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viewing 1 To 14 of 14 items
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7"
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BEWITH 001-7
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2025 repress. You may know Aretha Franklin's scintillating "One Step Ahead" from its vital role in the Oscar-winning movie Moonlight (2016). You may also know it as providing the beautifully melancholic backdrop for Mos Def's 1999 hit "Ms Fat Booty". The inaugural Be With Records 7" is a special one indeed, containing the first ever officially licensed reissue of Aretha's all-time deep soul classic, paired with goosebump-inducing killer "I Can't Wait Until I See My Baby's Face".
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7"
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BEWITH 002-7
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2025 repress. Neck-snapping soul masterpiece from Freddie Scott, famously sampled by Biz Markie for his melancholic pop-rap hit "Just A Friend" and a surefire piano-driven basement party anthem in its own right. On the flip, "Powerful Love" is up-tempo guitar-soul with finger-popping swing. Featuring delicate horns and gorgeous backing vocals, it's an unfairly slept-on gem. A peerless piece of deep soul and hip-hop history.
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CD
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BLACKEST 016CD
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2025 price reduction, last copies... Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs. The group was born out of Bristol's Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date, including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, Chester Giles, and Killing Sound (Childs with Kidel and Vessel). Jabu's previous 7" singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It's a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and a tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, loss, making sense of separation, and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again. Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic, subtly psychedelic, and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism -- Mariah to Mariah Carey, if you will -- and a rich seam of underground UK soul, boogie, DIY/post-punk, library music, and lovers rock. There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack (1994), but Jabu's orchestration of womb-like ambiences, cold synth tones, and brittle beats feel entirely sui generis. They provide the perfect setting for Rendall's wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-center vulnerability, with something of The Associates' Billy MacKenzie in there too; defeated but defiant. Meanwhile, Jas's heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. By its end, Sleep Heavy's world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor.
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LP
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BLACKEST 016LP
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2025 price reduction, last copies... LP version. Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs. The group was born out of Bristol's Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date, including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, Chester Giles, and Killing Sound (Childs with Kidel and Vessel). Jabu's previous 7" singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It's a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and a tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, loss, making sense of separation, and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again. Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic, subtly psychedelic, and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism -- Mariah to Mariah Carey, if you will -- and a rich seam of underground UK soul, boogie, DIY/post-punk, library music, and lovers rock. There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack (1994), but Jabu's orchestration of womb-like ambiences, cold synth tones, and brittle beats feel entirely sui generis. They provide the perfect setting for Rendall's wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-center vulnerability, with something of The Associates' Billy MacKenzie in there too; defeated but defiant. Meanwhile, Jas's heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. By its end, Sleep Heavy's world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor.
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LP
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BN 010LP
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Limited restock, last available copies. "Snockument is a vinyl sampler of some of Michael Hurley's favorite covers of his songs, spanning 30 years or more, threaded with a love and admiration for the songs of Hi Fi Snock. Some tunes were recorded specially for the occasion (Calexico, Cass McCombs, The Hackles, dbh and Little Sue) while others were picked up along the way (Cat Power, Yo La Tengo, The Chicken Chokers, Vernon Tonges and Jason D. Williams). They have been mastered specially to create a fine unity of all the selections as though all were performed in the same place on one day. This limited-edition vinyl LP on the Blue Navigator label includes a gatefold insert featuring art by Snock himself. Produced by Michael Hurley (USA), Brendan Foreman (Ireland) and Sarah Illingworth (New Zealand), with thanks to Steve Peters and Jonathan Scheuer (Nonsequitur) and Byron Coley (Feeding Tube Records)."
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LP
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DC 908LP
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2025 repress. "Drag City presents the first official reissue of Dorothy Carter's 1976 album debut, her folk-music exegesis, Troubadour. In her lifetime, Dorothy, a self-made traveling musician and folklorist, brought forth masterful evocations on hammered dulcimer and psaltery from a myriad of times and places. Her music was played, produced and sold outside of that era's mainstream music distribution. Troubadour reissue producer Eric Demby can look back to a childhood spent off the grid: the early '70s in rural Maine, and later on, in Boston -- wherever his freewheeling father brought the family, at one point or another, there too was Dorothy, as she lived and breathed, playing her hammered dulcimer. The early '70s found everyone living up on the farm up in rural Maine; it was here that Rutman, Constance, Dorothy and some others formed Central Maine Power Company, a troupe of almost feral improvisers playing on a combination of self-made and found instruments, with live video feedback to boot. In 1976, Dorothy had been playing music for decades, but had yet to record any of it. That year, she went to Cambridge's Studio B with Rutman and friend Steve Baer at the console. Constance and Sally Hilmer accompanied her. The performances captured there were released later that year as Troubadour. In addition to hammered dulcimer and psaltery, Dorothy played the flute and sang. She chose songs from all over: Appalachian folk tunes, old and ancient psalms and hymns, Scottish, Irish, French and Israeli melodies, with a few of her own songs for good measure. They all flow together effortlessly under Dorothy and friends' hands in a syncretic space that we can identify today as a garden of world musics -- a highly energized, alternately meditative and proselytic recital whose vitality has only burgeoned in the decades since it appeared. As it should be: the music of Dorothy Carter is akin to a portal, linking her with the eternal. This edition of Troubadour reproduces the original album package, adding an insert adorned with additional photos of Dorothy and her collection of instruments, as well as notes from Eric Demby exploring the era -- his childhood -- from a vantage point of some 50 years. This reissue is a long-held family dream come true, and it is dedicated in loving memory to Bob Rutman, Constance Demby, David Demby and Dorothy Carter."
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LP
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EFFICIENT 027LP
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2025 repress. Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism, and droning incidentals with an overdue vinyl reissue. An offshoot of the now-fêted The Cat's Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples, and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP (1996), a single-sided 7" sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton's empyrean vocals. Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighborhood shops undetected. Previously only available as a US-issued CD, this reminiscent late-night suite establishes Hydroplane as an everlasting ember in Australia's beloved indie nexus.
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2LP
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EFFICIENT 032LP
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2025 repress; LP version. Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo's Ballads, a remarkable driftwerk released on A Colourful Storm in 2022. Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge -- between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose "Rainwater" (written for Hou Hsiao-Hsien's 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora. Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes' "No One Around to Hear It" (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà; the beautiful, plaintively dubby "Is It You?" by Slapp Happy; a psych-tinged reimagining of PiL's "Poptones" by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle's "20 Jazz Funk Greats." Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney's still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling. Also featuring Bhairavi Raman, Nanthesh Sivarajah, O.G. Jigg, Scala, Soft Location, Gyeongsu, CROCHE, Un, and Harry Plunket-Greene.
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LP
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KSLP 078LP
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2025 repress; LP version. Kingston Sounds present a reissue of Tapper Zukie's Black Man, originally released in 1978 as a Jamaican-only release on Tapper's Stars imprint. Long deleted, it has become a classic in Mr. Zukie's vast canon of musical biscuits and is well overdue this worldwide release for the first time. Tapper Zukie (b 1956. David Sinclair, Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica, between the districts of Trench Town and Greenwich Farm. Living pretty much on the streets from an early age, the youths including the young Tapper had no choice but to fall into the hands of the political parties that controlled various ghetto areas of the town. Music seemed like the only way out of a life of crime and gang culture. A path that Tapper Zukie found by the mid-1970s was establishing himself as a named star on the DJ Roots circuit. Back home in Jamaica he was also getting a name for his production work for other local singers such as Prince Allah and the group Knowledge. To release these productions and his own material in Jamaica, Tapper started up his own label called Stars. It's this label that saw the initial release of this album Black Man. A great collection of Tapper tunes such as his biblical cut "My God Is Real", "Revolution", the title track, and some work overs of some of his fellow Jamaican artists like "Poor Man Problem", a work over of Johnny Clarke's "Blood Dunza" and also Mr Clarke's "Leggo Violence". "Yaga Yaga" is a re-working Horace Andy and Tapper's big hit "Natty Dread Ah She Want", and "Gather Them" is a reworking of Knowledge's tune of the same name with the help from bands like Jah Wisdom and Delroy Fielding. A great collection of tunes and reworkings that will hopefully find a wider audience with this reissue.
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LP
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PRTL 006LP
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2025 restock. Partial Records present a reissue of Donette Forte's Wilderness, originally released in 1991. Modern day classic roots reggae vocal set from England-based female singer Donette Forte. A criminally under-recorded artist with only handful of recordings to her name, including three 45s already released by Partial Records and featured on this LP: "Jah See and Know", "Homeward Bound", and "Time For a Change". Wilderness, produced by Rej Forte was originally released on the Jah Works label 1991 and has been out of print ever since. This reissue features two additional dub versions not featured on the original release. Edition of 500.
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LP
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RRS 216B-LP
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2025 repress. During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch's shouted lyrics matched by her non-conventional use of electric guitar. The group's self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it's an awesome disc that rebuffs punk's easy cliches and refuses to be categorized. This black vinyl reissue also includes the Pre EP and the tracks from the legendary No New York compilation. Essential!
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Cassette
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RADK 7004CS
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2025 restock; Radiation Tapes present a cassette reissue of Dinosaur Jr.'s Green Mind, originally released in 1991. Formed in 1984, Dinosaur Jr. carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped-down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level, aided by the singles The Wagon (1990) and Whatever's Cool With Me (1991), a non-album EP of new material and live recordings, all of which are included here alongside a previously unreleased live recording capturing the group at the Hollywood Palladium in June 1991. Critically lauded on release, Green Mind remains one of the band's strongest collections, and a firm fan favorite. Limited edition of 350 on cassette.
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LP
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TVPCRE 004LP
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2025 restock. Zambon from The Very Polish Cut-Outs have once again sought out forgotten and somewhat obscure artists whose music is in need of a revival. This time, they have chosen the duo Modfunk, who were active in the Polish electronic music scene from 1999 to 2009. Piotr Jarecki and Martin Tigermann, two Varsovians who shared a love for the "French touch" genre that dominated dancefloors worldwide at the time, showcasing Daft Punk, Cassius, Stardust, and Bob Sinclar, were the brains behind the project. The compilation comprises a subjective and cross-sectional selection of the ten best tracks from Modfunk's entire discography. While their music evolved over the years, they never abandoned their French-inspired sound, which is why the compilation includes tracks like "Souler" and "The Wav," which draw inspiration from Daft Punk. It also features "Love," a track sung in Polish that echoes Romanthony's work, as well as "Texmex" and "Wishes," two electropop tracks that could have been released on Ed Banger Records.
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WRJ 010LTD-LP
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2025 repress; LP version. 180 gram vinyl, half speed mastered; heavy sleeve with obi and gold ink. We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.
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