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Even The Forest Hums: Ukrainian Sonic Archives 1971-1996

2LP | 2024 | US | Original (Light In The Attic)

55,99 €*

LP | 2000 | EU | Reissue (Secretly Canadian)

Release: 2024 / US – Original

Genre: Rock & Indie

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Light in the Attic Records proudly presents Even the Forest Hums: Ukrainian Sonic Archives 1971-1996—the first comprehensive collection of Ukrainian music recorded prior to, and immediately following, the Ussr’s collapse. From subtly dissenting Soviet-era singles to DIY recordings from Kyiv’s vibrant underground scene, the compilation chronicles the development of Ukraine’s rich musical landscape through rare folk, rock, jazz, and electronic recordings.

“This record is a labor of love and a long time coming,” says label owner Matt Sullivan. Over the course of the last five years, Sullivan, alongside producers David Mas ("dbgo”), Mark “Frosty” McNeill, and Ukrainian label Shukai Records worked tirelessly to compile a carefully curated, chronological playlist. But behind the scenes, ongoing war & politics would shape the evolution of the tracklist, which originally featured both Ukrainian and Russian artists. “We found ourselves in the midst of a larger political issue; what began as a broader overview of a sonically underrepresented region suddenly became quite the controversial project,” Sullivan continues, “so we decided to pivot and focus only on Ukrainian music. There were times when it felt impossible to bring this project to fruition, so to be sharing it with the world today is truly humbling and long overdue.”

Guiding listeners through the physical editions of the album are insightful liner notes and track-by-track details by Vitalii “Bard” Bardetskyi—a Kyiv-based filmmaker, DJ, and writer. The 2xLP is housed in a beautiful gatefold package showcasing Ukrainian artist Maria Prymachenko’s beloved and iconic folk paintings. The vinyl edition features a 20-page booklet with artist photos & liner notes in both English and Ukrainian, pressed on Clear Blue Sky & Sunflower Yellow wax; the CD edition features bonus content housed in a deluxe, 64-page hardbound book.

Light in the Attic will donate a portion of proceeds directly to Livyj Bereh, a Kyiv-based volunteer group working to rebuild in the regions affected by ongoing war in Ukraine.

“Music has always pulled Ukrainians out of the abyss,” writes Vitalii “Bard” Bardetskyi in his liner notes for Even the Forest Hums: Ukrainian Sonic Archives 1971-1996. “When there is no hope for the future, there is still music. At such moments, the whole nation resonates under a groove. Music, breaking through the concrete of various colonial systems, is an incredible, often illogical, way to preserve dignity.”

While the songs collected in Even the Forest Hums were recorded during periods of immense societal and political upheaval—and certainly reflect the resilience of the Ukrainian people—they are rooted in the universal spirit of exploration: from post-war teenagers seeking fresh rhythms and artists experimenting with DIY recording technologies to an entire nation being introduced to decades-worth of previously-embargoed albums. Yet, until now, it has been nearly impossible for anyone outside Ukraine to explore the country’s flourishing music scene for themselves.

Much of this can be attributed to Soviet-era restrictions. Music, much like any other commodity, was tightly controlled before the fall of communism. “Only state-authorized performers who had gone through hellish rounds of the permit system could record at the few monopolistic, state-run studios,” explains Bardetskyi. While many of these compositions were released and performed to mass audiences, however, they weren’t necessarily what they seemed. “Some of the artists managed, even under difficult ideological circumstances, to build a whole aesthetic platform which was essentially anti-Soviet.”

Bands could slide under the radar by changing the lyrics of rock songs to reflect Soviet ideals or by performing traditional folk music with subtle outside influences. “This resulted in a whole scene that combined central-eastern Ukrainian vocal polyphony, Carpathian rhythms, and overseas grooves,” writes Bardetskyi, who refers to this era of music as “Mustache Funk.”

Examples featured in Even the Forest Hums... include 1971’s “Bunny” by Kobza. While the folk-rock group was known for their polyphonic vocals, this particular composition is an instrumental waltz, which blends elements of traditional Ukrainian music with progressive rock, British beat, and jazz-rock. Another example of “Mustache Funk” comes from the latter half of the decade, with the Caribbean-influenced “Remembrance” by Vodohrai. While the group—which included some of the best jazz musicians in the country—had a multitude of traditional hits, inspired jams like this one could, for a lucky few, occasionally be heard live.

While the 70s proved to be a golden age for Ukrainian music (complete with pop stars, large-scale tours, and legions of adoring fans), the excitement was short-lived. “The Soviet system finally understood that funkified beats quite strongly contradict[ed] [its] principles,” notes Bardetskyi, who adds that by the 80s, “The once prolific scene was almost completely colonized, appropriated, and largely Russified; the state radio and TV waves were occupied by banal VIAs and cheezy schlager singers.”

With tighter restrictions, however, came the rise of the underground. While the decade leading up to Ukraine’s independence was marked by great turmoil—including the political reform of Perestroika in the Ussr and the Chernobyl disaster—it also marked a time of incredible creativity.

Mirroring global trends, the first half of the decade found many composers and producers experimenting with electronic music. Among them was Vadym Khrapachov, whose scores have appeared in over 100 films. His moody, Moroder-esque “Dance” (written for Roman Balaian’s iconic 1983 film, Flights in Dreams and Reality) is notable in that it was recorded on the Ussr’s only existing British EMS Synthi 100 synthesizer.

Producer Kyrylo Stetsenko, meanwhile, was reimagining traditional songs for the dancefloor. Among them is 1980’s “Play, the Violin, Play,” by Ukrainian pop star Tetiana Kocherhina. Stetsenko, who produced the album for Kocherhina, created a hypnotic remix of the folk tune that was fit for a disco. Stetsenko is also featured here with 1987’s “Oh, how, how?,” in which he transforms a melancholic ballad by Natalia Gura into a synth-forward, breakbeat jam.

As the fall of communism approached, the scene continued to diversify—particularly as music from around the world became increasingly available. Kyiv, in particular, became an epicenter of creativity. In the early days, bands like Krok offered a preview of what was to come. Described by Bardetskyi as “The first real Kyiv supergroup,” Krok was led by guitarist Volodymyr Khodzytskyi and featured musicians from local Beat bands. In addition to backing the biggest pop acts of the day, the versatile collective explored a spectrum of styles in their own recordings, including fusion and electro-funk. They are represented here with the mellow “Breath of Night Kyiv.”

By the late 80s, Kyiv “was buzzing like a beehive,” recalls Bardetskyi. “It was a period of very active socialization and exchange of musical information and ideas; local musicians evolved with supersonic speed, absorbing decades of the world's musical background and transforming it into their sound.” While rock bands comprised much of this era’s first wave, artists continued to expand their repertoire as new influences pervaded the scene. The global rise of DIY recording technology and electronic instrumentation, meanwhile, also contributed to the growing sonic landscape.

Highlights from this period include the avant-garde improvisations of violinist Valentina Goncharova. Recordings like 1989’s “Silence” were created by a series of layered tracks and custom pickups. Similarly, composer Iury Lech paints a warm ambient soundscape with 1990’s “Barreras.” On the other end of the spectrum is the industrial “90” by Radiodelo (the project of Ivan Moskalenko—aka DJ Derbastler), which combines frenetic drum machine beats and haunting, reverb-soaked instrumentation. Post-punk was also thriving, with acts like Yarn (a large, loosely based collective) dominating the scene. “The interests of [Yarn’s] members extended all the way to medieval chamber music, which would clearly be noticeable in ‘Viella,’” writes Bardetskyi. The track features two of Yarn’s co-founding members: multi-instrumentalist and graphic designer Oleksander Yurchenko (who became a significant figure in modern Ukrainian music) and Ivan Moskalenko. Yurchenko is also represented here as part of Omi, a parallel project by the chart-topping electronic group, Blemish. 1994’s dramatic “Transference” (which features contributions by legendary Japanese musician Ryuichi Sakamoto and American singer-songwriter Diamanda Galas) serves up horror-movie-soundtrack vibes, particularly with the addition of eerie vocalizations.

Cukor Bila Smert’ (which translates to “Sugar White Death”) were also major players in the Kyiv underground. Interestingly, Bardetskyi notes, “In the reality of the general dominance of post-punk, the aesthetic message of Cukor Bila Smert’ was countercultural to the countercultural process itself.” For their contribution to the compilation, the experimental quartet provides 1995’s “Cool, Shining.”

In the years following Ukraine’s independence, Kyiv’s underground scene continued to flourish, particularly as Western trends became more accessible and Ukrainians found themselves at the forefront of their own cultural output. While the country’s music would largely evolve in new directions throughout the 90s, the final entry on Even the Forest Hums... provides a glimpse at what the future held. The album closes with 1996’s “Lion,” by Belarusian transplant German Popov, whose project, Marble Sleeves, was “one of the few Kyiv formations that tried to master jungle/drum-n-bass,” per Bardetskyi.

Though this compilation only scratches the surface of Ukraine’s vast and diverse music scene, Even the Forest Hums offers an in-depth overview of a significant period in the country’s cultural history and unites a number of influential figures in the same collection for the first time. As Ukrainian artist Oleksandr Schegel writes in the foreword, “This is our Ukrainian treasure. It is impossible to lose and impossible to win.”

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Songs:Ohia

Protection Spells

Release: 2000 / EU – Reissue

Genre: Rock & Indie

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"The Protection Spells is a collection of songs recorded over a period of several Songs: Ohia tours. Presented here are nine entirely improvised pieces. The approach to these songs involved no rehearsals, no second takes, no additions and no going back. What you have here are songs that just happened in real time. The many musicians on these recordings were friends, bandmates, and, at times, total strangers. I have long hoped to offer the listener a chance to have some of these great accidents on record. It is a direct look at my songwriting process, only a little more risky, and nobody has any idea what direction we are going until we all start working on it together. I think that the years of improvised music I played in the past helped to strengthen the risk-taking with these songs. Here the goal was to still have basic songs without falling into long freak-out noise experiments, saving that kind of exploration for live settings. You will notice the appearances and disappearances of ideas that could never be recreated, not that they are all brilliant, but they are certainly not forced. The seemingly arbitrary moments of strange repetition the lyrics, the clear lack of a preconceived system of established song parts, all are the marks of improvised songwriting. Since even the singing had no idea what the floorplan of the song was to be, there were some unanticipated troubles and some shy steps taken, but I have preserved these mappings of the dangerous musical byroads that Songs: Ohia has always depended on. I hope you enjoy this." - Jason Molina, July 10, 2000

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Even The Forest Hums: Ukrainian Sonic Archives 1971-1996 Colored Vinyl Edition

2LP | 2024 | US | Original (Light In The Attic)

58,99 €*

2LP | 2024 | UK | Original (Riaz)

Release: 2024 / US – Original

Genre: Rock & Indie

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Jaubi

A Sound Heart

Release: 2024 / UK – Original

Genre: Organic Grooves, Rock & Indie

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The core members of Jaubi are true masters of their craft, coming from a rich lineage of accomplished musicians. Kashif Ali Dhani is a classically trained tabla master from the Punjab gharana, and is the accompanist of choice on the local scene for some of Pakistan's great classical vocalists and instrumentalists, as well as in Europe and the USA. Zohaib Hassan Khan is a 7th generation sarangi master, who has performed globally, and is one of only 3 professional sarangi players left in Pakistan. Multi-instrumentalist, composer and Jaubi bandleader Ali Riaz Baqar aka Ila Zair began his musical journey as a hip-hop enthusiast, evolving into a jazz guitarist following the exposure to the genre’s rich sampling culture. He then became a disciple of the Senia-Shahjahanpur gharana, a lineage of musicians specialising in the sarod. His playing now focuses on merging North Indian classical music with modern jazz harmony on a traditional, unaltered 6-string electric guitar.

The collaborative relationship between the core group and wider collaborators dates back to April 2019, when 22a label founder and multi-instrumentalist Tenderlonious and EABS/Bloto keyboard and synth maestro Marek ‘Latarnik’ Pędziwiatr travelled to Lahore, Pakistan to take part in some improvised recording sessions with Jaubi. Nothing whatsoever was written down during the recording sessions – no sheet music, no song titles. It was sincere, bottled lightning. All egos were left behind, with hearts and souls being opened and poured into the music. The result has been described as spiritual jazz-fusion meets psychedelic Hindustani classical with nods to golden era hip hop.

An adventurous and absorbing record ‘A Sound Heart’ is the next chapter for Jaubi, both sonically and spiritually. The title is inspired from a verse in the Holy Qu’ran (26:89), where one comes to God with a spiritual or sound heart (Qalb) which is sincere, without doubts and free of materialistic attachments. Importantly it refers to a state where the heart is spiritually healthy and content with only God. A Sound Heart’s basis is goodness, rooted in love. In this case, it is the love for one’s creator. The album also acts as a tribute to fallen heroes, paying respect to the greatness that has come before, casting new light via cross-cultural collaboration and improvisation.

Throughout this incredible journey, meditative ragas blend with Herbie Hancock-esque motifs, joined by lament-filled contemporary melodies intertwining with the intricate sounds of the sarangi and earthy layering of the tabla. A true masterpiece of composition from start to finish.

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Nancy & Lee Again Big Red Balloon Swirl Vinyl Edition

El Dorado Gold Vinyl Edition

Release: 1972 / US – Reissue

Genre: Rock & Indie

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* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Leeâ€™s 1972 classic
* Includes bonus tracks â€œMachine Gun Kellyâ€ and the previously unreleased â€œThink Iâ€™m Coming Downâ€
* Newly remastered from the original analog tapes by GRAMMYÂ®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMYÂ®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatraâ€™s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pairâ€™s most enduring and ambitious duets including the epic â€Arkansas Coal (Suite),â€ the sensual â€œParis Summerâ€ and the incredibly powerful Dolly Parton-penned â€œDown From Dover.â€ Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activistâ€™s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissueâ€™s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, â€œMachine Gun Kellyâ€ (first time on vinyl) and the previously unreleased â€œThink Iâ€™m Coming Down.â€

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancyâ€™s Bootique at *NancySinatra.com*.

Nancyâ€™s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the weekâ€™s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972â€™s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with â€œThese Boots Are Made For Walkinâ€™.â€ Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancyâ€™s solo hits. Soon, the duo found success with a series of duets, including â€œSand,â€ â€œSummer Wine,â€ and â€œSome Velvet Morningâ€ â€“ all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. â€œTrivial music and not profound music became unimportant,â€ recalls Nancy, speaking to Hunter Lea. â€œIt was a tough time.â€ And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood â€“ who reprised his role as producer â€“ chose to take a new direction with the duoâ€™s sophomore album. Nancy recalls, â€œIt was more dramatic; it was more fun to do, more challenging to doâ€¦. It was more grandiose.â€ For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presleyâ€™s TCB band, whose early â€˜70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewoodâ€™s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the albumâ€™s cinematic opener, â€œArkansas Coal (Suite).â€ Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the minerâ€™s daughter and his wife. Hazlewoodâ€™s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in â€œParis Summer,â€ which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, â€œDid You Ever,â€ which was released as the albumâ€™s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Partonâ€™s â€œDown From Dover.â€ The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Partonâ€™s 1970 version was sung from the teenagerâ€™s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the manâ€™s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is â€œCongratulations,â€ which describes a soldier coming home from Vietnam. â€œHis face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,â€ Hazlewood sings, pointedly. Nancy, who performs as the vetâ€™s wife, argues that the song had a deeper meaning for her duet partner. â€œLee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didnâ€™t talk about it, but at some point, he changed radically. â€˜Congratulationsâ€™ was almost like an apology from him. I donâ€™t want to put words in his mouth, but it was as though he was saying â€˜Iâ€™m really sorry.â€™â€

The song â€œFriendship Trainâ€ could also be interpreted as an apology of sorts â€“ this time to Nancy. â€œYou've been hurt and I've been hurt/Now we're living pain,â€ the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. â€œI felt pretty betrayed. I mean, who does that? Who just up and disappears like that? Iâ€™ll never understand it,â€ she reveals. But the uplifting duet â€“ a slice of â€˜70s pop perfection â€“ offers reaffirming words of love between friends. â€œ[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,â€ explains Nancy.

The 10-track album closes with the stripped-down â€œGot It Together.â€ Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. â€œI wish that weâ€™d quit getting so old,â€ laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings â€“ this time asking his partner, â€œCan I go back to Sweden?â€ With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo â€“ but fit right in with the psychedelic pop of the era. The first one, â€œThink Iâ€™m Coming Down,â€ is a harmony-filled reflection on a toxic relationship. â€œI think that was one of [Leeâ€™s] drug things. I donâ€™t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,â€ explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is â€œMachine Gun Kelly,â€ penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed â€œMachine Gun Kellyâ€ during their residency at Las Vegasâ€™ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancyâ€™s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. â€œWe didnâ€™t have label support at all in those days,â€ recalls Nancy. â€œWithout the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. Itâ€™s a very ageist kind of business.â€ Nevertheless, she adds, â€œI think itâ€™s a very good album. I think itâ€™s timeless.â€ Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancyâ€™s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums â€“ her duets with Hazlewood among them â€“ and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when â€œThese Boots Are Made For Walkinâ€™â€ was inducted into the Grammyâ® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkinâ€™ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatraâ€™s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

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Gizmo Varillas

LP | 2024 | EU | Original (Big Lake Music)

28,99 €*

Release: 2024 / EU – Original

Genre: Rock & Indie

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100% Sahara Guitar Black Vinyl Edition

Etran De L'Air

LP | 2024 | US | Original (Sahel Sounds)

I Kept These Old Blues Green Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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Etran de L'Aïr the STARS OF THE AIR, the longest running wedding band inAGADEZ, capital of Tuareg guitar, return with a new album of sun-schlazeddesert sound! Their first album, No.1, brought their music to critics and fans.Their second album, Agadez, sent them into the international touring circuit.And now they're back with 100% SAHARA GUITAR, ready to take on theworld, with those swinging melodies, like a sandstorm blowing in fromacross the sea.Etran de L'Aïr are 100% SAHARA, and that goes same for the band, all sonsof AGADEZ, including brothers Moussa, Abdoulaye, and Abdourahamane,and their dear friend, the youngest of the group, Alghabid. All the brotherswrite and play guitar, swapping out instruments while Alghabid keeps theFOUR ON THE FLOOR.In 100% SAHARA GUITAR, Etran de L'Aïr are back to claim the throne, withtheir first studio album! And what a sound it is. Recorded in sunny studios onthe WEST COAST, the brothers take that old Agadez sound to new levels,adding even more guitars into the mix, weaving layers of reverb-ladenmelodies and shimmering harmonies into a tapestry of sound. How muchguitar can they fit into one record? The answer is 100%.

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Muireann Bradley

LP | 2024 | US | Original (Tompkins Square)

25,49 €* 29,99 € -15%

Mechul: Singles And Rarities

Release: 2024 / US – Original

Genre: Rock & Indie

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Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. Tompkins Square actually signed her when she was 13, but because of Covid and just “growing up", the process of recording took place over three years. She will be 17 in December, 2023. "This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent 'rediscovery' of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking 'I want to be able to do that'. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s 'Police Dog Blues'. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s. I hope you enjoy the record."—Muireann Bradley May 2023

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Erkin Koray

LP | 2011 | EU | Reissue (Sublime Frequencies)

28,49 €* 29,99 € -5%

LP | 2023 | EU | Original (Glitterbeat)

Release: 2011 / EU – Reissue

Genre: Rock & Indie

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Erkin Koray and Sublime Frequencies are pleased to present this collection of rare tracks and lesser-heard singles. All tracks were recorded and released in Turkey between 1970 – 1977 and culled from Koray's personal vinyl collection. Includes exclusive photos and remastered audio. What more is there to say about Erkin Koray? An iconic guitar and songwriting genius. A voice of gold – Having founded the country’s first ever rock and roll group in 1957, he is regarded worldwide as the father of Turkish rock. Forging western sounds with his own inimitable musical mastery, he self-produced singles and LPs throughout the 1960s and 1970s that shook and altered Turkish society. Erkin didn't stop at rock and roll. Over time, he began to find inspiration in folk sounds from Turkey's Anatolian interior, and radio broadcasts received from Egypt and Lebanon. He looked to the east from his west-leaning Istanbul perch, and began incorporating these sounds into his own work. This amalgamation was as unprecedented and unorthodox in Istanbul at the time as rock and roll itself had been in the 1950s. The resulting hybrid sound ignited what became known as the Arabesque music movement in Turkey – which continues to this day. While Erkin has recorded and performed tirelessly throughout the years, [both as a solo artist, and with the powerful groups he formed,] his extensive back catalogue only began to be explored by the international community in the 1990s. He is now recognized as one of the foremost global leaders of psychedelic, folk rock, pop and balladry. His music has stood the test of time more than many of his western contemporaries and influences have managed to, and his prolific work ethic has not ceased. He continues to live and breathe music, performing epic concerts, and continuously plotting new recordings and strategies. His vision and integrity, coupled with his pronounced world views and inherent musical greatness, have made him the unique and magnificent living legend he is today. This collection features tracks not found on the many unauthorized Erkin compilations and LP reissues that have emerged in the west over the years. Ranging from the sublime to the surreal, these tracks offer an essential glimpse into the extensive repertoire of the great Erkin Koray.

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Altin Gün

Ask

LP | 2017 | US | Original (P.W. Elverum & Sun)

Release: 2023 / EU – Original

Genre: Rock & Indie

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The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there’s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn't record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we've gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock, as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freak-beat stomper from a world where Istanbul's Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn't sound out-of-place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places.

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Mount Eerie

A Crow Looked At Me

LP | 2017 | EU | Original (Saddle Creek)

Release: 2017 / US – Original

Genre: Rock & Indie

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A new Mount Eerie album unlike anything else in the Mount Eerie or Microphones back catalog. Eleven stark songs about basic deep grief, loss, real death, love, significance and non-significance, reality. Nothing wise or learned, just the described experience of living through unimaginable domestic obliteration, with names and dates.

contains: 11 songs, 42 minutes, very nice sounding vinyl, foil stamped front and back covers, heavy old style gatefold tip-on jacket with special Neenah “Slide” paper as the inner liner, silver on black, all the lyrics, double sided art poster, free download card

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Big Thief

Capacity

Folksinger Vinyl Me, Please Edition

Release: 2017 / EU – Original

Genre: Rock & Indie

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The trails that Brooklyn's Big Thief take us down on Capacity, the band's highly anticipated second record, are overgrown with the wilderness of pumping souls.

After last year's stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo.

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Dave Van Ronk

LP | 1972 | US | Reissue (Vinyl Me, Please)

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Why you'll love it...
“Dave Van Ronk was bemused by the title of this album. He didn’t think of himself as a folksinger and had mixed feelings about what he wryly called ‘the Great Folk Scare’ of the 1960s. And yet, he was a central figure on that scene and this album was instrumental in shaping a new sense of what it meant to be a folk musician. A generation of guitarists took him as a model and honed their skills on his arrangements of ‘Come Back Baby’ and ‘Cocaine Blues,’ and his masterful reimagining of older traditions made him a defining voice of the folk-blues revival, showing that a young, urban performer could reshape songs from rural sources into modern, personal statements that were as rough and honest as anything from the hills or prairies.”

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2LP | 2022 | EU | Original (Efficient Space)

Ghost Riders

Wilderness America, A Celebration Of The Land

Release: 2022 / EU – Original

Genre: Rock & Indie

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A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across 17 open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records.

From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid.

A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’.

Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Gagnebin-de Bons and an aptly penned forward from Sonic Boom.

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LP | 1975 | EU | Reissue (Ebalunga!)

They Call Me Contry Blue Vinyl Edition

Release: 1975 / EU – Reissue

Genre: Rock & Indie

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Before I’m gone I’d like to see us turn the corner and give up being spoilers of the land . . .

In 1975 Wallace ‘Wally’ Smith Broecker published a paper that popularised the term ‘global warming’ and against a backdrop of change and environmental uncertainty, a musical concept album was commissioned. ‘Wilderness America / A Celebration of the Land’ - is a musical exploration of our place within the cycle of living things. All compositions were specially commissioned for the album and blended with natural sounds recorded in the wild – lending the entire project a conceptual air that still feels fresh today.

The journey begins with the sun rising in the atmospheric haze of 'Dawn' - a track composed by new-age innovator Iasos. Gospel singer Walter Hawkins soon drops in with the soulful but ever so funky 'Metropolis' backed by a heavy array of session musicians with Patrick Gleeson, Ed Bogas and Tom Salisbury all adding their own misty magic to the album. David Riordan is the sorcerer conjuring up many of the compositions and also takes vocal duties on the evocative 'Mountain' and the climatic 'Before I'm Gone'.

‘Wilderness America / A Celebration of the Land’ was born when environmentalist Emily DeSpain Polk assembled a group of California residents to participate in a groundbreaking conservationist project. Christening the group Swap (Small Wilderness Area Preservation) Emily needed funds and began a project to produce a promotional nature based music album. To acquire the financial backing Emily would need to source a musician of some calibre. Contacting Cliff Branch from ‘Warehouse Sound Co.’ she was told the man she was looking for was David Riordan.

David Riordan had been around the music business for several years, first with The Yankee Dollar, then Sugarloaf and then Sweet Pain, he saw huge success with the single 'Green Eyed Lady'. David had worked on Cliff Branch’s 'Warehouse Sound Co. & Friends' albums and then released his solo album, 'Medicine Wheel'. But bored of touring he made the move to more concept-driven albums. First with ‘Christmas in San Francisco’ and then, in quick succession, 'Wilderness America, A Celebration Of The Land'.

Riordan, along with Peter Scott, a music producer friend in San Francisco, began piecing together an idea for the album. They brought in Ed Bogas to do string arrangements and Tom Salisbury to conduct. David had also asked his friend Patrick Gleeson if he knew of any R&B/Gospel singers in the Bay Area, and they soon added gospel singer Walter Hawkins into the mix.

Other than the track ‘Metropolis’, which was recorded in LA, the rest of ‘Wilderness America, A Celebration Of The Land’ was recorded and mixed by Richard Beggs at the San Francisco studio of Francis Ford Coppola. Coppola was filming ‘Apocalypse Now’ at the same time – so in between studio sessions, the musicians were able to view the seemingly never-ending film rushes arriving from the Philippines.

Eventually, the record produced by David Riordan and Peter Scott drifted onto the radar of vinyl obsessives and selectors as several of its key tracks began popping up on mixtapes and sales lists. It wasn’t long before this privately pressed, art-funded masterpiece became something of a holy grail for collectors. At long last, a re-issue of this masterpiece is now available on Ebalunga!!! Records.

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Sanford Clark

LP | 1968 | US | Reissue (Numero Group)

Look At It In The Light Dark Blue Marbled Vinyl Edition

Release: 1968 / US – Reissue

Genre: Rock & Indie

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Propelled by his 1956 Lee Hazlewood-produced hit "The Fool," Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix's Ramco label, the 12 tracks on this LP borrow Bakersfield's outlaw sound and ignore Nashville's countrypolitan flair, standing as a true lost masterpiece of country music's third generation. Clark's booming baritone tells tales of bar fights, heartaches, and drinking til you can't stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

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Kate Bollinger

LP | 2022 | US | Original (Ghostly International)

Be Right Back Red Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life

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Jorja Smith

LP | 2021 | EU | Original (Membran)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Afrique Victime Black Vinyl Edition

Mdou Moctar

LP | 2021 | EU | Original (Matador)

LP | 2020 | EU | Original (Reprise)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Back in October, Artist To Watch alum Mdou Moctar returned with a new song called “Chismiten.” The song accompanied news that the virtuosic Tuareg guitarist had signed to Matador, with a promise of a new album on the way. Today Moctar’s back with the official announcement: That new album is called Afrique Victime, and it’s out in May. Turns out “Chismiten” is the album’s opener, and along with today’s the announcement Moctar’s shared another new song called “Tala Tannam.” “‘Tala Tannam’ means your tears,” Moctar said in a statement. “It is another love song of which I’m very fond.”

“While the song talks about love, we wanted to show the love between friendships and the love of Niger,” Moctar’s bassist Mikey Coltun added. “The video includes friends and family — in the Tuareg community in villages around Niamey as well as Hausa people from villages in the Dosso region.”

Part of Moctar’s rise to prominence in the West was thanks to his searing, psychedelic style of guitar-playing. Afrique Victime promises more of that.

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Neil Young

Homegrown (1975)

Big Brother & The Holding Company

Release: 2020 / EU – Original

Genre: Rock & Indie

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Neil Young finally releases his 1975 album "Homegrown" which was shelved back then due to him feeling uncomfortable with it being to personal.

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Live At The Grande Ballroom Detroit; March 2, 1968 Black Friday Record Store Day 2024 Edition

2LP | 2024 | Reissue (Legacy)

37,99 €*

100% Sahara Guitar Transparent Blue Vinyl Edition

Release: 2024 / Reissue

Genre: Rock & Indie

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Coming Soon 2024-11-29, 12:00 CET

RSD Exclusive, Limitation: 3500; For the first time, listen to the complete concert from the Grande Ballroom in Detroit on May 2, 1968. On black double vinyl for RSD Black Friday.

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Etran De L'Air

LP | 2024 | US | Original (Sahel Sounds)

Funeral For Justice / Tears For Justice Colored Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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Transparent Blue Vinyl. Etran de L'Aïr the STARS OF THE AIR, the longest running wedding band inAGADEZ, capital of Tuareg guitar, return with a new album of sun-schlazeddesert sound! Their first album, No.1, brought their music to critics and fans.Their second album, Agadez, sent them into the international touring circuit.And now they're back with 100% SAHARA GUITAR, ready to take on theworld, with those swinging melodies, like a sandstorm blowing in fromacross the sea.Etran de L'Aïr are 100% SAHARA, and that goes same for the band, all sonsof AGADEZ, including brothers Moussa, Abdoulaye, and Abdourahamane,and their dear friend, the youngest of the group, Alghabid. All the brotherswrite and play guitar, swapping out instruments while Alghabid keeps theFOUR ON THE FLOOR.In 100% SAHARA GUITAR, Etran de L'Aïr are back to claim the throne, withtheir first studio album! And what a sound it is. Recorded in sunny studios onthe WEST COAST, the brothers take that old Agadez sound to new levels,adding even more guitars into the mix, weaving layers of reverb-ladenmelodies and shimmering harmonies into a tapestry of sound. How muchguitar can they fit into one record? The answer is 100%.

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Mdou Moctar

LP | 2024 | EU | Original (Matador)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Funeral For Justice is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2019 breakout Afrique Victime, it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down. The songs on Funeral For Justice speak unflinchingly to the plight of Niger and of the Tuareg people. "This album is really different for me," explains Moctar, the band"s singer, namesake, and indisputably iconic guitarist "Now the problems of terrorist violence are more serious in Africa. When the US and Europe came here, they said they"re going to help us, but what we see is really different. They never help us to find a solution."

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Forever Gamblin' On You Black Vinyl Edition

LP | 2024 | EU | Original (Forager)

Control Black Vinyl Edition

Release: 2024 / EU – Original

Genre: Organic Grooves, Rock & Indie

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A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.

Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk cut “Girl Of My Dreams”.

Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.

Original artwork by Arina Kokoreva. House in a case wrapped style jacket for a period correct look & feel. Includes a 12”x24” fold out poster insert.

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John St. Field

LP | 1971 | EU | Reissue (Guerssen)

Bakirköy Akil Hastanesi'nde Remastered Edition

Release: 1971 / EU – Reissue

Genre: Rock & Indie

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Psychedelic, progressive folk-rock masterpiece from 1971, recorded in London by John St. Field aka Jackie Leven (of Doll by Doll fame) but only released in Spain back at the time. Before becoming a cult singer/songwriter in the 90s, Scottish musician Jackie Leven debuted in the early 70s with “Control”, issued under the John St. Field pseudonym due to “problems with the forces of law and order”. Recorded in London and helped by musicians from MAN and other friends (Phil Ryan, Juliet Lawson, Jesse Ballard, Joe Kucera…), the album featured a collection of wonderful songs written by Jackie after his experiences wandering away and taking copious amounts of LSD. Unlike previous reissues, this one features the complete tracklist in original running order and also a new insert with previously unseen photos / memorabilia and recollections from some of the musicians involved.

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Zen

LP | 2023 | EU | Original (Zel Zele)

37,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Zel Zele is thrilled to announce the first-time vinyl issue of Turkish improv band ZeN"s iconic album "Bakirköy Akil Hastanesi"nde". Performed live in Istanbul"s Bakirköy Psychiatric Hospital for an audience of patients, doctors and visitors, this exceptional recording offers an entrancing blend of krautrock, psychedelic and free anatolian sounds. Perhaps one of the most unusual albums of Turkey"s underground musichistory, "Bakirköy Akil Hastanesi"nde" is a testament to improvisation in its purest form. Originally released in 1999 in cassette and CD, this co-release with Ada Müzik brings the album back into the spotlight:

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2LP | 2023 | EU (Nukleuz Blue)

Istanbul 70 Volume I-VI

52,99 €*

Bubuj Bulan / Naghm El Uns

Release: 2023 / EU

Genre: Rock & Indie

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Quantity: 950
Release type: 'RSD First' Release

The original 2011 release is one of the first projects that globally focused on the golden era of Turkish popular music of the 1970s. Back then, both originals and a selection of remixes were released and created serious hype in collector scenes with rare (300 copies each) 7"s that have never been pressed again. Meanwhile, the Turkish psychedelic-folk-disco style got more popular and some collectors discovered it via this series.

Now at its 10th anniversary Nublu Records is compiling these 12 remixes under a special edition double-LP pressed on 180g purple vinyl.

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Rully DJohan / Munif

12" | 2023 | UK | Original (Soundway)

14,99 €*

Giorgos Katsaros Black Vinyl Edition

Release: 2023 / UK – Original

Genre: Organic Grooves, Rock & Indie

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Following on from Soundway’s 2022 compilation, Padang Moonrise, are two late 1960s tracks from Java, Indonesia. one instrumental psychedelic organ version of Classic Indonesian track ‘Bubuj Bulan’ and the other a raw funk cut sung in Arabic. Rully Djohan recorded this unique, psychedelic instrumental version of Benny Corda’s classic ‘Bubuj Bulan’ for his album of instrumental organ versions of popular Indonesian songs recorded in 1971-72. With echoes of Indian, Ethiopian and Egyptian jazz melded with traditional Javanese music this version is a shimmering, dubbed-out take on a song that has been recorded by many Indonesian vocalists. Djohan is backed by The Galaxies Band, and led by one of Indonesia’s most original band leaders and arrangers Jopie Item, who also plays sitar and guitar alongside Djohan’s electric organ. On the flip-side, Munif Bahasuan delivers a deep funk track sung in Arabic. Munif was a Jakarta-based vocalist who sung mostly in Arabic and English. Jakarta has a small population of Arabic, ethnically Middle Eastern people who settled in Indonesia via connections with Islam and Islamic culture, the dominant religion in Java, Sumatra and many other of the main islands in the Indonesian archipelago.

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Giorgos Katsaros

LP | 2024 | US | Original (Mississippi)

Release: 2024 / US – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-01

~~~From Mississippi and Olvido Records~~~~~~Steel-string guitar and vocals by the great Giorgos Katsaros,a mythic figure of Greek rembetiko.Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime.Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs.Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing.These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice.Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s.Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels cir...

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Nancy & Lee Again Fanclub Edition pressed on Got It Together Again Gold Vinyl Edition

31,49 €* 41,99 € -25%

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Nancy & Lee Again Nancy’s Bootique Edition pressed on Tippy Toes Teal & White Swirl Vinyl Edition

31,49 €* 41,99 € -25%

LP | 1981 | TR | Reissue (Modern Plakcliik)

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Müslüm Gürses

Mutlu Ol Yeter

22,99 €*

Release: 1981 / TR – Reissue

Genre: Rock & Indie

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Arabesk and Turkish folk music singer Müslüm Gürses released more than 70 albums, concert recordings and compilations between 1975 and 2014. Gürses starred in 38 movies between 1979 and 2011, reaching a wide audience as a popular cult figure from the 2000s onwards. The Mutlu Ol Yeter album, originally dated in 1981,is back on the shelves in 2017.The songs that stand out in the album are “Mutlu Ol Yeter” and “İtirazım Var”,which also give the album its title. Orhan Akdeniz and Burhan Bayar are the musical directors and producers of the album, who also wrote most of the tracks.

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Nancy & Lee Again Black Vinyl Edition

Dawnbearer Box Set Edition

Release: 1972 / US – Reissue

Genre: Rock & Indie

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* LP available on Standard Black Wax plus Special Limited Color Editions * First ever reissue of Nancy & Leeâ€™s 1972 classic * Includes bonus tracks â€œMachine Gun Kellyâ€ and the previously unreleased â€œThink Iâ€™m Coming Downâ€ * Newly remastered from the original analog tapes by GRAMMYÂ®-nominated engineer John Baldwin * Vinyl pressed at RTI * Beautifully packaged and expanded gatefold LP featuring a 20-page booklet * Q&A with Nancy & GRAMMYÂ®-nominated reissue co-producer Hunter Lea * Never-before-seen photos from Nancy Sinatraâ€™s personal archive

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pairâ€™s most enduring and ambitious duets including the epic â€Arkansas Coal (Suite),â€ the sensual â€œParis Summerâ€ and the incredibly powerful Dolly Parton-penned â€œDown From Dover.â€ Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activistâ€™s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissueâ€™s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, â€œMachine Gun Kellyâ€ (first time on vinyl) and the previously unreleased â€œThink Iâ€™m Coming Down.â€

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancyâ€™s Bootique at *NancySinatra.com*.

Nancyâ€™s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the weekâ€™s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972â€™s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with â€œThese Boots Are Made For Walkinâ€™.â€ Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancyâ€™s solo hits. Soon, the duo found success with a series of duets, including â€œSand,â€ â€œSummer Wine,â€ and â€œSome Velvet Morningâ€ â€“ all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. â€œTrivial music and not profound music became unimportant,â€ recalls Nancy, speaking to Hunter Lea. â€œIt was a tough time.â€ And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood â€“ who reprised his role as producer â€“ chose to take a new direction with the duoâ€™s sophomore album. Nancy recalls, â€œIt was more dramatic; it was more fun to do, more challenging to doâ€¦. It was more grandiose.â€ For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presleyâ€™s TCB band, whose early â€˜70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewoodâ€™s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the albumâ€™s cinematic opener, â€œArkansas Coal (Suite).â€ Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the minerâ€™s daughter and his wife. Hazlewoodâ€™s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in â€œParis Summer,â€ which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, â€œDid You Ever,â€ which was released as the albumâ€™s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Partonâ€™s â€œDown From Dover.â€ The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Partonâ€™s 1970 version was sung from the teenagerâ€™s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the manâ€™s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is â€œCongratulations,â€ which describes a soldier coming home from Vietnam. â€œHis face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,â€ Hazlewood sings, pointedly. Nancy, who performs as the vetâ€™s wife, argues that the song had a deeper meaning for her duet partner. â€œLee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didnâ€™t talk about it, but at some point, he changed radically. â€˜Congratulationsâ€™ was almost like an apology from him. I donâ€™t want to put words in his mouth, but it was as though he was saying â€˜Iâ€™m really sorry.â€™â€

The song â€œFriendship Trainâ€ could also be interpreted as an apology of sorts â€“ this time to Nancy. â€œYou've been hurt and I've been hurt/Now we're living pain,â€ the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. â€œI felt pretty betrayed. I mean, who does that? Who just up and disappears like that? Iâ€™ll never understand it,â€ she reveals. But the uplifting duet â€“ a slice of â€˜70s pop perfection â€“ offers reaffirming words of love between friends. â€œ[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,â€ explains Nancy.

The 10-track album closes with the stripped-down â€œGot It Together.â€ Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. â€œI wish that weâ€™d quit getting so old,â€ laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings â€“ this time asking his partner, â€œCan I go back to Sweden?â€ With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo â€“ but fit right in with the psychedelic pop of the era. The first one, â€œThink Iâ€™m Coming Down,â€ is a harmony-filled reflection on a toxic relationship. â€œI think that was one of [Leeâ€™s] drug things. I donâ€™t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,â€ explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is â€œMachine Gun Kelly,â€ penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed â€œMachine Gun Kellyâ€ during their residency at Las Vegasâ€™ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancyâ€™s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. â€œWe didnâ€™t have label support at all in those days,â€ recalls Nancy. â€œWithout the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. Itâ€™s a very ageist kind of business.â€ Nevertheless, she adds, â€œI think itâ€™s a very good album. I think itâ€™s timeless.â€ Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancyâ€™s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums â€“ her duets with Hazlewood among them â€“ and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when â€œThese Boots Are Made For Walkinâ€™â€ was inducted into the Grammyâ® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkinâ€™ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatraâ€™s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

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Hexvessel

2LP | 2022 | EU | Original (Svart)

49,99 €*

LP | 2023 | UK | Original (BC)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Limited Svart exclusive box set edition. The demo LP will not be available separately.

Hexvessel and Svart Records celebrate the 10 year anniversary of Hexvessel’s debut album Dawnbearer with a set of reissues, including CD, double vinyl plus an exclusive vinyl box set with a bonus LP containing demos and early versions of tracks on the album.

“Dawnbearer is a very important album for us, being our first album but also the first original album release for Svart Records. It’s also a very special record for our fans, and one that’s particularly close to my heart, in a world of its own when compared to the other records we have made. Considering that it’s been out of print now for some time, I’m delighted to be able to oversee a reissue of this album, together with original demos and out-takes, and liner notes showing the making of this album which carries the initial DNA of Hexvessel’s musical and spiritual journey”, says band leader Mat McNerney, “We haven’t touched a thing on the original layout, but added some bonus material for the limited edition, should you wish to own a luxury edition of this, our now classic debut.”

Hexvessel band was founded by English singer/songwriter Mat McNerney (Beastmilk, Grave Pleasures, Carpenter Brut etc) after he moved to Finland in 2009. Their style of music has been referred to as “forest folk” or as Noisey/Vice puts it: “Weaving English folk, lilting Americana, and mushroom-induced psychedelia”. Their debut album 'Dawnbearer' was released worldwide in 2011 on Svart Records and is considered to be an influential classic record of the modern Occult Rock revival. Highly popular with Hexvessel fans and unique in their catalogue, featuring guitars by Andrew McIvor (Code), violin work of Daniel Pioro (who works on Paul Thomas Anderson’s soundtracks with Jonny Greenwood from Radiohead), the early production work of Jaime Gomez Arellano (Ghost, Paradise Lost), and guest vocals from Carl Michael Eide (Virus, Ved Buens Ende, Aura Noir).

“Think Woven Hand, haunted ’60s/’70s pastoral folk, or a darker riff on Midlake. McNerney covers Clive Palmer’s post-Incredible String Band crew C.O.B. and successfully transforms and darkens Paul Simon’s “Diamonds On The Soles Of Her Shoes.” He quotes Crowley, Truman Capote, Isaac Babel, etc. Unlike black metal-ready folk, this is folk by a talented, ambitious black metal musician. But the energy’s there. As is the atmosphere.” - Stereogum

“(Part of) a new wave of bands who share many of the original occult bands' musical and philosophical characteristics, spearheaded by Ghost, from Sweden, and the Devil's Blood, from Holland – have begun to lure in a new generation of fans, predominantly from the metal scene, their names alone – Ancient VVisdom, Hexvessel, Blood Ceremony– point to a focused step back to the age of Wheatley and Hammer. ” - The Guardian (2011)

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The Mary Wallopers

28,99 €*

Release: 2023 / UK – Original

Genre: Rock & Indie

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The Series Of Music For Young Adults: Iranian Folk Songs Blue Vinyl Edition

Pari Zangeneh

LP | 1976 | EU | Reissue (Pharaway Sounds)

28,99 €*

Eritrea's Guitar Pioneer, 1970-73

Release: 1976 / EU – Reissue

Genre: Rock & Indie

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Blue Vinyl Limited TO 318 Hand-numbered Copies

Travel back in time to the modern pre-Revolution Teheran and dig this wonderful, ear-catching album from 1976 by Iranian female singer Pari Zangeneh. Traditional Persian folk songs with a lovely, sweet psychedelic flavor with the use of beautiful strings, flutes, charming and tasty drumming, some organ and orchestration, percussions… imagine a Persian version of Mellow Candle or Vashti Bunyan and you’re there! Born in 1939 in Kermanshah (Iran), Pari Zangeneh is a Soprano singer that lost her sight after a car accident in 1972. Her work over the years on restoring traditional Persian music and regional folk songs is invaluable. In 1976 she recorded this very unique album commissioned by Kānoon (Institute for the Intellectual Development of Children and Young Adults), a social organization that produced many kinds of materials (books, films, records) for children in Iran. The arrangements were done by Varoujan (famous for his work with Googoosh, Dariush, etc…) *Sourced from the original masters *Hard cardboard sleeve + OBI

* Includes download card

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Tewolde Redda

Tape | 2022 | US | Original (Domino Sound)

12,99 €*

The Coincidentalist / Dust Bowl Golden Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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From Asmara, Eritrea (formerly Ethiopia) Tewolde Redda revolutionized the sounds of traditional Eritrean music by amplifying his kirar, playing his Eko electric guitar, and recording six singles in the first part of the 1970s. Including the first Eritrean songs to use a horn section, traditional songs reworked into his new sound, and originals influenced by radio broadcasts from the United States military base in Asmara, Kagnew Station, these ten songs originally released on the Philips, Amha, and Yared labels show off his talents with stringed instruments, a talented back up band, and often the hand clapped beat shifting into double time near the song’s end. Tewolde’s thick, deep voice sings songs of love over somber and joyous tunes. Comes in a tip-on sleeve with extensive liner notes, lyrical translations, and unpublished photos. A co-release with Mitmitta Musika of Addis Abeba, Ethiopia.

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Howe Gelb

2LP | 2022 | UK | Original (Fire)

LP | 2022 | EU | Original (Habibi Funk)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Ltd edition Double Gold Vinyl, Gatefold sleeve, DL card. Released on gold vinyl, ‘The Coincidentalist’ and ‘Dust Bowl’ are two discs of Howe Gelb filled with randomness and happenstance, a typical treasure trove spanning all genres from alt country to Cohen-esque grandeur. They traverse, unflinchingly, his chameleon-like repertoire. This deluxe re-issue includes ‘Dust Bowl’ on vinyl for the very first time, with the records housed in a gatefold sleeve featuring updated artwork and liner notes. ‘The Coincidentalist’, originally released in 2013, features a raft of friends and collaborators including Bonnie Prince Billy, Andrew Bird, M. Ward, Steve Shelley, and Jason Lytle of Grandaddy with John Parrish on mixing duties. Ever the focal point of Giant Sand and Gelb releases, the Arizona Desert serves as a key inspiration for the record, animating the barren landscape with stories of those that have navigated them. Praise for the release was not short, with AllMusic proclaiming that it’s “one of Gelb's most realized efforts; despite its relaxed, airy presentation, it's musically and lyrically provocative, as poetic, strange, and mysterious as the desert itself." The accompanying collection ‘Dust Bowl’ is a personal sketchbook of songs, a more stripped back set than it’s counterpart. Featuring everything from the country blues of ‘Porch Banjo’ and ‘John Deere’, to off-kilter piano ballads like ‘The Old Overrated’ and ‘Reality Or Not’ and the deconstructed desert pop on ‘Forever And A Day’ and the fragile ‘Man On A String’. ‘Dust Bowl’ is an insider’s view of Howe’s songwriting craft, a unique insight into the man himself. “‘Dust Bowl’ was primarily for fans that have followed me for a while. ‘The Coincidentalist’ is for the friends of the fans.” Howe told Under The Radar. While Nightlife magazine reported that; “Without warning, the Giant Sand frontman and polymorphous countryman dropped this compilation of house recordings via Bandcamp… At a time when so much harmless, soulless folk resonates, Howe Gelb is a mandatory point of reference for any fan of the genre.”

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Maha

Orkos

Jimmy Carter & The Dallas County Green

Release: 2022 / EU – Original

Genre: Rock & Indie

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Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

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Summer Brings The Sunshine Green Vinyl Edition

LP | 1977 | US | Reissue (Numero Group)

Look At It In The Light Black Vinyl Edition

Release: 1977 / US – Reissue

Genre: Rock & Indie

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Don't let the postcard-generic cover art fool you, Summer Brings The Sunshine stands head and shoulders above nearly any major label country rock album crowding mid-'70s record bins. Next to the hundreds or even thousands of slick productions flowing out of Nashville and Los Angeles, Jimmy Carter scoured his rural Missouri surroundings for farmhands and semi-pros alike to lay down eight farm-isolated originals in 1977. Tasty female backing vocals, languid pedal steel, and feisty guitar licks abound on this exalted and near-peerless slice of Cosmic American Music.

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Kate Bollinger

LP | 2022 | US | Original (Ghostly International)

19,99 €*

LP | 1985 | EU | Reissue (Morning Trip)

Release: 2022 / US – Original

Genre: Rock & Indie

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Carl Erdman

Bizzarrophytes

19,99 €*

Pape Nziengui Et Son Groupe

Release: 1985 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Carl Erdmann’s Bizzarrophytes was recorded in Roswell, New Mexico, during the final years of the 70’s. A desert-fried haze of buzzing sitar raga, shimmering guitar soli, and lonesome instrumental psych. Erdmann had been galvanized several years prior by witnessing an intimate performance by Ravi Shankar at Austin’s University of Texas. Erdmann spent the next several years with a sitar in the back of his pickup truck - teaching himself the instrument between stints working on an oil field as a geologist.

After settling in Roswell, Erdmann procured a Tascam 4-track reel to reel tape machine and began to experiment with recording. He played most of the instruments himself, and followed a fresh muse each day. One day his recordings would mine the same instrumental guitar territory as Leo Kottke and John Renbourn, like on Bizzarrophytes’ opening track, Majesty. The next day Erdmann might multi-track some bass and drums and end up landing in the same hazy psych-folk territory as Relatively Clean Rivers, as evidenced on album standouts Turritella Flats, and Portugal. And then, perhaps his Ravi Shankar influence would shine through, and he’d deliver a stirring sitar raga like Dhun. Erdmann explored all of these sounds without ever considering releasing them into the world. He was simply experimenting with his equipment and his instruments, and flexing his muscles with whatever kind of inspiration happened to strike. It wasn’t until 1980 that a friend convinced Carl to assemble some of these recordings into an album and self-release it.

Bizarrophytes was released in a miniscule private press run, financed and distributed by Erdmann himself. Most copies didn’t make it out of the southwest. And it has remained woefully hard to find until now. The disparate sounds of Erdmann’s experimentation hang together as a beautifully cohesive tapestry of home-brewed psychedelic folk. A menagerie of eclectic instrumental experimentation, baked in the desert sun, and captured to tape. Morning Trip Records is proud to present Bizzarrophytes.

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Kadi Yombo

Tape | 2022 | US | Original (Awesome Tapes From Africa)

12,99 €*

Que Pasa / Georgia On My Mind Red Vinyl Edition

Release: 2022 / US – Original

Genre: Organic Grooves, Rock & Indie

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Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it's Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo's capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists. On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui-not only the musician, but the man-someone whose age hasn't altered any of his freshness or authenticity.

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John 5 & The Creatures

7" | 2022 | US | Original (Big Machine)

10,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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Bill Callahan & Bonnie Prince Billy

Blind Date Party

2LP | 2021 | US | Original (Drag City)

42,99 €*

LP | 2022 | US | Original (Sahel Sounds)

Release: 2021 / US – Original

Genre: Rock & Indie

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The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy and featuring Azita, Matt Sweeney, Alasdair Roberts, Matt Kinsey, Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo, Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and Sir Richard Bishop happened online in the fall and winter of ’20–’21 — but the party planning dated back to the spring of 2020. Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and Drag City needed an outreach program to keep themselves busy, not to mention sane. In the absence of any company or anything on the calendar, playing songs they loved was an idea; playing with people they loved, the desire. And making it fun — so pairing someone with someone else having no say in the matter, the essence of the blind date, was the plan. Favorite songs were chose; players from around the Drag City galaxy were messaged. Pretty soon, songs were flying back and forth — music in the air! And thus, they were entertained throughout the summer of 2020, when so much else in the world seemed so completely wrong. By the fall, the songs started to appear online: Bill and Bonnie singing a song by someone they loved and admired; each song cut by another another artist they loved and admired, then sent to Bill and Bonny to provide the finishing touches. The spotlight pointed in every direction each week: toward the singers and writers who’d originally played the songs (Yusuf Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish, Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt, Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard Cohen, David Berman, Iggy Pop and John Prine), toward their featured collaborators, the artists whose artwork adorned each digital single and videos made by still more collaborators. And you, the listener. Like the best parties, it turned out to be everything and more than they’d even hoped for. So many more people were involved in the process that we can get on the page here. Suffice to say, making records over the years has required a broad sense of community and an always-surprising mix of independence and unity, inspiration and utility. Some of our best memories are those where as many of our folks as possible were together in one place at one time. In those moments, it was just a great thing just to be there. And with others looking in . . . this was a joy one could only be infinitely lucky to feel and to take for granted, as well. The Blind Date Party was one of these, maybe the most improbable one yet. It’s for everyone who’s here and it’s in the name of everyone who’s gone but will never go and will always live with us here. This album will too. And thus, we are entertained.

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Etran De L'Air

Agadez

LP | 2021 | EU | Original (Türküola)

Release: 2022 / US – Original

Genre: Rock & Indie

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Etran de L'Aïr (or "stars of the Aïr region") welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, Agadez celebrates the sounds of all the dynamism of a hometown wedding. Etran is a family band composed of brothers and cousins, all born and raised in the small neighborhood of Abalane, just in the shadow of the grand mosque. Sons of nomadic families that settled here in the 1970s fleeing the droughts, they all grew up in Agadez. The band was formed in 1995 when current band leader Moussa "Abindi" Ibra was only 9 years old. "We only had one acoustic guitar," he explains, "and for percussion, we hit a calabash with a sandal." Over the decades, the band painstakingly pieced together gear to form their band and built an audience by playing everywhere, for everyone. "It was difficult. We would walk to gigs by foot, lugging all our equipment, carrying a small PA and guitars on our backs, 25 kilometers into the bush, to play for free_ there's nowhere in Agadez we haven't played." Whereas other Tuareg guitarists look to Western rock, Etran de L'Aïr play in a pan-African style that is emblematic of their hometown, citing a myriad of cultural influences, from Northern Malian blues, Hausa bar bands, to Congolese Soukous. It's perhaps this quality that makes them so beloved in Agadez. "We play for the Tuareg, the Toubou, the Zarma, the Hausa," Abindi explains. "When you invite us, we come and play." Their music is rooted in celebration, and invokes the exuberance of an Agadez wedding, with an overwhelming abundance of guitars, as simultaneous solos playfully pass over one another with a restrained precision, forceful yet never overindulgent.

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Edip Akbayram

Nedir Ne Degildir

LP | 1968 | EU | Reissue (Bonfire)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Edip Akbayram & Dostlar-Nedir Ne Değildir? –Türküola This masterpiece is the debut album of Edip Akbayram & Dostlar. The Sayan LP is chronologically the first LP, but it is a more singles compilation. In this context, “Nedir Ne Değildir” is the debut album as it has its own repertoire and has a homogenous LP sound. The music represents the golden psychedelic folk era of Dostlar formed of Galip Kayıhan (guitar and synthesizer), Mithat Danışan (Panço) (bass), Ayzer Danga (drums) and Cudi Koyuncu (2 decked electric saz and other Turkish instruments). Some other companies reissued it, but in this reissue, you will hear the high fidelity sound from the original master tapes remastered with the glamourous efforts of Hamit Akbay and Cüneyt Yalçın Naçar. The front and back covers are also in line with the original cover design. Put your stylus on your vinyl and Enjoy the quality of Türküola.

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Siren

LP | 2021 | EU | Original (Akuphone)

Release: 1968 / EU – Reissue

Genre: Rock & Indie

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Siren was the debut album by Kevin Coyne with Siren, the band he founded with former Bonzo Dog Band bassist Dave Clague and pianist/guitarist Nick Cudworth. The album was originally issued on John Peel’s Dandelion label in 1969. An artist who would later inspire John Lydon, Sting, Ben Watt and Will Oldham and would collaborate with Robert Wyatt, Andy Summers, Dagmar Krause, Brendan Croker, Gary Lucas and The Mekons’ Jon Langford, Kevin Coyne deserves a royal place between the likes of Syd Barrett, Peter Hammill and Daevid Allen. Standing on the verge of british blues, folk and rawk’n’roll Siren could have been easily labeled as the british answer to Canned Heat, but there’s even more. ‘And I Wonder’ is clearly an anticipation of what would happen next, with the solo career of Coyne, more focused on acid folk songwriting. “Most of the album is good time rock-on-out-music a la the Flamin’ Groovies… one of those (albums) you keep coming back to when the night gets cold and the wine is almost out. I play it a lot, and that’s the nicest thing I can say about an album.” Ed Ward – Rolling Stone “Siren just came as a breath of fresh air really, in the same way that like a generation later The Ramones did. When you just thought ‘Thank God for that!’ You hadn’t realised how bored you’d become…” John Peel.

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Mikado Koko

Maza Gusu

22,99 €*

LP | 1979 | EU | Reissue (Sundazed)

Release: 2021 / EU – Original

Genre: Rock & Indie

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On Maza Gusu, Mikado Koko transforms into Mother Goose, hissing Perrault's fairy tales from her native tongue in your ears. Her unsettling, regressive voice is backed up by a subtle and chilling electronic soundscape sprinkled with traditional Japanese instruments, creating a realm of sound that feels both weirdly familiar and deeply unknown. Mother Koko hurls you deep down the rabbit hole, back to your darkest childhood anguishes, before gently leading you by the hand to a joyful catharsis. As you slowly get used to its disturbing familiarity, Koko’s music feels like waking up in the pale morning light, shaky but relieved after a feverish dream.

In summer 2017 Mikado Koko started her solo career as a club music producer with the elements of Japanese traditional music. After many releases, remixes and compilations such as Seitō: In the Beginning, Woman Was the Sun (aku1016), she now focuses on avant-garde poetry reading related to feminism and gender equality.

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Annette Peacock

Perfect Release

Release: 1979 / EU – Reissue

Genre: Rock & Indie

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LP | 2021 | EU | Original (Habibi Funk)

Roger Fakhr

Fine Anyway

LP | 2017 | US | Reissue (Mississippi)

Release: 2021 / EU – Original

Genre: Rock & Indie

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"Beautiful melange of folk, jazz and sound from Lebanon. Recorded in late 1970s Beirut by Rogér Fakhr who at the time also played guitar for Ziad Rahbani and Fairouz.“

Rogér Fakhr is a musician from Lebanon. He recorded these songs in the late 1970s in Beirut (and some during a brief exile in Paris). Some were circulated on hand copied cassettes among friends, others like "Had To Come Back Wet" were never released. His music effortlessly combines folk with touches of jazz and soul. He wrote, composed and arranged all songs. While working on his own music he also played for Ziad Rahbani, Fairouz and other musicians.

When we first heard Roger's music we were blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as “singer-songwriter”, since all of the songs were Roger’s own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could’ve been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Roger to work on a re-release, which he politely declined, saying he had no interest in this music being reissued.

The vinyl version comes with a 8 page booklet and a DL code.

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George Mukabi

Furaha Wenye Gita

7" | 2016 | EU (Akuphone)

Release: 2017 / US – Reissue

Genre: Rock & Indie

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Back IN Print!!! An almost mythical giant of African guitar, whose reinvention of acoustic fingerstyle quickly spread from western Kenya throughout East Africa, before his tragic death in 1963. Spellbinding guitar lines, sweet harmony vocals, every melody an instant classic, and a life story steeped in legend. Co-released by Raw Music International and Olvido Records. 12-song LP comes packaged in a deluxe spot-color jacket, with a 12-page full color booklet featuring an oral history by George MUKABI's family and peers, and lyrics in English and Swahili.

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Mol Kamach & Bck

Je Te Quitterai

12,99 €*

Three Queens In Mourning (Alasdair Roberts/Jill O'sullivan/Alex Neilson) / Bonnie 'Prince' Billy

Release: 2016 / EU

Genre: Rock & Indie

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1st guitar band in Cambodia

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Hello Sorrow / Hello Joy

2LP | 2020 | EU | Original (Textile)

31,99 €*

LP | 2020 | EU | Original (Innovative Leisure)

Release: 2020 / EU – Original

Genre: Rock & Indie

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"Three Queens in Mourning first gathered in summit to sing celebration of the publication of Will Oldham’s book of collected lyrics, Songs of Love and Horror. Alasdair Roberts (Appendix Out) , Jill O’ Sullivan (Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex) each arrived provisioned with a small armful of selections nearest and dearest from Bonnie Prince Oldham’s far-reaching catalogue. On this back to back records, The Bonnie ‘Prince’ Billy LP is a collection of three cover versions from Ali, Jill and Alex directory and one original track." (label info)

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Hanni El Khatib

Flight

LP | 2018 | EU | Original (Discrepant)

Release: 2020 / EU – Original

Genre: Rock & Indie

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In the life of any interesting artist, there is the perpetual war between the
simplicity of public perception and the complexities of reality. Consider Hanni
El Khatib, a definitive purveyor of visceral, blues-wracked, punk-spiked,
soul-warped, knife fight rock n’ roll over the last decade. You may be familiar
with him through any one of his four acclaimed solo albums on Innovative
Leisure, his work with Dan Auerbach of the Black Keys, or as one of the rare
polymaths able to artfully blend serrated guitars and hardcore rap on collaborations with GZA and Freddie Gibbs. And while these are all real things that
could accurately yield a sketch of the multi-dimensional Los Angeles-based
artist, they amount to little more than a black and white pencil sketch.
From 2010 until 2017, there was the usual cycle that consumes most working
21st musicians: make an album, and tour it for the next 18 months. Return
home, rinse and repeat. And with it came the predictable pitfalls that ensnare
too many artists whose professional obligations require high-octane performances before 1,000 or more strangers every night. It is a dream until that
one night when it isn’t any longer, and despite his gratitude for his fans and
station in life, El Khatib found himself wracked by depression and anxiety.
What had once been joyous creative outlet felt like a job. In the wake of the
release of 2017’s Savage Times, it became readily apparent that if El Khatib
didn’t make drastic changes to his lifestyle, there might not be a life to speak
of. So he quit drinking, stopped touring, and took an indefinite hiatus from the
studio. But eventually, the desire to create songs slowly returned.
What would eventually become El Khatib’s fifth studio album, the virtuosic
but characteristically raw FLIGHT began as spontaneous experimentation.
Over the last several years, El Khatib had become close friends with Leon
Michels, best known as the mastermind of the soul controllers, the El Michels
Affair, but who has also quietly racked up producer credits for the likes of pop
juggernauts like Lana Del Rey, Rick Ross, Travis Scott, A$AP Rocky, and
Eminem -- as well as frequently working in sessions with Grammy-winning
super-producer Mark Ronson. The finished result is a rollicking sampledelic
opus that recalls the beautiful chaos that the Dust Brothers created on Paul’s
Boutique and Odelay. It’s the type of thing that Dilla and Madlib would’ve
created if they had come up on The Cramps.
The irony, of course, is that for a record that sounds like little else El Khatib
has ever done, it’s the most complete embodiment of who he is as an artist.
It’s a record both dense and intricate yet direct and spontaneous. It is garage
rock, it is hip-hop, it is soul, it is blues, it is psychedelic, but more than
anything, it’s a brilliant Hanni El Khatib record -- one that taps into the adolescent spirit of creation that first stirred him to make songs in the first place.
Here he is on his fifth album, back for the first time.

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Koray Kantarcioglu

Loopworks

20,99 €*

Release: 2018 / EU – Original

Genre: Rock & Indie

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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.

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Saigon Supersound Volume 2

LP | 2018 | EU | Original (Saigon Supersound)

LP | 1977 | EU | Reissue (Mental Experience)

Release: 2018 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Saigon Supersound Continues… to present more interesting tunes of a musical era that has long been obscured. With the well-received Volume 1, we are very delighted to dig deeper and share with you the beautiful music of a short but significant period in Vietnam‘s history.
Much like the country itself, the music of Vietnam has endured many twists. As the result of the Geneva Accords in 1954, Vietnam was divided into two. From the North, the Nationalist forces fought to reunite Vietnam as a Communist State, while the American troops backed the government of the South. This caused a mass migration of Northerners to the South, which includes many Tân Nhạc (Modern Music) singers and songwriters. Often characterized by its emotive, poetic and prolific personality, Tân Nhạc continued to freely develop in the South and progressively vacating from the influences of its main inspiration, French music. In the North, the Resistance music, or the so-called Nhạc Đỏ (Red Music), which promoted socialism, patriotism and anti-capitalism was the only genre allowed on national radio. Tân Nhạc was something new to the South Vietnamese repertoire. Between 1954–1960, the theme of hometown (quê hương) was a main inspiration for many songwriters such as Hoàng Thi Thơ, Lam Phương and Nguyễn Hữu Thiết. The 9th title of the compilation, “Thôn Trăng Mở Hội Trăng Tròn” showcases a variety of images that were often described in this genre: the harvest moon, playful children, old mother…
Every recording made in this era is then an organic combination of human experiences, communications and uniqueness. In 1965, the first American troop landed in Vietnam, bringing with them the musical influences of the Beatles, Bob Dylan, Jimi Hendrix, Elvis Presley… The Vietnamese people quickly integrated it into the repertoire with hope to further diversify the music of Vietnam. Constantly changing and learning from different cultures, the modern music of Vietnam cuts a window into the soul of a Vietnamese person and the country’s history as a whole. With that, we hope that Saigon Supersound Volume 2 would take you on a trip back to the unique atmosphere of Saigon through the many different palettes of music that this beautiful place offers.

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Wild Havana

Hundred Acres Black Vinyl Edition

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.
Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the “Wild Havana” album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.
Buried for many years, we’re excited to bring to life this unique album.

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S. Carey of Bon Iver

LP | 2018 | US | Original (Jagjaguwar)

Release: 2018 / US – Original

Genre: Rock & Indie

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Niandra LaDes And Usually Just A T-Shirt

John Frusciante

2LP | 2017 | US | Original (Superior Viaduct)

38,99 €*

Willie Nelson And Family Vinyl Me, Please Edition

Release: 2017 / US – Original

Genre: Rock & Indie

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Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions.

Originally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque.

Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody.

The album’s second part—thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”—contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly.

On the front cover, Frusciante appears in 1920s drag—a nod to Marcel Duchamp’s alter-ego Rrose Sélavy—which comes from Toni Oswald’s film Desert in the Shape.

This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with old style tip-on gatefold jacket and printed inner sleeves.

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Willie Nelson

LP | 2024 | US | Original (Vinyl Me, Please)

Back To The Country Vinyl Me, Please Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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Why you'll love it...
Sound-wise, 1971’s Willie Nelson & Family is no different than the 11 studio albums that precede it: They are awash in the Countrypolitan sound, with strings, horns and backing singers. But the version of ‘’Sunday Mornin,'' complete with its guitar solo — one of the first on Nelson’s legendary Trigger guitar — feels like the first act of defiance and a statement of intent. ‘’If Kris Kristofferson can do this, I can do it too,'' Nelson seemed to be saying. Within 18 months, he’d be in New York making Shotgun Willie, free to follow his muse wherever he went, cementing Kristofferson’s outlaw country jumpoff point. And that’s why Willie Nelson & Family is such an interesting artifact: It’s the last album Willie made in his ‘’Before'' timeline; it’s the point where he started putting it all together and asserting his creative ideas in tangible ways.

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Loretta Lynn

LP | 1975 | US | Reissue (Vinyl Me, Please)

Lonely Weekends Vinyl Me, Please Edition

Release: 1975 / US – Reissue

Genre: Rock & Indie

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Why you'll love it...
‘’Loretta Lynn had started working on her 25th studio LP, Back to the Country, in 1972. Its eventual opening track, ‘’The Pill,'' was a song about the birth control pill and the freedoms it could give a woman from — but not limited to — a philandering husband. At first, it was put in Lynn’s back pocket after a recording session when the label deemed it too controversial to release. The label was right, of course. It was controversial. But they were wrong about the consequences of releasing a song so polarizing. Though radio stations across the country banned ‘’The Pill,'' that only made it more alluring to fans who helped boost its sales, making it one of her biggest sellers of all time. Lynn may not have been close to being one of the “outlaw” musicians of the late ’60s — not decked in leather nor caught smoking weed with Willie Nelson — but you could easily argue she was among the most outlaw of them all.''

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Charlie Rich

LP | 1969 | US | Reissue (Vinyl Me, Please)

2LP | 2024 | US | Original (Sme Nashville)

Release: 1969 / US – Reissue

Genre: Rock & Indie

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Why you'll love it...
After recording demos with Sam Phillips that he considered "too jazzy" Charlie Rich was given a stack of Jerry Lee Lewis records to study and "come back when [he got] that bad". The single "Lonely Weekends" hit Top 30 and earned a gold record for selling one million copies. The album features classics such as "C.C. Rider," "You're Gonna Be Waiting" and "Apple Blossom Time."

Limited to 1000 copies, the VMP exclusive edition of Charlie Rich's Lonely Weekends is pressed on Sky Blue vinyl at Softwax Record Pressing. The AAA 1LP will arrive in a single, direct-to-board jacket.

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Morgan Wade

Obsessed

41,99 €*

Wirlmarni Black Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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Morgan Wade - Obsessed - Country Vinyl LPMorgan Wade was feeling the urge to simplify after a period of relentless touring and intense media scrutiny during the last couple of years. Every time she sat down with her guitar, new songs just started pouring out. “They were just coming to me left and right,” Wade says. The Virginia-born singer-songwriter made a choice to return to the basics for her new album Obsessed, a solo-written, stripped-down 14-track collection produced by her touring guitarist Clint Wells that showcases Wade at her rawest and most vulnerable. “I really wanted to get back to doing what I used to do,” she says. “Just make this whatever I wanted it to be.”Wade’s third album and follow-up to 2023’s Psychopath, Obsessed puts the focus on Wade’s storytelling abilities and singular voice. She writes with incredible force about the ache for home and the emotion of being reunited with loved ones, of feeling dangerously preoccupied with someone, and of being in situations that society might consider outside the norm. On Obsessed, Wade also does a thorough examination and inventory of her journey as a person, not sparing any ugly details when she’s been the one at fault. It’s a fearless look into the life of one of country music’s most exciting talents, arriving right as she’s hitting her stride.

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Kankawa Nagarra

LP | 2024 | US | Original (Mississippi)

LP | 1972 | JP | Original (MAM)

Release: 2024 / US – Original

Genre: Rock & Indie

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Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta.These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist.Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit.These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entiremusical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself.We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

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Gilbert O'Sullivan

Back To Front

4,99 €*

Release: 1972 / JP – Original

Genre: Rock & Indie, Pop

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Used Vinyl

Medium: VG, Cover: VG

LP | 2024 | JP | Original (Provincia)

Inushiki

Doubutsu Sengen

39,99 €*

LP | 2024 | EU | Original (Sublime Frequencies)

Release: 2024 / JP – Original

Genre: Rock & Indie

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Inushiki is back after 13 years absence. The album reflects Yohei Miyake's lifestyle change, which includes a return to nature. It includes the ambient rock anthem “Yama Uta” and the poetry reading style “Kikainokarada.”

In 2017, the group resumed its activities after a nine-year hiatus. In 2022, Inushiki droped its first album in 13 years, “Doubutsu Sengen”. In this era of many disasters, the winds surrounding the music industry are blowing more harshly, but the way of life as a “musician” is being questioned and refined. And then, they will return to the way of life as a “human being. The way of music is also broadening its base. What will Inushiki bring to this age that has already passed the end of the century? The journey from Revolution to Evolution begins.

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The Handover

Opens The Seven Gates Of Transcendental Consciousness Colored Vinyl Edition

Release: 2024 / EU – Original

Genre: Organic Grooves, Rock & Indie

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In The Handover, Aly Eissa, Ayman Asfour and Jonas Cambien explore the common and uncommon senses of Egypt's ritual music. It is clear that Aly Eissa's original composition is deeply rooted in Egyptian and Arabic traditions. At the same time, this band is one of the most progressive coming out of Egypt today. This is in big part thanks to Eissa, who has proven time and again to be not only an extremely skillful composer, but also a real visionary, combining tradition with modern experimentation.

A performance by The Handover is typically one stretch without break: a long build-up that lasts for the duration of the concert. Towards the end of the performance, all the tension is released in an exuberant, joyful climax, when wild improvisations are driven forward on top of exciting dance-rhythms from rural Egypt. The Handover elegantly combines the delicacy of classical Arabic music, the raw expressiveness of Egypt's countryside music, and the spontaneity of free improvisation, carefully obliterating the artificial separation between acoustic and electronic instruments. Despite the remarkable absence of any percussion or drums, The Handover is an extremely groovy band, with an ability to slow down and accelerate the tempo in almost telepathic synchronization at exactly the right moments.

Alongside the tight ensemble playing there is plenty of room for individual expression as the oud, synthesizer and violin take turns playing solos on top of repetitive riffs. Throughout the album, native Alexandrian Ayman Asfour plays the violin with breathtaking beauty, while not being afraid to make the violin buzz, squeak and rattle at times. Belgian/Norwegian keyboardist Jonas Cambien makes the synthesizer a melodic instrument in its own right, at times evoking almost classical Maqam, while in other moments it seems like he comes straight out of an Egyptian wedding. The oud forms the backbone in the composition's structure, as Aly Eissa's solos guide the listener from minimalist, meditative drones, to a compelling climax, and back to earth.

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Master Wilburn Burchette

LP | 1972 | US | Reissue (Numero Group)

32,99 €*

LP | 2024 | EU | Original (Via Parigi)

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Opaque Red Vinyl.California mail-order mystic MasterWilburn Burchette was first known fromhis ads, hidden in the back pages of FateMagazine, Beyond Reality, and GnosticaNews. On his 1972 sophomore album,Burchette channels dreamy early music,druid folk, electric fingerstyle, psychedelicballadry, and new age ontology to createa visionary guitar technique all his own.This faithful reproduction includes theoriginal 12-page full color instructionbook for the secret method of piercing thepsychic heart.

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Évohé Bègue

Bégayer

Release: 2024 / EU – Original

Genre: Organic Grooves, Rock & Indie

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The "evohé" is the song of the Bacchants during the carnival. It is a bloody and humorous song that humiliates everything. In Euripides' work, the evohé is screamed when the city of Thebes is torn apart by fever and masquerade. Everyone laughs and sings, the maenads set the city on fire, masks pierce and disfigure the inhabitants, and Agave eats the head of King Pentheus, her son.

One cannot explain what this song is; one would need to describe the flip side of the sung, its extremity. Perhaps one cannot even hear it... most likely, the song has already affected us before crossing the threshold of our lucidity. It wells up... It glides over memory; one cannot know its melody, there are no lyrics, no notation, no tradition, no learning... no university of the sung abyss can be established. The orgy of matter is sovereign and incommunicable; the song it gives birth to is always alien, foolish, and lost; it is a sung panic. -Pan's panic, offering a pack of blind dogs to Artemis and suggesting, in passing, to send them hunting in her debauchery. The dogs of naked nature run like mad at an impossible speed, devouring every creature they scent in the wind, consuming all flesh within their reach. One can imagine that the pack reappears invariably in too assertive human affairs, facing certainties against which its wildness imposes itself more violently than against anything else. For example: when we are a bit pleased with ourselves, sensing the impression of having composed, of having imposed our order on the order of matter... immediately, it seems we can hear them barking in the distance. We freeze, we listen, we would prefer to believe it's hallucinations. But no. It is indeed the order of matter returning to express itself with the dogs. Order pours over us, the carnival imposes itself, and while the dogs eat our heads, they offer to admit that the foundation of our order was all soft, all foolish and spongy, all decomposed, that the decomposed order from below, the sincerity of matter, had never ceased to be orgiastic. When the dogs devour us, it's because Pan has brought back the mud. He has ladled a large serving of material broth back onto us; he has made all things copulate again. One imagines a song that is not at all solemn but belongs to a kind of cold and sacred-less mystique; it is the grip of the sovereign jester. An apparently disorderly and boldly stammering song that sees itself overturned and enjoys it...

French Chanson, Noise, echoes of music from faraway and long ago, modified radio transistors and other old electronic gear… After releasing several sets of raw, almost entirely improvised direct-to-tape recordings duplicated by hand in a workshop on the border of the Bauges mountain chain, the Bégayer Trio made new friends. Orphans without a home, they were welcomed like brothers by the Parisian label Le Saule, spotted by the chic Geneva-based Bongo Joe Records, and thus were able to devote a year to the making of their debut album, “Terrain à mire. Une maison rétive. Contrainte par le toit.”

Co-produced by the two families mentioned above, the album was a first beam in the musical structure laid by this trio of Alpine fellows: what they sought was the most exact form of mutt-itude, a nomadic journey through intentionally scrambled ancient musical signs by way of French, Italian and Arabic song, gleefully following René Char’s aphorism, later borrowed and translated by Hannah Arendt as “Our inheritance was left to us by no testament.”

Bégayer’s mission– in the name of those without tradition, the rejects of a culture of scarcity born in the twilight of popular customs amidst the screams of Noise on village squares and in the flow of digital swarms– is to create a hitherto unknown genre of hybrid gypsy rhapsody. The culture of scarcity can be experiences as a kind of cruel joy, an occasion to bridge the unsteady interpretation of ancient practices with contemporary experiments and build upon singular variations and excess. Up to now, every stutter-song intended to produce a joyful though disquieting object whose obstinacy and cruel simplicity triggered a disturbance, a distancing, a studied thing that stares right back at us.

Now the trio has become a quintet working towards a new kind of concert : with no beginning and no end, in which concert-time and quotidian time merge in order to deliberately drain of any autonomy the temporality of performance. Through the vocals, the homemade percussion and numerous strange instruments, two immutable musical activities will be celebrated and brought to bear on each other: the song of the people, whose cry of hunger and togetherness breaks through the barrier between art and life – and the art of performance explored as communal effort to describe our times.

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Forever Gamblin' On You HHV Exclusive Orange Vinyl Edition

LP | 2024 | EU | Original (Forager)

Release: 2024 / EU – Original

Genre: Organic Grooves, Rock & Indie

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HHV Exclusive edition on orange wax, limited to 200 copies worldwide.

A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.

Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk cut “Girl Of My Dreams”.

Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.

Original artwork by Arina Kokoreva. House in a case wrapped style jacket for a period correct look & feel. Includes a 12”x24” fold out poster insert.

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2LP | 2024 | EU | Original (Efficient Space)

Someone Like Me

10" | 2024 | US | Original (Nublu)

Release: 2024 / EU – Original

Genre: Rock & Indie

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A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

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Ayyuka

Zaman Ziyan

20,99 €*

2LP | 2012 | EU | Reissue (Mercury)

Release: 2024 / US – Original

Genre: Rock & Indie

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Active since 2001, Ayyuka was one of the first bands to look back at 70’s Turkish music to find a new voice. Not caught up in the Retromania but reincarnating Turkish Psychedelic within their own style, the band managed to develop an unmistakeable unique sound. Inspirations of Dick Dale, John Frusciante, and local heroes like Erkin Koray, Orhan Gencebay, make their music more guitar oriented but their fascination with film music and improvisation creates unexpected twists within their songs. Right after their eponymous debut in 2007, the band shared stage with Sonic Youth and Jonathan Richman. Heading to a completely instrumental music, their 3rd studio recording “Sömester” had already become a cult album for record collectors. They’ve collaborated with Orlando Julius, Ilhan Ersahin and had guests on almost every album. Their latest full length “Maslak Halayı” was a creative collaboration with Calibro35 genius Tommaso Colliva. The worldwide hype of "Yukadans” will now be followed by their upcoming EP "Zaman Ziyan”, showcasing four brand new instrumental tracks that will transport listeners through a kaleidoscope of musical landscapes, experimenting with techniques of music writing and flirting with genres like afro-beat, funk, dub or arabesque. Save the date for their very first performance of these, live at babylon, as a part of Akbank Jazz Festival.

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Jake Bugg

Release: 2012 / EU – Reissue

Genre: Rock & Indie

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It's So Hard To Tell Who's Going To Love You The Best

Karen Dalton

LP | 1969 | EU | Reissue (Light In The Attic)

41,99 €*

7" | 2024 | EU | Original (Majazz Project / Discostan)

Release: 1969 / EU – Reissue

Genre: Rock & Indie

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Features new all-analog mastering by Kevin Gray at Cohearent Audio, direct from the original analog tapes - Pressed at RTI - Includes liner notes by Brian Barr - Featuring unseen photos by legendary photographer Joel Brodsky - LP housed in an expanded gatefold jacket

Description: “My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday’s and played the guitar like Jimmy Reed.” – Bob Dylan

Karen Dalton's 1969 Capitol debut is finally back in print! Light in the Attic is thrilled to present a brand new edition of this heart-wrenching & bluesy introduction to the intoxicating world of Dalton and her deep well of musical secrets.

World-weary and filled with the blues, Dalton’s unsurpassed interpretive depth and emotional range were like no other. Recorded for Capitol in 1969, It’s So Hard To Tell Who's Going To Love You The Best spans generations of classic American songwriting–covering classics by Lead Belly, Fred Neil, and Tim Hardin. While no longer with us in the physical, Karen’s growing musical presence is stronger than ever and worthy of re-examination by both the converted and the uninitiated alike. This new re-release serves as the definitive, all-analog version of Dalton’s stunning debut, featuring remastered audio from the original Capitol masters, the original 1969 artwork in an expanded gatefold jacket, unseen photos by album photographer Joel Brodsky, and an essay interviewing Karen’s friends and music collaborators, from album producer and bassist Harvey Brooks to musician Peter Stampfel of the Holy Modal Rounders.

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Zeinab Shaath

Urgent Call Of Palestine

17,99 €*

Little Pink Mack Pink Vinyl Edition

Release: 2024 / EU – Original

Genre: Rock & Indie

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A Restored Piece of Palestinian Sonic History

More than 50 years ago, teenager Zeinab Shaath recorded a set of revolutionary folk music — the first English-language songs to lift up the Palestinian cause to the wider world. Inspired by Vietnam-era protest music from Bob Dylan and Joan Baez, “The Urgent Call of Palestine'' record was intended to share the stories and messages of Palestinian resistance to an international audience.

The first song Shaath composed in her parents home was the titular “Urgent Call of Palestine,” with lyrics from the Indian poet Lalita Panjabi. At just 16 years old, she began playing folk music on a guitar that her sister brought back from studies in the U.S. As young people across the West took to the streets to protest the American imperialist war, Shaath saw parallels in the fight for Palestinian liberation and set out to celebrate that struggle in her musical poetry.

Shaath’s stirring performances of “The Urgent Call of Palestine” song galvanized leading Palestinian artists, intellectuals and youth. In 1973, Shaath was immortalized in a starry film shot by exiled Palestinian artist Ismail Shammout in the mountains of Lebanon.

Shaath recorded three other songs that drew on the poetry of luminaries such as Mahmoud Darwish, Mueen Biseso and Abd El-Wahab Bayati. The resulting 7-inch album was designed to reach the global stage at a time when artists, writers and musicians across the Arab world created art highlighting the Palestinian struggle. Armed with a guitar and her dulcet voice, Shaath went on to perform across three continents, carrying her hopeful message to young people across the world.

Record labels Discostan and the Majazz Project are honored to reissue a lovingly remastered version of “The Urgent Call of Palestine,” bringing Shaath's songs of protest and solidarity to the ears of a new generation. Shaath’s place in a global history of anti-colonial protest music has until recently been overlooked.

As the world again turns to the liberation of the Palestinian people, we invite you to listen to an far-reaching voice for the humanity of a people long oppressed, until the Palestinian flag flies in Jerusalem again.

---

The album is licensed from artist Zeinab Shaath. Any profits from the sale of the record will be donated to the continuing efforts of Majazz to create an archive of Palestinian music as well as relief efforts for the Palestinian people.

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Kay Adams

LP | 2024 | US | Original (Sundazed)

23,24 €* 30,99 € -25%

2LP | 2019 | US | Reissue (Thin Wrist)

Release: 2024 / US – Original

Genre: Rock & Indie

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Highway Heroine Bakersfield Twang backed by the Buckaroos! Got your ears on? This album collects Kay Adams’ live studio cuts from the Buck Owens Ranch Show. Along with Tammy, Patsy and Loretta, Kay was one of country’s first female artists who elevated women in the genre. Gritty and country-to-the-bone, let this one spin & cut a rug! Pressed on pink vinyl!

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75 Dollar Bill

I Was Real

51,99 €*

The Night Dwells In The Day

Release: 2019 / US – Reissue

Genre: Rock & Indie

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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.

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Jozef Van Wissem

LP | 2024 | EU | Original (Incunabulum)

LP | 2023 | EU | Original (Matjéasso)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Today Dutch lute player and composer Jozef Van Wissem announces details of his forthcoming album ‘The Night Dwells in the Day’, set for release on January 19th.

“It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.”

The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince.

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Matje

Sur Mon Dos

Keep Walkin': Singles, Demos & Rarities 1965-1978 8-Track Cartridge

Release: 2023 / EU – Original

Genre: Rock & Indie

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In this new album, Matjé delivers stories sung or rapped in French on tropical music. His light and poetic words but heavy with meaning mingle, among others, with Colombian Cumbia, Brazilian Forro, African Soukous, Reunion Maloya, Malagasy Salegy...Although drawing on traditional music, this new opus is anchored in modernity and we sometimes feel Hip hop influences in the flow or production of certain titles.His solar and catchy music exudes a positive energy inviting to dance while the careful and poetic writing leads to take a step back and reflect.

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Nancy Sinatra

8Track | 2023 | US | Original (Light In The Attic)

34,09 €* 61,99 € -45%

Keep Walkin': Singles, Demos & Rarities 1965-1978 Blue Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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8-Track available on Pink, Yellow, Blue or White (Randomly selected). Due to limited capacity the full track-list is not included on the 8-Track Definitive collection of Nancy's rare singles, demos and previously unreleased cuts. Includes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut. Deep booklet includes new Q&As with Nancy & Don Randi (The Wrecking Crew) - both conducted by Grammy®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive. Features audio freshly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin. Vinyl pressed at RTI. Double LP housed in a gatefold jacket with 24-page book Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon *Nancy Sinatra* with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the *Grammy®-nominated engineer John Baldwin* and available in a variety of formats, including vinyl, CD, 8-track, and digital. The 2LP set, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s Grammy®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases. In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships. Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,”* and *“Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.” While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.” Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.” Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi. Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker. The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.” Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine," released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.” Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!” Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed *Wrecking Crew* collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection. Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. *“She was easy to work with,”* he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.” He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},”* he reveals. “I thought her shows were just as well with everybody else; they were excellent.” After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the Grammy® Hall of Fame*. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

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Nancy Sinatra

2LP | 2023 | US | Original (Light In The Attic)

57,99 €*

Attarazat Addahabia & Faradjallah

Release: 2023 / US – Original

Genre: Rock & Indie

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Definitive collection of Nancy's rare singles, demos and previously unreleased cuts. Includes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut. Deep booklet includes new Q&As with Nancy & Don Randi (The Wrecking Crew) - both conducted by Grammy®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive. Features audio freshly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin. Vinyl pressed at RTI. Double LP housed in a gatefold jacket with 24-page book Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon *Nancy Sinatra* with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the *Grammy®-nominated engineer John Baldwin* and available in a variety of formats, including vinyl, CD, 8-track, and digital. The 2LP set, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s Grammy®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases. In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships. Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,”* and *“Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.” While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.” Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.” Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi. Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker. The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.” Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine," released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.” Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!” Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed *Wrecking Crew* collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection. Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. *“She was easy to work with,”* he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.” He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},”* he reveals. “I thought her shows were just as well with everybody else; they were excellent.” After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the Grammy® Hall of Fame*. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

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Al Hadaoui

LP | 2019 | EU | Reissue (Habibi Funk)

22,99 €*

LP | 2023 | EU | Original (Discreet Music)

Release: 2019 / EU – Reissue

Genre: Rock & Indie

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Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs).

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Leda

Neuter

10" | 2016 | UK | Reissue (Clay Pipe Music)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Sofie Herner (Enhet För Fri Musik, Neutral) returns with Neuter, the first proper album since the Gitarrmusik Iii-x LP released on Förlag För Fri Musik back in 2017. Neuter was recorded between 2018 and 2021 and is the culmination of a very distinctive and unmistakable sound Sofie has developed and refined during close to 10 years now. The music of Leda is based on primitive guitar loops of various lenghts, loops that intervenes and creates peculiar rhythms and subtle harmonies. Slow-burning proto-industrial basement buzz with occasional vocals buried in the mix. The connection to the sullen soundscapes of Neutral is of course there, but the skeletal, monotonous compositions and austere nature of things sets this apart widely. Years has passed and Neuter is ultimately more Malmö than Gothenburg. Hints has been thrown out on a handful of limited in-between releases on labels like Knotwilg and Kashual Plastik during the last few years, but Neuter is the pinnacle of Herner's body of solo work. Nine tracks, 37 minutes.

Mastered by Linus at Elementstudio and comes packaged in a cover jacket with full colour printed inside. Edition of 750 copies. Discreet Music 14.

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Tyneham House

19,99 €* 24,99 € -20%

7" | 2023 | UK | Original (Mr Bongo)

Release: 2016 / UK – Reissue

Genre: Rock & Indie

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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.

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Kit Sebastian

L'Addio / Hayat

18,99 €*

Giorgos Katsaros Transparent Red Vinyl Edition

Release: 2023 / UK – Original

Genre: Organic Grooves, Rock & Indie

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The illustrious, London-based duo Kit Sebastian, aka Kit Martin and Merve Erdem, return with a limited edition 7” single. It features ’L’addio’, a breakbeat driven, sultry ballad, and ‘Hayat’, a hazy, psychedelic scorcher that delves into the band’s Turkish and Azerbaijan influences.

‘L’addio’ saw the band perfecting their production and orchestration, with strings, horns and double bass, and an Italian synth found in a French dump. The music was greatly influenced by Italian soundtracks and Italian female singers, such as Mina or Rita Pavone. The track announces itself with a break that is guaranteed to get samplers twitching. The tone of the melody and lyrics is heartfelt and aching. It has a beautiful, intimate sadness like the closing scenes to a love affair, and it exquisitely rides over the slow, psych-funk-dramatic backing track. The lyrics are inspired by a flat opposite Merve's window that's occupied by drug addicts, with many guests coming in and out every night. Merve elaborated “Being both neighbours and strangers, and with the boredom of a post-tour everyday domestic life and a pinch of urban voyeurism, it was hard not to wonder what was happening in that flat. The words imagine an addict before her/his golden shot as if it's a love relationship between them that comes to an end.”

Having spent much of 2022 touring and writing, ‘Hayat’ was the first original composition the band recorded since their October 2021 album, ‘Melodi’. Here we see them weaving a psychedelic tapestry of Mugham melodies, organ-driven grooves, and jazz-pop harmonies in classic Kit Sebastian fashion. Recorded to Fostex 1/4” tape, the essence of the production is perfectly balanced between being brand new and retro, which is a feat very hard to pull off.

‘Hayat’ is sung in Turkish and the title translates as ‘Life’ in English. The song examines our desire to find one's place in the world and the provisionality of existence. Merve's searching lyrics ask “Where are you? Where is the universe?”. Her vocal delivery perfectly reflects the lyrical focus, its texture is probing and ethereal, almost as if sung from looking above us.

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Giorgos Katsaros

LP | 2024 | US | Original (Mississippi)

Dear Life Seaweed Green Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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David Gray

2LP | 2025 | EU | Original (Laugh A Minute)

35,99 €*

Tape | 2023 | US | Original (Tompkins Square)

Release: 2025 / EU – Original

Genre: Rock & Indie

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Limited Edition of 1,500 copies on Seaweed Green vinyl.David Gray is back doing what he does better than almost anyone,and fans of complex, serious, lyrical songcraft should rejoice. Dear Lifemay be the deepest, strangest,...

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Muireann Bradley

I Kept The Old Blues

13,99 €*

LP | 1973 | EU (Trading Places)

Release: 2023 / US – Original

Genre: Rock & Indie

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Bridget St John

Thank You For...

16,99 €*

Live At Record Plant Los Angeles 1974

Release: 1973 / EU

Genre: Rock & Indie

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Canterbury-based progressive jazz-rock act Ben only released one obscure album, issued on Philips’ prog subsidiary Vertigo in 1971, but it’s a lovely collective of extended instrumental jams, worthy of discovery for those that missed it the first time around. Peter Davey’s saxophone and clarinet melodies push the material to high peaks, against an understated backing from future Nashville Teens bassist, Len Surtees and former Graham Bond drummer, David Sheen, keyboardist Alex Macleery and guitarist Gerry Reid adding flourishes at key moments. The songs “The Wooing Of The Child” and “The Wooing Of The Man” credit a certain K Jarrett as songwriter, making this rare beast all the more intriguing.

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Steely Dan

LP | 2024 | EU (Whp)

I Saw A Star Behind Your Eyes, Don't Let It Die Away

Release: 2024 / EU

Genre: Rock & Indie

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Donald Fagen and Walter Becker are two of the most sophisticated minds in the American Pop idiom. Originally broadcast live on Kmet FM, the famous Record Plant Studio concert was part of the 1974 promotional tour for the band's third album "Pretzel Logic". In front of a small audience and backed by a stellar band featuring classy session players like drummer Jeff Porcaro and keyboardist Michael Mc Donald, Fagen and Becker deliver immaculate versions of classic songs including "Do it Again", "Rikki Don't Lose That Number", and "Reelin' In The Years'' and other gems like "Bodhisattva", and "The Boston Rag".

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Bennett Wilson Poole

LP | 2023 | UK | Original (Bwp)

19,99 €*

LP | 2024 | UK | Original (Hive Mind)

Release: 2023 / UK – Original

Genre: Rock & Indie

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Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but... That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself. The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album. Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).* Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here. As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary. Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett

(bass) for the first time on a BWP record.

The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.

All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires

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Maalem Houssam Guinia

Dead Of Night

I've Got A Tiger By The Tail Orange Vinyl Edition

Release: 2024 / UK – Original

Genre: Rock & Indie

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Maalem Houssam Guinia Dead of Night

Hmrlp035 LP £12 Allah Allah Daym Molana Jangari Jahwari Bouri Bouriama Ya Jowadi Samaoui Matinba Mosawiyin (Souiri)

"Raw, deep and spiritual Gnawa music from Morocco to carry you through the night...

Recorded in a single late night session in a house in Casablanca, using a Tascam field recorder and 2 microphones, Dead of Night is the incredible new solo album from Maalem Houssam Guinia, the son of Maalem Mahmoud Guinia, and one of Morocco's most exciting young Gnawa masters.

The album was recorded live on the night of 3rd January 2022 in a relaxed session that lasted into the early hours of the next morning, and it captures Houssam at his most natural, singing and playing the Gnawa songs that have been with him since his birth, completely solo and free without percussion or backing vocals. Houssam described the album as containing the songs he knows best as these were the pieces his father would play and sing late into the night in their home when he was an infant.

What you'll hear on Dead of Night is raw, deep Gnawa music in its purest form played by a young Maalem who has been immersed in the culture his whole life and is a master of his craft. The whole performance has been beautifully and sympathetically captured by bassist and producer Karl-Erik Enkelman."

Voice & Guimbri by Maalem Houssam Guinia. Recording & Production by Karl-Erik Enkelmann. Mastering by Julian Tardo. Photography by Bader Naggay. Design by Marc Teare.

With thanks to Hamza Guinia, Khalil Mounji, Karl-Erik Enkelmann & Karl Jonas Winqvist.

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Buck Owens

LP | 1965 | US | Reissue (Sundazed)

Release: 1965 / US – Reissue

Genre: Rock & Indie

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LP | 2024 | US | Original (Dead Oceans)

Greg Mendez