Numero

Sophomore effort from the Wichita, Texas, slowcore masters. Originally issued in 1996 on King Coffey's Trance Syndicate label, Beheaded is a dark and brooding affair. The braided, triple guitar attack of brothers Matt and Bubba Kadane and Tench Coxe is mo

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 an

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade

In the late '70s, three do-right women from Cleveland forged a brief partnership with Ohio's everything man, Lou Ragland. Unlike the prefabricated singing combos of the day, Lily Pearson, Annette Warren, and Avetta Henry swapped lead duties as situation d

Previously issued on three rare cassette-only editions, Joanna Brouk's 1980 sophomore album The Space Between has finally been given spacious LP quarters. The side-long title track, performed by Brouk's Mills College instructor and sometime-lover Bill Mar

Numero Group and Rush Hour present: the V4 Visions label sampler, 1990-1994. A five-song overview of the pioneering UK street soul label that lived at the confluence of lovers rock, deep house, swing beat and jungle. In anticipation of the the forthcoming

Cream vinyl! A truly underground document of the national obsession with heavy, mind-bent psychedelia. Originating in the unassuming suburb of Prairie Village, Kansas, Bulbous Creation seem to have warped directly from the wrong side of the looking glass

2K prepper-rock for the underemployed. Tracked at home in 1999, the 1975 EP expands on Stratosphere's slacker-positive dreamscape, with layers of guitars both clean and fuzzy, humming organ, and – gasp! – a drum machine. Needle down, candles on.

As a robust rock underground got swallowed alive by the Major Label Industrial Complex, the very autonomous Unwound – Olympia, Washington's Great Noise Hope – toed the troublesome line between pay check and Check Engine light. Captured in the gaps of a ru

Chicago’s tangled web of micro labels and small time players is no better illustrated than by the career of Otis Brown. In his ten years on the scene, Brown ran four imprints, warmed stages for Muddy Waters, Jimmy Reed, and Alvin Cash, greased the palms o

Synth chutes, synth ladders, popcorn 808 beats, dirge-y chants and busted sub-woofer hums from inner-galactic soul pioneers Nathaniel Woolridge and Anthony Freeman intertwine to create this hypnotic, mythical 1984 LP from Newark, New Jersey. The most dama

Aseamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara’s sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purp