Folk Vinyl Sale 163 Items

This incredibly rare release predates their more widely-known second album, Mice and Rats in the Loft. This is superb psych-folk dated 1969. The Jan Dukes De Grey started out as a duo of two multi-instrumentalists, Michael Bairstow and Derek Noy, who stood midway between Tyrannosaurus Rex and Jethro Tull with very short all-acoustic songs with strange lyrics. Similar to early Incredible String Band or Mark Fry, with a touch of Comus weirdness. A mixture of trippy and stoned songs and instrumentals with eastern feel. A unique album. One of the most brilliant acoustic experiments of folk-psych-prog rock ever.

Progressive folk act Comus was a true one-off, their unique take on folk rock a spine-tinglingly shocking one, even as the music draws the listener into singalongs. Formed by singer-guitarist Roger Wootton with some art school mates, including guitarist Glen Goring, violinist Colin Pearson and oboist Rob Young, Comus began recording their debut LP for RCA, who dropped them halfway through, leading to further recordings for Dawn with Barry Murray. Every song on this single bears the hallmark of their exceptional take on folk rock, too far ahead of its time to gain favour on release, and all the more to savour now.

Newly Expanded Deluxe Double LP Edition! Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl Previously unreleased session outtake of “Cold Hard Times” plus demos of obscure Hazlewood compositions “Drums,” “The Start,” “Susie,” “Miracle on 19th Street,” and “Peppermint Morning” 30 total tracks Remastered by GRAMMY®nominated mastering engineer John Baldwin Liner notes by GRAMMY®nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter Double LP housed in a gatefold jacket “Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shitheels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… You’re Wrong! I’m describing the characters in my album ‘13’ …Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. But they all had a story to tell and I told it…none of ‘em seem to care… and I don’t either… have fun…" Lee Hazlewood



“He (Lee) took my voice off the album and put his voice on the album. Now don’t forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that’s the way he wanted it.” Larry Marks



The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an offstrip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjӧrn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (lhi producer, artist and the voice of the first ScoobyDoo theme). Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed… 13 was born.

Part fantastical historic sonic biopic, part anthropologic journey into the deep roots of Belgium’s monstrous cosmic rock sound, this wholly individualistic concept album combines the lead members of the mighty COS (Daniel Schell and Pascale Son) with studio genius Alain Pierre (Ô Sidarta/Des Morts) and celebrated Dutch progressive rock singer Dick Annegarn, for what many consider to be both the overlooked hiding place of Belgium’s deepest psychedelic moment and European prog’s lost map to the ‘Franco-Flemish Boom’.

Emerging from the wider musical family that counted Marc Moulin, Placebo and Marc Hollander amongst its creative kin, Daniel Schell’s most profound conceptual project ambitiously combines the tale of the heroic historical figure of Count Egmont, while simultaneously tracing the evolution of the ud, or oud, (‘the grandfather of the guitar’) in this multifarious hallucinogenic epic. Featuring key members of other collectable groups such as drummer Felix Simtaine from Solis Lacus and bass player Jean-Louis Baudoin from the mythical Classroom (cos predecessor), this best-kept secret vinyl release also harbours the voices of Dirk Bogaert (of Belgian hard rockers Waterloo) as well as Catalan singer Ilona Chale (Marc Hollander/Aksak Maboul) before her later tenure as the COS front woman.

Initially released in 1978 via Zeuhl school distributors Free Bird alongside French pressings of Don Cherry, Jacques Thollot and CAN, it is plain to understand the niche nature of this maligned “lost Cos” LP as it finally blooms from between the cracked branches of European jazz-rock-synth-psych-prog-pop history… and beyond!

Following the reissue of the self-titled debut by Tülay German & François Rabbath in 2021, we‘re presenting the 2nd and final part of our Tülay German reissues: "Homage to Nazım Hikmet" (1982). Once again in a duo setting with François Rabbath, Tülay German pays tribute to one of Turkey's greatest poets of the 20th century: Nazım Hikmet (1902-1963). Recorded in the early 80s this two-album workcycle refers heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) and consists of unique and modern interpretations of turkish folk songs unmatched to this day.

Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlası (1964) is now considered the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice. But due to increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn’t feel quite comfortable with this major deal. And thus, despite the success and recognition she had gained, she decides to quit the contract with Philips!

Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

Nazım Hikmet (1902-1963) is considered as one of Turkey’s greatest poets of the 20th century, though during his lifetime his works were banned in Turkey for decades and he spent most of his life in prison or in exile. He is up to this day a huge reference for turkish writers, musicians and intellectuals.

Tülay German ended her musical career in 1987. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

Here I AM is the first thing. A powerful incantation sung in full choral style at Dartington College of Arts in 1982 and captured on tape, now in 1s and 0s for all eternity. It’s a bold phrase, this assertion of existence, this permanent claiming of space in time; these three words we were made to sing in church, that we used to recite one after another at the beginning of class. Doing so might seem mundane, or easy, but it’s not. What’s easy is not. Not declaring one’s presence, not showing up at all. Claire Bushe, Cathy Frost, Lisa Halse, Cathy Josefowitz, and Mara de Wit showed up, took a side. They called themselves Lining Time. They were here. ANY Woman CAN SAY I’M A Witch, they said. Strike is the album Lining Time made. It plays out like a freedom spell, like liberatory healing magic. Reveling in the power of the voice, Lining Time sing. Not at us, but for us. As if by putting voice to the traumas inflicted by the patriarchy and capital, they could be made right. As if the whole world might join in and sing along, might join in and take action - might join in and strike.There’s nothing exclusive about the music Lining Time made. Like many of the best and weirdest records of the post-punk era, Strike wears its amateurism as a badge of honour, flies it like a flag to rally around. It is inclusive to the extreme. Which isn’t to say anyone could’ve made Strike. That’s the thing. The music preserved here is too weirdly spare and idiosyncratic - and wildly overconfident in the way that only the young and young at heart can be. Sometimes it’s almost protest folk, acappella or accompanied by a single acoustic guitar, as on ‘It’s Possible’. Sometimes schoolroom auxiliary percussion clunks out a cyclical, ritual rhythm, as on the title track. At no point does it feel less than singular. Still, this is music about and for universal sisterhood. It invites solidarity. Take up an instrument for the cause and sing your own song. Time Passes Time Passes Time Passes Time Recorded music often functions like a time capsule. It’s not rare that an album is “lost”. Rather, it’s rare that a work is heard widely at the time it was made. Often, it’s barely heard at all. It just exists somewhere, a cave painting or an ancient piece of graffiti, waiting to be stumbled upon for whatever reason. The reason, in Strike’s case, is a wonderful posthumous exhibition of Cathy Josefowitz’s artwork, The Thinking Body, a cooperative effort between Kunsthaus Langenthal, Centre Culturel Suisse, Paris, Macro Roma, Les Amis de Cathy Josefowitz, and Elise Lammer. It’s possible that some might be tempted to think of Lining Time as a sideshow curiosity to the main event, but that’d be foolish. Strike, nearly forty years old, is as alive and relevant as it was when it was recorded in the wake of the Reclaim the Night march. If anything, it’s shocking how potent and necessary its message remains today.

A dreamlike dispatch from mid-80s Japan, the first and only Hallelujahs album is an entrancing and gentle work of psychedelic pop brilliance. In a series of informal studio sessions between 1985 and 1986, Shinji Shibayama (Nagisa Ni Te) gathered a group of friends, emerging luminaries from the burgeoning Kansai underground rock scene including Naoki Zushi (Hijokaidan, Spiral Stairs / 螺旋階段), Ken Ichi "Idiot" Takayama (Idiot O'Clock), and Chie Mukai (Ché-SHIZU ) to form what would become known as Hallelujahs. The result was a music of deep feeling and wonderment created through simple song craft and imbued with a sort of guileless magic. Their sole album presented a set of unvarnished songs, filled with vulnerable, intimate moments, caught on reel to reel, most often in single takes never to be repeated. The album was self-released in 1986 in a micro-edition of 300 copies. It was the first record by Shibayama's now revered ORG Records which would go on to introduce the world to the likes of Maher Shalal Hash Baz , Reiko Kudo as well as his own group, Nagisa Ni Te. With affinities to the sounds of the Rough Trade and Flying Nun labels, the Paisley Underground and Galaxie 500, the Hallelujahs' Eat Meat, Swear an Oath is an utterly unique masterpiece that remains a touchstone for generations of like spirited artists in Japan and around the world. Black Editions is proud to present this all-time classic in a deluxe vinyl edition, remastered from the original tapes and presented in a heavy tip-on jacket with textured paper, mounted high quality print, foil stamped finishes and spot colors. Pressed to high quality vinyl at RTI.

Record Store Day 2023 first time officially reissued on vinyl since 1988. Limited to 500 copies. Rasman Maxwell Udoh was one of the best things to come out of the Nigerian music scene in the 80s and 90s. Born on the 29th of August 1959 and passed away on the 18th of December 2014, his 55 years on earth were a memorable time that resulted in many contributions to the musical heritage of Nigeria, and the messages he spread through his lyrics are still treasured by the downtrodden even today. Maxwell Udoh was a true pioneer, and his musical legacy is more than relevant, even to this day.

After he left Oron’s Methodist Boys High School in 1980, Maxwell’s uncle Patrick Peter Udoh took him under his wing. As a professional musician with The Doves Rock Band, Patrick taught him all he could until the band’s dissolution, which prepared Udoh for the trailblazing career that he would soon be embarking upon. Maxwell Udoh and His Masses Militia Band took Nigeria by storm with their debut album ‘Forward Ever, Backward Never’. The record was a massive hit that opened his route to greatness, taking his reputation far beyond the shores of Nigeria and winning him several music awards.

The fame that Maxwell would claim from this would skyrocket him into his election as chairman of the Performing Musicians Association of Nigeria. As a naturally inclined musician and charismatic leader type since childhood, his journey is a series of natural progressions that sequentially delivered to him the many stages of the recognition he deserved.

Rasman Maxwell Udoh was renowned as an advocate for social justice, as well as one of the first few Africans to sing authentic reggae in its true form. His musical catalogue overall helps tell the story of a man who was larger than life and is cherished both in Africa and the world over to this day. Maxwell’s independent albums and singles are classics for the ages and stand firmly and triumphantly as paragon examples of the best of Nigerian music.

On the album we are proudly presenting you today (‘Survival Of The Fittest’ recorded in Nigeria in 1972) the listener is treated to six mind blowing tracks filled with excellent reggae, funk, soul, boogie and disco influences. Also included is the heavy hitting smash-hit “I Like It (Don’t Stop)” that was featured on the ’’Khruangbin: Late Night Tales” album. Fans of Maxwell will be proud that he was chosen as a representative of Nigeria on these ongoing and acclaimed series. A great accreditation for Maxwell Udoh and a big deal to say the least. All of the above makes ‘Survival Of The Fittest’ a real must-have for collectors and fans alike.

Tidal Waves Music now proudly presents the First ever vinyl reissue of this landmark Nigerian album originally released on Average records in 1988 (OG copies go for large amounts on the second-hand market). This is also the first time these recordings are being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork. Released exclusively for Record Store Day (uk/europe) 2023 and available in participating stores on April 22, 2023.

Recorded live at Sociedade Esportiva Palmeiras and Sport Club Corinthians Paulista in 1983. First time on vinyl!

Here's a vinyl reissue of a notable 1986 cassette release. Musically this is a slightly mind boggling delivery of psychedelic lo-fi/basement folk.

Featuring current/former members of Light The Fuse And Run, Wow, Owls!, Weak Teeth and Jesuscentric, Best Practices is a return to the fundamentals of punk rock. On the band's Tiny Engines debut, The EP LP, the quartet lets loose a whirlwind of (garage power pop) punk fury. Recorded with Will Killingsworth (Orchid, Ampere) at Dead Air Studios, Best Practices pummel their way through 9 songs in 12 glorious minutes. The band comes close to careening off the edge at points but never seem to overtake themselves. Chock full of razor sharp hooks Best Practices lays down a furious gauntlet that is as catchy as it is exhausting. All your left with as The EP LP fires towards the finish line is the feeling that you just want to do it all over again.

A truly unique Gospel stylist - Isaiah Owen's plays guitar and sings in his own very distinctive and otherworldly way. Isaiah plays loud and with quite a bit of dissonance, his voice floating above beautifully. This LP features some of his finest performances captured from his radio broadcasts in Montgomery Alabama and from studio recordings. Mississippi is very proud to present this material. Liner notes by Kevin Knutt (of the greatest radio show of all time, Sinners Crossroads, as well as the Case Quarter label).

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release. With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra). Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future. Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s. The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.

Back in 2011 when I was tentatively looking for a second release for my fledging record label Clay Pipe Music, I stumbled upon a mysterious MySpace page by a group called ‘Tyneham House’, the page was decorated with artwork by Rena Gardiner (who was unknown to me at that time) and the music was an otherworldly mix of field recordings, Mellotron and acoustic guitar. It turned out that Tyneham was promised to Glen Johnson’s Second Language label, so I offered to do the artwork, and in January 2012 the two labels co-released it on tape and CD in a cardboard box with a handmade booklet of my illustrations.

In 2016 Clay Pipe reissued it on 10” vinyl, in an edition of just 300, which has since become sort after. The new 2023 pressing is on blue and transparent marbled vinyl, with a reverse board cover and inner sleeve, and the booklet of illustrations has been given a complete redesign. Frances Castle 2023

The pastoral, wistful yet ineffably disquieting music of Tyneham House is made by artists who wish to remain anonymous here, save for their eponymous title. The musicians are happy, however, to let it be known that these recordings have been around for some years (many of them complied from old cassettes) and that they take inspiration from the 1960s/’70s/’80s work of the Children’s Film Foundation – a body who really ought to have made a film about this mysterious West Country curio. At least now we have its endlessly poignant soundtrack.

The small village of Tyneham, on the beautiful Isle of Purbeck, in Dorset, was once a thriving little community – that is until the British Government requisitioned it for training manoeuvres and other ‘strategic purposes’ in the run up to Wwii. This was supposed to be a temporary measure, but the area remained in military possession long after hostilities had ceased, causing distress among former inhabitants, many of whom were farmed out to prefabs in nearby Wareham and Swanage.

Tyneham was characterised by its red telephone box, a tiny parade of shops – Post Office Row – and a grand country pile which stood about half a mile away from the village: Tyneham House. The army removed the building’s oak panelling and ornate decorative details and promptly set about using it for target practice. So great was the shame expressed locally about the damage inflicted upon one of Dorset’s grandest houses that the powers that be decided to grow a copse around the remains of the structure to give the impression that it was no longer there. Despite this, a substantial part of the structure remains intact, including its Saxon hall.

Land access around Tyneham was opened up in the 1970s, but admission to the house remains strictly verboten. Those who’ve been found around the premises, especially anyone wielding a camera, have felt the full weight of military trespass law. Tyneham today is regarded as a nature reserve by some – as a national embarrassment by others. It’s still a political hot potato, in Dorset at least.

Noah Sterba is one of Omaha’s underground music heroes, literally performing most of his songs and poetry into dented Radio Shack microphones in the subterranean basements of tornado alley for the last decade. Beside releasing several solo cassettes on Unread Records, he was a founding member of short-lived critical darlings Yuppies, lo-fi local legends The Prairies (which also featured David Nance), and The Subtropics (whose posthumous double cassette is seeing vinyl reissue in 2017), and has been an important member of Simon Joyner’s Ghosts since 2011. He is also involved in a multimedia art/publishing collaboration called Slowed Soul with fellow local Omaha artist and musician Jeff Sedrel.

In a time when so much music is fueled by self-congratulatory irony, The 13-Bar Blues is refreshing for its unapologetic sincerity. The album distills folk, blues, punk rock and country influences and merges them with poetry, allowing Sterba to graciously tear up his hat in the face of those who have come before him as he claws through America’s gnarly 21st century landscape with his tongue, pen, busted guitar, and wide open eyes.

This newly compiled collection of recordings from rockabilly pioneer Charlie Feathers showcases the influential Memphis performer’s work at Sun Records (and related labels). Feathers started his musical career as a session musician at Sun Studios under Sam Phillips. His theatrical, hiccupping vocal style inspired a later generation of rock vocalists, including Lux Interior of The Cramps and Tav Falco, who contributed extensive liner notes and photos for the insert of this release.

The release is available for the first time on vinyl and cut from original masters.

Originally released by Wounded Wolf Press as a limited release (only 100 cassettes were made) back in 2016, "Loopworks" compiles Turkish visual and sound artist Koray Kantarcioglu's (Ankara, 1982) loop based work composed of samples taken from Turkish records released in 60's and 70's as source material. "Loopworks"
impacts almost instantly mainly because it shows some familiarity with the recent work of Leyland Kirby as The Caretaker, particularly with the "haunted ballroom" effect. Koray explores the usage and the dynamic of these sounds as ambient music for different scenarios as well as the importance of a newfound life with the raw
material he used to create these songs. The source material appears as enigmatic as
these new sounds and activate a sense of discovery and constant wonder throughout
"Loopworks". With the vinyl release of "Loopworks" we continue to manifest the
importance of showing how technology and geography create different and original
approaches to the standard western interpretation of field recordings and sound
manipulation. Koray Kantarcioglu's work here is a strong manifestation of that and
how "haunted music" can express a myriad of feelings and sensations. "Loopworks"
has a tremendous vision of the metamorphosis that's been occurring in ambient music
during the last decade. Sometimes it's dreamy and calm as aquarium music is
("500606" or "22 47 91 Take 1"); surprising and infinite as "263 Loop", one of the few
tracks with a voice, in this case a mysterious and transcendental one; or part of a John
Carpenter & David Lynch film yet to be made ("Organ Extract KP 001"). A fantastic
voyage, from earth to space, through time or simply as the most beautiful and peaceful
dive into the ocean. Old music transformed into something new, unique. That's
special.

Combine a single-malt voice, an acoustic guitar, songs from the heart and a touch of magic, and you have the music of Mari Mana. Her music possesses that nostalgic familiarity and that fresh wonder at the same time. Her performance is a unique and enchanting expression of wise melancholy and a poetic love for life.
Mari Mana was born and raised in Berlin. She wrote her first songs in the year 2000, and since 2008 has taken her performances to various concerts and festivals worldwide.
With arrangements consisting of strings, bass, drums and electronic elements, arranged and produced together with Mo Stern, we present Mari Mana’s music for the first time on vinyl.
The songs 'Floating' and 'Find Me' are influenced by Soul, Folk and Electronic Music, and feature various international musicians, including
Alex Trebo (ITA), Timo Lassy (FIN), Marlene Schuen (ITA), Lee Caspi (ISR) and Natasha Jaffe (USA).

"Charlotte's Amigo is unhinged, but I mean that in the nicest possible way. The cowpunk-tinged hardrockabilly trio is open-hearted, joyous and wickedly funny, yet its superbly crafted melodic rock 'n' roll rides a streak of giddy mania." Creative Loafing Amigo is a rock and roll band. This might sound quaint or even a little passé but its an entirely apt and appropriate description. Amigo is a guitar, a bass, a drum set and buckets full of songs and its members share a proud and unrepentant belief in rock & rolls divine promise and power to shake audience and band alike to their core. The Charlotte, NC-based trio, comprised of guitarist Slade Baird, bassist Thomas Alverson and drummer Adam Phillips, has been putting rubber to road in senses both theoretical and literal since their inception in 2012, developing their keen sense of harmony and interplay, honing their songwriting chops and developing an absolutely white-hot live show which has become the main vehicle for their brand of rock and roll evangelism.

New York City based songwriter Gary Canino, submits to you a generous collection of country-inflected music under the Dark Tea moniker that honor the past while looking ahead. There is, as they say, a little something for everyone. With Dark Tea, Gary emerges as a scientist does from her lab, having cracked the formula. The formula? Honor the listeners desire for both danger and comfort. And so, when a melody starts to wander from the marked trail, Gary soothes the listeners ear with a simple one-four (Variable Reward). And so, when ambling verse figure disorients the listener, it repeats until she feels at home in it (The Birds Nest). And so, a long verse finds punctuation in a tasteful punchy chorus (No Notifications). The album also contains no fewer than three truly great guitar solos, including one from Meg Duffys Hand Habits on Rollin Back The Dial. Mixed by Jarvis Taveniere (Woods), mastered by Mikey Young (Total Control).

75 Dollar Bill is one of the essential groups at the heart of NYC's underground. Driven by the telepathic union of CHE CHEN's microtonal electric guitar and Rick BROWN's odd metered percussion their long-form sound is unmistakable and compelling. On their third album I Was Real, the group expands in bold new directions, embracing brilliant fuller orchestrations, joyous rockers and entrancing new textures. The album is 75 Dollar Bill's third, featuring new directions accompanying the band's previously established interest in sprawling, unusual grooves and microtonal melodies. The record is enhanced by the presence of eight additional players in various combinations over its nine tracks—but also shows off the duo's strength when stripped down to the core. Requiring a variety of approaches, the album was recorded over a four-year period, in four different studios, with the band's closest associates and collaborators in a range of different ensemble configurations. The album also features several "studio as instrument" constructions that harken back to the collage-experiments of the band's early cassette tapes, while at the same time pointing to territories altogether new.

Steve Gunn and John Truscinski's collaborations are point where experimental instrumental rock and cosmic jazz meet. This is their fourth album overall and first in three years. Gunn-Truscinski Duo fans are intense in their love of these records - they naturally spin off from Steve's solo work but also go in their own directions as well. This track - and album - will be rapturously received by the fans of this project as being cut from a similar cloth that they already know and enjoy but covering some different and previously unworn ground. The first release in the Three Lobed Recordings 20th anniversary series, this should be a title with multiple sales points (Gunn, Three Lobed, other participants in the 20th series).

Over a period of 20+ years Adam Gibson has forged a unique career, his blend of spoken word songs with music gaining him a deeply reverent following for his tales of love, longing and the wide open road, in Australia and beyond. Bringing together a collection of his best tracks, this release shines a light on this underground Australian icon.

The album is composed by Cerys Matthews with Hidden Orchestra and features 10 UK poets: MA.MOYO, Raymond Antrobus, Lemn Sissay, Liz Berry, Anthony Anaxagorou, Adam Horovitz, Cia Mangat, Imtiaz Dharker, Kim Moore and Kayo Chingonyi “We are living in extraordinary times, I wanted to respond but had the urge to offer more than one voice, more than one perspective. Not an echo chamber” – Cerys Matthews. In February 2020 Abbey Road studios welcomed each of the 10 poets to record pieces from their collections. Then lock down hit…. But remotely and with the additional help of field recordists and musicians around the world, Cerys and Joe Acheson (Hidden Orchestra) created a sound journey for these poems with the theme of: Genesis: Birth, heritage, a journey about to begin.

33 1/3 years after its first release Piranha Records reissues the groundbreaking Stella Chiweshe international debut Ambuya! on quality 180g vinyl, remastered from analog tapes, together with a bonus John Peel session from 1988. Stella Chiweshe stands as one of the most enduring and successful women activists in African music. She started playing the Mbira and performing in her motherland Zimbabwe despite all kinds of racial and male dominant mentalities of that time, setting a spectacular example of how music can cross all kinds of borders, a message that is perfectly aligned with our core values as a record label. With her album Ambuya? the Mbira finally went electric and combined the spiritual with the popular in a creative exchange with British world indie legend 3 Mustaphas 3. Thrilled to have, and still be, teamed up with such a pioneering artist, we feel like time spins like an album: our mbira-meetstapha kick-off of 1987 still lives and rotates with Piranha Records in 2021. Ambuya? Ambuya!