Reissues

** Special Time-Limited Offer ** Out to Lunch! remains one of the most strikingly original statements on Blue Note. Eric Dolphy marshals Freddie Hubbard on trumpet, Bobby Hutcherson on vibraphone, Richard Davis on bass, and Tony Williams on drums into a unit that treats his knotty compositions as springboards rather than straitjackets. Themes like “Hat and Beard” arrive full of angular intervals and odd accents, while the rhythm team tilts and lurches under them, propelled by Williams’ restless …

** Special Time-Limited Offer ** On Volume 2, Miles Davis again fronts shifting line‑ups – including Sonny Rollins, Art Blakey, and Horace Silver – in a programme that continues the exploration begun on its companion. The arrangements juxtapose brisk, tightly coiled numbers with more relaxed pieces that give Davis room to stretch his lyrical side. His phrasing shows a growing command of silence and attack; a single, slightly bent note can carry as much weight as a flurry of scales. The band’s in…

** Special Time-Limited Offer ** Volume 1 presents Miles Davis in a transitional bebop/hard‑bop setting, surrounded by players hungry to prove themselves: J. J. Johnson on trombone, Jackie McLean on alto saxophone, Sonny Rollins on tenor, Horace Silver at the piano, Percy Heath on bass, and Kenny Clarke on drums on the original 10" sessions. Later tracks add different personnel, but the through‑line is Davis’ preference for space and contour over sheer velocity. Even at brisk tempos, his muted p…

** Special Time-Limited Offer ** Volume 2 of At the “Golden Circle” finds Ornette Coleman, David Izenzon, and Charles Moffett pushing even further into the freedoms opened the night before. The pieces feel more expansive, the silences more charged, the interactions even bolder. Coleman’s improvisations unfold like stories without fixed endings, full of sudden turns that never break the underlying logic. Izenzon’s bass veers between bowed cries and elastic walking; Moffett’s drums slip from polyr…

** Special Time-Limited Offer ** The first volume of At the “Golden Circle”, Stockholm places Ornette Coleman’s alto saxophone in front of his stripped‑down trio with David Izenzon on bass and Charles Moffett on drums, in a snowy club where the microphones catch every spark. Free of a chording instrument, the group moves with startling elasticity: themes flash by and dissolve into collective improvisation where roles are fluid. Coleman’s tone is both keening and tender, capable of slicing throug…

** Special Time-Limited Offer ** With My Conception, Sonny Clark pushes deeper into his own compositional world, joined by Donald Byrd on trumpet, Hank Mobley on tenor saxophone, Clifford Jordan on tenor, Paul Chambers on bass, and Art Blakey and Philly Joe Jones alternating on drums. The music balances intricate structures with a direct, singing quality: heads full of unexpected turns that still lodge in the ear, solo sections that encourage the horns to stretch without losing the thread. Clark…

** Special Time-Limited Offer ** Byrd in Flight finds Donald Byrd’s trumpet carried aloft by shifting combinations of Jackie McLean on alto sax, Hank Mobley on tenor, Duke Pearson at the piano, Doug Watkins and Reggie Workman sharing bass duties, and Lex Humphries and Philly Joe Jones on drums. The album’s variety of line‑ups underlines Byrd’s range: from soulful, medium‑tempo burners to more introspective pieces that spotlight his warm tone and melodic ease. Each configuration finds a different…

** Special Time-Limited Offer ** With Roots & Herbs, Art Blakey leads a Jazz Messengers unit that includes Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass, a line‑up that can pivot from crisp unisons to eruptive solos in a heartbeat. The tunes are full of rhythmic feints and harmonic twists, yet the band makes it all sound effortless. Blakey’s drumming is simultaneously a grid and a storm: he sets up hits, detonates climaxes, and constan…

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble. Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some o…

A hidden gem from bossa nova pioneer João Gilberto resurfaces with the reissue of 1970 En México, capturing the artist in artistic exile during his time in Mexico City. This intimate album blends timeless Brazilian classics, sultry boleros, and jazz standards, all filtered through Gilberto’s signature whisper-soft vocals and minimalist guitar accompaniment. Recorded live in the vibrant heart of Mexico City, En México showcases Gilberto’s unparalleled ability to transcend borders. Standout tracks…

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living thr…

*Special discounted pricing. 2026 repress* 40 years after the beginnings of the Italo disco movement 'Milano Undiscovered' leads us to discover the first ferments of the Milanese post-punk dance scene. In the early 80's future producers began to veer towards a form of dance music not yet defined, what once seemed like an experimental form, today sounds like a cornerstone for future development in the club scene of key city as Berlin, Paris, Stockholm and Amsterdam. Italo disco was first mistreat…

On Litfiba 3, Litfiba close their “trilogy of power” with a sharp, politically charged rock album where Mediterranean new wave, hard‑edged guitars, and an almost cinematic sense of drama crystallise into one of the band’s most enduring statements.

On Desaparecido, Litfiba ignite their “trilogia del potere” with eight songs where British‑tinged new wave collides with Mediterranean melody and political allegory, turning Italian rock into something at once cosmopolitan, urgent, and obstinately local.

On Runner / Music for Ensemble and Orchestra, Steve Reich joins the Los Angeles Philharmonic Orchestra and Susanna Mälkki for two late-period works that stretch his pulsed minimalism onto a large orchestral canvas, maintaining propulsive clarity while opening into shimmering, almost symphonic depth.

The self‑titled Epsilon introduces Epsilon as one of those early‑70s outfits that understood rock not as a fixed style but as a volatile intersection of impulses: hard rock muscle, blues phrasing, progressive ambition, and a lingering psychedelic afterglow. The album moves with the confidence of a band that has internalised late‑60s British rock grammar - heavy guitar, insistent Hammond, a rhythm section that can punch and pivot - yet refuses to collapse into pure riff worship. Instead, the grou…

On Clandestine Anticipation, Krisma leave Italo-disco behind for a humid, video‑age dystopia, nine songs where synthetic funk, proto‑industrial atmosphere, and tropical mirages collide into one of the strangest Italian pop artefacts of the early 80s.

The 2018 release of Universal Beings, in many ways, feels like the moment that the gates swung open for both Makaya McCraven and International Anthem. On one hand, it's a four-sided communal showcase of the inter-city exchange that had started to develop in the “new jazz” hubs, collecting group improvisations from New York, London, Chicago, and Los Angeles. On the other, it is an editing and post-production masterclass – the MVP of McCraven’s “organic beat music” concept – and a landmark moment …

Recorded live at Detroit’s Grande Ballroom in 1968 and released in 1969, MC5’s Kick Out The Jams turns a single night into an explosive proto‑punk manifesto, fusing free‑jazz chaos, garage rock riffing, and revolutionary rhetoric into one compressed blast of electricity.

On Felona E/And Sorona 2016, Le Orme revisit their classic sci‑fi concept with a contemporary studio language, stretching the tale of twin planets into a more spacious, synth-forward sound that drifts between nostalgia and quiet reinvention.

*Cover TBA* The original soundtrack for “Garage: Bad Dream Adventure,” long regarded among gamers as a “legendary cult classic,” will finally be released on vinyl ahead of its 30th anniversary. The game's setting is a labyrinthine world of ruinous wooden structures, rusted metal, and sewage-filled passages.Tomonori Tanaka's music seeps through the cracks of this meticulously constructed world, cold and shadowed as if sinking into the depths, stirring an indescribable unease while simultaneously …

2026 repress with new cover art, which is the original artwork designed by Takao firstly released on his private Bandcamp page in early 2018. "Stealth" is the aptly-titled debut album from Tokyo-based composer/producer Takao. Gliding in under the radar with thirteen slyly sweet and subtle miniatures, these pieces are refreshing light-explosions of gentle harmony and modestly grand melodies. Fans of New Age and tonal minimalism wil enjoy this music, but its brevity reveals a pop-influenced aesthe…

*2026 repress* On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh Saba Alizadeh blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran. Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso Hossein Alizadeh, Saba Alizadeh studied the Iranian spike fiddle with Saeed Farajpoury and Keyhan Kalhor plus photography and later…

"When you notice the cheerful mystery playing with the synths, the edges of this small world start to look slightly distorted. In any era, someone is always creating mysterious music on their own." - 7FO

Gman+ gathers some of the most elusive material from Merzbow’s 2011–2012 period and welds it into a single, punishing disc, four tracks that function as both archival rescue and self‑contained statement. The collection pulls together work originally issued in limited form, recasting it as a crucial chapter in the same cycle that produced Kumo No Zettaichi, Sugamo Flower, Bit Bluesand Kotorhizome. Across “Gman”, “HJYUGTF2”, “Hakutouwashi” and “Lop 13”, Masami Akita works out a language of layered…

Kotorhizome catches Merzbow in a phase where noise stops behaving like a vertical wall and starts acting more like an underground network. Recorded between 2011 and 2012 and released later as part of the Slowdown archive cycle, the album is built from a deceptively modest setup: small koto, synth, and drone box woven into three extended pieces. The title fuses “koto” with “rhizome,” hinting at what the music does structurally - traditional string resonance is fed into electronics and allowed to …

Bit Blues sits in the middle of Merzbow’s Horizon cycle like a scorched signpost, three tracks cut from performances recorded at Munemihouse in 2011 and 2012 and later remastered in 2021. All the music is by Masami Akita, working with a small, intensely exploited setup that favours dense, bit‑crushed textures and overdriven loops over the more sprawling configurations of earlier decades. The title points in two directions at once: “bit” as in digital grain and reduced resolution; “blues” as in a…

Sugamo Flower compresses a particular 2011 moment in Merzbow’s practice into two long tracks that feel like one continuous, mutating organism. Both pieces are sourced from performances recorded that year, later repurposed as material for “Sugamo Flower Festival” on the split LP Freak Hallucinations with Actuary (2012), which gives the album a double life: document of an event and quarry for subsequent work. Central to the sound is the return of the Korg AX30 multi‑effect pedal, a unit Masami Aki…

On Kumo No Zettaichi, Merzbow trades drum violence for a hall of hovering machines, two 2011 pieces where small drone boxes, oscillators, and minikoto threads knot into a dense but strangely weightless sky of electric weather. It is harsh ambient as charged cloud bank rather than blunt impact.​

On Arijigoku, Merzbow drags live drums and high-saturation electronics into the same pit, a 2008 vortex where blast-beat turbulence and molten noise spiral together like a ritual gone feral. It is harsh music with a striking sense of propulsion, less wall than constantly collapsing tunnel.

Yono's Journey invites listeners to travel through Akita's sonic landscapes, perhaps following an animal guide. Merzbow turns a 2007 home-recorded session into a three-part storm, where hyper-saturated feedback and low-end throb fold into each other like a moving landslide. It is Japanoise as pure velocity: no narrative, just impact reshaping the inner ear.

The ominous title evokes fallen empires, decadent excess, historical weight. Rome - eternal city, center of classical and Catholic civilization - becomes "Black," suggesting inversion, corruption, death. Perhaps this is Rome during plague, Rome in ashes, Rome as symbol of all empires' inevitable decline. Black Rome channels these associations into dense, imposing noise constructions demonstrating apocalyptic intensity. Empire rises and falls; Merzbow provides the soundtrack to collapse.

Electronic Union suggests synthesis, merger, coalition - multiple electronic elements combining into unified sonic statements. These mid-2000s recordings demonstrate Akita's mature integration of diverse digital techniques, creating hybrid approaches transcending any single method. "Union" implies collective action, solidarity, workers organizing - perhaps the various electronic components forming their own labor movement against conventional music's exploitation.

Merzbird (Important Records, 2004) stands among the most celebrated laptop-era releases. This "Variation" offers alternate perspectives on that material - different plumage for the same sonic creature. Bird imagery connects to Akita's growing animal rights consciousness while invoking bird-inspired composition traditions from Olivier Messiaen to contemporary field recording. The bird represents freedom, flight, song - yet also vulnerability, threatened ecosystems, species extinction. Merzbow's b…

The evocative title conjures thresholds between states of matter - solid becoming liquid becoming gas becoming plasma. Plasma Door captures Merzbow at a moment of material transformation, sound itself seeming to change state under extreme pressure. Plasma - the fourth state of matter, found in stars and lightning - represents extreme energy, matter pushed beyond normal limits. The "door" suggests passage, transition - portals to altered perceptual states. Listeners passing through this door ente…

Sphere Sessions suggests three-dimensional sound constructions - recordings enveloping listeners in dense, immersive noise environments. Akita's spatial awareness reached new sophistication in these mid-2000s productions - creating environments rather than merely sequences of events. The sphere represents perfection, completeness, infinite symmetry - yet these sessions likely explode such ideals, fragmenting smooth surfaces into jagged shards. The tension between geometric perfection and sonic c…

1633+ exemplifies Merzbow's confident command of laptop production techniques refined over five years of intensive experimentation. The numeric title resists interpretation - perhaps a date, perhaps a catalog number, perhaps pure abstraction. 1633 saw Galileo's trial; the number might reference suppressed truth, forbidden knowledge, the clash between orthodoxy and innovation. The "+" symbol indicates additional or expanded material, promising more than the basic number suggests.

The title references Yoshitsune, legendary Japanese warrior-hero - though "Metamo" suggests metamorphosis, transformation. Yoshitsune's story involves disguise, flight, and tragic loyalty - themes resonating with Akita's own constant transformations. Akita's engagement with Japanese history and mythology runs throughout his work, counterbalancing Western avant-garde influences often emphasized in critical discussions. The metamorphosis theme connects to Merzbow's endless mutations, each album tr…

Enclosure suggests both confinement and protection - sound as shelter, sound as prison. The title carries multiple resonances: the enclosures that contain animals in zoos and farms, the enclosure movement that privatized common lands, the sonic enclosure that surrounds listeners in dense noise. These transitional recordings capture Merzbow poised between decades. The enclosed quality - density, refusal of empty space - anticipates the wall-of-sound approach characterizing the golden era to come.…

The "Antimonument" concept looms large in Merzbow lore - the original 1985-86 album is considered a landmark in noise history, a foundational text for the genre. *Antimonument Tapes* offers invaluable context, documenting the creative process that yielded one of the genre's defining statements. These session recordings reveal how Akita assembled the finished work from raw materials. The "anti-monument" concept rejects permanence, solidity, commemorative function - Akita's sonic constructions exi…