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RIYL: Don Cherry, Alice Coltrane, Remi Álvarez, Juma Sultan's Aboriginal Music Society, Horace Tapscott. Atrás del Cosmos were a central force in Mexico City's creative arts community, and often considered the first free jazz group in the country. Founded by a trio composed of pianist Ana Ruiz, percussionist Evry Mann, and saxophonist Henry West, the ensemble was prolific in mentoring a generation of improvisers, cultivating an expanded additive roster, and organizing workshops in downtown Mexico City including inviting Don Cherry to play and instruct on his "organic music" approach in 1977. Between 1977 and 1983, the group lived and rehearsed in a residential space behind the Cosmos theater, hence their celestial-tinged name. But despite their central importance to the local scene, Atrás was rarely recorded and had a scant international presence, leaving behind just a single cassette before their disbandment. Now issued on LP for the first time, the aforementioned tape Cold Drinks, Hot Dreams is a red-hot recording documenting the core group plus double-bassist Claudio Enriquez performing live in 1980, a delirious improvisation with high peaks and low valleys, sucking in an amalgam of influences including New York loft style, Mexican folk music, and the surrealism of Alejandro Jodorowsky into its heady gravitational pull. Ruiz's playing style is virtuosic and expressive, pulling off monumental chords and using the piano's whole register, recalling Cecil Taylor's percussive approach, Matthew Shipp's emotive voicing, and Duke Ellington's mystifying arabesques. Evry Mann dabbles in polyrhythms in tracks like the solo marimba meditation "Clapping Music II," and Henry West wails heavy in the show-stopping cut "M.D." Now finally available after forty years, the music of Atrás del Cosmos will be sure to stun spiritual jazz veterans and newcomers alike3

Fat Freddy’s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'
Emerging with nine tunes, SLO MO will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended.
Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music.
The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

Fat Freddy’s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'
Emerging with nine tunes, SLO MO will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended.
Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music.
The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

Debuting on August 19, 1977, and attaining double platinum status, Foghat Live boils down to just six tracks, opening with "Fool for the City" and closing with an 8+ minute version of "Slow Ride." It's that live take on "Slow Ride" that has become Foghat's signature track, all deep fried guitars and cowbell breakdowns set to the roar of a revved-up New York audience.

"Cerulean Blue vinyl limited to 700 units! On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing. Cerulean Salt follows American Weekend -- a collection of minimal acoustic-guitar pop written and recorded in a week at her family’s Birmingham home. On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostalgic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. Whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production.

At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”.

There’s plenty of American Weekend‘s introspection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret — over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date."

"• 25th Anniversary expanded edition available on CD and for the first time on vinyl. • Contains five previously unissued tracks recorded live, November 14, 1999 on Mountain Stage. • Packaging contains lyrics, photos, and liner notes from Peter Blackstock (No Depression, Austin American-Statesman) While gigging in Austin, Texas, in the late 1980s, Kelly Willis developed a strong fan base. Among her fans were other Texas musicians like Lyle Lovett and Nanci Griffith. Griffith introduced her to producer Tony Brown who signed Willis to MCA Records. Soon, she would find herself in the films Thelma And Louise and Bob Roberts, as well as receiving a nomination as Top New Female Vocalist at 1993’s Academy of Country Music Awards. After three records on MCA, and an EP on A&M, Willis finished her fifth release and signed with Rykodisc, who released What I Deserve in 1999. Featuring originals by Willis, three co-writes with The Jayhawks’ Gary Louris, and songs by Paul Kelly, Paul Westerberg, Nick Drake, Dan Penn, and more—What I Deserve became her highest charting album to date, hitting #30 on the Country charts and #24 on Heatseekers Albums. It is also now revered as a landmark release in Alternative Country and Americana circles—with good reason. To celebrate its 25th Anniversary, What I Deserve returns—expanded with five previously unissued live performances of songs from the album recorded November 14, 1999 on Mountain Stage. In addition to an expanded CD reissue, the release sees its first appearance on vinyl as a double-LP! In addition to the 17 tracks (appearing on both formats), the packaging contains lyrics and new liner notes from Peter Blackstock (No Depression, Austin American-Statesman), all done with Kelly’s approval. What I Deserve has always deserved another look and listen for those who may have missed it the first time—what you deserve is to lose yourself in Kelly Willis’ incredible What I Deserve and celebrate 25 years of this landmark album.
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A new double LP compilation, Melt Away, cataloging late-"90s rarities and outtakes from a creative apex in the band"s career, and released together on vinyl for the first time. Of these, album highlight "The Trail", originally recorded for the 1997 compilation What"s Up Matador, dissolves six minutes into a moment. Blink once and you"ll miss it. Blink twice and the wallpaper might begin to move. Pre-order "Melt Away".

"Ratt’s 2nd full length album, ‘Invasion Of Your Privacy’ was released in 1985. Certified double platinum and also reaching #7 on the Billboard Top 200, ‘Invasion of Your Privacy’ also featured the classics “Lay It Down” (#40 Billboard Hot 100) and “You’re In Love”.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD and Limited Edition black, grey & white segment vinyl."

The Selecter are one of the key bands associated with the 2 Tone movement, which revived ska music by blending it with elements of punk rock and new wave. The Selecter is known for their energetic performances, socially conscious lyrics, and distinctive dual vocals by Pauline Black This vinyl album released on Secret Records is presented on red vinyl with informative sleeve notes and captures the band Live at Camden Dingwalls, London, 24th February 2002. Double a-side with 'Gangsters' - The Special AKA.

Recorded in 1966 in Paris, this double album captures the revolutionary energy of the free jazz pianist. These recordings, featuring Jimmy Lyons (saxophone), Alan Silva (bass), and Andrew Cyrille (drums), explore complex improvisations, where melodic lines burst into avant-garde structures. Taylor, with his percussive and abstract playing, pushes the boundaries of traditional jazz, creating an intense and dynam- ic sonic experience. This album is a testament to his contribution to free jazz.

Jon Hopkins 2nd album 'Contact Note' on standard double black vinyl. Divided in three distinct movements, 'Contact Note' slowly evolves into a deep, compelling musical experience concluding with the stunning third part where Jon masters to perfection his skills as a classically trained musician, to give his most abstract work delicate impressionist touches. Classical piano contrasts with drifting atmospheres and twisted rhythms on the dark, edgy and gripping 'Black And Red' - to culminate with the waving synths and sumptuous vocals of the blissful 'Luna Moth', the perfect end of a glorious sonic adventure.

Ohm and Octal Industries debuted on this label to great acclaim back in 2022 and now they're back on Lempuyang with Northwest Passage, a first album-length collaboration. This double 12" continues with their themes of failed arctic explorations and mythological creatures and, after 12 previous outings together, might be their best work yet: the sounds are mature and powerful, bleak yet deep. Dubbed-out chords roll to infinite horizons, frozen tundras are detailed with wispy melodies and pulsing, supple techno both soothes the soul and gets the head nodding. This is more stylish, subversive and superbly executed electronic music.

This killer double-sider was one of the first US imports to go “big” on the rare soul scene at the Twisted Wheel and Blackpool Mecca in the early 70s.

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

Hot on the heels of the recent Maceo Plex and Shall Ocin & FiberRoot EP's comes another stonking release from Ellum. Odd Parents (Brian & Christine) grace the label for the second time with a double-header, heavy hitter complete with Maceo Plex Remix.

Originally from the US now resident in Barcelona Odd Parents have come up trumps with this killer single. The A Side, 'Teach The Wind' is a driving, hypnotically infused, analogue devastator of a track that's being championed heavily by Maceo Plex. The flip features the Maceo Plex Remix of 'Learning To Fly', a slice of transcendental effervescence that successfully manages to brush the stratosphere. Yet again, another great release from Ellum whose releases seem to be getting stronger and stronger.

RUN-DMC DOWN WITH THE KING 30th ANNIVERSARY Pressed On Red, White and Black Double Colored Vinyl With Commemorative Numbered OBI Limited To 2000 Copies Thirty years ago on May 4, 1993, Run-DMC made one of the greatest comebacks in Hip-Hop history with the release of their 6th studio album Down With The King. To understand the significance of this feat we have to go back a few years. Coming off an amazing four-album run ending with the platinum album Tougher Than Leather, Run-DMC released their 5th studio album, Back From Hell, to lackluster sales. Did Run-DMC fall off? Did the emergence of gangsta rap push them off to the side? It was sad to see your Hip-Hop heroes take a fall. Then in 1991, a 12-inch remix came out for the single "Back From Hell" featuring Chuck D and Ice Cube and fans took notice. It would be two more years before anyone would hear from Run-DMC again. In March of 1993, a new single and video “Down With The King” debuted on Yo! MTV Raps featuring the new Hip-Hop Gods Pete Rock and CL Smooth paying homage to The Kings calling back verses from Sucker MCs over a dope signature Pete Rock beat. The video would be in constant rotation on Ralph McDaniels Video Music Box, YO!, BET’s Rap City and more. Fans watched it over and over to catch all the cameos, everyone from Eazy-E to the Native Tongues Family of De La Soul and A Tribe Called Quest. The anticipation was building, but would the album live up to the lead single that knocked it out of the park? On May 4, 1993, the album dropped on CD, Cassette, and Vinyl. Run-DMC enlisted The Bomb Squad from Public Enemy, Q-Tip, EPMD, Jermaine Dupri, Kay Gee of Naughty By Nature, and Pete Rock to produce the album with a special appearance by Tom Morello rocking out his guitar emulating DJ scratches he made famous with Rage Against The Machine. Their rhyming was as enthusiastic and powerful as they were on their debut album 10 years prior. Run-DMC, the self-proclaimed Kings of Rock and original Kings of Hip Hop were indeed back. The album debuted at #1 on the R&B/Hip-Hop charts and #7 on the Billboard 200 and would go Gold within two months. Get On Down is proud to present for the first time on vinyl since its original release, a 30 Year Anniversary pressing on double-colored vinyl with numbered OBI in a gatefold jacket.

Medusa Outdoor's first double-vinyl album consisting of 2 vinyls and 12 quality techno-tracks selected with passion by Medusa Outdoor residents Michael Forzza and Jochen Robberecht.
It's a limited and hand-numbered gatefold double vinyl-album with tracks from Blawan, Planetary Assault Systems, Spiros Kaloumenos, Roberto and many others. Michael Forzza and Jochen Robberecht both dedicated one new track exclusively for this vinyl-album.

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance,
Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

"Adult Swing" is the first full album as KCT (aka Karel Cuelenaere from Black Flower, John Ghost and Ping O.D and is immediately one that will put the trio firmly on the map.



Karel Cuelenaere, in the wake of Black Flower, John Ghost and Ping O.D. has gained numerous compliments from the international press. Louder Than War (UK) talks about his "incredible keyboard virtuosity" and OOR (NL) labels him as a "descendant of Keith Emerson". The Standaard (Belgium praises his "decisive contribution to the sound" of the aforementioned bands.
While Karel is now mainly perceived as a keyboardist within the prog-, rock- and hybrid jazz scene, with KCT - abbreviation of Karel Cuelenaere Trio - he resolutely opts for the grand piano. He is assisted by double bass and drums, respectively performed by Cyrille Obermüller and Gert-Jan Dreessen, both highly respected musicians in the Belgian jazz scene.
The trio is stylistically anchored in the Belgian jazz tradition, building on the work of Aka Moon, Octurn and Jozef Dumoulin, among others, and incorporates the atmosphere of 'saudade', a kind of melancholy that Karel got to know on a tour in Brazil and recognizes in the recordings of pianist Keith Jarrett during the 60s.

"Adult Swing" is the first full album as KCT and is immediately one that will put the trio firmly on the map.

"Among the great British bands celebrated during National Album Day, cult Liverpudlian act The La’s are in a league of their own: unlike all the other groups they share shelf space with this year, they are the sole group to have released only one album. Issued in October 1990, their self-titled debut has been hailed as one of the greatest albums of all time by NME, and was also placed at No.13 in Rolling Stone’s 2021 run-down of the 40 greatest “one-album wonders”.

Selling 300,000 copies in the US and 500,000 copies at home, The La’s has become an indie touchstone.

No shortage of that reputation rests on the single ‘There She Goes’, a reissue of which hit No.13 in the UK, on its way towards racking up double-platinum sales figures. With their album now making a return on “coke-bottle green” wax, The La’s have more than secured their place in British music history.




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