Pop & Rock Vinyl New Releases - News

Reissue from this 45, originally out on Ridim Force in 1986!

INKLUSIVE:
180g Vinyl
2 Artwork Poster
Album CD

The Knife, the Swedish electro-pop duo composed of siblings Karin Dreijer Andersson and Olof Dreijer, will release its fourth studio full-length, "Shaking The Habitual," on Apr. 8, "Shaking The Habitual" is the long-awaited follow-up to 2006's "Silent Shout"

Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

Last volume of this compilation series, again a great one.., Holding amazing tunes from across the globe that you probably already have been looking for.... TIP!!
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Over the last five years and as many volumes of their Beach Diggin' compilations, Guts and Mambo have explored the reefs of five continents, dredged the sea beds of countless seas and oceans, examined every single seashell with the aim of making sure that no vinyl pearl should escape their notice.

Tunisian reggae, Japanese disco, West Indian jazz-funk, the duo's aesthetic dribbling skills would stop the savviest Brazilian football player dead in his tracks, and it was with this in mind that they proceeded to select their discoveries. With a marked preference for meditative free-diving rather than tour package scuba diving, and isolated spots rather than massively overdeveloped beachfronts.
For this latest instalment of their adventures, Guts and Mambo have organised another expedition around the world, to salute the spots where for the last five years they have uncovered rare specimens, saving some of them from total extinction, while shining a light on others that amply deserved it.

Though each Beach Diggin' compilation can be listened to independently of the others, the five together now form a kind of navigational chart signalling with its green flags the places where, in Africa, Europe, Asia, America, and the South Pacific, they gambolled on sandy beaches, avoiding the well-trodden path, becoming more and more demanding with each passing year.
Beach diggin' is a state of mind...

Boomkat Editions is humbled to offer the first ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais' self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century's greatest musical enigmas and could be said to presage contemporary obsessions with
processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others.
Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical - both temporal, spatial and timbral - nature of the record's ethereal vestibules and elusive,
illusory sonic spectres.
In remodelling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material - dead as in hardly anyone knows or plays them in the modern age - imbuing them with a contemporary relevance through the
process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now
nearly a millennia old - so old you can't even call it classical music!
For us at the least, Spellwauerynsherde has pretty much set a benchmark for experiments with ancient composition and computer music - each immersion in this vinyl is akin to floating thru the mists of time and sends shivers down our spine just even thinking or writing about it, never mind listening.
We practically guarantee that Spellwauerynsherde is one of the most magickal, perplexing and strangely life-giving records that you'll ever hear.

Brought together from Brighton's diverse and thriving arts scene and a love of the hypnotic, spontaneous and psychedelic sounds of dub, Resonators is a band blurring genre boundaries and carving their own niche within the ever- evolving sounds of dub-reggae.

2016 saw them release their third album, Imaginary People, described by as "nine tracks of beautifully crafted, exquisite roots reggae" and this latest single is a timely and much needed celebration of coming together as one people and one community with no leaders, just mutual understanding and uncensored joy! In that way it represents the band themselves and their need to create positive change through music.

The Ash Walker remixes of Right Time - the fourth single to be drawn from their latest album - see this super hot producer and multi-instrumentalist, whose fans include Gilles Peterson, Don Letts and Lefto, take the tune into futuristic King Tubby territories.

This extremely limited, hand-stamped white label 7" of Ash's mixes won't be around for long, and is sure to quickly become a collector's item!

*2017 repress, New Artwork*

One of the most mysterious and outsider 'Soca' 45s out there by H.M. 'These Eyes' Timothy.
The A-side 'Let Me Love' sounds like doo wop recorded with Oluko Imo's gear. And the B-side 'Soca Hustle' sounds like the Residents jamming a Marvin Whoremonger song with Augustus Pablo. The original 45 is so obscure that even his siblings didn't know that he made music. And rumour has it that, frustrated by its lack of success, Michael threw most of the copies of the 45 in the valley beside his family's house in the hills just outside Port Of Spain. One-time pressing of 500 copies.

* Over the past six years, Dimensions has become a leading name in the underground, with its festival, International Series, DJ Directory and Dimensions Soundsystem. Now, Dimensions extends its influence with the start of its label - Dimensions Recordings. The label launches with a 12-track compilation across three separate discs. 'An Introduction' makes a huge statement in setting out the label's intent and breadth. With artists established and new stepping up to present 12 exclusive tracks.

* Dimensions Recordings explores its darker side on An Introduction Part 3 with intergalactic oddities and twisted techno constructions, the release is definitely ones for the late hours. 'Crosstalk' from gear heads London Modular Alliance opens; a squelching, electro, hardware excursion demonstrating a small snippet of what's to come from the talented trio. Next, French artist, Upwellings steps up to demonstrate his purist approach as he unites elements of dub and techno to create the beautifully spacey 'Soft Shadows'. The third offering comes courtesy of Fachwerk label boss and prolific techno artist, Mike Dehnert; who presents raw but melodic track in 'Tokio,'which maintains his minimal and stripped back aesthetic beautifully. Chicago's Steven Tang in his Obsolete Music Technology rounds off the release with 'Comb Freq,' a devastatingly powerful mix of acidic, bleeping dance floor energy!

(180 gr) Mark Barrott steps away from the Balearic sound he's become synonymous with to take a journey back to the territory he first explored with Bepu N'Gali. The Pathways Of Our Lives is a joyous, life affirming piece of 70's Afro Soul with amodern twist, continuing Barrott's love affair with African Polyrhythms and 70's Philly Strings.
It's also the first time since 2014's aforementioned Bepu N'Gali release that he has worked with a full band and sees The Grünewald Quartet return to string duties after collaborating on Barrott's Sketches from an Island 2 album last year.

The Bside, Music for Santoor, Bansuri, Tanpura y Sarod is another track recorded live during one of his spring meditation sessions in Northern Ibiza, with India's Vishnu Quartet performing a 2 hour piece with Barrott directing and later editing it down into the form you hear today.

After a busy and productive first half of 2017 in which Barrott released his Music for Presence EP and two Talamanca System releases, this summer sees Mark Barrott step into high gear with his work at La Torre in Ibiza, where he is sunset resident and has compiled the second edition of their compilation
series (last year's debut charting high in best mixes of the year by Resident Advisor).

Pathways invites the listener inside Barrott's mystical world, where stillness and meditation are the foundations, non-attachment and non-judgement are the windows, and through the music he mindfully sketches a vista into the next chapter in his career.

Pitchfork calls International Feel's "Pathways Of Our Lives" incredible. Hell of a track.

Recorded at Santuri Studios, Kampala, September 2015.


Brian d'Souza (aka Auntie Flo) brings together an international group of musicians to explore musical differences and celebrate shared visions across two extended tracks.

Produced and arranged over an intense, collaborative two day session at the Santuri studio as part of the Ugandan Bayimba arts festival in Kampala in September 2015, the project draws on Senegalese Sabar drumming, the plaintive notes of the Adungu (a Ugandan 10 string harp) and the vocals of Gio Kiyingi, underpinned by d'Souza's arrangements and drum programming.

The title The Soniferous Garden is taken from the writings of Canadian composer and environmentalist R Murray Schafer, a concept he defines as 'a garden or place of acoustic delights' - an aural space of retreat from the oppressive overabundance of acoustic information that characterizes the modern industrial world.

The two compositions are a response to this idea - drawing the listener into meandering, ever-evolving themes that weave in and out of a rhythmic base that is equal parts traditional percussion and electronic production.

The title track showcases the virtuoso Adungu playing of erstwhile Burnt Friedman collaborator Hakim Kiwanuka, and vocals from regular Highlife World Series contributor Giovanni Kremer Kiyingi whilst Rainfall On Red Earth (inspired by the vivid colours of the landscape around the studio) pushes the talking drum of Mama N'Dieck Seck Thiam to the fore.

A hypnotic flute-led instrumental from singer, composer and genre-hopping multi-instrumentalist G.T. Moore, originally released in 1991

Lily Of Da Valley is the first full-length album from Jesse Royal, who in his short career so far, has already been featured in Vogue magazine, had a Vice TV episode appearance, a #1 Jamaican single, and over 8 million views on a single video. Keeping authentic reggae music alive is Jesse Royal's mission as he continues on the legacy of the late greats Bob Marley, Peter Tosh and Jacob Miller, to name a few. Jesse Royal's restless musical drive paired with profound music, prolific lyrics and socially-conscious messages has him regarded as the
next reggae star to emerge from reggae's birth land of Jamaica.

A collection of long out of print recordings by artists from Tanzania (Biashara Jazz Band), Democratic Republic of Congo (Baba Ilunga Wa Ilunga, Orch. Bana Ekanga and Orch. Moja One Band) and western Kenya (Victoria Chomeka and International De Nelly) recorded in Nairobi between 1976 and 1996.

Previously released on labels such as Doromy, Jojo, Ochimbo Ja-Yon Go and Editions Dokan, with the exception of "Nakuomba", which is seeing the light of day here for the first time.

No Wahala Sounds take great pleasure in bringing you this second volume of lost gems from East Africa.

Before Bob Marley came on the scene, many in Britain dismissed reggae as either the stuff of one-hit wonders or skinhead
dance music. Now it is recognised as influential style, which has not only sold millions of records worldwide but had a major effect on the mainstream. But only a few of his fans realise the man's recording career was as lengthy as it was: though he died aged just 36 in 1981, he'd been active in the studio since 1962 onwards.Despite some of the tracks featured here would be re-recorded on later albums, these 'prototypes' exhibit a rough-hewn, soulful feeling. We all knew his music was timeless, this was but further proof.

Devon Lyon, born Devon Bailey, moved to Kingston in the 70's to live in Trenchtown with his mum, his sister and his brother named Dennis. Dennis was working in the new Kingston area on a construction site. Dennis met a friend who worked at the construction site and that friend was the lead singer from the group The Chantells.
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Dennis told The Chantells lead singer that his brother was singing at home like he was singing everyday on construction work site. The Chantells lead singer told Dennis to bring his brother Devon. One day, Devon came with his brother Devon and they met the three members of the group The Chantells. They became friends. Devon started to verse with them in the evening and they really like him style.

With the help of The Chantells group, Devon recorded his first track « Shine Eye Girl » in 1978. One day, his cousin from london Phil Matthias came to Jamaica to see his family. Phil loved the song « Shine Eye Girl » because he heard it on the radio in London a few months before. Phil realized Devon was his cousin so he was searching for Devon to record a song.

« Shadow After Dark » was recorded in 1979 at famous Byron Lee studio « Dynamics » with In Crowd band. The In Crowd band were a christian group. They were going to church every sunday. Devon Lyon wrote this lyrics because he get stealt many times by someone in the night at his home but never really knew who it was. Everytime he wake up, he only saw a shadow from the window. So he realized someone was in his house. Everytime we wake up with his machette but he never see the thief. So he wrote « i will never, never will i ever, trust no shadow after dark ».

Phil Matthias produced the song but never paid his cousin. Everytime Devon was asking him for royalties, he told another story so after a while Devon started to move forward. Actually he didn't know what to do to get his royalties. He stopped the music and languish into obscurity for more than 30 years.

Few years ago, Devon Lyon met Enrico Vicari, an italian reggae lover living in Jamaica. Enrico is the man behind « Vinyl Club Jamaica ». One day, Devon brought him his two songs and ask Enrico to play them. Everyone liked it. Devon also took the microchophe to sing on the b-side more than 30 years after the release of his tune. Enrico get the idea to capture this moment (check youtube) so the world will know Devon Lyon is still alive and well.

Originally released in 1979, Blood A Go Run' is a heavyweight roots reggae tune sung by obscure artist Leroy Brown and backed by famous Soul Syndicate band. This is a timeless roots rock reggae recorded and mixed at King Tubby's studio in Jamaica. Blood ago run when you play dis ya one !!!

Reissue from this 45, produced by Scientist - originally out on Writers Of Rastafari in 1981!

*Please note, these final copies have minor corner bumps*

Welcome to the New Age of New Age and enter the Overworld by A.r.t. Wilson aka Andras Fox. Originally recorded for the contemporary dance work Overworld by Sarah Aiken and Rebecca Jensen it was released on tape in very limited quantities this april. Now it's available in - classy white' and - pink lake' vinyl from growing bin records.
Peel back the leaves and discover Andras Fox, a Melbourne producer making tactile and imperfect electronic music. Inspired by primitive percussion, simple melodies and home recording, Andras combines elements of house music and ethno-groove in a distinctly antipodean way.

Based around drum machine rhythms and new age synths, his original tape recordings are simultaneously contemporary in sound and difficult to carbon date, slipping comfortably between 80s Library Music, Chicago House and g-Funk.

After sold-out solo releases, Andras teamed up with vocalist Oscar Key Sung for a collaborative LP that went back to the roots of disco and house. Receiving support and plays from the likes of Dam Funk, it was an earnest catalogue of cassette demos recorded in the industrial district of West Melbourne. His follow up EP Erskine Falls was popular with the ladies - compact tropical-synth instrumentals that felt
just right.

Presenting the weekly radio show Strange Holiday on 3RRR FM in Melbourne has given him a chance to greatly expand his record collection, which currently occupies the broad territory between Disco, World, Library and Balearic sounds. This depth of knowledge about music's past informs his productions, which all give a nod and a wink to the past.

Andras has supported artists including James Pants, Andres & DJ Sprinkles, as well as recently returning from an extended EU tour. In a digital, cool world full of hectic pace,
Andras Fox brings warmth, relaxation and gentle grooves to your ears.

His latest work Overworld, recorded for dance theatre, is released under the alias that reclaims his birth name Andrew Richard Wilson (T stands for trouble). A.r.t. Wilson is a slight detour from dance music land into the world of new-age and ambient music. It's a trip to the forest or the ocean after a big night out, it's an open window in the recording studio.

- Album premiere on The FADER & press includes Afropop, Sounds & Colours, Time Out, Remezcla, Univision, WFMU
- First edition vinyl limited to 500 copies worldwide
- Band members also part of M.A.K.U Soundsystem, Bulla en el Barrio & Names You Can Trust releases
- Artwork & videos by Colombian artists Goske Rojo & Hugo Oro
- Numerous shows & residencies around NYC
- No Regreso' mixed by Beyoncé engineer Stuart White

Rooted in Colombia and based in New York, Combo Chimbita lives in the future. Powerhouse vocalist Carolina Oliveros, synth and bassist Prince of Queens, guitarist Niño Lento, and drummer Dilemastronauta began experimenting with different traditional musical styles during late-night residencies at Barbès in Brooklyn. Exploring Afro-Caribbean styles through improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals byOliveros, who tightens the rhythm with her guacharaca. Her voice is so powerful that it leads us in that direction,' says Prince of Queens.
The band draws on traditional music from everywhere: Panama,
Caribbean, Colombia, tamboritos, '70s funaná from Cape Verde,
kompa from Haiti, cumbia, dub and reggae from Jamaica. We try to incorporate it in a way that if feels ours, so you hear these influences there but they come from our background, and our background is heavy rock, psychedelic funk and soul,' says guitarist Niño Lento. As Prince of Queens puts it: Combo Chimbita is like a comeback to that raw punk energy, back to where it all started for me. But then obviously with the elements that we've grown to love and appreciate: the African diaspora
and Caribbean and South America.'

Wonderful new compilation of unearthed gems from Balearica. Kicks off with the indemand full 12-minute version of the Chaplin Band's definitive take on Lucio Battisti's classic 'Il Veliero', a hypnotic druggy bass and guitar-driven dancefloor opus that tears the roof off every time. Followed by the short but sweet sun-drenched gem 'Flying Cloud' by The Doobie Brothers. Next up comes Boule Noire's 'Aimer D'Amour' a superb beefed-up French version of Leo Sayer's Balearic favorite 'Easy To Love' and then rounding things off is the gorgeous mellow groove of 'A Touch Of Temptation' by Japanese multi-instrumentalist Masaaki Ohmura taken from his impossible-to-find 'You Gotta Chance' soundtrack LP from 1985. Great collection.

Dischi Autunno is the new label founded by Jennifer Cardini & Noura Labbani. Already at the head of Correspondant since more than 6 years & internationally renowned DJ, Jennifer Cardini launched this new structure at the start of 2017 with Dollkraut's 2nd LP 'Holy Ghost People'. The label explores new territories withindie, rock, ambient, progressive and experimental releases, oerfect for home listening experiences. Every label artworks & images are conceived by Stevie Anderson.

Soulful dancehall apartheid anthem

Cool Ruler brews it up moodily for this digital meltdown

Lovely female voiced 70s UK reggae version of Nat King Cole number (also covered by Sun Ra, no less).

On vinyl for the first time ever! This 2004 album paired the legendary Lynn with Jack White at the production helm and was met with overwhelmingly glowing praise (the average rating via Metacritic is 97 out of a 100, tying it with Brian Wilson's "Smile" as their highest-rated, non-reissue album of all time). With all songs penned solely by Lynn, the vibe here is both raw and heartfelt. "Van Lear Rose" won the 2005 Grammy for Best Country Album and the lead single "Portland, Oregon" won that same year for Best Country Collaboration with vocals. Mastered directly from the original analog masters, pressed on heavyweight 180-gram vinyl and coupled with a vibrant Stoughton tip-on sleeve, the "Van Lear Rose" LP is one that no collection is complete without.

70s Dennis Bovell UK roots bizniz, covering Burning Spear's Resting Place

In late '60s Japan, student protests and a rising youth culture gave way to the angura (short for underground") movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as New Music', where authenticity mattered more than replicating the sounds of their idols.

Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. This is the first-ever fully licensed collection of essential Japanese folk and rock songs, from the peak years of the angura movement to reach Western audiences.

In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya's Dogenzaka district and the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city's New Music' scene.

Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based underground artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the Japanese Joni Mitchell' Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.

Even a Tree Can Shed Tears includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

In deluxe gatefold Stoughton tip-on jacket with artwork by illustrator Heisuke Kitazawa. With book of extensive liner notes.

INNA DE YARD bring to life the unique and original passion of singing with acoustic reggae music.

Several iconic figures from Bob Marley's island and spirited young musicians are gathered on the terrace of a house, in the hills of Kingston, to bring the essence of their musical culture back to life. United in the same place, and united in time, because they have recorded an original album in just four days.

They are Ken Boothe, Cedric Myton from the Congos, Lloyd Parks, Derajah, Var, Kiddus I, Steve Newland, Bo Pee, Kush & Winston McAnuff.

You've never heard a Jamaican sound like this before.

The Aggrovators would produce some of the hardest rhythms cut at the legendary Channel 1 studio, these cuts here represent a selection of some of those fine rhythms selected together for the first time.

Es war ein bewegender Abend, der weit bis in die Nacht hineinreichte, im ausverkauften Hammersmith Palais in London am 05. Juni 1977. Unter den 2.000 begeisterten Zuschauern waren auch Joe Strummer und Mick Jones. Beide waren von der Show der jamaikanischen Top-Stars dermaßen inspiriert, dass der frühe Single-Hit von The Clash "(White Man) in Hammersmith Palais" daraus entstand. Zur Feier des 40-jährigen Labeljubiläums präsentiert Greensleeves die gleichnamige 4-Track EP (33 rpm) in attraktivem Packaging inklusive eines Nachdrucks des Posters, mit dem das Konzert seinerzeit beworben wurde. Hier finden sich die besten Stücke von Leroy Smart und Dillinger mit "Ballistic Affair" und "Cokane In My Brain", sowie Ken Boothes unnachahmliche Coverversion von Sixto 'Waiting For Sugar Man' Rodriguez und dem äußerst raren und gesuchten Delroy Wilson Song "Rascal Man (False Rasta)".