rehearsal space between 2001 and 2004. During this period, Lissvik co-founded the Service label, creating a platform to release music, produce T-shirts, and host events. Service organized large parties, and the art school served as both a club venue and office, in a style reminiscent of Factory Records and Haçienda. Aside from their three initial 7-inch releases on Service, they kept most of their music to themselves for several years. Hägg remembers, "All these recordings were just piled up and we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion." In 2005, they left Service, flirted with breaking up, and then revisited material and wrote two new songs at Hägg's Ferry Terminal Studio and Lissvik's N.47 studio, which he jokingly dubbed the "Beach Ball of Death sessions" due to the slow processing strain put on his Power Mac G4. Hägg continues, "I had started a disco club night with a friend and we went deep down the rabbit holes of Balearics, space rock, and strange leftfield dancefloor stuff. This probably seeped into Studio's output. Around the same time, with Dan slowing drums down to half tempo, finishing ‘No Comply’ and creating ‘Radio Edit’, the B-side of Studio's first 12", a West Coast blueprint was born.” Soon songs were finalized and sequenced from countless sketches and layers, and the titles clicked into place after being kicked around for a while. The title for the pulsing, guitar-driven “Self Service” was inspired by Lissvik’s visit to the office of the Paris fashion magazine and chosen to mark their newfound independence. Thematically, a larger vision emerged. “Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik. “I was totally immersed in a word bubble and was really struggling with lyrics for one of our potential instrumentals. While walking back to the studio one day after a lunch break, ‘West Coast’ appeared in my mind. I ran back to the studio, wrote down the lyrics for ‘West Side,’ and suddenly ‘Life’s A Beach!,’ ‘Indo’ and the rest of the potential instrumentals all made sense.” Sonically, the set represented years of developing taste as well. In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, DJ Mozart, and Baldelli as reference points. “The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the ‘90s.” West Coast is defined by its swing, an ability to lock into loops and beat-grids while still prioritizing looseness and genuine surprises across long passages with layers constantly appearing and fading from the mix. Songs can momentarily fall out of step or change course, like 10 minutes into the hazy opener “Out There” when the bass line suddenly dips back beat for 4 bars and then returns on the beat, giving way for a dubbed-out breakdown and ascendent finish. Or take the 13-minute “Life’s A Beach!” which eases into a soft, tide-changing crescendo just before the 9-minute mark, returning anew on an optimistic bass line as the guitar gets moody above the shimmering wash. Hägg says, “It always transcended very well live, like an implosion. It’s a very tricky song to play, due to strange rounds so it’s such a relief when one gets there, probably what you hear is a big sigh.” In the afterglow of the record’s 2007 reception, as their oft-mentioned un-Google-able name and Myspace page made rounds and West Coast was cemented as “one of the finest pieces of electronic music you ́ll hear this year,” per The Guardian, Studio receded from view, clouded behind a mountain of remix requests (including belter for Kylie Minogue and Stockholm’s Shout Out Louds) and label bureaucracy. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing.”

“Do you need samples?”

We all ask ourselves this from time to time, and thankfully, Frollen Music Library (FML) has you covered.

‘001-015’ is a “best of” compilation celebrating the first 15 sample packs made by Naarm/Melbourne (AUS) based Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more.

This retrospective “best of” traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it’s bouncing Hip Hop beats or evocative cinematic etudes, FML’s 3-piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML’s diverse catalogue takes cues from the ‘Third Stream’ composer David Axelrod on their ‘Sharpen Your Axe’ (FML009) pack, as well as drawing upon cinematic themes from 60’s and 70’s Italian film score composers a la Ennio Morricone and Riz Ortolani, as heard on ‘The Fretted Neck’ (FML006). There are 90’s New York boom bap beats found in ‘Golden’ (FML013), as well as synthesiser music inspired by Tonto, which is showcased in the ‘Nina’s Exploding Brain’ (FML014) pack, utilising a locally made synthesiser from Melbourne Instruments.

Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo’Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and “junkers” into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio’s mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. “You and Me,” a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may’ve ended up a bit buried on our original compilation, as #18 of 19 tracks.

Four years later, Eccentric Soul: The Prix Label hadn’t exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record’s back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny’s piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance’s indie-weeper film Blue Valentine. What we didn’t know was that “You and Me” had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world’s most famous unknown doo-wop group.

Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams - the formerly homeless guy with the awesome voice for radio - into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along. 

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo “exploration of visionary California.” Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band’s lushest and most elevated creations to date: Time Enough For Love. Inspired by the “groove and mood” of Harry Nilsson demos, as well as its wider 70’s wavelength – Rhodes, Wurlitzer, wood paneling – Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo’s smoothest and most multi-sensory voyages. “Sail Across The Moon” delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. “Messengers” echoes the cosmic lounge of Air’s Moon Safari, shuffling, weightless, and ethereal, while “Falling Deep” reaches for the stars, pure cascading bliss, the ecstatic moment writ large. The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. “Like A Grain Of Sand” opens with a spoken sample by the celebrated late American poet Rachel Sherwood (“The children watch, breathless / with the birds / They feel an emanation / from this shuddering place”), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the “life enhancing” nature of the band's time in Los Angeles – sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city’s mystic sprawl glittering beneath purple dusk.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colemine Records! You could say that Parlor Greens are greater than the sum of their parts…however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamarr Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ.Scone is perhaps the most tasteful living organist on planet Earth (and beyond) and to watch him play is to truly watch a master at work. He bends the organ to his will like a true mastercraftsman. He’s a veteran of the soul revival scene, having played on many Daptone recording sessions since their inception, but also has learned from some of the legends of soul jazz: Melvin Sparks and The Turbanator himself Dr. Lonnie Smith. Jimmy James needs no introduction to many as he’s been seen all over the world performing with instrumental groups The True Loves and the Delvon Lamarr Organ Trio. Perhaps the most dangerous right hand in all of soul music, his signature funky approach can be identified by even the most novice of music fans, a feat most musicians could only dream of. Tim Carman. The backbone. The pocket. Having cut his teeth touring the world with blues group GA-20, Carman’s expertise in the world of blues shuffles might make him an unlikely candidate to lay the foundation for the funky Parlor Greens, but this debut LP shows otherwise. Steady, heavy pockets and as funky as they come.Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he’d love to have an organ trio be the first project at the label’s new studio, Portage Lounge, located in Loveland, Ohio. So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer’s row arrived they hit the ground running. It was instant chemistry. Within the first ten minutes of everyone plugging in, a song was written and recorded, “West Memphis”. And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic.So this is the result of that session. Eleven cuts. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 388 tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, In Green / We Dream.

Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto’s debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. This record is an homage to the likes of André Kertész, Robert Frank, Jean-Luc Godard and René Groebli, who’s works have impacted Dragatto’s world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery.

Resynthese FAVN is a ten-CD box set and publication presenting a new realization of Florian Hecker’s 2017 thirteen-channel installation of the same name. First exhibited at Kunsthalle Wien in the exhibition “Halluzination, Perspektive, Synthese,” and elaborating upon ideas first presented in the 2016 project FAVN, the ten works that comprise Resynthese FAVN present iterations of a synthetic timbre produced using machine-listening processes of analysis and further resynthesis —the sonification of a machine caught in the act of listening to itself. Accompanying the audio are three booklets containing three new essays offering critical and historical context for the work, developed in collaboration with the British publisher Urbanomic. FAVN and its resynthesis point back to Stéphane Mallarmé’s 1876 poem “L’Après-Midi d’un Faun,” and its subsequent musical and choreographic interpretations by Claude Debussy and Vaslav Nijinsky. A faun, straddling reverie and reality, recounts a sensuous meeting with several nymphs. It is unclear whether the experience was an illusion; asks the faun, “Did I love a dream?” Hecker, in turn, asks listeners to examine their own sensory perceptions. What forms do our human minds make out of the algorithmic timbres and synthetic voices that unspool across the versions of Resynthese FAVN? Sound drags, ascends, chirps, warps, and growls with manic irregularity. Definite but indescribable differences emerge across the ten 53-minute tracks. Language—occasionally emerging through a synthetic voice, sourced from a libretto written by Robin Mackay—proves unstable within the hallucinatory textures set loose by Hecker’s composition. As chimeric shapes materialize and fade away, one might further ask: are we listening for the faun, or do we become faun through listening? Across the three newly published essays, Quentin Meillassoux contextualizes the character of the faun in Mallarmé’s poem; Noé Soulier assesses the embodied translation of “L’Après-Midi d’un Faun” in Nijinsky’s 1912 ballet; and Han Han and Vincent Lostanlen consider the trajectory of timbre, from the enlightenment to our computational present. Florian Hecker is a German artist whose works across synthetic sound, installation, and performance consider sensory perception and the audience's auditory experience. He has collaborated with artists including Aphex Twin, Cerith Wyn Evans, Russell Haswell, Mark Leckey, and Yasunao Tone.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He’s now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reflection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was significant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The first song from these sessions, “Now That It’s Over” perfectly sums up Homer’s triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo—aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts “Deep Sea”, a modern love song, “Start Select”, a juxtaposition of inspiration and melancholy, and “Forever and Ever and Ever and Ever” which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on “Racecar Driver”, pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener “Rollin’”, an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on “So Get Up!”, a bottom heavy infectious track that MINOVA’s vocals turn into an instant hit that is sure to smash speakers. On “Wishing Well” & “Hide It Behind the Light I’m Shining Through” Homer is joined by girl named GOLDEN, who’s unique voice effortlessly finds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer “Goldie” which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and influences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this first solo offering is just the beginning of his next chapter.

The Marloes follow up the massive success of their debut album Perak by pressing two of the stand out tunes from the record on a 7”. The A side “Not Today” is right up there with the grooviest feel good songs you could ever play on a Sunday morning. Lead singer Natassya Sianturi reminds us to make space for ourselves no matter what life throws our way. From the message, to the music, to Natassya’s gorgeous voice; this is a cool out, kick back, and enjoy anthem. The B side “Over” starts out with a heavy drum break and evolves into an epic arrangement drenched in layers of gorgeous melodies that perfectly capture the havoc of a love affair that ends abruptly. Natassya’s vocals soar over Raka’s intricate production seamlessly as she tells a tale in three parts; attraction, intimacy, and decline that crescendos to an epic ending.

A cosmic voyage into the unknown It’s hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It’s hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That’s why it leads the way in this Viaje Sideral (“Space Voyage”), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity’s relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of “Invocación.” “Viaje Sideral,” the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like “Urmah” with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and “Cumbia espacial,” featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe. So it is that between the earthly and the cosmic, El León Pardo offers a voyage under his command. Along the way we find elements that allow for escape through contemplation and the dialog between electronic and analog, connecting the synthetic aspects of the stellar universe, anchored to the earth and rooted in the unmistakable tropical sound of percussion and rhythmical woodwinds.

An unusual detour in the Robert Wyatt catalogue, Radio Experiment Rome was recorded in February 1981, when the ex-Soft Machine drummer had been invited to record some material in-progress for a radio broadcast. The tone of these sessions is characterised by a free-roaming experimentation, laying down eight-track recordings of vocals, piano, hi-hat, jaw harp and a variety of analogue tape effects. This is Wyatt unhinged and completely let loose from the agenda of proper album recording: there's no eye on a finished, commercially viable product here, and the scope of the project takes in jazzy soundscapes like 'Heathens Have No Souls', exquisitely melodic piano pieces like 'L'Albero Degli Zoccoli', vaudevillian vocal tuning experiment 'Billie's Bounce' and the politicised rant-poem 'Born Again Cretin', about the imprisonment of Nelson Mandela.

Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.

Awesome compilation of rare dub versions of Amy Winehouse songs

Tracklist :

Side A

Valerie Dub
Dubber Than Me
You Know I'm No Dub
Dub & Mr. Jones
Dub To Black
Redub
Will You Still Dub Me Tomorrow
Wake Dub Alone

Side B

Dub The Box
Love Is A Dubbing Game
You Know I'm No Dub - Take 2
Dub To Black - Take 2
Will You Still Dub Me Tomorrow - Take 2
Dub The Box - Take 2
Love Is A Dubbing Game - Take 2
You Know I'm No Dub - Take 3

Rico Rodriguez, all-round brilliant Jamaican horn and and trombonist, played a pivotal role in shaping the sound of ska, rocksteady and reggae. Born in Kingston in 1934, he began his career in the 1950s then joined the Skatalites in the early 1960s, and whether one chalks this lucky break up to birthrights, shrewd decisions or chance sliding door moments is up to the historian. But his talent cannot be denied: over the years, Rico worked with Toots And The Maytals, Bob Marley, and The Specials. His masterful trombone solos lent parping bombast to a scene which abhorred tinniness, and the Man From Wareika album exemplified this. This dub edition is a crucial pre-release dub edition from the 1976 classic, in which we hear a full instrumental brass-and-bass dive-bombing across nine formerly unreleased Island Records trinkets.

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!

Dennis Bovell’s prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock to post-punk to disco to pop and beyond. His production work encompasses such diverse figures as The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse and more.

This compilation focuses on the period during and immediately after Bovell’s involvement with the Jah Sufferer Sound System, digging deep to find deep cuts and lesser known versions, mainly from 1976 - 1980, plus a killer and lesser heard dub of the iconic “Silly Games”. Painstakingly restored and remastered at Dubplates & Mastering in Berlin so that these decades old tracks sound pristine and dynamic, and sequenced to take the listener on a journey through Bovell’s production and arrangement genius.

The accompanying sleevenotes are a result of a long conversation with Dennis about this period of his life, with track-by-track recollections and fascinating biographical asides. The vinyl and CD versions feature variant artwork, each format utilising a unique photo by Syd Shelton.

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.
 

An eclectic compilation album celebrating twenty ‘tips of the tongue’ from David Keenan, released to coincide with a book of his collected music writing.

As well as being the title of a book. Volcanic Tongue was a record shop that existed in Glasgow from 2005 to 2015, run by David Keenan and Heather Leigh, it championed contemporary DIY music from around the world, often released in tiny runs on homemade CD-Rs, and also sought to shine a light on forgotten artists from the past, who had often released their music as a ‘private press’ LP. The shop was also known for it’s weekly mailing list, with Keenan enthusiastically rapping about new arrivals, especially the record of the week, given the sobriquet ‘tip of the tongue’. This collection has been put together from releases that were a ‘tip of the tongue’, containing music that runs the gamut from outsider synth to psych-folk to damaged rock’n’roll, with tracks recorded between 1968 and 2013, a celebration of a vibrant and eclectic underground avant-garde.

Printed inner sleeves with original notes on each artist by David Keenan, housed in a sleeve designed by Julian House.

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. 

London rapper, poet, and producer John Glacier releases his long-awaited debut album, Like A Ribbon, on . The album chronicles Glacier's life from a simple upbringing in Hackney, in the northeast corner of the capital's central London, to growing up at a phenomenal rate, with the lead single, “Found,” a floaty sound with a powerful message of overcoming daily struggles. Participating artists include Kwes Darko, the producer of the film, as well as Flume, Andrew Aged, Eartheater, Sampha, and others, all of whom complement John Glacier's unique musical style. John Glacier's sound, which combines contemporary yet dreamlike electronic tones with subtle beats, has the ability to draw out the listener's emotional depths and draw them in.