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Vinyl gatefold jacket includes a 12x12 insert reproduction of the original LP jacket art.Recorded in 1956 and released in 1957, Supersonic Jazz is arguably the first long-playing album by Sun Ra and His Arkestra on his Saturn label. However, it was not recorded as a debut. Rather, the album was assembled from tapes recorded during a number of sessions at two Chicago studios (RCA Victor and Balkan), and several tracks had been released as singles before their inclusion on this album. (Sunny's first fully realized commercial album was 1957's Jazz by Sun Ra, produced by Tom Wilson on his short lived/soon to be defunct Transition label.) Prior to these sessions, Sunny was still arranging for the Red Saunders Orchestra and singer Joe Williams, in addition to arranging for and coaching doo-wop ensembles. As Sunny's ambitions achieved liftoff, the Arkestra coalesced, began building a repertoire (mostly of Ra's originals), and making forays into studios. Deciding it was time for commercial releases, Sunny and business partner Alton Abraham launched Saturn (sometimes called El Saturn) as a record company in 1956. As a first offering, Supersonic Jazz is a pinnacle Sun Ra release. While reflecting many prevailing bebop, Latin, and R&B conventions of the mid-1950s, it's evident that Sun Ra's musical voice and vision were starting to propel him away from the jazz mainstream. Biographer John Szwed finds on these recordings "characteristics which seemed alien to swing, bebop, or the new, more soulful and hard-edged music which was coming to be called hard bop."

In March 2025, "On the Love Beach" completed a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.

In 2025, marking the 30th anniversary of their memorable debut album, "On the Love Beach," the band's first three albums will be reissued on CD and vinyl!
All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

This is Nagisa Nite's second album and only live recording, released in 1998. Featuring an acoustic arrangement featuring acoustic guitar and djembe,
the band's imaginary concept is "A Tyrannosaurus Rex from Osaka." This is a realistic documentary of a solo performance held in a dilapidated wooden
apartment building in Tokyo during a scorching heat wave in July 1997, a space that was barely a free space. The band performed in the scorching heat
of July, with the venue lacking air conditioning, forcing them to play with the windows open. This resulted in "ambient music" that occasionally blended with
the sounds of the outside world and the barking of dogs. The band's determination to never perform in a place like that again led them to believe that this
unique and intriguing experience was what made this album so unique.

The environment forced the band members and the audience to remain unwavering, creating an undeniable tension in the small venue, creating a literally
"hot" groove despite the entire performance being acoustic. This experiential live album, the polar opposite of the '71 Nippon Genya Festival, is impossible
to recreate, even for the band members themselves, including the immersive recording.

The 1998 album was only available on CD, but this time, the album is available on vinyl for the first time on a 2LP!
Remastered using the original master DAT tape, it recreates the "hot" and "ambient music" atmosphere even more realistically. T
akeda's cover of Midori Mako's "Yasashii Nipponjin" is also a must-listen!

Celebrating their 40th anniversary in 2025, Japan's ska scene pioneers The SKA FLAMES － still going strong and continuing to exert a huge influenceboth

domestically and internationally － will release five 7-inch singles over three consecutive months!! First release features two titles simultaneously!
This release includes “I WON'T NEVER LET YOU GO” left behind by BLUES BUSTERS and a self-cover of The SKA FLAMES' classic early track
“GOOD MORNING” recorded with Daisuke Ono on drums!"

As genre conventions continue to morph and blur, there's a wealth of stunning
new music being made wherever groups of musicians have the imagination
and ingenuity to transcend the old boundaries and just play whatever comes
naturally
Sun Speak are such a group and their album Probiotic Orchestrations is full of music
that's urgent, powerful, accessible and humorous, pulling together sounds and
textures from the worlds of rock, jazz, electronica, Americana and the outer reaches of
progressive music into compelling whole. Guitarist Matt Gold and drummer Nate
Friedman first came together as Sun Speak ten years ago amid the white heat of the
Chicago experimental scene, where they'd worked with such luminaries as Makaya
McCraven and Patricia Barber.
On this, their sixth release, they continue to develop their own distinctive sonic world
with the aid of fellow Chicagoan Daniel Pierson who joined as engineer/ sound
sculptor and now increasingly takes a collaborative role as a third member of the
band on keyboards. Now the trio are dispersed and live in different corners of the USA,
but in 2024 they came together in a remote seaside cabin in New Hampshire, writing
and recording every day in an intense undisturbed whirlwind of creativity. Probiotic
Orchestrations is the result - a dazzling mix of improvisation and composition,
exploring rhythm, colour and texture with the directness of rock and the fearless
improvisatory flair of jazz.
Available on heavyweight black vinyl + 6-panel digipak CD editions.

DJ Popinjay balances fresh cuts with beloved favourites on his new one for the irrepressible Blur. The title track opens with silky keys and mellow percussion that capture the warmth of golden hour, while 'Whyalla' brings breezy pads and crisp beats to organic percussive. Reissued highlights like opener 'Take U' have filtered soul magic, and 'Not Too Shabby' brings dusty funk and jazzy cool, while 'So Much Fun' bursts with disco-fueled joy. The closer, 'Soul Searching' has swinging, Chic-style grooves and layers up endlessly playable house vibes.

Featuring the otherworldly vocals of the legendary jazz singer Norma Winstone whose vocals were recently sampled in Drake's 2023 chart topping single IDGAF (feat. Yeat) and Leo Taylor (Floating Points, Hot Chip, Joy Crookes) on drums, the EP is the amalgamation of Barrott's long term fascination with sunset music, and the ways the change of seasons impact the way we co-exist with the sun. As winter draws closer and we move on from the Autumn equinox to Winter solstice, Barrott's latest release captures the transformative yet paradoxical feeling of melancholy over the end of Summer and the start of winter while creating an eerie sensation of serenity.

The EP follows from the release of Barrott's critically acclaimed and deeply personal 2024 album Everything Changes, Nothing Ends.

The new EP sees Barrott return to his beloved sunset music, as he continues his eternal quest to find new ways to soundtrack this sacred Ibiza moment.



Crowned as the"master of sunset music"by Pitchfork, Barrott's new EP is filled with celestial grandeur that stops you in your tracks. A profound musical meditation and an homage to the sunsets of the Autumn months, the EP captures the sonic poetry of the changing skies and the seasons.

The haunting combination of Barrott's production & arrangement skills, Taylor's jazz drums and Winstone's endlessly ethereal vocals soar in a harmonious union across the title track of the EP while the openerI Am The Starssummons you in for a brief respite from the cacophony of the modern world. The wistful second trackMy Blue Heartlingers with you with its melancholic jazz horns swelling side by side with Winstone's vocals while the closing trackI Am The Airfloats through your ears with its sublime contemplativeness. I Am The Sun, You Are The Moonsees Barrott returning to his sonic ruminations on sunsets, however they are more profound and life affirming than ever.



"At the end of the summer, on a clear bright starry night I climbed to the top of a mountain in Ibiza with a pair of headphones and listened to these tracks and lost myself in the vastness of the night sky and the endlessness of Norma's voice. At that moment everything made sense in my world for the first time in a long while and it just felt right",Mark Barrott says.

"I was surprised and delighted to be asked to participate in this very musical project and to be given such a free hand. Trying to integrate the voice into what were already beautifully formed pieces was creatively very interesting", Norma Winstone says

Laconic Zero is a one man music machinery aka Trond Harald Jensen. Utilizing Commodore 64 programming combined with a heavy wall of distorted bass, Laconic Zero produce complex dagger-stabs of metaldriven chiptunes. Sun to Death is a killer presented on smoked orange vinyl, CD and Cassette. Laconic Zero has shared stages with Lighning Bolt, the famed Sonic Youth and Swans producer Martin Bisi and collaborated with the late music prodigy Joey Hopkins.

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Jazz by Sun Ra, Vol. 2.


These albums are important because they are Sun Ra's first recordings before the Saturn sessions, made in 1956 when the Chicago musicians were searching for something more, something beyond.



In 1957, Transition Records gave us Volume 1, but before Volume 2 could be released, the label went bankrupt, and it took more than a decade for it to finally be released on the Delmark label. Today, for the first time, both volumes are available, as they were meant to be from the beginning.
Volume 2 is presented here for the first time with the silver cover originally planned by Transition!

Phoenix-based DJ and producer, Paul West, steps out with his debut EP "Blue Sun", on Rocky Hill, serving up a first slice of grit on wax. Blue Sun opens on the A-side with three moody 808 workouts, tipping the hat to Motor City atmospheres while keeping things raw and warm. Flip it over and the energy shifts: a sun-kissed Adriatic voyage with the title track, and "Elon's Musk" -- a bass-driven groover destined to linger in your record bag.

"The five-year anniversary release of Orion Sun’s Hold Space For Me, pressed on tangerine vinyl. Her story, that of an early 20s woman of color dealing with and learning about life's obstacles and celebrations, is understood best through her song lyrics; citing J Dilla, Nancy Wilson, Jodeci, Kirk Franklin, Hazel Scott and Digable Planets as just some of her many influences. She's a career artist with a long road ahead and her sound defies trends; capitalizing on a velvety and familiar voice with timeless jazz / folk / R&B instrumentals.

“...a pinch-yourself song that steps lightly with the thrill of a love seemingly too good to be true (and the fear that it might be)” – Philadelphia Inquirer on “Ne Me Quitte Pas”

“stark and lightly poetic.” – Pitchfork

“A smooth, serene downbeat groove and a blissed vocal finds Orion Sun singing about sudden and deep connection — “It feels so good to know ya” — and despite the sadness implied in the title, the outlook is positive and pure.” – WXPN/The Key on “Ne Me Quitte Pas”

“While the track shares the same title as covers done by Nina Simone, Regina Spektor, and Wyclef Jean, she presents a completely different vibe, slowing down a flipped sample with smooth guitar loops and resonating drums. Still, with all of the stellar instrumentation, the 23-year-old’s voice cuts through as poignant as ever.” – Refinery 29 on ”Ne Me Quitte Pas”"

Impressions marks Budapest based independent label Blue Sun’s 6th release. Hungarian multi-instrumentalist, Fingerfisher guitarist Adam Gollob's debut solo LP carries forward the musical direction set by the label’s founders (Hanussen & Kozmo D) by presenting tracks that are built around concentrated, listening-based music consumption, deliberately crossing, possibly defying genres.

Impressions is a profound reflection of transformation, embracing imperfection along the way. As a former student of jazz guitar at Bartók Conservatory, Gollob evokes the wandering spirit of John Coltrane with the title, at the same time inviting the listener into a brief but intensive creative period of the artist’s own life. Music listened to, festivals visited, thoughts and conversations - all echoing through-and-throughout the composition, questioning, dismantling, and rearranging them into a piece.

The record is a rich and evocative work that blends elements of new wave, indie rock, alternative electronic, and neo-psychedelic styles. The introspective lyrics and unrefined vocals explore different aspects of existence, placing the perpetual tension between uncertainty and confidence at the center. The hypnotic synthesizers, raw drum textures, and the structurally interwoven songs provide a complex listening experience. The material reforms with each replay into an ever-changing musical landscape, with a strikingly unique, fuzzy yet soothing atmosphere.

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie kann eine Band, die dafür bekannt ist, sich ständig zu verändern, noch etwas Neues bieten? Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI nun erneut am Beginn eines mutigen neuen Kapitels, nur dass sie es diesmal sogar geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Typischerweise begann die Band mit dem Schreiben eines Albums, indem sie sich sofort in das Schreiben stürzte und den kreativen Prozess einfach ihrer intuitiven musikalischen Sprache überließ. Für ,Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für ,Silver Bleeds the Black Sun_" haben AFI jedoch beschlossen, ihren kreativen Ansatz bewusst komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. ,Wir haben mit etwas angefangen, das nach Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produziert und aufgenommen hat. ,Aber schließlich sind wir bei dieser Mischung aus Death Rock und Postpunk gelandet - all diese Einflüsse aus den 80ern und 90ern." ,Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. ,Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. Silver Bleeds the Black Sun_ ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie kann eine Band, die dafür bekannt ist, sich ständig zu verändern, noch etwas Neues bieten? Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI nun erneut am Beginn eines mutigen neuen Kapitels, nur dass sie es diesmal sogar geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Typischerweise begann die Band mit dem Schreiben eines Albums, indem sie sich sofort in das Schreiben stürzte und den kreativen Prozess einfach ihrer intuitiven musikalischen Sprache überließ. Für ,Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für ,Silver Bleeds the Black Sun_" haben AFI jedoch beschlossen, ihren kreativen Ansatz bewusst komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. ,Wir haben mit etwas angefangen, das nach Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produziert und aufgenommen hat. ,Aber schließlich sind wir bei dieser Mischung aus Death Rock und Postpunk gelandet - all diese Einflüsse aus den 80ern und 90ern." ,Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. ,Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. Silver Bleeds the Black Sun_ ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

Strut Records proudly presents the official reissue of Hidden Fire Volumes 1 & 2, the final album released by Sun Ra on his El Saturn label in 1988.
Captured live over three nights at the Knitting Factory in New York City, these performances mark the closing chapter of a 33-year odyssey of radical, independent music-making. Originally issued in tiny quantities with minimal packaging and cryptic artwork—often featuring hand-written labels or Ra’s own handmade designs—Hidden Fire was among the most elusive entries in Sun Ra’s vast discography.
Musically, these recordings stand apart from Ra’s other '80s compositions. Here, Hidden Fire plunges into darker, more dissonant territory. Ra performs exclusively on the Yamaha DX7 synthesiser, pushing its digital sound palette into alien dimensions. The Arkestra lineup is uniquely configured, featuring a rare and heavy string section with three violins, including the legendary Billy Bang, and the singular space vocalist Art Jenkins, whose eerie textures and vocalisations had not been heard so prominently since the early 1960s Choreographers Workshop sessions. The music is raw, unsettled, and often overwhelming.
“Retrospect / This World Is Not My Home” opens with a palindromic riff that evokes Ellington before unraveling into a stark sermon from Ra, warning of death’s dominion over Earth-bound minds. “Hidden Fire Improvisation” is a furious explosion of tone science, with Marshall Allen, Billy Bang, and John Gilmore delivering fire-breathing solos over relentless drumming and Ra’s cascading synth clusters. “Hidden Fire Blues” offers a warped, electrified version of Ra’s familiar blues feature, led by Bruce Edwards on guitar and Rollo Radford on electric bass, transformed through the haze of DX7 textures. “My Brothers The Wind And Sun #9” evokes the experimental weight of The Heliocentric Worlds with its crashing percussion, pulsing synth-vocal duets, and string- driven chaos that seems to spiral into oblivion.
Even the quieter moments—such as “Hidden Fire II,” a duet between Ra and Art Jenkins—feel thick with unease and shadowy beauty. These performances represent a Sun Ra less concerned with cosmic joy or outer-space swing, and more focused on conjuring portals to the unknown.
Remastered from original sources and presented with archival photos, new liner notes by Paul Griffiths, and restored artwork inspired by the original Saturn editions, this reissue offers a definitive window into the last creative surge of one of music’s most visionary figures across two Vinyl LP’s.

"The Land of the Sun, the Moon and Cosmic Melodies" is a conceptual Opera of III movements, inspired by a cosmogony that features the planets of the sun and the moon. These two characters guides us on a journey of light and shadow, rising and setting in a cycle of unexplored musical territories.
The Collective Move presents its debut album with a broad palette of sounds, ranging from jazz to opera, from southern Italian folk music to northern Indian classical music, orchestrating a 60-minute "sonic narration" that ends with the fable "What do the birds tell?".

The Collective Move is an international group of young musicians formed in the Amsterdam Conservatory in 2022. The Collective's vision is to unite diverse artistic expressions and musical genres, inviting diverse artists and musicians from diverse cultures and countries to collaborate in flexible and interdisciplinary formations.

Die Gang aus Stockton-on-Tees ist zurück, denn es gibt noch so viel zu erledigen. Mit "Anchorage" veröffentlichen YOUNG REBEL SET ihren ersten neuen Song seit 2013, und veröffentlichen im September 2025 die "Sun" EP an - die erste Veröffentlichung der britischen Indie-Pub-Rocker seit dem Tod ihres Sänger Matty Chipchase im Dezember 2019. Doch "Anchorage" ist mehr als nur ein Comeback-Song, er ist ein Stück Geschichte. Geschrieben wurde der Song bereits 2012, während der Arbeiten am zweiten Album "Crocodile". Live gespielt wurde er damals in Originalbesetzung bereits, doch nun, über zehn Jahre später, wurde er auch aufgenommen. Und zwar in den legendären Abbey Road Studios in London - erstmals steht Sänger Tom Blackwell am Mikrofon. Seine Stimme bringt eine raue Wärme in den Sound der Band, der Matty Chipchase Respekt entgegnet, ohne zu versuchen, ihn zu imitieren.