By the early 1980s, the electric organ had started to infiltrate the iconic hotel bands that defined the Addis Ababa music scene of the previous decade. And so keys player, arranger and producer Teodros Makonnen took the leap. Using nothing but a double-manual Yamaha (with a built-in drum sequencer), he made this album of instrumental versions of classic Ethiopian songs.
Originally released on cassettes in the ’80s, it was all recorded in a single take under the shadow of curfews – and, in doing so, mapped out his version of the future of Ethiopian music. It’s a vibe: pop melodies with deep roots in Ethiopian folk music, dreamy runs doused in hazy reverb, and minimalist waltz rhythms shuffling from the tinny drum machine. Some tracks are…
Category: reissue
…includes three brand-new songs.
Those who have heard the two albums from Sons of Fathers, Paul Cauthen’s previous under-the-radar outfit, may not be surprised by the power and grit of the singer-songwriter’s voice. But the rest will be immediately transfixed by his vocals when we push play on his solo debut.
As soon as Cauthen starts singing “I’m still drivin’, when’s this break gonna come,” in a baritone that recalls a combination of Waylon Jennings, later day Guy Clark and the Maverick’s Raul Malo, you know you’re in for a dose of the unadulterated “outlaw country” that artists such as those took to the people, if not always the bank. Despite an erratic recording schedule that encompassed multiple musicians and audio engineers…
…10th Anniversary Deluxe Edition expands the original tracklist to 22 songs total, featuring 8 bonus tracks.
The much-anticipated fourth studio long-player from the L.A.-based singer/songwriter, Lost on You delivers a lethal blend of vulnerability, swagger, and hooks that proves that Laura Pergolizzi, who has penned songs for the likes of Christina Aguilera, Rihanna, and Rita Ora, has saved the best material for herself.
Built around the soaring title cut, a delicious bit of radio-ready sorcery that successfully pairs Roy Orbison-esque melodrama with stylish, “Don’t Speak”-era No Doubt pop acumen, the 13-track set bristles with both style and substance. Touching on everything from soulful folk-rock…
Michigan space rock duo Windy & Carl initially self-released their debut album on cassette in 1994 before Ba Da Bing picked it up for a CD release in 1995, adding three lengthy, exploratory tracks. (Kranky eventually reissued Portal in 2026, including its first vinyl pressing.) The duo pretty much established their blissful, expansive sound right from the beginning, though the album noticeably sounds a bit rougher, and at times stranger, than their later recordings. “Preparation” augments its magical thrumming with trippy, vibrating keyboards, and “Sound Ignition” is unexpectedly noisy, though it feels like fog is trying to wash out the scorching distortion. “Ode to Spacemen” is an appropriately cosmic drift featuring Windy’s hushed, poetic…
Released in 1974, Zuckerzeit marks a clear turning point in Cluster’s work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo’s earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster’s catalogue, capturing a pivotal moment of transition and refinement.
…includes eight previously unheard demo recordings captured solo by Shelley on a reel-to-reel tape recorder in late 2014 before the formal album sessions.
The third solo outing from the spell-casting Kentucky songstress, Over and Even is a breezy, lyrically bold, sonically beautiful soft barrage of bucolic country-folk that evokes Linda Thompson, Joni Mitchell, Vashti Bunyan, and Hem. It would be easy to peg Joan Shelley and crafty six-string co-conspirator Nathan Salsburg as the Bluegrass State’s answer to Gillian Welch and David Rawlings, but they lack that duos’ trad-folk stridency and penchant for dust bowl pageantry, and their particular brand of mountain music feels much more rooted in the immigrant-rich…
The second ECM Reich LP. Three pieces representing three different scales of ensemble. Music for a Large Ensemble (1978), Side A, is Reich’s first major work for genuinely orchestral forces (mallet instruments, brass, strings, voice, around thirty players), a step toward the chamber-orchestra writing that would define the eighties Reich. Octet (1979), Side B opener, scored for two pianos, string quartet, two clarinets and two flutes: more contrapuntal and chamber-music-like than its predecessors. Violin Phase (1967), Side B closer, Shem Guibbory plays all four violin parts (three pre-recorded against one live), the canonical recording of one of the early phase pieces.
Recorded August 1979 at Tonstudio Bauer, Ludwigsburg, the same West German facility ECM…
The piece in which Reich turned to his Jewish heritage. Tehillim (Hebrew for “Psalms”) sets four psalm-fragments (19:2-5, 34:13-15, 18:26-27, 150:4-6) for four high voices and chamber ensemble, in a setting where for the first time in Reich’s mature work the text drives the rhythmic structure rather than being fitted into a pre-existing pattern. The vocal writing draws on Hebrew cantillation Reich studied with Cantor Edward Berman in New York; the percussion is tuned tambourines without jingles, clapping, maracas, marimba, vibraphone, crotales.
Recorded September-October 1981 at Tonstudio Bauer in Ludwigsburg, engineer Martin Wieland, produced by Manfred Eicher. George Manahan conducts. Sopranos Pamela Wood…
…Originally self-released in 2023 as an ultra-limited cassette run of about 50 copies, the album received a wider official reissue on vinyl, CD, and digital formats on September 4, 2026 via Perennial and K Records.
Sharp Pins‘ Mod Mayday 23 is a cute concept; the band’s Kai Slater picks his favorite tracks from the Mods Mayday ’79 collection, which was recorded in at a live 1979 concert featuring the cream of the U.K mod revival crop. Bands like Squire, Secret Affair, the Merton Parkas, and Small Hours were all formed in the wake of the Jam’s ascendance and followed a similar path of pairing the hopped-up R&B sounds of the original mod scene with the feisty aggression of punk. Slater captures the intensity and hookiness of…
…This deluxe reissue returns Paulusma’s celebrated debut to the spotlight, pairing the original 11-track album with five bonus recordings from the same prolific writing period. Three of these – ‘Orion’s Belt’, ‘Two Stars’, and ‘Leave Your Keys’ – originally appeared as sought-after B-sides during the album’s 2004 single campaign, while ‘My Errant Knight’ and ‘Pentecostosis’, written and recorded alongside the album itself, are released here for the very first time.
Nearly 35 years on, and the folk and twining soft rock of the early ’70s is being birthed again in a stylized new version. Suddenly young women with unruly mops of dark hair and a flair for dusky vocal phrasing are handily making their way in pop music. They’re clad in comfy…
…includes two unreleased tracks, era singles, and full-album demos.
It’s no shock that a band made up of former members of Deerhunter and Carnivores would be good, since both those bands are. It’s more of a shock just how good Omni is. With ex-Deerhunter guitarist Frankie Broyles and ex-Carnivores bassist /vocalist Philip Frobos writing a batch of songs that combine the best aspects of brainy, hooky bands like Josef K, Television, and Magazine, then recording them with another ex-Carnivore, Billy Mitchell, on drums, Omni’s Deluxe is a stunning debut. Recorded in sparkling lo-fi by yet another ex-Carnivore, Nathaniel Higgins, the trio mostly sticks to the basic guitar-bass-drums-vocals setup as the album careens from one…
A molten extension of Daydream Nation-era Sonic Youth, the Stooges’ drill-press rhythms, and early Dinosaur Jr., Raise should have been made by young record shop rats from the Midwest. Adding to this is a fascination with the open road; only two of the album’s nine songs do not directly reference cars or driving. It’s no real surprise, then, that this Oxford, England-based band found a home on Stateside turntables that were otherwise Anglophobic, despite being pigeonholed as shoegazers. In all fairness, the band was about as exciting to watch as any actual shoegaze band, and Adam Franklin’s vocals were buried deep within the studio and live mixes. (Flying leg kicks, windmills, and eye contact couldn’t have been all that possible with an unwieldy battery…
The MOFO Project/Object is an album by Frank Zappa. The album was announced by the Zappa Family Trust in mid-2006. It commemorates the 40th anniversary of Zappa’s first album, Freak Out!.
It documents the making of Freak Out! featuring previously unreleased material. Critics and hardcore fans widely praise The MOFO Project/Object as an essential archival release.
It brilliantly highlights Zappa’s pioneering studio genius and avant-garde vision well before the era of modern digital editing. While casual listeners might find the deep-dive session tapes and raw component tracks a bit heavy for a single sitting, for prog-rock historians and dedicated Zappa aficionados, it is a masterclass in musical archaeology.
Craft Recordings reissue The Bluegrass Album, the 1981 debut studio recording from The Bluegrass Album Band, in a remastered edition on vinyl and digital platforms. The release brings together guitarist Tony Rice, banjo player and vocalist J.D. Crowe, mandolinist Doyle Lawson, fiddler Bobby Hicks, and double bassist Todd Phillips, marking the first vinyl reissue of the album since its original release. The new edition arrives in what would have been Rice’s 75th year and features all-analog mastering with lacquers cut from tape by Kevin Gray at Cohearent Audio, alongside standard and hi-res digital audio. The all-star project features a who’s who of bluegrass luminaries, including Rice, J.D. Crowe, Doyle Lawson, Bobby Hicks, and Todd Phillips (collectively known…
…features early recordings, demos and previously unheard material from the original album era, alongside the new “Let Me Heal You (demo)” and alternate versions of songs including “Running with the Wolves” and “Runaway.”
There’s a strand of magic realism that’s typically European, focusing on the metaphysical and a sort of estrangement from the world. You’ll find it in the novels of Franz Kafka and Angela Carter – approached from entirely different worldviews, of course – an irreducible quality which can’t be explained by the general laws of nature, redefining the everyday via the fantastical.
Nineteen year old Norwegian and native of Bergen Aurora Aksnes, AURORA to the pop music world, lives in this world. In portraits and…
Continuing in its series of Yoko Ono reissues, Secretly Canadian has released Ono’s seminal 1982 album It’s Alright (I See Rainbows), in expanded CD and digital versions, and on vinyl for the first time in more than forty years, with expanded and enhanced artwork.
Influenced equally by 1960s girl group vocals and 1980s synthesizer experimentation, It’s Alright (I See Rainbows) is an album of “adventurous… lush… committed and convincing avant-gardism” (Rolling Stone). As Ono said in her 1992 Onobox liner notes, “It was ’82 and it seemed as though I was finally in sync with the world.”
Vacillating from a widow’s never-truly-over grief, to the necessary uplift for an artist and mother to continue her life’s missions…
…expanded digital edition featuring 11 additional b-sides and live recordings.
Listening to a new Solex album is a bit like being suddenly and completely immersed in a foreign language. At first it sounds alien, unpredictable, and impossible to decipher, but as time goes by, its rhythms become natural, and charming idioms and turns of phrase slowly reveal themselves. Elisabeth Esselink’s third Solex album, Low Kick and Hard Bop, could be considered a primer in advanced Solex — it’s an evocative and wildly creative, but not immediately accessible collection. Listeners not already fluent in Solex Vs. the Hitmeister and Pick Up may be bewildered by the strange, ever-changing melodies and arrangements, which Esselink crafts from samples of…
The Body‘s 2013 EP Master, We Perish arrived in between All the Waters of the Earth Turned to Blood and Christs, Redeemers, the two full-lengths in which they evolved from their doom/sludge metal beginnings and began making additional elements like choirs, samples, and electronics an integral part of their sound. Beginning with a blaring air raid siren, guitars so distorted they’ve been burnt to a crisp, and pummeling drums, opening track “The Ebb and Flow of Tides in a Sea of Ash” establishes a state of emergency, as Chip King caterwauls about structures collapsing and life falling into the void. “The Blessed Lay Down and Writhe in Agony” introduces haunting choral vocals and a tinny, barely audible voice of someone who’s trapped and can’t escape no…
