…..news letter #688 – record store daze…..

Holy moly! That was just plain crazy! I hope everyone had as much fun on Saturday as we did! Big thanks to everyone who patiently stood in line to score some cool wax, and then in line again to pay! Big thanks to James & Nora for kicking butt on the till all day and Mike for being our doorman again this year. Congrats to all our winners of our draw, I’m sure Chad is already in heaven playing his RSD scores on his new RP1. But fortunately, RSD doesn’t entirely screw up the system, loads of new stuff in last week and this week. So on to the goods……

…..picks of the week…..

mcgreevy

Don McGreevy: Aichmophobia (Self Released) LP
As one of the founding members of Seattle’s Master Musicians of Bukkake, and bassist for Drone-Doom pioneers Earth, multi-intrumentalist and chord-smith Don McGreevy forces us to abscond into a dimension of pastoral pastiche ala instrumental mayhem. Picture this: If John Fahey or Robbie Basho listened to too much early Genesis or Yes, and had serious leanings toward Popol Vuh, Brian Eno, Henryk Gorecki and Giacinto Scelsi. Even modern totalist school minimalists like Glenn Branca rear their ugly heads periodically on Aichmophobia. Its a record written and recorded with acoustic 6 and 12 string guitars as the primary instruments. Slung with badoliers of synths, bolstered by mellotrons and fuzzy electric guitars, we’re definitely in the seat of a soothing, yet relatively unexpected sojourn of chords, textures and finger-picked Appalachian goodness. There’s even a glockenspiel in there somewheres, too. Its a nice, heady listen. It whisks the listener away into the the high, icy clouds allowing the observer to behold the earth in all its glorious, dark and melancholic spleandor; It’s modalities move and shake slowly below. Sure to lull one past the confines of ordinary listening pleasures, strap on your best headphones, let go, and enjoy the journey.

File Under: Kosmische, Guitar Soli, Krautrock
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suuns

Suuns + Jerusalem In My Heart: s/t (Secret City) LP
Beginning in November 2012, Suuns (Ben Shemie, Liam O’Neill, Max Henry and Joseph Yarmush) and long time friend, Radwan Ghazi Moumneh, rented a studio in Montreal for seven days. The idea was to collaborate on rough sketches of song ideas and to complete as much recording as possible without discrimination. The session was successful, yielding many vibe-laden songs featuring heavy analog synths, Arabic influences and electronic sensibilities. After the session, the recordings layed dormant. Both bands were releasing individual albums; touring was to ensue shortly. Some editing time was squeezed in between tour dates but a full year passed before the songs were heard by an audience. The collaborative band did a live show at Pop Montreal 2013 and then another the following March. At that point, the project was kickstarted into gear. The band over dubbed and re-worked the songs in the summer of 2014 and finally, whilst on tour in October, finished the vocal overdubs and mixing. Radwan Ghazi Moumneh of Jerusalem In My Heart did the tracking and most of the mixing while Max Henry of Suuns handled some mixing as well. The live show is very much a performance with less emphasis on replaying the recordings note for note, but more about recreating the excitement of the initial recording sessions

File Under: Electronic, Krautrock, CanCon
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…..new arrivals…..

amt2

Acid Mother’s Temple: High on New Heaven (Safety Meeting) LP
Acid Mother’s Temple & The Melting Parasio U.F.O. celebrates it’s 20th year as Japan’s premiere psychedelic freak-out collective with the release of this intimate live 4/20/2013 recording. Recorded on site at Cafe Nine in downtown New Haven, CT, Kawabata and crew delivered a solid live show totally deserving of the holiday it was conceived on. Sometimes heavy, sometimes slow and quiet, the set endlessly climbed through the frequencies delivering the fuzzy and hypnotic to a sweaty, gleeful, bleary-eyed room of psychedelic enthusiasts. Tiple LP packaged in wide spine jackets with download. Limited edition of 400 copies. “Today is 420, so please, High On!”

File Under: Psych, Japanese, 420

ambiq

Ambiq: s/t (Arjunamusic) LP
German pianist Max Loderbauer, in continuing his work with the Buchla 200e synthesizer system, joins two Swiss musicians and veterans of ECM Records, clarinetist Claudio Puntin on clarinets, mini mallets, and electronics; and percussionist Samuel Rohrer on drums, Kaoss Pad, and electronics to form ambiq, a group dedicated to the exploration of remote musical universes. Their debut self-titled album, released on Rohrer’s label arjunamusic records, aims to open doors of perception to the electronic scene by means of enhanced possibilities of instrumental interaction. Rohrer, as an improvisatory sound pilot, is able to elegantly navigate beats and anti-beats. He expands the world of rhythmic functions with his artistic, cross-style overall concept to include striking emotional components. His percussion style flows with an implicit quality into his electronic arrangements, returns enriched with seductive energy, and presents itself as the crucible for the contributions of his fellow passengers. Claudio Puntin’s unmistakably smooth sound as he plays on all members of the clarinet family, with the support of mallets and electronics, is familiar from numerous CDs and performances, as well as from film, audio-drama, and theater productions. His live concept of floating electronic spaces and layers of overtones and loops, which he customizes for his clarinet sounds, opens up divine dimensions while creating the harmonic, melodic, and tonal orbit for the satellites of his fellow musicians. With its unique blend of modular synthesizer, drums, electronic rhythms, clarinet, and electronics, ambiq develops mysterious electro-acoustic soundscapes, somewhere between the outer reaches of techno, electronica, and jazz.

File Under: Electronic
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bad guys

Bad Guys: Bad Guynaecology (Riot Season) LP
Recorded in a snake pit, in a quarry, on top of a mountain, in the desert, at night, during a thunderstorm, Bad Guynaecology is the second album from Hackney’s Bad Guys. Full of heavy riffs, pounding drums, and wild vocals laid down on seven-foot-wide steel tape, then smelted into WAVs by an irritable dwarf in an ancient forge, in space, Bad Guynaecology truly is the soundtrack to your generation. Whoever you are. Production duties on this album fell to esteemed metal producer Jaime Gomez Arellano (Ghost, Cathedral, Angel Witch). For fans of Motörhead, Harvey Milk, Melvins, Thin Lizzy, The Jesus Lizard, Torche, MC5, Killdozer, Black Sabbath. Bad Guys are a southerner, a midlander, a Canadian, and a Hungarian. They have played at several ATP festivals without ever being asked, razed a chalet to the ground on one occasion and got heavily fined, then next time played directly outside the security guards’ accommodation and got shut down. Learning from experience, they opted to play inside the main building next time and were shut down due to being a fire hazard. They’ve played on the fourth plinth in Trafalger Square as part of Antony Gormley’s One and Other art installation, where they were told to shut down as well even though you were supposed to be able to do whatever you like. They’ve played in a theater, as part of a poorly judged bit of experimentalism by a director. They weren’t shut down but it was clear everyone wanted them to leave. Then they played in the life-drawing room in the Royal Academy (the oldest life-drawing room in the country), where they performed naked and people drew them, with varying degrees of success. They weren’t shut down and lots of intellectuals said it was interesting. As well as all this stuff they’ve played in countless pubs and clubs and parties up and down the country and around Europe and have been generally very well received. Apart from in Glasgow, where the promoter didn’t bother turning up, the DJ played techno to warm up, and one drunk woman kept shouting at them to shut up.

File Under: Rawk, Metal, Stoner
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baxter

Les Baxter: African Jazz (So Far Out) LP
Composer, conductor, arranger, and musician Les Baxter is fondly remembered as one of the forefathers of the 1950s exotica sound, alongside other luminaries such as Arthur Lyman, Martin Denny, and Juan Garcia Esquivel. 1959’s African Jazz is one of his most renowned and sought-after titles, at times moody and dark, at others light and whimsical, sometimes within the same song. Quintessential mood music from the master himself. Pressed on 180-gram vinyl.

File Under: Exotica, Jazz
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braids

Braids: Deep In The Iris (Flemish Eye) LP
To record their third album, Deep In The Iris, Braids decamped to a series of retreats in the mountains of Arizona, Vermont, and upstate New York. Surrounded by nature in all its warm vitality, the longtime bandmates strove to shed the fabric of their day to day relationships, being bare and vulnerable before one another. What resulted is Deep In The Iris, their strongest record to date – powerful, yet fragile; immaculately sculpted, but deeply human. Driven by roomy acoustic instrumentation and tasteful electronics, Deep In The Iris is easily Braids’ sunniest and most immediate record. While the icy, airless production of their second album Flourish // Perish suited the songs’ inward gaze, the widescreen warmth and full-bodied punch of Deep In The Iris is the perfect complement to its unflinching lyricism. Raphaelle Standell has always had a formidable voice but rarely has it sounded as vital, focused, and powerful as it does here. True to the process that birthed it, the record explores a number of heavy subjects, including pornography, abuse, and slutshaming. Standell’s emotional vulnerability becomes a triumphant weapon in its own right: scything through wrongdoing and shame with equal aplomb, and clearing the way for the many others who will find resonance in the bravery of these lyrics. Written from a place of inspiring strength and unblinking lucidity, the lyricism of this record is a cathartic gift.

File Under: Indie Rock, CanCon
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ferreyra

Beatriz Ferreyra: GRM Works (ReGRM) LP
Argentine electroacoustic composer Beatriz Ferreyra describes each of the pieces included on GRM Works: Demeures aquatiques (1967): “This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments — metal sheets, glass rods, etc. — invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds.” Un fil invisible (2009) For Christine Groult: “This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece.” Médisances (1968/69): “This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects.” Les Larmes de l’inconnu (2011): “This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of ‘primordial equation of the universe': the level of the archetype, that of the event and the incarnation, and the universal and cosmic level… I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording.” “The music of Beatriz Ferreyra bears a magnetic force, which generates a truly recognisable style that could be defined as a unique sense and intuition for sound. Whether in her early works (‘Médisances,’ ‘Demeures aquatiques’) or in the more recent ones featured here, one can easily perceive a freedom-loving musical personality. A pioneer alongside Pierre Schaeffer, in the ’50s and ’60s, she worked on the development of the famous Solfège de l’Objet Sonore (Music Theory of the Sounding Object) before freeing herself from the institution to focus on creating a challenging and independent music.” –Christian Zanési and François Bonnet, Paris, 2015. Digital transfer by Jonathan Fitoussi; layout by Stephen O’Malley; photos by Laszlo Ruszka (1983/87) © Ina, Bernard Perrine (1969); translations by Valérie Vivancos. Coordination GRM: Christian Zanési & François Bonnet. Executive production: Peter Rehberg. Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2014.

File Under: Early Electronic, Experimental
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casa

Julian Casablancas & The Voidz: Tyranny (Cult Records) LP
Tyranny is Strokes frontman Julian Casablancas’ sophomore solo album following 2009’s Phrazes for the Young. Credited to Julian Casablancas + The Voidz, the group is rounded out by Jeramy “Beardo” Gritter (guitar), Amir Yaghmai (guitar), Jacob “Jake” Bercovici (bass/synthesizers), Alex Carapetis (drums/percussion) and Jeff Kite (keyboards). Produced by Shawn Everett, the wide-ranging 12-song set is preceded by the singles “Human Sadness” and “Where No Eagles Fly.” Casablancas explains the album’s title: “Tyranny has come in many forms throughout history. Now, the good of business is to put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter).” “A far cry from the bite-size chronicles of effortless New York cool that Casablancas made his name on, the Strokes frontman’s latest collection of songs finds him grappling with big, serious, universal subjects such as morality, selfishness, public ignorance, and the myriad ways twenty-first century democracy is broken. The real departure, though, is the sound of the thing: Casablancas and his band chose to address those topics in the context of the most abstract, experimental music of his career.” – Chris DeVille, Stereogum

File Under: Indie Rock, Strokes
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devo

Devo: Miracle Witness Hour (Futurismo) LP
Spuds rejoice, for the Miracle Witness Hour is at hand! In 1977 Devo played an intimate show to an eager handful at biker bar turned total dive The Eagle Street Saloon in Cleveland, Ohio. Unbeknown to those canny onlookers, they were to testify to the healing power of Devo! But what of us now? Beautiful mutants fear not, Futurismo are here to rectify your late party syndrome. Televised through the antennas of time we give you Devo’s most intimate unreleased live record ever – Miracle Witness Hour! Released for the first time on any format, this remastered document of de-evolution is finally given the attention it truly deserves. A rare glimpse into the embryonic stages of the groundbreaking band way before the masses knew how to ‘whip-it good’, the Miracle Witness Hour boasts primal versions of the bands most recalled avant-pop songs, juxtaposed against some of their rarer experimental gems. Seemingly fitting for the kind of off the wall experience that would have Devo’s dehumanised art house sci-fi set against the backdrop of Eagle Streets dingy and ruptured old world interior, it’s the playful live imperfections in this recording that genuinely make the Miracle Witness Hour an original and intimate experience. This Futurismo release revitalises this event with exciting artwork and packaging that represents the bands forward thinking approach to the aesthetics that shaped the following decade. The outer sleeve comes die-cut revealing the box-fold reversible cover inner sleeve, itself containing a second sleeve, and housing rare images as well as brand new liner notes by Devo founding member Gerald Casale. It also comes on heavyweight 180g coloured vinyl with Free download. Also available on CD. Praise the lord! We must repeat D-E-V-O.

File Under: Rock, Punk

fay

Bill Fay: Who Is The Sender? (Dead Oceans) LP
Ask Bill Fay about his relationship with his instrument and he says something revealing, not “Ever since I learnt to play the piano,” but “Ever since the piano taught me.” What the piano taught him was how to connect to one of the great joys of his life. “Music gives,” he says. And he is a grateful receiver. But, it makes him wonder, “Who is the sender?” Fay – who after more than five decades writing songs is finally being appreciated as one of our finest living practitioners of the art asserts that songs aren’t actually written but found. Shown a simple piano piece by his sister-in-law when he was around 15, Fay began exploring how it worked and opened up a whole new world, the realm of chords. Once he’d discovered their emotional power, and how finding the right blend of chords and harmony made him want to sing melodies and conjure words, he became immersed in that world, and has been ever since. He recorded two phenomenal and completely different sounding albums, Bill Fay and Time Of The Last Persecution for Decca offshoot Nova in 1970 and 1971, which were largely overlooked at the time, but whose undoubted power sent out enough ripples to find important admirers many years later. Among them was label owner Colin Miles who reissued them on CD in 1998 and thereby alerted a new generation to Bill’s work. After 27 years of neglect, people like Nick Cave, Jim O’ Rourke and Jeff Tweedy were praising those records in glowing terms. Tweedy even began covering Fay’s “Be Not So Fearful” at Wilco shows. Another original fan of those early albums was James Henry, a Californian Vietnam veteran who somehow came across them and found something in the spiritual ruminations of a young man from North London that resonated with him. He passed his enthusiasm on to his son Joshua who grew up to be a producer and who, in 2010, contacted the elusive, almost reclusive Fay and asked if they might make some new recordings. Touched by the unexpected connection his music had made with this young man in Nevada City, Fay agreed. Henry recruited world-renowned engineer Guy Massey and a crack squad of musicians, including current, in-demand players Tim Weller, Matt Deighton and Mikey Rowe, and Bill’s cohorts from the Decca days, Alan Rushton and Ray Russell. This pan-generational team proved a perfect conduit for Bill’s work and the results, released as Life Is People in 2012 were breathtaking and lauded around the globe. Now that team, with some new additions, has convened for a second album. Cut in just 13 days in Ray Davies’ Konk Studios, North London, Who Is The Sender? sees Bill expanding upon themes he has touched on from the beginning, spiritual and philosophical questions, observations about the natural world and the people in the city he has lived in all his life. You can hear them in “Garden Song,” the first song on his debut album in 1970 and in “Underneath The Sun” and “How Little” on this album, with its refrain “It’s all so deep.” The joy and sadness are indeed deep in this material, which Bill describes as “alternative gospel.” Though it clearly stems from his belief, he doesn’t seek to proselytise or convert anybody, but just hopes to share the concerns he puts into the words and the feelings that he receives from the music: “Goodness, beauty, comfort. If something gives in the world, that’s a good thing, isn’t it? Maybe that’s what music wants to do.” “Bill Fay is one the greats!” – Nick Cave

File Under: SSW, Folk
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frahm

Nils Frahm: Solo (Erased Tapes) LP/CD
Berlin-based composer and pianist Nils Frahm celebrates the first annual Piano Day (March 29, 2015, the 88th day of the year) with the release of Solo. The group behind Piano Day, made up of Frahm and his closest friends, plans to support various exciting, piano-related projects; the first of these is the building of the world’s tallest piano, the Klavins 450. As the life-long dream of David Klavins, it will exceed the current record-holder, the Klavins M370. Located in Tübingen, Germany, the M370 weighs 1.8 tons, stands 12.14 feet tall, and boasts strings up to about 10 feet in length. It was on this piano, in one sitting, that Frahm recorded the eight improvised piano motifs that form Solo. Once recorded, Frahm began to think of ways to release the album as a gift to his fans, and came up with Piano Day. Solo was made available as a free download on Piano Day 2015, as a way of easing Frahm’s fans into sharing their money for the Klavins 450 project. All direct donations and a portion of all record sales will go to the Klavins 450 project until the target has been hit. In his liner notes for the album, Frahm writes, “David got to work in 1985 and finished his instrument two years later. Back then I was five years old, with no idea of how much I would fall in love with it. When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn’t know what music, what songs I was about to record in the next three days… The eight pieces featured on this album were selected out of hours of improvising, happy hours… The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as if almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn, and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David’s instrument. Words simply don’t do it justice, so listen for yourself. With lots of love, Nils Frahm.”

File Under: Ambient, Neo-Classical, Piano
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fukuda

Hiiragi Fukuda: Seacide (Trouble In Mind) LP
Hiiragi Fukuda turned a lot of “heads” with his 2013 album My Turntable Is Slow—released on NY label Selection Records. TiM hopes to carry his name into 2015 with the release of Seacide—Fukuda’s first foray into synthesizer music. Originally released as a criminally limited cassette on Sloow Tapes, Seacide is entirely instrumental & improvised, with it’s hypnotic drones & pulses echoing out of his practice amplifier and carving out sonic territory akin to NY pioneers Suicide as well as UK Industrial godfathers Throbbing Gristle.

File Under: Psych, Synth, Drone
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gd

Grateful Dead: Three From The Vault (Future Days) 4LP
Following on the heels of Light In The Attic’s vinyl LP release of One and Two From The Vault comes the final release in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release! The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman’s Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night–all of which went on to become Dead “standards” including “Playing in the Band,” “Greatest Story Ever Told,” and two absolute classics: “Bird Song” and “Deal.” Essential Dead.

File Under: Dead
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kalma

Ariel Kalma: Open Like A Flute (Black Sweat) 2LP
Originally composed between 1981 and 1984 and initially appeared only on tape in two different editions, the proposed material from Ariel Kalma for this work confirms his pantheistic vision of the ethnic sound that had already emerged in 1978 with the masterpiece Osmose. The deep consciousness of the compositional techniques of Indian ragas is mixed here with embroidered electronic textures on which flute and sax explore the most secret archetypal elements of nature. In this way Kalma offers to the listener a personal idea of sacred music with luminous and oneiric tones but always dialoguing with a higher cosmic conception of things. With a clever use of effects, harmonium, delays and exotic percussions, Kalma becomes the creator of soundscapes from the endless myriad shades. Such a fusion of Western avant-garde and eastern tradition approaches other big names of the international panorama such as Popol Vuh, Angus MacLise or László Hortobágyi. The master comes from the original 1/4” analog tape from the ’80s. Limited edition of 300 copies in a gatefold cover with info.

File Under: New Age, Ambient
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kauffman

David Kauffman & Eric Caboor: Songs From Suicide Bridge (Modern Classics) LP
You’ll find a Suicide Bridge in almost any big city you care to visit, but few are more impressive than the Colorado Street Bridge connecting Pasadena to Los Angeles, which earned its nickname by being the scene of suicides in triple figures. It’s also the scene of a photo shoot in which singer-songwriters Eric Caboor and David Kauffman posed on the deserted structure, capturing an image that would eventually inform the spare, detached mood–and title–of their majestic debut album, 1984’s Songs From Suicide Bridge. Indeed, there’s a fatalistic quality to this LP that has much to do with its origins. Kauffman, from Madison, New Jersey, and Caboor, from Burbank, California, met in 1982 playing the coffee houses of Los Angeles. Each was painfully used to playing to half-empty venues, which is a situation only half of the partnership would have been at peace with. “Dave had come to California to have a career in music,” Caboor says. “I don’t think it was quite the same for me. I was always kind of reluctant to go all out.” Every week, the pair met in a converted utility shed in the backyard of Caboor’s childhood home in Burbank to play each other the songs they wrote. They were never a duo in the conventional sense–rather, as Kauffman put it, “two loners who happened to join forces.” After two frustrating years of trying and failing to catch a break in a music industry that was focused on new wave, pop, AOR–anything but the folk-rock the duo were offering–the pair conceded defeat. One of them suggested, half joking, that they should put all their darkest and least viable works together on one record, if only to spite the industry that had rejected them. The more they thought about it, the better an idea it seemed, and when they started to plot out a tracklist from their vast catalog of songs, something unique and special begun taking shape. The opening track, “Kiss Another Day Goodbye,” in particular, set out the stall: “I don’t know how much longer/ I can feel the way I feel/ And never cry/ I don’t know how much longer/ I can kiss another day goodbye,” it says. Home-recorded on a four-track, Songs From Suicide Bridge was released on the pair’s own Donkey Soul Music in 1984. If this were a movie, the album would have been a huge success. Instead, the 500 copies pressed found their way to few willing ears. Though real life encroached, Caboor and Kaufmann continued to work together, releasing albums as The Drovers in 1989 and 1992. Now, their debut is to be released by Light In The Attic Records with brand new liner notes by Sam Sweet. Hopefully, it will finally find its audience–a listener who can see hope in the darkness. “People would tell us those songs were depressing,” Caboor says in his interview with Sweet, “but it wasn’t depressing to us. In a lot of cases, playing those songs in that little room was one of the only things that made us feel better.”

File Under: Folk, Drifter, Private Press
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kenney

Kenney/Kang/Park: At Temple Gate (Weyrd Son) LP
At Temple Gate immerses you in a kind of shamanism of which the echo has long since been lost. It is an interstitial album which marries a modal ancestrality with the power of electronic soundscapes, revealing a duality, an incantation at the threshold of death. The Sound is what immediately strikes the listener, even before the Logos, the word, the music itself; At Temple Gate is a kind of sonic ritual. It is not the dead, these deities, who are terrifying, but the living and their ever more ardent desires to communicate with those whose bodies have spread throughout the cosmos into a billion particles of stardust; where we come from and where we end up, ashes to dust. At Temple Gate is evocative of all of this: the bait of Time, Cruelty, the bite of Sound. Jessika Kenney: voice, electronics; Eyvind Kang: viola, electronics; Hyeonhee Park: percussion, electronics; with Timm Mason: modular synth. Numbered edition of 300 copies.

File Under: Electronic, World, Experimental
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birth

Jim Linderman: Birth of Rock & Roll (Dust to Digital) Book
“Collector and Americana yay-sayer Jim Linderman is an archivist of the obscure. His collections tell vast stories in sotto voce, allowing curios and objects shadowed by mainstream culture and ideology to converse and be heard. What we hear is an enormous American sub-culture speaking in forbidden, marginalized languages: stuff discovered boxed in the attic out of embarrassment or zealotry, smutty ash trays crowing next to religious pamphlets, each claiming a part of the complex, sometimes contradictory, always conflicted American imagination, a chaos of memories that will one day vanish. In The Birth of Rock and Roll, Linderman’s arranged a storyboard of sorts that dramatizes the spirit, if not the chronology of rock and roll. Poetically, the photos evoke without naming, and have little to do with conventional iconography of the birth of rock and roll — i.e., young white men in Memphis, poodle skirts, Alan Freed, Bill Haley’s Brylcreem, etc. Instead they document, and celebrate, the pure but indefinable essence of rocking. Ordinary, nameless men, women, and children, some white, some black, are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there is an urge to make acoustic or electric music — whether to help at a rent party, busk in front of a crowd, or testify in the name of Jesus — there’s an uncredited photographer there to snap an image” –Joe Bonomo. “I wanted them all to be anonymous, but several were identified, and the Carter Family was included because it is such a lovely snapshot [and it has never been published before now]. I like to think rock and roll emerged from a large collective of unknown folk ‘down there’ rather than from some stars ‘up there'” –Jim Linderman. Includes an introduction by Jim Linderman and an interview with Jim Linderman by Joe Bonomo. Jim Linderman is a writer, art historian, collector, and publisher. He maintains a network of websites on art, photography, and culture. Joe Bonomo is an essayist and music writer. His books include Sweat: The Story of The Fleshtones, America’s Garage Band; Jerry Lee Lewis: Lost and Found; and Conversations With Greil Marcus. Book designer: Martin Venezky. 160 pages; 12 x 9.75 inches; 134 images reproduced in full color.

File Under: Books

male gaze

Male Gaze: Gale Maze (Castle Face) LP
Blow-out enthusiasts, make ready to scarf this down without chewing: “How many licks does it take to get to the spider egg in the center of this sugar bomb? “You got the jitters, and dude, there’s blood on your shirt. “I like gore with my goth.  “Hey, you got your pop sensibilities on my explosion!” Strong vocals à la Modern English, back-beat complete and foamy bass bleached onto half-inch tape specially for Castle Face. Seven headstrong tunes to clatter your phonograph needle. I’ve always loved Matt Jones’s (ex-Blasted Canyons) vocal stylings, rich with tenor muscle flexes. Over the top in its endeavors and reaching, always reaching. Primal gas-guzzler drumming, center speaker from Adam Cimino sets the ear up for a beating. And hell, it’s got the old (and I mean old) bass player, Mark Kaiser, from Mayyors; solid-state aggression at its mid-low, knuckle-dragging finest. A slap in the brain done up nicely here on wax. Enjoy. —John Dwyer

File Under: Punk
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mirage

Mirage: Blood For The Return (Old English Spelling Bee) LP
“Most people just start a band, reiterate what they like, get a buzz, and when it slows down they start a new band — but it’s like a new name with mysterious photos. But it’s all the same people. You see the stuff over and over again.” – Johnny Jewel of Italians Do It Better in a Pitchfork interview from 2012. The above quote contains an extra layer of meaning considering that Johnny Jewel himself has an occasional solo recording project that also uses the name “Mirage”. This Mirage is not him. Nor is this Mirage who it was pretending to be. But, of course, what better name to use than Mirage when attempting to pass off a false persona to the world? Earlier this year I was contacted by Robin Nydal, aka Mirage, a 19-year old musician from Los Angeles who had just put his debut album titled “Blood For The Return” on Bandcamp. His initial email solicitation was bizarrely unconventional — instead of asking me to listen to his songs he only wanted me to listen to very brief sections of his songs — to quote his first email in full: “listen to the outro of Anne @ 1:06 and the harmonies @ 40 seconds on Blood For The Return” So I took the bait on the novelty of a hopeful musician asking me to listen to only the “good parts” of their songs — the problem was that I didn’t hear why the prescribed sections were any more remarkable than the entirety of the album. It was a stunning listen from start to finish and I was quickly on board to help him release it, not fully realizing what I was getting myself into. I was soon reminded of that saying: “fools rush in where angels fear to tread”. In the following months, while the brief 6-song album metamorphosized into a full-length 11-track monster, the myth behind Mirage underwent a complete deconstruction as well. I’m accustomed to working with some very eccentric artists but nothing could have prepared me for the Twilight Zone that is Mirage. Dozens upon dozens of insane, demanding, and non-sequitur emails – every single day. Ranging from hilarious to bratty to downright menacing — it was like being in a movie — my very own “psychological thriller” — heavy emphasis on “psycho”. First he asked if he could transfer his Bandcamp account over to OESB because the income he was making off sales was jeopardizing his family’s status as welfare recipients (?!?!). His story didn’t completely make sense and his home address pointed to a nice neighborhood in a Los Angeles suburb — so the request was a head-scratcher — but sure, done. In the meantime I had sent his music to a couple of writers which resulted in some enthusiastic coverage on both Pitchfork and Fader. About a week after the articles appeared I received a cryptic email from Jack Shankly of Weird World/Domino requesting a phone call. Since OESB had been more or less dormant I assumed that he wanted to speak with me about Mirage. When I mentioned Jack’s request to Robin he said “well, I’m in neck-deep with you but I am already in knee-deep with Jack” !?!? “What does that mean exactly?” I replied and then Robin explained that he was already under contract to Weird World/Domino for all of his music but “don’t worry about it — what are they gonna do, spank us?” !?!? So this kid was frustrated that Domino was in no rush to release his music so he came up with a new project name and started shopping it around in hopes that Domino wouldn’t notice — and of course made no mention of any of this to me until Domino came calling. Oops, looks like your cover is blown kid!! I knew that Robin Nydal was a clever but fairly obvious pseudonym: Robin = BOB & Nydal = DYLAN. But “Robin” certainly acted like a bratty 19-year old who was still living with his parents. So how did boy genius already have this secret record deal with Domino? A few minutes of Google-searching shed plenty of light on the poorly constructed mystery. The Blood For The Return cover image had been used way back in 2010 for a write-up on one of his previous projects — and his list of guest musicians on BFTR led to articles on several other past bands he’d been in with the same guys. Robin used a different pseudo-name as the bandleader for each, but there was nothing for him to be ashamed of — all of the previous bands made extremely well-crafted experimental pop that had generated some healthy blog buzz yet failed to break into the indie mainstream. Curiously in nearly every write-up between 2009 and 2012 the music for these different projects was credited to a “19-year old from Los Angeles”. Guess he’s got one of those “fountains of eternal youth” in his backyard!! “And so I wake in the morning, And I step outside, And I take a deep breath and I get real high.. And I scream at the top of my lungs What’s going on? And I say, hey hey hey hey… I said hey, WHAT’S GOING ON?!?!”. BUT IT GETS EVEN STRANGER FROM THERE — his Wolfmother-esque high-school rock band was somehow able to secure a slot as the opening act for The Who’s Roger Daltrey on his North American tour in 2009. WTF!?!? Turns out that Linda Perry from 4 Non-Blondes had discovered a 13-year old Mirage at a Guitar Center (of course!!), bought him a guitar as a gift that very same day, and took him and his friends under her wing as their “manager/band mom” for six years. But after getting thrown into the deep end of the pool on the Daltrey tour their debut release flopped and they disbanded to pursue a series of re-inventions that leaned more towards proggy art-rock. Each project sounding more haunted and lo-fi until crystallizing into the funhouse-mirror mindfuck that is Mirage. So that helps explain some things — Mirage is suffering severe Post Traumatic Stress Disorder from his teenage music-biz experiences and close calls with rock stardom. Too much, too soon. The big dream was within reach yet slipped his grasp. Now he’s a lunatic making recordings far more hermetic in nature — while playing twisted mind-games with record labels and the world at large. But, ultimately — none of this failed mythology matters. Because the music is coming from a very real and unique place. The intricately convoluted fantasy realm that he exists in reveals itself in vivid colors upon listening to these songs. That’s why Mirage has been compared to pop-experimentalists from the 70?s like Robert Wyatt, Van Dyke Parks, and Peter Gabriel — all of whom were known for going “beyond the song” and creating their own idiosyncratic sound-worlds. For a more contemporary point of reference Pitchfork’s Jayson Greene said that Mirage “recalls what a Grizzly Bear demo might sound like that had spent the last ten years buried in someone’s vegetable garden.” Hey everyone — grab a shovel — let’s go dig!! – Todd Ledford, Olde English Spelling Bee

File Under: Dream Pop
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modernettes

Modernettes: Teen City (Sudden Death) LP
Modernettes were pop / punk phenoms from Vancouver, Canada—a city Jack Rabid of The Big Takeover magazine claims had the greatest undiscovered punk / new wave scene of the late ’70s and early ’80s. This is the first time the group’s debut release has been reissued in its original format since 1979. Produced by the legendary Bob Rock in his seminal days, Teen City delivers six classic anthems ranging from the über-catchy “Barbra” (chorus: “B-A-R-B-R-A, Barbra”) to the teen-angst-tinged “Confidential” to the cool of “Celebrity Crackup.”

File Under: Pop, Punk, CanCon
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rhythm aces

Bobby Moore & The Rhythm Aces: Dedication of Love (Jazzman) LP
Limited numbered edition of 1000. Much is said in the mainstream media about million-selling records, yet the opposite is true of the no-hitters — the obscurities that sold badly and sank without a trace. Represented here is the bittersweet experience of a hard-working soul band that experienced the elation of a million-selling chart-topper (1965’s “Searching for My Love”), but also the dejection of a self-released flop that sold so few copies that barely a handful can still be found. The 1976 album Dedication of Love by Bobby Moore & the Rhythm Aces is that flop, and it exists in 2015 as only a handful of copies, selling for up to $2000 on the highly competitive rare soul market. This is its first ever reissue. From Jazzman’s exclusive interviews with long-standing band member Bobby Moore Jr., this reissue’s detailed liner notes tell the story of Bobby Moore & the Rhythm Aces from inception through 2015, including all the highs and lows that membership of a touring soul band can bring, as well as some spectacular, previously unseen vintage photos. The notes dig deep to find out just why this record was made, and why, despite such a wonderful array of heartfelt soul, street funk, and downhome funky blues, it became such a rarity. Part of the Jazzman Holy Grail Series.

File Under: Soul, Funk, Private Press
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nilovic

Janko Nilovic: Soul Impressions (Underdog) LP
Following Underdog Records’ 2014 reissues of brilliant and underrated Montenegrin-French multi-instrumentalist and composer Janko Nilovic’s ’70s albums Pop Impressions and Super America, the label now presents a remastered reissue of Nilovic’s 1975 album Soul Impressions. Nilovic was certainly one of the great studio talents of 1970s Europe, but his prolific output was mostly released on library music labels and largely not available for sale. His compositional wizardry encompassed the styles of jazz, funk, Latin, psychedelic, easy listening, classical, and pop; these genre-blending arrangements have since become a rich source of samples for contemporary hip-hop artists, including Jay-Z, Dafuniks, and Guts.

File Under: Funk, Soul, Library
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omg

Old Man Gloom: Meditations in B (Hydra Head) LP
Meditations in B. A simpler time. Like Pepperidge Farms, and Little House on the Prairie. Two beautiful young men (Aaron Turner and Santos Montano) set off on their own, in the peak of their sexual virility, to forge a new path in brutally sludgy, crushing, apocalyptic, post-metal, post-hardcore, pre-Y2K, post-math, pre-friendster, post-rock riffs. It was a magical time, before they added a few “session players.” Still regarded by some (mostly the guys who played on it) as Old Man Gloom’s finest hour, 2000’s Meditations in B was written in one afternoon, then recorded and mixed in just 12 hours. They also had the privilege of recording it in their home town of Santa Fe, New Mexico at Stepbridge Studios. Within months of this, they used this monumental piece of music to convince Nate Newton (Converge) to join, and once they had him, it was a little easier to convince Caleb Scofield (Cave In) to come aboard.

File Under: Metal, Cave In, Converge
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tp0004c_SP_DPGate_Cover

OST: Nekromantik (One Way Static) LP
One Way Static Records is proud to be bring you their latest release, a release where we had the chance to work with German visionary Jörg Buttgereit and his trio of go-to composers : Daktari Lorenz, Hermann Kopp & John Boy Walton. Nekromantik is known to be frequently controversial, banned in a number of countries, and has become an international cult film over the years due to its transgressive subject matter (including necrophilia) and audacious imagery. Daktari Lorenz, Hermann Kopp & John Boy Walton make up the holy trio of composers called upon by film maker Jörg Buttgereit. Between the three of them they produced some of the most haunting and beautiful tracks to be paired up with Buttgereit’s controversial on-screen works of art. The Nekromantik score displays the dynamic ability and range of the composers. It strikes a perfect balance of beauty, horror, joy and dissonance. The score is both minimalistic and hauntingly atmospheric at the core, and yet remarkably complex at the same time. A wide variety of instruments and sound effects are utilized throughout it’s making. Kopp wastes no time displaying his mastery of the violin, which takes center stage, captivating the listener with his powerful, rhythmic, and beautiful solos. He also uses the violin to create some of the strangest tracks on the album, significantly slowing down the rhythm, creating an ominous, off-key droning sound. Kopp is no slouch on the piano either, with a number of beautiful piano interludes that appear throughout the score. In sharp contrast are the tracks which sound as if they are from an old school industrial album. Harsh noise, clanging metal, pounding drums, synthesizers, and various sound effects come together to create a truly dark and desolate picture. The moog synthesizer, also makes a few appearances. This is an amazing collection of music that appeals to a wide variety of people. Today we bring you for the first time on vinyl and cassette the EXPANDED original 1987 motion picture soundtrack from Nekromantik.

File Under: OST, Horror
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visitorOST: The Visitor (Mondo) LP
More Mondo! Original music composed, arranged and conducted by Franco Micalizzi.

File Under: OST, Mondo
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pow!

Pow!: Fight Fire (Castle Face) LP
POW! is re-chromed and ready to soundtrack your dystopian near future. Harsh neon synths battle with zipline guitars for space above a dark and teeming cityscape. Your guide is always in the shadows, you can’t make out his face but you hear his crazed diatribe as he wards off all affronts.  Razor-sharp punk at its core, Fight Fire is fleshed out with inventive and catchy synth work—and the floating bits of atmospheric expansion between tracks only heighten the paranoid atmosphere. These tunes have a sci-fi depth, a moody bite, and a startling clarity sharpened to a point by the wizard hand of Chris Woodhouse, who helmed the magnetization. Recommended listening for future-punk teens and grown adults alike.

File Under: Punk, Garage, Electro
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redolfi

Michel Redolfi: Pacific Tubular Waves/Immersion (ReGRM) LP
Packaged with 3D cover art; includes Anaglyphic 3D glasses. “Pacific Tubular Waves” (1979): Electronic music for Synclavier digital synthesizer. “The first four movements frame different visions of the energy delivered by the rolling waves as a kind of auditory surfing on the crest and into the trough of the wave (movements 1-3), followed by a high speed crossing within the tubular cyclone (4). The piece ends with easing waves at dusk… In terms of the making, ‘Pacific Tubular Waves’ is a purely electronic music, a solo performance on the first digital Synclavier synthesizer. The flexibility of its touch keys enabled me to intuitively program a sonic organic life quality with a concrete quality. Here the computer was used to magnify the texture and behavior of the oceanic material though never mimicking it.” “Immersion” (1980): Electroacoustic music for Synclavier synthesizer and underwater recordings. “Composing ‘Immersion’ started with underwater recordings using a hydrophone. After recording the shifting sands and the rolling pebbles under the breakers, I came up with the idea of dipping a sonar loudspeaker underwater to diffuse my ‘Pacific Tubular Waves’ piece (made the previous year) below the surface. The music was thus shuffled by the waves and unexpected filtering effects resulted from its passing through clouds of foam. Its dispersion at sea by currents would send back incredibly smooth harmonic echoes… The recording of this natural remixing process is the guiding thread of the piece. It is interspersed with sequences composed in the studio with the Synclavier. Alternating dry/wet, for a gradual immersion through increasingly calm and dense increments… Three-dimensional Visible Images through the glasses attached hereto. Analogous to stereo, the anaglyph graphic process consists of two left and right points view of the same object… The feeling of space is expanding proportionally to the distance of observation, from 80 cm to several meters” –Michel Redolfi. A singular figure of the electroacoustic landscape, Redolfi debuted in 1980 with Pacific Tubular Waves/Immersion on INA-GRM. Recollection GRM presents the first reissue of this record. Digital transfer by Diego Losa. Cut by Rashad Becker at Dubplates & Mastering, Berlin, July 2014. Original 3D artwork and inner sleeve wave photo by Michel Redolfi. All other photos and portrait by Donna Cline. Sleeve and new Anaglyph 3D design by Stephen O’Malley. Anaglyphic 3D supervision by Guy Ventouillac. Coordination GRM: Christian Zanési and François Bonnet. Executive Production: Peter Rehberg.

File Under: Early Electronic, Experimental
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rich

Charlie Rich: So Lonesome I Could Cry (Fat Possum) LP
The Hi recordings of Charlie Rich are in many ways the most reckless and adventurous of his career. In 1966 and 1967, Hi, a small Memphis label that hosted acts such as Willie Mitchell (and later Al Green) and the Bill Black Combo believed, like Sun, RCA , and Mercury before them, in Rich’s prodigious talent but had no idea where to put him categorically. Mostly here are the songs associated with Hank Williams. They are revelatory in that they reveal just how wide-ranging Rich’s vision was. Beginning with Williams’ own “My Heart Would Know,” Rich takes the songs deep into his own musical soul and, like Ray Charles before him with Modern Sounds in Country and Western Music, makes them his own, turning them into timeless pop classics. Among Rich’s recordings, these 12 songs are some of the most enduring. This collection is essential for Rich fans, and something to consider for any fan of timeless, restless country-soul from the 1960s.

File Under: Country, Soul
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run the jewels

Run The Jewels: 2 (Mass Appeal) LP
BACK IN STOCK! Run The Jewels, the super dynamic duo of El-P and Killer Mike, two of the most distinctive and celebrated names in rap, are set to release their sophomore album, Run The Jewels 2, on Mass Appeal Records. The immensely anticipated album includes guests ranging from Zack de la Rocha to Travis Barker amongst others, but the duo maintains that the album is first and foremost about the creative partnership between the MCs themselves. As Rolling Stone notes, Run The Jewels is “two masters whose kinship clearly elevates each other’s game, in, what from the outside, looks like the platonic ideal of reverent collaboration.” Lead single “Blockbuster Night Part 1” was named “Best New Track” by Pitchfork. “We can make no promises about the safety of any animals involved in the creation of this record. It is the best rap group album since RTJ1!” – Killer Mike “We are very excited to bring you the next chapter of Run The Jewels via the good folks at Mass Appeal.” –  El-P

File Under: Hip Hop
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shlohmo

Shlohmo: Dark Red (True Panther) LP
Dark Red is the second full-length album from Shlohmo, aka 25 year-old Los Angeles native Henry Laufer. The album is an uncanny marriage of his ever-evolving, richly textured sound with shades of 90s IDM, R&B, cassette-tape Jungle, and, in an unexpected turn, sludge metal. “It sounds like if Electric Wizard tried to make an R&B record,” he says, “or Boards of Canada meets Burzum by the River Styx.” Shlohmo’s music thus far exists in the poles between the subtle textured tracks of 2011’s Bad Vibes and the booming sinister synths and hi-hats s of his production work and remixes (split EP with Jeremih, Banks’ “Brain”, remixes for Drake + The Weeknd). Dark Red utilizes Shlohmo’s existing palate but also mines the noises and imperfections inherent in analog production and naturally damaged sounds. Side-stepping current trends that lean towards pristine, computer-generated production, Dark Red explores natural distortion, fuzz and noise as compositional tools, intentionally distressing sounds to echo the feeling of the icy menace and emotional charge found on early black metal tapes. The result is a deeply personal listen, Shlohmo’s boldest statement yet. “If Shlohmo weren’t a producer, he’d be a pyromaniac. His music, a sludgy mix of techno and electro-soul, burns slowly until it crumbles to a foggy, smoldering heap.” – Pitchfork

File Under: Electronic
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sy

Sonic Youth: Bad Moon Rising (Goofin) LP
Sonic Youth’s second full-length LP Bad Moon Rising was originally released on Homestead and Blast First in 1985. The album is a fascinating examination of “the junction where hippie idealism [meets] the cold hard world,” says guitarist Lee Ranaldo, “where Woodstock [meets] Altamont—Death Valley, Charles Manson, Brian Wilson, musicians, murderers, heroes and villains.” Its original eight-song tapestry of droning guitar feedback, distant clattering percussion, and sullen vocals, all held together with interstitial noise loops and shadowy haze, ambles through a long, dark night before the feverish “Death Valley ’69,” driven by runaway guitar riffs and a frantic Thurston Moore / Lydia Lunch vocal duet, pounds the capstone into place. Sonic Youth’s big leap forward from Confusion Is Sex and Kill Yr Idols “reflects the spirit of the time,” to quote All Music Guide. Bad Moon Rising views “American gothic through the glassy eyes of willful moonlit paranoia.” Back in print on Goofin’ Records, this reissue includes bonus tracks “Flower” and “Halloween,” both from a 12- inch single of the same era. The sound collage morsels “Sa- tan Is Boring” and “Echo Canyon” are your cue to begin moving toward the exit and get out while you can.

File Under: Indie Rock, Post Punk, Classics
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toro

Toro y Moi: What For? (Carpark) LP
Deluxe limited gatefold edition of 2000 on blue and white starburst vinyl with exclusive poster and sticker. Incl. Download. Opening to the scream of F1’s speeding around a racetrack, and maintaining that intensity with booming guitar riffs and psychedelic effects throughout, the forthcoming album from Toro Y Moi is definitely making a statement. Or maybe a few statements. But Chaz Bundick, the frontman and songwriter, is leaving it up to you to figure out what they are. While it is obvious that each song is crafted around a personally meaningful experience, Chaz seems to purposefully leave the lyrics just vague enough to let each listener mold it into something unique. Chaz presents you with a few themes: love, beauty, nature; and gently lets go of your hand so you can wander off on your own. A feeling of searching for something threads its way through every song on the album, which is aptly named What For? It feels contradictory in a very human way, like Chaz is swinging between waiting for something and not being able to wait anymore. But the swinging isn’t panicked or frustrated, it’s just a situation that he’s reflecting on. The songs are heavy with nostalgia, too, for simpler times, better music, more fulfilling relationships. Chaz references Weezer to warn you that “there is no one to destroy your sweater” and, in another song, recalls Big Star to declare that “rock and roll is here to stay.” It feels like he misses everything (even things he wasn’t around for yet), but is somehow excited for what comes next. What For? is a glimpse into the life of a guy trying to figure out what it all means. The music is influenced by bands like Big Star, Talking Heads, Tim Maia, Todd Rundgren, but it doesn’t quite sound like any of them in particular. And it isn’t trying to. It has that special something that Chaz imbues in every Toro Y Moi album, his personal filter on the world he experiences. So whatever message you take from the album, don’t forget that it’s good. As Chaz himself so candidly believes, “Good is good. Good finds its own audience.”

File Under: Indie Rock
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waxahatchee

Waxahatchee: Ivy Tripp (Merge) LP
Waxahatchee, the solo musical project of Katie Crutchfield, is named after a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Ivy Tripp drifts confidently from its predecessors and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “On her group’s third and most structured album, Ivy Tripp, [Waxahatchee’s] Katie Crutchfield takes stock of circumstances, possibilities, and worries from close-up perspectives informed by first-hand experience and imagined scenarios.” —Bob Gendron, TONEAudio, April 2015 “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.” Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island – with drums recorded in the gym of a local elementary school – Ivy Tripp presents a more developed and aged version of Waxahatchee. “The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents. I have thought of it like this: [Waxahatchee’s last album] Cerulean Salt is a solid and Ivy Tripp is a gas.”

File Under: Folk, Pop
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chicas

Various: Chicas Vol 2 (Vampisoul) LP
“Much of the music made by Spanish women in past decades didn’t reach its potential audience. Too much. For varied reasons, the more personal and daring work couldn’t break the barriers imposed by a society with a narrow and prudish view of what a woman’s role should be. This second volume of ¡Chicas! must disprove again the lie that says that in the ’60s and first half of the ’70s, Spanish female artists hardly sang anything but ye-yé, singer-songwriter, copla, or romantic songs. Despite all the social determinants and repressive archetypes which stigmatized anyone who left the queue, the most courageous women began their paths in new music roles which they immediately considered their own… Whether it was as solo artists or as part of a band, along with men or other women, the real turning point for our more groundbreaking pop female singers at the time was their ability to associate. Suddenly, breaking the isolation that until then considered them mere instruments in the hands of men, those daring girls got involved in ambitious projects and tried to do it by themselves, obtaining a normality denied until then. Exquisite experiences of select avant-garde, brave examples of groove and funk or adventures in ’70s rock; of course, there were also incursions in twist, bossa, ska, soul, or the emerging gipsy rock trend… The tracks featured here are the proofs of this wonder, and the line-up of female artists that make this record possible — many of them sadly unknown or forgotten until now — are the wonderful and still relevant cast of this story” –Vicente Fabuel. Many of these tracks, originally released between 1963 and 1978, are reissued here for the first time, including very hard-to-find records. CD and double LP include extensive liner notes by Vincente Fabuel featuring all of the original record sleeves and artist photos. Includes tracks by Claudya Con Ramón y Sus Showmen, Donna Hightower, Claudine Coppin, Blanca Aurora, Ana Kiro, Marina, Elsa Baeza, Antón García Abril, Edda Dell’Orso, La Nueva Generación, Elia y Elizabeth, Satin Bells, Karina Con los Jaguars, Rocío Durcal, Sola, Las Trillizas de Oro, Bárbara, Los Quandos, Los Jolly’s, Anabella y los Platinos, The Zara’s, La Llave 3, Paloma San Basilio, Morena y Clara, Alicia Granados, Los Cenits, Las Chic, Los Unísonos, and Elia Fleta.

File Under: Spanish, Vocalists

french disco

Various: French Disco Boogie Sounds 1975-1984 (Favorite) LP
French label Favorite Recordings follows up with focus a on its native language. With assistance from a close connoisseur friend, DJ and collector Charles Maurice presents a fine selection of tracks that, in his estimation, best represent the amazing energy of a specific French movement from 1975 to 1984. With ten rare titles, he paints a perfect picture of what one could find in French record stores at that time. On one hand, tracks by Over Drive, Marché Noir, Didier Makaga, and France Lise were produced by underground artists and labels from the French Caribbean and African community and filled with a raw, tropical spirit. On the other hand, tracks by Beckie Bell, Kelly, Le Club, and Bernard Guyvan were released by major labels such as Trema, Carrere, Disques Vogue, and Pathé Marconi, thanks to confirmed independent producers working not only in France, but also in Canada and the US. Today, Favorite Recordings and Charles Maurice are very proud to shed some light on these gems, and offer them a new life on your turntable. Also includes tracks by Contessa and Toulouse.

File Under: Disco, Boogie

…..Record Store Day Late Arrivals & Restocks…..

Death Cab For Cutie: Kintsugi (Atlantic) CS
Koes Barat: s/t (Sub Pop) LP
Heartbreakers: Live At Max’s (Universal) LP
Hollerado: 111 Songs (Universal) 7″
Joan Jett: Flashback (Universal) LP
Arto Lindsay: Encyclopedia of (Northern Spy) LP
Placebo: s/t (Universal) LP
Residents: Intermission (Music on Vinyl) LP
Tough Age: Plays Cub (Mint) 7″
TV On The Radio: Trouble Double (Universal) LP

In Next week….

Black Star: Fix Up 7″
Neko Case: Fox Confessor.. (Anti) LP
Dead Milkmen: Beelzebubba (Asbestos) LP
Immortal Technique: Revolutionary Vol 1 LP
Sharon Jones: Little Boys With Shiny Toys (Daptone) 7″
Mighty Mighty Bosstones: Question The Answers (Asbestos) LP
Elvis Presley: My Happiness (Third Man) 10″
Sun Ra: Planets of Life & Death (Strut) LP
Various: Creation Artifacts (Creation) 10×7″ Box
Various: Truth & Soul 2015 Forecast (Truth & Soul) 10″

…..Restocks…..

A Tribe Called Quest: Beats, Rhymes & Life (Jive) LP
Alessandro Alessandroni: Industrial (Dead Cert) LP
Arcade Fire: Reflektor (Sonovox) LP
Black Keys: Turn Blue (Nonesuch) LP
Black Keys: Brothers (Nonesuch) LP
Black Keys: El Camino (Nonesuch) LP
Black Keys: Magic Potion (Nonesuch) LP
Black Keys: Attack & Release (Nonesuch) LP
Charles Bradley: Victim of Love (Daptone) LP
Can: Ege Bamyasi (Mute) LP
John Coltrane: Blue Train (Blue Note) LP
Cure: Disintegration (Elektra) LP
D’angelo: Black Messiah (RCA) LP
Daft Punk: Homework (EMI) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Human After All (EMI) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
Miles Davis: Kind of Blue (Columbia) LP
Miles Davis: Bitches Brew (Music on Vinyl) LP
Gong: Camemebert Electrique (Snapper) LP
Guided By Voices: Bee Thousand (Scat) LP
Led Zeppelin: Houses of the Holy (Warner) LP
Led Zeppelin: II (Warner) LP
Led Zeppelin: III (Warner) LP
Led Zeppelin: Physical Graffiti (Warner) DLX LP
Modest Moust: Lonesome Crowded West (Glacial Pace) LP
Mos Def: Black on Both Sides LP
OST: Under The Skin (Milan) LP
Popol Vuh: Kailash (Soul Jazz) 2LP+DVD
Portishead: Dummy (Island) LP
Radiohead: Kid A (Parlophone) 2×10″
Radiohead: Ok Computer (Parlophone) LP
Radiohead: Hail to the Thief (Parlophone) LP
Radiohead: Pablo Honey (Parlophone) LP
Sleep: Dopesmoker (Southern Lord) LP
Squadra Omega: Il Serpente (Holidays) LP
Taylor Swift: 1989 (Big Machine) LP

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…..news letter #687 – t-minus…..

Alright! Here we go! Weeks of ordering and receiving and plotting and in about 36 hours, all hell is gonna break loose around here. Tomorrow night we’re gonna close up early and completely strip the walls and replace everything will all them glorious RSD exclusives.

AND just in case you don’t get what you wanted, or maybe you don’t want any of the exclusives, all the other records in the shop will be 20% off and gear will be 10% off.

AND if that isn’t enough we’ll be giving away all kinds of swag through out the day.

AND if that isn’t enough, if you get hungry waiting in line and need to replenish your strength to be able to push the buttons on the PIN pad, we’ll have a food truck on site.

AND IF THAT ISN’T ENOUGH SOMEONE IS GOING TO WIN A $500 REGA RP1 TURNTABLE JUST FOR SHOPPING HERE ON SATURDAY!

AND if you don’t win the turntable you could still win some cool swag from Yellowhead Brewery, or Sled Island.

Not so fine print… We will be opening at an hour early, 10am. However,  people do start lining up well before that. We do try process this all as fast as possible, but it will likely be crisp out in the morning. Plan to spend a good while outside in line, and dress accordingly. Some exclusive releases are extremely limited, and we have very few copies. Others, not so much. Exclusives are first come, first served and one per customer.

Also, we’ll be launching some new Listen swag on Saturday with some sweet deals on them Saturday only…

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New t-shirts, red and charcoal! Regular $20, $10 all day on RSD!

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Listen Records slipmats! $5 or free with $100 purchase on RSD!

…..top rsd picks…..

amanaz

Amanaz: Africa (Now-Again) 2LP
“Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums — Rikki Ililonga’s Zambia, Witch’s Lazy Bones!! — are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks — hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, ‘because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. ‘ Thus, their ‘Kale,’ a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (‘Amanaz’) to escapist (‘Easy Street’) to straight-up pissed-off. On the ‘History of Man,’ his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained ‘Khala My Friend,’ which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic ‘Sunday Morning,’ which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release — and the underground funk of ‘Making the Scene.’ The album also tackles traditional Zambian music and early-’60s rock — punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. ‘Green Apple’ is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue.”

File Under: Psych, African, RSD
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koesbarat

Koes Barat: s/t (Sub Pop) LP 
In 2010, Sun City Girls legend Alan Bishop asserted his fandom of Indonesian ‘60s/’70s pop legends Koes Bersaudara (aka Koes Plus) with two archival releases on his and Hisham Mayet’s Sublime Frequencies label. But that wasn’t enough. Feeling an overwhelming urge to interpret Koes tunes, Bishop recorded Koes Barat in less than a week of sessions with some of his favorite musicians and producer Randall Dunn (Sunn O))), Marisa Nadler). The result is the most immediate, fun collection that the prolific Bishop has ever led. This album is a Record Store Day exclusive, limited to 3,800 worldwide.

File Under: Psych, Indoesian, Sun City Girls, RSD
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thai pop

Various: Thai Pop (Sublime Frequencies) 2LP
Thailand is one of the most traveled to destinations in the world, but music is not a popular attraction for outside visitors, despite an incredibly rich history of classical, folk, and popular music there. While Thai classical and folk music has been studied by ethnomusicologists for decades, Thai pop history has been ignored and neglected by the international musical community for far too long. Combing mountains of vinyl and cassette relics from across the Kingdom, Sublime Frequencies has uncovered countless Thai musical treasures, rich with unique instrumentation, crafty arrangements, twisted breaks, odd production, and brilliant vocals. Bangkok — always the hub of the Thai recording industry — attracted musicians and singers from across the country who were informed by tradition and inspired by the wealth of international sounds entering the region via radio and imported records and tapes, many of which were brought in by Americans and their allied military personnel stationed at bases throughout the country. In this compilation you will hear older Thai styles combining with elements of surf, rock, and funk music as well as romping disco and comedy tunes. These creative sounds formed by hybrids with western instrumentation and genres result in an incredibly dynamic music that remains distinctively Thai. The artists featured on Thai Pop Spectacular range from modest players of their time to major stars. The collection includes one of the earliest tracks from Pumpuang Duangjan (dubbed “the queen of luk thung”), who brought that style into popular music to stay. Also featured is the “shadow music” string sounds of Johnny Guitar, legendary comedian Sangthong Seesai, two classic tracks from Thai films, blazing examples of Bangkok disco from the 1970s, and the most outrageous version of “The Night Chicago Died” you’ll ever encounter. Thick horn sections, wah-wah guitars, tight drums, and funky organs round out this superb collection, which proves beyond a doubt that the Thai were a completely unique and powerful force during the global popular music explosion of the 1960s, ’70s, ’80s. Gorgeous double-LP heavy gatefold vinyl release of the long out-of-print CD originally compiled by Alan Bishop and Mark Gergis in 2007. Also includes tracks by Buppah Saichol, Onuma Singsiri, Plearn Promdan, Chailai Chaiyata & Sawanee Patana, Gawao Siangthong, Chai Muang Sing (aka: Man City Lion), Kampee Sangthong, Generation, Phet Potaram, Kabuan Garn Yor Yod Yung Yong, Pairoj, Setha, Duongdao and Chailai, and Chalermpon Malakum.

File Under: Pop, Thai, Asia, RSD
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los

Various: Lows in the Mid-Sixties Vol 54: Kosmic City (Numbero) LP
In the spirit of AIP’s dodgy regional garage rock series Highs In The Mid Sixties comes Lows In The Mid Sixties Volume 54: Kosmic City Part 2. This set of roughhewn cobblestones was culled from the remnants of Cavern Sound—Independence, Missouri’s subterranean studio of choice— and covers that thin swath of the late sixties when American teens were imitating the Beatles. All of the artists here barely mustered a session of cover tunes, much less a single, taking this compilation beyond Nuggets; These songs are gold flecks in the rustiest of mining pans. All brought to you by team Numbero. Numbero: We dig deeper in graveyards so you don’t have to.

File Under: Garage, RSD
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heada

Heads: Nobody Knows (Rooster) 2LP
1200 Copies on black vinyl – No Download and no repress. In 2014 The Heads reissued their 2000 album ‘Everybody Knows We Got Nowhere; in full remastered / deluxe boxet glory, and to much acclaim. In the boxset, they added a 70 minute Compact Disc of demos, unheard versions etc of material pre -2000 recorded in the rehearsal room on a walkman. For Record Store Day 2015, and to celebrate their rare live performances at Roadburn 2015,  Simon Price has taken the material he edited for the bonus CD, and added more tracks to the pot. With the mastering expertise  / tape polishing skills of Shawn Joseph, Price has created a warts’n’all  document of the time in the heads’ rehearsal space just prior to the making  / construction of the Every Knows album. This double LP is 10 tracks of the Heads in their element, raw and alive in the rehearsal room prior to 2000, tracks being formed, prototype Heads’ riffs in the sonic gloop. Hear this era of the Heads in its speaker blowing, walkman warping glory, a true psychedelic rock morass. Wrapped in a Simon Price sleeve, a gatefold sleeve to boot! naturally! A “fin de seicle” of sorts, ‘Nobody Knows’ is a closing chapter, a sonic glossary to the band’s Everybody Knows’ legacy.

File Under: Psych, RSD

…..Record Store Day Exclusives…..
Alrighty folks, the part you all really care about, the exclusives. These items are all either here, or are due to arrive tomorrow. I gotta say, this year things seemed better than previous years, but in someways, it’s as bad or worse. It is what it is….

!!!: All U Writers (Warp) 12”
101ers: Elgin Avenue Breakdown (Revisited) (Parlophone) 2LP
a-ha: Take On Me (Warner) 7”
A$AP Rocky: LPFJ2 (RCA) 7”
Air: Playground Love (Parlophone) 7”
Alex Chilton: Jesus Christ (Munster) 7”
Amanaz: Africa (Now Again) LP
Amon Tobin: Dark Jovian EP (Ninja Tune) 2×12” [etched vinyl in bespoke rubber wheel]
Anton Newcombe & Tess Parks: Cocaine Cat (A Records) 10”
Antorchas: s/t (Munster) 7”
Bardo Pond: Is There A Heaven EP (Fire) 12”
Billie Holiday: Lady In Satin (Columbia) LP
Black Keys: Meet Me In The City (Fat Possum) 7”
Blue Mountain Eagle: s/t (Rhino) LP
Bob Dylan: The Night We Called It A Day (Columbia) 7”
Bob Dylan & The Band: The Basement Tapes (Mono – 180gm vinyl) (Other People) LP
Bob Moses: All In All (Domino) LP
Bonnie Prince Billy & Broeder Dieleman: Gloria/Drie Vragen (Snowstar) 7”
Brenton Wood: Oogum Boogum (Concord) LP
Bruce Springsteen: Born in the U.S.A. (Columbia) LP
Bruce Springsteen: Born to Run (Columbia) LP
Bruce Springsteen: Darkness on the Edge of Town (Columbia) LP
Bruce Springsteen: Greetings From Ashbury Park, N.J. (Columbia) LP
Bruce Springsteen: Nebraska (Columbia) LP
Bruce Springsteen: The River (Columbia) LP
Bruce Springsteen: The Wild, The Innocent and The E Street Shuffle (Columbia) LP
Built To Spill: Untethered Moon (Warner) LP
Buzzcocks: The Way/Generation Suicide (1-2-3-4 Go!) 7”
Chet Atkins: My Brother Sings (Sundazed) LP
Citizen Dick: Touch Me I’m Dick (Legacy) 7”
Clutch – From Beale Street To Oblivion – LP
Cold War Kids: Five Quick Hits (Downtown) 10”
Country Joe And The Fish: Together (Vanguard) LP
Courtney Barnett: Brand New Song (Mom & Pop) 12”
D’Angelo and The Vanguard: The Charade b/w 1000 Deaths (RCA) 7”
David Bowie: Changes (Parlophone) 7”
David Bowie/Tom Verlaine: Kingdom Come (Rhino) 7”
Death By Stereo: If Looks Could Kill, I’d Watch You Die (Indecision) LP
Death Cab for Cutie/Freedy Johnston: Bad Reputation (Atlantic) 7”
Death From Above 1979: Trainwreck 1979 (Last Gang) 10”
Dils: I Hate The Rich (Superior Viaduct) 7”
Dionne Warwick/The Stranglers: Walk On By (Rhino) 7”
DJ Vadim: Black is the Night (BBE) 7”
Doc Watson / Merle Haggard: Ballads From The Gap (Vanguard) LP
Don Flemons: What Got Over (Fat Possum) 10”
Don Van Vliet And The Magic Band: Rough, Raw, and Amazing (Ozit) LP
Dwarves: Fun to Try (Burger) 7”
Electric Wizard: Time To Die (Spinefarm) LP
Ennio Morricone: Spasmo (Hand Edition) (Dagored) LP
Ennio Morricone: Spasmo (Mouth Edition) (Dagored) LP
Eric Siday: Sounds Of Now (Dual Planet) LP
Father John Misty: I Love You Honeybear (Sub Pop) 7”
Field Music: Drifters (Memphis) LP
Flaming Lips: Bad Days (Warner) 10”
Flaming Lips: This Here Giraffe (Warner) 10”
Flipper: Lover Canal (Superior Viaduct) 7”
Fujiya & Miyagi: Daggers /Little Stabs At Happiness (Yep Roc) 12”
Germs: Forming (Superior Viaduct) 7”
Giant Sand: Valley of Rain (Fire) LP
GO! Team: Ye Ye Yamaha / Til We Do It Together (Memphis) 7”
Goldfrapp: Felt Mountain (Mute) LP
Grizzly Bear: Horn of Plenty (Kanine) LP
Grouplove: Under The Covers (Atlantic) 10”
Guided By Voices: Do The Collapse (TVT) LP
Guided By Voices: Isolation Drills (TVT) LP
Hagerty-Toth Band: Qalgebra (3 Lobed) LP
Half Japanese: Volume 3: 1990-95 (Fire) 3LP
Happy Mondays: Live Brixton Academy (Let Them Eat Vinyl) LP
Happy Mondays: Pills Thrills n’ Bellyaches (Rhino) LP
Hawkwind: Live Seventy Nine (Let Them Eat Vinyl) LP
Hawkwind: Quark Strangeness and Charm (Let Them Eat Vinyl) LP
Hawkwind: s/t (Parlophone) LP
Heads: Nobody Knows (Rooster) LP
Heldon: Live In Paris 1975 (Souffle Continu) LP
Heldon: Live In Paris 1976(Souffle Continu) LP
Herbie Hancock: Maiden Voyage (Universal) LP
Holger Czukay: 11 Years Innerspace (Gronland) 2×10”
Holger Czukay: Hit/Flop (Gronland) 2×10”
J Dilla: Love ft. Pharoahe Monch (BBE) 7”
Jaco Pastorius: The Warner Bros. Years VBO (Rhino) LP
Jimi Hendrix: Purple Haze b/w Freedom (Legacy) 7”
John Butler Trio: Ocean (Because) LP
John Prine: Sep-78 (Oh Boy) LP
Johnny Cash: Koncert v Praze (Legacy) LP
Jon Hopkins: I Remember (Late Night Tales) 10”
Junior Brown: Better Call Saul (Spacelab 9) 7”
Junior Wells: It’s My Life Baby (Vanguard) LP
Jurassic 5: Quality Control (Get on Down) LP Wood Box Set
Kiasmos: Looped EP (Erased Tapes) LP
Kind Of Like Spitting: Nothing Makes Sense Without It (Run For Cover) LP
Kinks: Kinksize Hits (Sanctuary) 7”
Kinks: Kinksize Session (Sanctuary) 7”
Kinks: You Really Got Me Live (Sanctuary) 7”
Koes Barat: s/t (Sub Pop) LP
Larry Young: In Paris (Resonance) 10”
Lee Scratch Perry: Back On The Controls (Upsetter) 5×7
Leila Gobi: Leila (Clermont) LP
Lord Sitar: Lord Sitar (Parlophone) LP
Lydia Loveless: I Would Die 4 U (Bloodshot) 7”
Manic Street Preachers – The Holy Bible 20th Anniversary LP
Marc Moulin: Placebo Years (Music on Vinyl) LP
Master Musicians Of Joujouka: Into The Ahl Srif (Ergot) LP
Mastodon: Atlanta (Atlantic) 12”
McLusky: McLuskyism (Too Pure) LP
Metallica: No Life Till Leather (Blackened) Cassette
Miles Davis: Prestige Volume 2 (Legacy) 10” Box
Mission Of Burma: Signals, Calls and Academy Marches (Fire) LP+7”
Mystery Artists: Mystery (Rhino) 7”
N.W.A.: Straight Outta Compton (Universal) Tape
Of Montreal: Snare Lustrous Doomings – LP (yellow & orange vinyl, ltd to 3000)
OFF!: Live From The BBC (Vice) 10”
Okkervil River: Sleep And Wake Up Songs (Jagjaguwar) 12”
Oneohtrix Point Never: Commissions II (Warp) LP
Otis Redding: Otis Blue (Rhino) 2LP+7”
Pagans: Pirate’s Cove 9/24/79 (Thermionic) LP
Phish: New Year’s Eve 1995 Madison Square Garden (Jemp) 6LP Box
Pizza Underground: PU Demo (Jett) 7”
Pop Group: Versions Galore EP (Freaks R Us) LP
Power Glove: EP1 (Invada) 12”
Pullman: Turnstyles & Junkpiles (Thrill Jockey) LP
Pullman: Viewfinder (Thrill Jockey) LP
Pulp: Dogs Are Everywhere (Fire) 12”
Pulp: They Suffocate At Night (Fire) 12”
Rainbow Ffolly: Sallies Fforth (Mono) (Parlophone) LP
Red House Painters: Collection (4AD) 6LP Box
Residents: Satisfactions (Superior Viaduct) 7”
Reverend Horton Heat: It’s A Rave-Up b/w Beer, Write This Song (Victory) 7”
Ride: OX4 (Rhino) LP
RPM Turntable Baseball: Two Games, One Record – 7”
Run The Jewels: Record Store Day Release (Fool’s Gold) 12”
Ryan Adams: Come Pick Me Up When (Universal) 7”
Shugo Tokumaru: L.S.T (Polyvinyl) LP
Shugo Tokumaru: Night Piece (Polyvinyl) LP
Sic Kids: Rhythm Girl (Munster) 7”
Siouxsie & The Banshees: Join Hands (Universal) LP
Sleaford Mods: Tiswas (Invada) 12”
Sloan: Alternates (Yep Roc) 12”
Sly & The Family Stone: Live at the Fillmore East (Legacy) LP
Soundtrack: 30 Days of Night (Invada) LP
Soundtrack: Big Bad Wolves (Death Waltz) LP
Soundtrack: Brian May – Patrick (XOZMIQ) LP
Soundtrack: Brian May – The Day After Halloween (XOZMIQ) LP
Soundtrack: Brian May – Thirst (XOZMIQ) LP
Soundtrack: Cristobal Tapia De Veer – Utopia 2 (Silva Screen) LP
Soundtrack: Darjeeling Limited (Abkco) LP
Soundtrack: Frank (Silva Screen) LP
Soundtrack: Hedwig And The Angry Inch (Atlantic) LP
Soundtrack: Serial (Manque) LP
Soundtrack: The Wonderland Philharmonic – Shogun Assassin (Cinewax) LP
Soundtrack: Star Wars Rebels Theme (Walt Disney) 7”
Spaceape: Ghost Town (Hyperdub) 7”
Stan Getz & Joao Gilberto: Selections From Getz/Gilberto (Resonance) 10”
Steve Earle & The Dukes: Terraplane Blues (New West) 10”
Steve Reich: Music For 18 Musicians (Nonesuch) LP
Stooges: Live at Ungano’s (Rhino) LP
Sun Ra: Calling Planet Earth (ORG) LP
Supergrass: Sofa (Of My Lethagy) (Parlophone) 7”
Surfer Blood: Astro Coast (Kanine) LP
Swans: EP (Young God) 12”
Syd Barrett/R.E.M: Dark Globe (Rhino) 7”
Tegan & Sarah: Live At Zia Records (Warner) 12”
Temples: Mesmerise Live EP (Fat Possum) 12”
The Decemberists: Picaresque (KRS) LP
The Doors: Strange Days (Mono) (Elektra) LP
The Dresden Dolls: Yes Virginia & No Virgina (Atlantic) 3LP
The Gods: Genesis (Mono) (Parlophone) LP
The Replacements: Alex Chilton (Rhino) 10”
The Saints: Eternally Yours (Parlophone) LP
The Waterboys: Puck’s Blues (Sony) 10”
Thelonious Monk: London Collection Volume 2 (ORG) LP
Tomorrow: Tomorrow (Mono) (Parlophone) LP
Tough Age: Plays Cub’s Hot Dog Day (Mint) 7”
Trey Anastastio Band: Bounce/Never (ATO) 7”
U2: Songs Of Innocence (Sony) 2LP
Val Stephen: Abstractum: The Electronic Music Of Val Stephen (Dual Planet) LP
Vampire Weekend: Step (XL) 12”
Various: Continuum (Young Turks) 7”
Various: Creation Artifact Box (Creation) 10×7” Box
Various: Guitar Safari (University of Vice) LP
Various: Lows In The Mid Sixties Volume 54: Kosmic City Part 2 (Numero) LP
Various: Next Life (Hyperdub) 3LP
Various: Ork Complete Singles (Numero) 16×7”
Various: Party After Hours (Jazzman) 10”
Various: R&B Hipshakers Vol. 3 (Vampi) LP
Various: The Rough Guide To African Rare Groove (Vol. 1) (Rough Guide) LP
Various: The Rough Guide To Bollywood Disco (Rough Guide) LP
Various: The Rough Guide To Latin Rare Groove (Vol. 2) (Rough Guide) LP
Various: The Rough Guide To Psychedelic Cambodia (Rough Guide) LP
Various: The Rough Guide To Psychedelic India (Rough Guide) LP
Various: The Rough Guide To Psychedelic Salsa (Rough Guide) LP
Various: Soho Scene ’62 – Jazz Goes Mod: LP (Rough Guide) LP
Various: Sun Records Vol. 2 Curated By RSD (ORG) LP
Various: Texas Soul ’64 (History of Soul) LP
Various: Thai Pop Spectacular (Sublime Frequencies) LP
Various: The Walking Dead: Original Soundtrack Vol.2 (Spacelab 9) LP
Various: The Wrestling Album/ Piledriver (Sony) LP
Various: Truth & Soul 2015 Forecast (Truth & Soul) 10”
Various: Whatever Nevermind (Robotic Empire) LP+7
Various: Down Beat Special (Studio One) 7” Box Set
Various: Polyvinyl 4-Track Single Series, Vol.1 (Polyvinyl) LP
Various: Rude Boy Rumble (Trojan) LP
Various: When I Reach That Heavenly Shore: Unearthly Black Gospel 1926-1936 (Tompkins Square) 3LP
Venetian Snares: 2370894 (Planet Mu) LP
Venetian Snares: Winter in the Belly of a Snake (Planet Mu) LP
Venetian Snares: Huge Chrome Cylinder Box Unfolding (Planet Mu) LP
Venetian Snares: Rossz Csillag Alatt Szuletett (Planet Mu) LP
Venetian Snares: Making Orange Things (Planet Mu) LP
White Stripes: Get Behind Me Satan – RSD Edition with Lenticular Cover (Third Man) LP
William Tyler: Deseret Canyon (Merge) LP
William Onyeabor: Atomic Bomb Remix (Luaka Bop) 12”
Willie Nelson: Teatro (Light in the Attic) LP
Wu Tang Clan: Protect Ya Neck (Get on Down) 12”
X: Adult Books (Superior Viaduct) 7”
Xiu Xiu: Fabulous Muscles (Polyvinyl) LP
Young The Giant: Mirrorball (Fueled By Ramen) 10”

These guys are the outliers. These rogue records likely won’t be here on Saturday, but WHO KNOWS! Some are definitely delayed while others we may just have gotten stiffed on. Only time will tell.

Arto Lindsay: Encylcopedia of Arto (Northern Spy) LP
Black Star (Mos Def/Talib Kweli): Fix Up/You Already Knew (Javotti) 7”
Black Tamborine: No Action (Easy Action) 7”
Bob Dylan & The Band: The Basement Tapes (Mono – 130gm vinyl) (Other People) LP
Charlie Feathers: Charlie Feathers (Sundazed) 10”
Charlie Musselwhite: Stand Back (Vanguard) LP
Charlie Parker: Charlie Parker Story (Savoy) LP
Cloud Nothings: – Here And Nowhere Else Remixed (Northern Spy) LP
Coachwhips: Bangers Vs. Fuckers (Castle Face) LP DELAYED
Curtis Fuller Quintet: Blues Ette (Savoy) LP DELAYED
Cypress Hill: The Funky Feel One/How I Can Just Kill A Man (Get on Down) 12”
Dead Milkmen: Beelzebubba (Asbestos) LP
Deep Purple: Black Night / Speed King (Parlophone) 7”
Deep Purple: Book of Taliesyn (Mono) (Parlophone) LP
Don Cherry & Latif Khan: Music / Sangam (Heavenly Sweetness) LP
Flaming Lips: Brainville (Warner) 10”
Foo Fighters: Songs From The Laundry Room 10
Frank Zappa: 200 Motels – 7” DELAYED
Heartbreakers, The: Live At Max’s Kansas City Vol 1 & 2 (Jungle) LP
Hollerado: 111 Songs (Royal Mountain) 7” DELAYED
Iggy Pop: Shot Myself Up (Easy Action) LP+7”
Mark Kozelek: What’s Next To The Moon (Badman) LP
Mark Mothersbaugh – Lego Movie: Original Motion Picture Soundtrack (Spacelab 9) LP
Mighty Mighty Bosstones: Question The Answers (Asbestos) LP
Mike Watt: Shit On Me (ORG) 7”
Mumford & Sons: The Wolf Believe (Glassnote) 7”
Neko Case: Fox Confessor Brings the Flood (Anti) LP DELAYED
Placebo: Placebo (Universal) LP DELAYED
Pulp: Freaks (Fire) LP
Pulp: It (Fire) LP
Pulp: Little Girls With Blue Eyes (Fire) 12”
Pulp: Separations (Fire) LP
Sharon Jones & The Dap-Kings: Little Boys With Shiny Toys (Daptone) 7”
Sun Ra: Planets Of Live And Death (Strut) LP
TV On The Radio: Trouble Double (Universal) LP DELAYED
Wibbley Brothers: Go Weird (Trubshaw) LP

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…..news letter #686 – 9 days…..

Alright! Record Store Day stock is starting to pile up around here! Still lots of stuff needs to ship, but hopefully everything turns up in time, and in reasonable quantities! We’ll fill you in on all the details next week. We have all sorts of goodies arranged. And since it was such a huge hit last year, we’ve decided to do it again this year… we’ll be giving one lucky customer a FREE REGA RP1 turntable! So stay tuned and we’ll see you on RSD.

…..pick of the week…..

popol vuh

Popol Vuh: Kailash (Soul Jazz) LP/CD
In tomorrow… Super-deluxe collectors very limited edition Popol Vuh box set vinyl + DVD and 2CD + DVD! Kailash is a new collection of work from Florian Fricke, leader of Popol Vuh, seminal group in the German rock scene of the 1970s (Can, Faust, Amon Duul, Ash Ra Tempel, Tangerine Dream) and creators of classic soundtracks to the films of Werner Herzog (Aguirre the Wrath of God, Nosferatu, Fitzcaraldo and others). Popol Vuh took their name from an epic mythological text from the 16th century Quiché Maya people of Guatemala, the name translates as ‘meeting place, together or common house’ Kailash brings together essential and unreleased piano recordings, together with Fricke’s travelogue film Kailash, about his spiritual voyage to Tibet’s 22,000 ft. Kailash mountain, ‘Throne of the Gods’, and the accompanying soundtrack album to this film. This collection is released as a deluxe 2CD + DVD set and as a one off 1000 copies worldwide collectors bespoke box set 2LP + DVD with bonus cards/inserts. Essential Piano Recordings:  For the first time, this compilation on Soul Jazz Records unites a careful selection of Florian Fricke’s most favourite piano tracks and compositions, both released and previously unreleased. Aside from his groundbreaking work with Popol Vuh, Fricke’s background is that of a classical composer and it was one of his late wishes to release ‘piano only’ recordings. These essential piano recordings by Florian Fricke should be considered as something like the core, or the heart, of many Popol Vuh compositions. They contain tracks from 1972-1989 that Florian Fricke would have liked on a piano only album, enriched with further song improvisations that have been found posthumously, after he passed away in 2001. Some of these are studies for key tracks of Popol Vuh (for example ‘Hosianna Mantra’, 1972). Others are reoccurring patterns and sequences, with Florian often working with recurring motives frequently further developed with the group. This record is devoted to his inspiration and creativity as a contributor to an ongoing spiritual journey for others. Kailash – Pilgrimage to The Throne of the Gods:  The holiest mountain in Asia, in a far away corner of west Tibet, amidst wild and ragged landscape, nearly entirely cut off from the rest of the world, is called Kailash. For the pilgrims of four religions this 6675m high mountain is the ‘throne of gods’, or ‘navel of the world’ – a place where the divine takes an earthly shape. For thousands of years pilgrims have travelled to this place to worship the mystery of the mountain circumnavigating it on foot. The path around Kailash is an archaic ‘path of initiation’. Florian Fricke and filmmaker Frank Fiedler (also an original founding Popol Vuh member) made their own spiritual trek along this path and documented the journey. Accompanying epic landscape scenes in the film is the music of Florian Fricke and Popol Vuh, spiritual music inspired by this unique journey. This posthumous project has been put together with the full cooperation and assistance of Florian Fricke’s family.

File Under: Kosmische, Ambient, Krautrock
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…..new arrivals…..

biosphere

Biosphere/Deathprod: Stator (Touch) CD
stator (ˈsteɪtə) n
1. (Electrical Engineering) the stationary part of a rotary machine or device, esp of a motor or generator
2. (Aeronautics) a system of nonrotating radially arranged parts within a rotating assembly, esp the fixed blades of an axial flow compressor in a gas turbine [C20: from Latin: one who stands (by), from stāre to stand] Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his “ambient techno” and “arctic ambient” styles and his use of loops and peculiar samples from sci-fi sources. His 1997 album Substrata is generally seen as one of the all-time classic ambient albums. Deathprod is a pseudonym used by Norwegian artist Helge Sten. Sten began creating music under this name in 1991, and in 2004 a self-titled retrospective box set collecting most of his recorded work was released. Sten uses homemade electronics, old tape echo machines, ring modulators, filters, theremins, samplers, and other devices to craft his sound. Jenssen and Sten previously collaborated on Nordheim Transformed (RCD 2005CD), a 1998 collection of reworked Arne Nordheim compositions. Stator is a split release, with three tracks by Jenssen and four by Sten. Mastered by Sten at Audio Virus Lab, Oslo. Commissioned by Tape to Zero. Vinyl soon….

File Under: Ambient, Electronic
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blackout

Blackout: s/t (Riding Easy) LP
With food, beer, and America at the forefront, it only makes sense guitar player Christian Gordy and drummer Taryn Waldman would meet at Gordy’s 2011 July 4th cookout in Bushwick neighborhood of Brooklyn, NY. With no direction and zero discussion the two instinctually began banging out some massive caveman jams that could party as much as they could crush. In the following months, the two recruited fellow rager Justin Sherrll for bass, and things got loud and heavy. BLACKOUT-referring to blackout drunk, power failure, or a mobster hit on an entire family, was a no brainer for a name. For fans of Acid King, Weedeater, Trouble, and Black Sabbath.

File Under: Metal, Stoner
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blackshaw

James Blackshaw: Summoning Suns (Important) LP/CD
Summoning Suns is James Blackshaw’s tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from ’60s and ’70s singer-songwriters, baroque and orchestral pop, and folk music, while still sounding contemporary, Summoning Suns is Blackshaw’s foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice while his words combine his personal experiences, neuroses, and fantasies through many layers of abstraction, poeticism, and dark humor. While the deft acoustic guitar fingerpicking of Blackshaw’s previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute, and pedal steel guitar and feature contributions from Simon Scott (Slowdive), Annie Nilsson, and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom Blackshaw duets in Japanese on one song). LP pressed in a first edition of 500 copies.

File Under: Folk, Guitar
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busta

Busta Rhymes: When Disaster Strikes (Get on Down) LP
“By the time Busta Rhymes hit with his second solo album, When Disaster Strikes, he was already cemented as one of the most powerful voices in the rap game. With a lead single that countered that statement ‘Put Your Hands Where MY Eyes Can See’ he proved he is more than just a one act man. The single was an immediate smash and was followed by an equally amazing album. The albums second single ‘Dangerous’ continued to push Busta creatively and was accompanied with a stellar video gained him major air play on BET and MTV. Critics and fans alike applauded this release for its depth and well-crafted songs which made it platinum at the time of its release. Songs like ‘Turn UP,’ the Flipmode-assisted ‘We Could Take It Outside,’ and ‘Rhymes Galore’ showcase Busta at his best; rapidfire delivery over hard pounding beats. Other standout cuts include ‘So Hardcore’ and ‘One,’ which is a great collaboration with Erykah Badu. On the production side Busta brings along his trusted team; Rashad Smith, Dilla, Rockwilder, and DJ Scratch to serve him just what he needed for When Disaster Strikes to be full on dope!”

File Under: Hip Hop, Rap
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danava

Danava: s/t (Riding Easy) 2LP
Speedy and sinuous, Danava out rocks, out progs, out psychs and out retro-proto-metals all comers. Led by singer/guitarist/songwriter Greg Meleney, the quartet creates utterly unique astro-rock that is a thing of spectral beauty. Described as “a journey into a parallel sonic universe,” Danava’s sidelong songs are sprinkled with spacey synth-y FX that push the band’s sound into outer space. This is progressive riff rock; barn-burning scorchers full of unison and tongue-twisting melodic runs that melt listener’s brains. Danava’s relentless fret-board wizardry – cast in the spirit of Iommi and Schenker – produces extended elliptical structures that live in a proto-magic era somewhere between Lemmy in Hawkwind and Lemmy in Motörhead, leaving sufficient room for wailing, noodling solos and a vocal croon that is halfway between Ian Gillan or Geddy Lee’s high-pitched, semi-operatic prowess and Ozzy Osbourne’s insidious howl. The band’s songs list from side to side like a vessel cast adrift on an ocean of battering soundwaves. Available for the first time on double LP courtesy of Riding Easy Records, when Danava’s self-titled debut first came out on Kemado Records in 2006, Pitchfork hailed the group as true leaders, calling them “the sole working owners of this sound, an almost glam-rock, Hawkwind thing” and Guitar World lauded the band for their “chaotic psych-metal brew.” This is rock ‘n’ roll to the core and definitely not your parents kind of party. For fans of Earthless, Ted Nugent, Yes, Kyuss, Red Fang, Nebula and Uncle Acid and The Deadbeats.

File Under: Metal, Stoner, Spacerock
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dauby

Yannick Dauby: Penghu Experimental Sound Studio Volume 1 (Discrepant) LP
Yannick Dauby is a sound artist based in Taiwan since 2007. He relentlessly explores the soundscapes of his adopted island through field recording, audio documentaries, and community projects. He has created soundtracks and sound environments for contemporary dance, public art, and films, and has been involved in various ecological and local traditional activities. Dauby stayed in Penghu, an archipelago located in the Taiwan Strait, during several months in the first half of 2013. His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching, and composing musique concrète in a temporary studio, an old building from which he could hear the seashore and announcements of the itinerant sellers as well as the rituals from a temple nearby. Immersed in this environment, Yannick composed the two sides of this record, using the sounds of the underwater fauna, the omnipresent waves, soundscapes of harbors, music played during funerals, shortwave radio broadcasts, in-site or indoor improvisations using old artefacts, and various sessions using analog electronic instruments.

File Under: Field Recordings, Experimental
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deathgrisp

Death Grips: Powers That B (Harvest) LP
Experimental rap-noise duo Death Grips, consisting of Stefan “MC Ride” Burnett and Zach Hill formed during late 2010 in Sacramento, California. The band soon dropped the highly acclaimed mix tape Exmilitary featuring the standout track “Guillotine,” Time Out NY’s #1 single of 2011. From inception, the band has received unparalleled critical praise from tastemakers across the board while also being featured on countless “best of” lists. In 2012, Death Grips followed up Exmilitary with their full length debut, The Money Store. The album built on Exmilitary’s unique punk rap sound and explores new territory with standout tracks “Get Got,” “Blackjack” and “I’ve Seen Footage.” The album quickly solidified the band’s position as one of the most intense and visceral bands around. Death Grips was named the most legally downloaded band on the internet for the first half of 2012, racking up an impressive 34 million downloads on BitTorrent. Delivering on the promise of putting out two albums in 2012, Death Grips dropped No Love Deep Web in October for free online. The album was streamed over 100,000 times in the 24 hours following its release. The sonically intense music, coupled with provocative album art was received with unprecedented critical and commercial attention. Death Grips followed that up with the release of their fourth album Government Plates as a free digital download in November 2013. In 2014 the group announced their dissolution with the following farewell message: “We are now at our best and so Death Grips is over. We have officially stopped. All currently scheduled live dates are canceled. Our upcoming double album The Powers That B will still be delivered worldwide later this year via Harvest/Third Worlds Records. Death Grips was and always has been a conceptual art exhibition anchored by sound and vision. Above and beyond a ‘band.’ To our truest fans, please stay legend.” Death Grips’ fifth and possibly final record, the double album The Powers That B, will be issued in March 2015 on Harvest Records and consists of two separate albums – Niggas on the Moon and Jenny Death. The first album, Niggas on the Moon features chopped vocals from Bjork and was previously released as a free digital download in June of 2014 on the Death Grips website.

File Under: Hip Hop, Rap, Experimental, Noise
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DLDRMS_coversDoldrums: Air Conditioned Nightmare (Sub Pop) LP
The title was spawned by Henry Miller upon his return to the US after ten years as an expatriate. Keen to rediscover the country he left behind, Miller found it a stifling place of big business, pollution, credit, misinformation and prejudice. In short: a spiritual, moral, cultural and aesthetic vacuum. “Nowhere else in the world,” he wrote in his 1945 collection of essays “is the divorce between man and nature so complete”.  The Air Conditioned Nightmare. Seventy years on and the book lends itself to the title of the anticipated second album by Doldrums, the band lead by 25 year old musician Airick Woodhead. They apply a punk rock ethos to electronic music, creating songs using samplers and DJ gear in place of guitars. Bold, anxious, dream-like, uplifting, glacial, hypnotic, constricting, expansive, alien – this is an album that is ever-changin.

File Under: Indie Rock
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jezebel

Exploring Jezebel: On A Business Trip To London (Blackest Ever Black) LP
On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. What’s more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck’s piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.

File Under: Electronic, Industrial, Ambient, Techno
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fab 3The Fabulous Three: Best of (Truth & Soul) LP
“A ‘Best of’ collection by the very mysterious, very enigmatic, and always psychedelic, six piece funk ensemble that goes by the name… The Fabulous Three. The Fabulous Three was discovered by legendary Soul Fire/Desco label head Phillip Lehman. In the early 2000s, he recorded a series of 45s that showcased their psychedelic, spiritual-jazz sound. In these recordings they seamlessly jump from reggae to spiritual jazz, afro-funk to soul ballads without it sounding the least bit contrived. Lehman released one 45 by the Fabulous Three on the Psycho subsidiary of Soul Fire before he closed shop and moved to the Dominican Republic. Since then, their music has been comped on Soul Fire: The Majestic Collection and Fallin Off The Reel but never has their entire catalog been compiled on one LP.”

File Under: Funk, Soul
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king khan

King Khan & BBQ Show: Bad News Boys (In The Red) LP/CD
After a five-year hiatus, rock ’n’ roll’s renegade-angel savior the King Khan & BBQ Show returns with a brand new album of high-energy, low-brow rockers! Known as the hottest duo from Montreal to come out of Berlin, the King Khan & BBQ Show is dirty, funny, irreverent and always a good time. Their raw, stripped-down mix of doo-wop, early rock ’n’ roll, soul and punk is drenched in pure energy. Known to their mothers as King Khan and Mark Sultan, these guys make this stuff sound simple, but make no mistake – it takes serious talent as well as balls to pull this off. Bad News Boys takes its title from the original moniker the duo gave themselves when they first started over ten years ago. They recently threatened to revert to this name before deciding that it might make things too confusing. Bad News Boys serves up twelve sizzling slabs – from the beautifully soulful “Buy Bye Bhai” to the juvenile and obnoxious “D.F.O.” (which stands for “Diarrhea Fuck Off”) – with all the rocking lunacy that their legion of fans has come to expect.In their storied, sordid career, these guys have endured a roller-coaster of successes, trials and tribulations that would’ve buried lesser men. They’ve played with some of the coolest names in rock. Their relentless touring schedule has included countries where few bands venture. They’ve been kicked off tours. They’ve headlined and sold out some of the most prestigious venues in the world. They’ve played some of the worst dumps imaginable. They’ve been busted and jailed for shrooms mid-tour. They were hand-picked by Lou Reed to play the All Tomorrow’s Parties festival. They were ejected from the All Tomorrow’s Parties festival. They’ve suffered mental and physical exhaustion. They’ve enjoyed dizzying highs and suffered crushing lows. They’ve broken up. They’ve gotten back together. Through it all, they continually make incredible and real rock ’n’ roll music like no one else, always with smiles on their faces, always with middle fingers held high.

File Under: Garage, Soul, Punk
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southland

Rudiger Lorenz: Southland (Bureau B) LP
Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died — unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Dorau’s live ensemble), can be heard speaking a few lines into a vocoder on “Strange Feelings,” and later, as a graphic design student, Tim prepared artwork for his father’s releases.

File Under: Krautrock, Kosmische, Electronic
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birdman

OST: Birdman (Milan) LP
Birdman is the Academy Award winning film by visionary Mexican filmmaker Alejandro Gonzalez Inarritu (Amores Perros, Babel, Biutiful). Part comedy, part tragedy, part fantasy, Birdman tells the story of a washed-up actor (Michael Keaton) who once played an iconic superhero. He must now overcome his ego and family troubles as he mounts a Broadway play in a bid to reclaim his past glory. Rounding out the wonderful cast is Zach Galifianakis, Edward Norton, Naomi Watts, Emma Stone and Amy Ryan. It was lensed by Oscar-winning cinematographer Emmanuael Lubezki (Gravity) in a way that gives the appearance that the entire film is one continuous shot. Music plays an important role in Birdman. The non conventional, drum-only score was composed by acclaimed drummer Antonio Sanchez – one of the players behind Pat Metheny in his new Pat Metheny Unity Group. It is the first time a score to a film features drums as the sole instrument. Sanchez’s music brings rhythm and movement to this unique visual experience. Alongside Sanchez’s evocative score is a selection of classical music pieces by composers such as Ravel, Rachmaninoff, Mahler and Tchaikovsky. Remastered and pressed on limited edition 180 gram black vinyl of 3,000 units. Also includes a 12 x 12 insert an accompanying digital download card.

File Under: OST
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ghost

OST: Ghost in the Shell (KO) LP
“Famously known for his numerous compositions for movies soundtrack, Japanese anime, video games or television programs, the tokyoïte composer Kenji Kawai signs with the soundtrack of the cult manga Ghost in the Shell by Masamune Shirow, one of his greatest hits. Originally published on paper in October 1991 by the Japanese journal weekly devoted to manga, Young Magazine, it was in November 1995 that Ghost In The Shell was suitable for the first time on screen by Mamoru Oshii. And it’s Kenji Kawai who was chosen to recreate the futuristic cyber-punk atmosphere that emanates from this manga, into music. Assisted by the percussionist Yuhki Sugawara, Kenji Kawai reached the summit of his art by delivering captivating music, halfway between ambient electronics, traditional Japanese music and Buddhist ritual singings. The synthetic and ethereal soundscapes, almost disturbing, blend perfectly with gongs, bells or female choirs filled with echoes. The listener is plunged into a dreamlike fable sound with a striking and evocative poetry that is reminiscent of the soundtrack of a certain Akira. Reissued for the first time on vinyl, this rare edition is limited to 500 copies and comes with an A3 poster format.”

File Under: OST, Anime, Ambient
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interstellar

OST: Interstellar (Music on Vinyl) LP
2014’s Interstellar, from Paramount Pictures and Warner Bros. Pictures, paired the creative forces of highly decorated composer Hans Zimmer and esteemed director Christopher Nolan, who collaborated previously on The Dark Knight film trilogy and Inception. “Chris wanted us to push the limits,” offers Zimmer. “Every conversation was about pushing boundaries and exploring new territories. This movie virtually dictates that you put everything on the line and keep the laboratory doors wide open and experiment to the very end. It tested our limits: the limits of what musicians are capable of, the limits of what could be recorded, the limits of everyone’s stamina, commitment and invention, and I think we got it.” “I believe that Hans’ score for Interstellar has the tightest bond between music and image that we’ve yet achieved,” Nolan reflected. “And we’re excited for people to be able to revisit the soundtrack once they’ve had the chance to experience the music in the film itself.” Interstellar stars Matthew McConaughey, Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, John Lithgow and Michael Caine. With our time on Earth coming to an end, a team of explorers undertakes the most important mission in human history; traveling beyond this galaxy to discover whether mankind has a future among the stars.

File Under: OST, Sci Fi
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pioulard

Benoit Pioulard: Sonnet (Kranky) LP
“‘The basis of the album was a series of field recordings of tones and unintentional harmonies that I made in the summer & fall of 2013 — whistling industrial air conditioners, bird songs, locust drones, washing machines — that I mimicked or interpreted on the guitar, making loops that developed into fuller compositions. Several of the pieces are recreations of harmony loops that I heard in a series of extraordinarily vivid dreams, and then woke up and recorded. A few pieces had lyrics and vocal parts that I ultimately removed; at a certain point the album became an exercise in restraint, so I strove to leave only what I felt absolutely essential. Unlike most of my previous recordings, there are no digital/software after-effects on the album; all sounds are from analog tape and/or my few guitar pedals’ –Thomas Meluch (Benoit Pioulard). The sound of the fifth Benoit Pioulard full-length is lush and verdant, a temperate rainforest of ear ecstasy that reflects the environment surrounding the artist. A mostly instrumental work, it is an adept melding of song and sound, melody and texture, the intangible and the palpable, that in an abstract sense recalls the more fractured and loose end of the ’70s krautrock movement.”

File Under: Field Recording, Ambient
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redred

Red Red Meat: There’s a Star Above the Manger Tonight (Jealous Butcher) LP
With its final album, Chicago-based quartet Red Red Meat completed a journey started in the early ‘90s, concluding a study in evolution, moving from its shambolic blues rock roots into an experimental combo capable of synthesizing “a field recording with a Can aesthetic.” Yet, There’s a Star Above the Manger Tonight is the sound of a band blooming even as it folds in—finding Tim Rutili (Califone), Brian Deck, Ben Massarella (CalifoneE/Orso), and Tim Hurley incorporating samplers, loops, and computers, marrying disparate threads of hip-hop, Krautrock, and dub to folk forms, stomps and blues. Originally released in 1996 on Sub Pop. Artwork re-envisioned by John Herndon (Tortoise). Vinyl only release includes a download with five extra tracks from the original sessions.

File Under: Indie Rock, Califone
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saucedo

Rick Saucedo: Heaven Was Blue (Guerssen) LP
First ever legit vinyl reissue of Rick Saucedo’s mind-expanding, one-man, multi-tracked private press miracle in sound from 1978. Master tape sound; original artwork; includes insert with interview with Saucedo and detailed liner notes by Jeremy Cargill (Got Kinda Lost/Ugly Things). Heaven Was Blue drifts in the same sonic milieu as fellow travelers in ’60s square peg joy Darius, Marcus, D.R. Hooker (without the lounge allusions), or late period psych adventurers Michael Angelo and Bobb Trimble — and his concentration and vision equals or exceeds these international underground heroes. Rick Saucedo is an internationally-known Elvis tribute artist, actor, and singer-songwriter from Chicago. In 1978, after some years of doing his Elvis show, he decided he wanted to have his own identity, and recorded an album with his own songs, influenced by The Beatles and Pink Floyd. All instruments on the album were played by Rick with help from a couple of friends. Songs like “Reality,” which was written in a graveyard just after the passing of Mr. Presley, or “In My Mind,” which dates back to 1967, written just after Sgt. Pepper had come out, are prime examples of dreamy acid psych with Lennon-esque vocals, lysergic guitars, and studio effects. There’s also a couple of fuzz rockers with a strong ’50s vibe, and then there’s the album centerpiece: the impressive 18-minute “Heaven Was Blue” suite, which Rick envisioned as an “acid trip dream.” In words of Patrick Lundborg, “Saucedo pulls it off. Somehow like how you turn the wheels on a kaleidoscope, new melodies, guitar figures and arrangements emerge out of the old ones every three minutes, each sequence more swirling and enchanting that the last, with a sense of progression throughout.” This expanded reissue offers a full extra album of bonus tracks: “Oh My God” was the conclusion to “Reality” and “In My Mind,” recorded in 1978 but omitted from the original album at the last moment. Previously unreleased on vinyl until now. “Baby in the Sand” and “It Burns Again Today” were written during the Heaven Was Blue sessions but went unrecorded until 1991; they’re terrific sitar-drenched melodic psych in the same vein as the original album. Previously unreleased on vinyl until now. And there’s also both sides of the post-album single Reality/History Makin’ – Country Shakin’, which featured different mixes and an alternate mix of “Reality.” These tracks were originally released as promo 45s in very limited quantities.

File Under: Psych, Private Press
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squadra

Squadra Omega: Il Serpente Nel Cielo (Holidays) LP
Il serpente nel cielo is the first of three Squadra Omega titles to be released in less than six months in 2015. This two-piece jam was recorded live at Outside Inside Studio, with the always-evolving group reduced to three core elements: OmegaFrank (drums, xylophone), OmegaG8 (synth, bass), and OmegaMatt (sax, acoustic and electroacoustic percussion). The trio hauls its instruments through a free-form improv-ambient session frequently peaking with moments of free jazz, sustained by a skeleton of intense droning electronics, and wonderfully rendered by an exquisite cut made at SST in Frankfurt. Cover artwork by Re delle Aringhe.

File Under: Free Jazz, Free Improv
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groovallegiance

Various: Groovallegiance (Soul Patrol) LP
Since 1993, Soul Patrol have established themselves as an indisputable reference when it comes to funky soul music. Soul Patrol made its name with compilations of obscure tracks originally released on 7″, paying tribute to some artists who couldn’t make the living they deserved with their music. Here, Soul Patrol strikes stronger than strong with Groovallegiance. Like its previous compilations, there are some gems to discover, some surprises, and some ear-openers, such as Spitting Image’s “JB’s Latin” or the ultra-efficient “Foxy” by Sam Jacobs, as well as “And I Love You” by The Darling Dears & Funky Heavy Prod…. Music from a time when soul music reflected political violence and misery, with dignity and freedom of the utmost importance. This record is a true gem, for the most curious listeners. Also includes tracks by T. J. and the Group, The Originals Orchestra, Monica, New Directions, The Concepts, Funk Machine, and Cool Creations of St. Maarten. Edition of 500

File Under: Funk, Soul

…..Restocks…..

A Tribe Called Red: Nation II Nation (Sony) LP
Alabama Shakes: Brothers & Sisters (ATO) LP
Amon Duul II: Yeti (Cleopatra) LP
Black Keys: Turn Blue (Nonesuch) LP
Boards of Canada: Trans-Canadian Highway (Warp) LP
Buzzcocks: Singles Going Steady (Music on Vinyl) LP
Can: Ege Bamyasi (Mute) LP
Don Cherry: Organic Music Society (Caprice) LP
Cure: Disintegration (Elektra) LP
Daft Punk: Homework (EMI) LP
Dead Kennedys: Gimme Convenience (Manifesto) LP
Dead Kennedys: Plastic Surgery Disasters (Manifesto) LP
Death From Above 1979: Physical World (Last Gang) LP
Faith No More: Angel Dust (Music on Vinyl) LP
Robert Fripp/Brian Eno: Equatorial Stars (Panegyric) LP
Futuro Antico: Dai Primitiva (Black Sweat) LP
Dexter Gordon: Go (Blue Note) LP
Kraftwerk: Autobahn (EMI) LP
Kraftwerk: Trans-Europe Express (EMI) LP
Kyuss: And the Circus Leaves Town (Elektra) LP
Kyuss: Blues For The Red Sun (Elektra) LP
Kyuss: Welcome to Sky Valley (Elektra) LP
Led Zeppelin: Houses of the Holy (Warner) LP
Led Zeppelin: II (Warner) LP
Led Zeppelin: III (Warner) LP
Led Zeppelin: Physical Graffiti (Warner) DLX LP
Mutamassik: Symbols (Discrepant) LP
Nine Inch Nails: Hesitation Marks (Null) LP
Nine Inch Nails: Pretty Hate Machine (Null) LP
Charlemagne Palestine/Rhys Chatham: Yooouuu (Sub Rosa) LP
Portishead: PNYC (Go Beat) LP
Portishead: Dummy (Go Beat) LP
Django Reinhardt: Djangology (Not Now) 2LP
Django Reinhardt: Three Fingered Lightning (Doxy) LP
Django Reinhardt: Plays Gershwin & Ellington (Doxy) LP
Rush: 2112 (Anthem) LP
Smiths: Hatful of Hallow (Rhino) LP
Smiths: Meat is Murder (Rhino) LP
Smiths: Queen is Dead (Rhino) LP
Smiths: Strangeways Here We Come (Rhino) LP
Andy Stott: Passed Me By (Modern Love) LP
Trader Horne: Morning (Flashback) LP
TV On The Radio: Seeds (Harvest) LP
Unwound: Kid is Gone (Numero) Box
Unwound: No Energy (Numero) Box
U-Roy: I Am The… (Kingston) LP
White Birch: The Weight of Spring (Glitterhouse) LP
Various: Ska From the Vaults of Wirl (Kingston) LP

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…..news letter #685 – hare wax…..

Easter is upon us! Which means a few things…

1. Our Hours this weekend will be…
– Friday 12 – 5
– Saturday 11 – 6
– Sunday Closed
– Monday 11 – 6

2. Candy
3. Eggs
4. Saskatchewan

Also, Record Store Day is quickly approaching. Orders are in, stock has even started shipping and hopefully will start arriving next week. We have all sorts of goodies arranged. And since it was such a huge hit last year, we’ve decided to do it again this year… we’ll be giving one lucky customer a FREE REGA RP1 turntable! So stay tuned and we’ll see you on RSD.

…..pick of the week…..

disco dildar

Various: Disco Dildar (Finders Keepers) LP/CD
Never one to merely scrape the surface of a niche genre the Finders Keepers bloodhound digs deeper still into the core of the Indian subcontinent exhuming a concise party pack of opulent, off-centre Pakistani party targets driven by the pounding drum box rhythms of some of Lollywood pops most notorious studio scientists. Disco Dildar features rare plugged-in proxy pop from some of the country’s lesser-known teen flicks spanning the late 1970s and 80s featuring drum heavy disco guesstimates built around multilingual lyrics celebrating Saturday nights, Disco Dildars and Hindustani Hogmanays. These original synth-dripped 45 EPs are not from the front of the pile, nor the quirky result of some token musical tourism. The music found here once soundtracked rebellious all-nighters and hotel bar rendezvous from films of which your parents might have not approved hence their scarce obtainability. Again the Sounds Of Wonder team who bought you Thai Dai, Life Is Dance, Ilectro, Bollywood Bloodbath and others share equal doses of the excitement, wonderment and bewilderment that comes when first needle-dropping these elusive gems. Featuring the cut and paste, electronics and fuzz tones of flightless super heroes such as Tafo, Ashraf, Rana and Ahmed, whilst voiced by Mehnaz, Runa Laila and Queen Noor Jehan, it is plain to hear why the work of these DIY cosmic composers have eclipsed the collectable desirability of filmic fruits igniting dance floors and providing sample fodder of the wider continent for Wu-Tangular producers in their stride. This workshop funk redefines both DIY and disco revealing a whole new side to world music and marks Pakistani pop cultures transformation from disposable and indefinable to indispensable. Form a circle Disco Dildar is now in rotation.

File Under: Electronic, Disco, Lollywood, Pakistan
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…..new arrivals…..

chavez2

Chavez: Gone Glimmering (Matador) LP
No stranger to the brain-cracking power chord, Chavez differs from bands both from the mid-’90s and now in the application of extraordinary minor-key harmonies and mindblown, fiercely joyous lyrical subjects. These sit easily atop the silver-electric guitarage of Matt Sweeney and Clay Tarver. Scott Marshall’s huge bass moves give space and counterpoint to the shattering anti-rock drumming of James Lo.  Indeed, the band claimed Carl Maria von Weber as a major influence, and it is not hard to think of the lower-Manhattan-based quartet as the reincarnation of 19th-century romanticism via incredible chops and a musical upbringing soaked in the Kinks, AC/DC and Pretty Things. Ferociously rocking with a high-wire fragility, Chavez’s music stuns and satisfies like nothing else. Gone Glimmering was recorded over weekends in December ’94 and January ’95 at various locations with various producers/engineers (Bob Weston, Bryce Goggin and John Agnello). Their efforts have been described by know-it-alls in terms like “an odd hybrid of ringing, shifting guitar riffs; ample doses of catchy, subtle melodies and harmonies that weave their way above, below and through the music.” Someone else was caught claiming that Chavez were “the future of hard rock as filtered through nearly two decades of New York neo-noise.”

File Under: Indie Rock
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chavez1

Chavez: Ride the Fader (Matador) LP
Blessing the house with some of that old time religion, NYC’s Chavez were proselytizing and profilin’ in ’96 with Ride The Fader. Most first-time listeners are engaged by the upwardly mobile arrangements and whirly dissonance, then hooked by their wholesome candy-ass pop bonhomie. This was a style that could really rally the kids together. Indeed, both affected highbrow nerds and unibrow uncivilized rocker bonded over Chavez’s debut, Gone Glimmering, and while that effort met with responses ranging from intrigued fence-sitting to spastic huzzahs, Ride The Fader confidently blows it to bits in every category. Any occasionally awkward baby steps on the debut have been mercilessly slapped and bashed into submission. Everything’s harder, more boombastic, cocksure etc. while simultaneously managing to be more kissable and cuddlier (i.e. the power ballad action of “Unreal Is Here”). The songs are trim motherfuckers too with all the extraneous fat burned off for easier digestion.

File Under: Indie Rock
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emerald web

Emerald Web: Whispered Visions (Finders Keepers) LP
Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music. Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music. Notes by Kat Epple When originally released, one music reviewer described Whispered Visions as: “A cosmic tapestry of sound, woven with threads of shimmering synthesizer timbres and luminous flute melodies” This album was made using early synthesizers, sequencers, Lyricon and flutes. When it was recorded in 1980 our synths were regarded as “state of the art” technology. Originally released exclusively on compact cassette it was our second of a total of fourteen independent releases. The band Emerald Web consisted of Bob Stohl and myself and our goal was to create innovative synthesizer orchestration and blend electronic music and acoustic instruments. From 1978 to 1990 we recorded, toured and performed in planetariums whilst composing soundtracks for Carl Sagan, amongst others. Bob and I were consultants for (and were lucky enough to be sponsored by) companies and individuals that were creating the latest music technology. At the time Emerald Web was one of the few “Space Music” bands which performed live in concert using synthesizers and sequencers, most of which had volatile memory and no pre-set sound banks. Unfortunately, Bob passed away in 1990. Since then I have continued to compose music for film and perform in concert as a solo artist, as Emerald Web and with various other ensembles.

File Under: New Age, Ambient
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faithnomore

Faith No More: Superhero (Reclamation) 7”
Faith No More, who reunited in 2009 for a series of sold out performances and international festivals, will issue Sol Invictus, their highly anticipated first full-length album since 1997’s Album of the Year on Reclamation Recordings/Ipecac Recordings in May 2015. Sol Invictus was produced by Billy Gould and recorded in the band’s Oakland, CA studio. “What I can say is that I think through our experience as musicians over the years, I think what we’re doing reflects where we’ve gone since we made our last record as Faith No More. I think this kicks things up a notch,” explained Bill Gould in a recent Rolling Stone interview. “And I think there’s parts that are very powerful and there’s parts that have a lot of space. Everything we do, with our chemistry, the way we play; it’s always going to sound like us. It’s just what we do, that makes us feel good.“ Limited edition 7-inch release “Superhero” b/w “Superhero Battaglia” (Remixed by Alexander Hacke) is the second single to be issued from the forthcoming album following sold out first single “Motherfucker.”

File Under: Rock, Mike Patton
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godspeed

Godspeed You! Black Emperor: Asunder, Sweet And Other Distress (Constellation) LP/CD

Godspeed You! Black Emperor (GYBE) returns with its first single LP-length release since the group’s earliest days in 1997-99. Asunder, Sweet And Other Distress clocks in at a succinct 40:23 and is arguably the most focused and best-sounding recording of the band’s career. Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montreal, GYBE slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band’s inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorched-earth transitions. Asunder, Sweet And Other Distress finds Godspeed in top form; a sterling celebration of the band’s awesome dialectic, where composition, emotion and ‘note-choice’ is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight gatefold jacket with full-color printed dust sleeve, pull-out art poster and download code for 320 kbps MP3 copy of the album.

 File Under: Rock, Post Rock, Drone
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chambers

Chilly Gonzales: Chambers (Gentle Threat) LP
Canadian pianist and entertainer Chilly Gonzales returns with Chambers, his much anticipated follow-up to Solo Piano II. Since the release of Solo Piano II, Gonzales composed the best-selling book of easy piano pieces Re-Introduction Etudes, produced and released Octave Minds, the piano-meets-electronica album with Boys Noize and, most importantly devoted himself to finding a modern take on chamber music. The result is Chambers, an album for piano and string quartet (and a few surprises along the way). Inspired by the deepending relationship with Hamburg’s Kaiser Quartett, the album re-imagines Romantic-era chamber music as today’s addictive pop. Gestures from rap, ambient, easy listening and the avant-garde co-exist as always in Chilly Gonzales’ musical universe – this time with strings attached. Know equally for his intimate piano touch as for his showmanship, ‘Gonzo’ aims to be a man of his time, approaching the piano with classical and jazz training but with the attitude of a rapper. Chilly holds the Guiness world record for the longest solo concert at over 27 hours and performs and writes songs with such diverse artists as Jarvis Cocker, Feist and Drake. In 2014 he won a Grammy for his collaboration on Daft Punk’s Best Album of the Year.

File Under: Modern Classical, Piano Music, CanCon
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inventions

Inventions: Maze of Woods (Temporary Residence) LP
Inventions are the collaborative sum of longtime friends Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. Their 2014 eponymous debut album introduced an ambition to create music that was both challenging and comforting. Their new album, Maze of Woods, opens with a vocal sample declaring, “I wanted to do something that I don’t know how to do.” Using this as a mission statement, Inventions have crafted a complex and exuberant album from an array of instruments, samples, found sounds, beats, chants, and raw bursts of noise, with a much greater emphasis on strong vocal accompaniment in every song. Two albums released in the span of 11 months speaks to the drive that these two have felt since they started playing together. Much like on the first record, they again mixed the album in a house on the Oregon coastline, with final mixing and production all done by Smith and Cooper. Inventions have stated that much of the inspiration for Maze of Woods comes from the closing paragraph of Denis Johnson’s novella Train Dreams. In that paragraph, Johnson describes the nonverbal howl of a feral wolf boy, a pre-language that is yearning and instinctual; a statement of wordless distress and love. Maze of Woods is the product of two masters of their craft getting lost in the wilderness, “doing something that they don’t know how to do,” and emerging with something wholly unexpected and beguilingly beautiful.

File Under: Electronic, Ambient, Post Rock
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goonTobias Jesso Jr: Goon (Arts & Crafts) LP
Goon is the debut LP from True Panther Sounds recording artist Tobias Jesso Jr. Goon was recorded over the last two years and features production from Chet “JR” White (formerly of Girls), Black Keys’ Patrick Carney, and Ariel Rechtshaid (Vampire Weekend, Haim, Sky Ferreira). Pitchfork hailed the album as “Wonderfully plainspoken songs, which bring to mind a less snarky Randy Newman or Harry Nilsson, or a more hopeful Nick Drake.” “In 2008 I moved to LA to play backup bass for a Pop singer. That job didn’t work out, but I ended staying in LA for four years. I returned to North Vancouver because my mother had been diagnosed with cancer (she’s better now). I wrote most of the songs on my album Goon about my time spent in LA. It was a reflection that included, like the most popular of love clichés, a tough break up. “In my haste returning to Vancouver, I had left all my instruments in a storage locker in LA. My sister had moved out and left her piano at my parent’s house, an instrument I had yet to explore. The first song I wrote on that piano was ‘Just A Dream.’ It was also one of my first attempts at singing. I have yet come to terms with my singing voice, but at the time I was left with no other option. “I recorded the demo, and then did a few more. Afterwards I sent the demos to JR White [Girls], someone who had produced one of my favorite records of the past few years (and was also signed to True Panther, the label I’m currently on). Soon after, he asked me to come down to San Francisco to record an album. After a series of visa issues and border complications, I finally met him and spent the next few months jumping from San Francisco to Los Angeles, recording in studios and bedrooms with friends. “After all that was said and done, I got offered to have a few more of my songs produced by Patrick Carney [The Black Keys] in Nashville, and Ariel Rechstaid in Los Angeles. I owe the sound of the record to the great effort of everyone involved, the producers and musicians doing and playing things I couldn’t and treating the production with the same reverence I treat my songwriting. The writing will always be the most important to me; the production, playing and singing I am still figuring out. I still play a bit of guitar, but I’m mostly sticking to the piano these days.” – Tobias Jesso Jr.

File Under: Indie Rock
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lanegan

Mark Lanegan: A Thousand Miles of Midnight (Heavenly) 2LP
Following career-best reviews and a Top 20 chart entry for Phantom Radio, Mark Lanegan Band return with A Thousand Miles Of Midnight, an album of remixes of tracks from both ‘Phantom Radio’ and ‘No Bells On Sunday’, the EP that accompanied it. The album is made up of a brilliant array of remixes by artists as diverse as UNKLE, Moby, Greg Dulli and soulsavers. Mark Lanegan says of the album: “I thought these tunes would lend themselves to remixing and that it would be interesting to hear what other artists might make of them. All the people who did remixes are musicians whose work I greatly admire.”

File Under: Rock, Remixes
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lituryLiturgy: The Ark Work (Thrill Jockey) LP
Liturgy is a Brooklyn-based, self-styled “Transcendental Black Metal” band whose yearning, energetic music exists in an uncanny space between avant rock, black metal, fine art and shamanic ritual. Led by songwriter and conceptual architect Hunter Hunt-Hendrix, who is joined by guitarist Bernard Gann, bassist Tyler Dusenbury and drummer Greg Fox, the band exists as a 21st century total work of art (gesamtkunstwerk): activating divine potencies by means of music and culture even as it underscores the contradictions inherent in such a project during the internet era.  Their third full length, The Ark Work, is a quantum leap forward, a radical change in sound that paradoxically sounds more like Liturgy than ever. The album hums and churns with Hunt-Hendrix’s inventive arrangements – drenched with glockenspiels, bagpipes, strings, ritual chanting, and MIDI horns. It supplements its metal energy with motifs from unlikely, disparate genres; cross-fertilizing hardstyle beats, occult-oriented rap, and the glitched re-sampling of IDM and with structures from Medieval sacred music, Romantic classical music, and minimalism. The result is a rich, seething cyber-fantasia that is improbably listenable, conveying the disarming, authentic emotion that is Liturgy’s hallmark – a blend of startling invention, high caliber musicianship, raw energy, and profound, cosmic sadness. Liturgy began as the solo project of Hunter Hunt-Hendrix, who remains their sole songwriter.  After a few self-released cassettes, the project began in earnest with the release of the Immortal Life EP (2008) and the crystallization of the aims to adapt black metal’s typical genre markers – including blast beat drumming and rapid tremolo picking – along new, life affirming lines of artistic development, and to treat a rock band as a real-time visionary performance/art/life project. The band expanded to its current quartet for the recording of Renihilation (2009). Their fervid and cohesive live presence, in particular Fox’s unorthodox and dynamic drumming, quickly earned them a following both in the global metal underground and the Brooklyn art punk scene. Controversy erupted, along with interest from the wider world, around the companion piece to Renihilation: the text Transcendental Black Metal: A Vision of Apocalyptic Humanism, which Hunt-Hendrix delivered at the now-legendary Hideous Gnosis Black Metal Theory symposium that year. With the release of 2011’s Aesthethica, the friction between Liturgy’s multiple worlds sparked and caught fire. Liturgy crossed over to perform to huge crowds at major festivals and at art institutions, including MoMA, where Hunt-Hendrix delivered his manifesto next to a Joseph Beuys sculpture. Aesthethica was listed as Spin’s top metal album of the year and featured on two different New York Times lists for top 10 albums of 2011 while the band graced the cover of Metal Hammer’s Subterranea magazine.  For the next two years the live band functioned as a duo while Hunt-Hendrix began the long process of composing what would become The Ark Work.  In 2014, Fox and Dusenbury returned to record the album along with Hunt-Hendrix and Gann, adding their dynamic energy to the mix.  The result is the first true sonic realization of Transcendental Black Metal: a musically cohesive alchemical fusion, an artistically reflexive work of theandery, and a mind-bending album that is as original as it is beautiful.

File Under: Black Metal, Rock, Ritual
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lonelady

Lonelady: Hinterland (Warp) LP
‘Hinterland’ (literally “the country behind” in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes obsessively throughout the record, as Lonelady’s Julie Campbell continues her fascination with the post-industrial ruinscape. As with her 2010 debut ‘Nerve Up’, on ‘Hinterland’ Campbell continues to pay homage to the post-punk era. I can hear many influences in her punk-funk style – A Certain Ratio in occasional basslines, Viv Albertine (the Slits) and Andy Gill’s (Gang Of Four) guitar sound (skeletal, harsh, chiming) , dark and brooding drones, cello and synths (Joy Division, Nico etc), but Lonelady transcends all these reference points to come up with her own sounds. Crucial to her elevation above mere pastiche is Campbell’s agile, urgant vocals and her ability to come up with pop hooks that weave their way through the tracks, from the edgy, fidgeting ‘Bunkerpop’, via breakout disco-not-disco single ‘Groove It Out’ to the low-slung sleaze-funk of title track ‘Hinterland’.  In Campbell’s words: “It’s channelling Parliament / Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell… among others. A strange – but nonetheless real – meeting of funk and… me from Audenshaw, Manchester.”

File Under: Post Punk, Factory
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gone girl

OST: Gone Girl (Columbia) LP
While perhaps best known as the founder and sole member of the groundbreaking industrial music project Nine Inch Nails, Trent Reznor is also a multi-talented creative force whose drive and passion has extended to film, video games, and digital music services. Producer/programmer Atticus Ross began writing incidental music in 2004, when he scored the television series Touching Evil. He has since composed scores for other acclaimed television series and films, including as New York I Love You, The Book of Eli, Days of Grace and Broken City, among other projects. Gone Girl marks the third time the NIN frontman has collaborated with director David Fincher. Along with Ross, Reznor composed the scores to The Social Network (2010) and The Girl with the Dragon Tattoo (2011), which won the duo an Oscar and a Grammy, respectively. Based on the best-selling novel by Gillian Flynn, Gone Girl stars Ben Affleck as a man who becomes a suspect in his wife’s disappearance.

File Under: OST, NIN
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jsbx

Jon Spencer Blues Explosion: Freedom Tower (Mom & Pop) LP
It’s all here: The Hustler and The Trust Fund Baby, the Mosh Pit Casualty, the Celebrity Chef, the Crooked Cop, the Struggling Artist, the Sucker MC, the forgotten Sex Workers and Last-Chance Cinderellas. Within these grooves are cold-water tenements, blue-chip galleries, dingy Avenue B studios, and the last real warrior poet whose dark magick brings garage rock ghosts back from the grave!

File Under: Blues Explosion!
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11183_JKT

Scientist: The Dub Album They Didn’t Want You to Hear (Jah Life) LP
Totally killer previously unreleased dub companion LP to Flick Wilson’s “School Days” LP. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby’s for the mixing of many of the classic Junjo/Radics/Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased…until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett “What’s Wrong…” album. Classic Scientist 1980 style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser.

File Under: Dub
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Scientist_Meets_the_Space_Invaders_(Scientist)_album_cover

Scientist: Meets The Space Invaders (Dub Mir) LP
The cosmic theme is well served on ten effects-riddled tracks, with the rockers style material being littered by all manner of stratosphere-breaking sounds from the mixing board, strategically adorned with snatches of ghostly echo and pneumatic percussion. It’s certainly an appropriate mood for a post-apocalyptic battle involving cartoon machines! Another DUB ESSENTIAL ALBUM from the legendary SCIENTIST!

File Under: Dub
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big showdown

Scientist: Big Showdown (Dub Mir) LP
Hopeton “Scientist” Brown and Lloyd “Prince Jammy” James both learned their dubcraft at the feet of the universally-acknowledged master of the art form, King Tubby. The 10 tracks from this classic LP from 1980 sound pretty strong in terms of style and approach, all of them are quietly brilliant, reflecting a complete mastery of the form. Rhythms are supplied by the unstoppable Roots Radics band!

File Under: Dub
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Scientist-RidsTheWorld

Scientist: Rids the World of the Evil Curse of the Vampires (Dub Mir) LP
Rids the World of the Curse of the Vampires (1981) not only ably displays the mix masters varied approach of, but clocks in as one of his best outings! Scientist keeps things lively with plenty of reverb and echo-treated percussion, ghostly piano parts, video game sound effects, and other various wobbly interjections from the mixing board. And adding to the record’s expert evocation of the Halloween spirit are some fiendishly voiced intros, the cover art’s cartoon potpourri of horror film characters, and the dubious claim made in the liner notes that Scientist mixed it all at midnight on Friday the 13th (reach for the flashlights kids). Along with Keith Hundson’s Pick a Dub and Lee Perry’s Blackboard Jungle Dub, this excellent Scientist release is one of the essential dub albums available.

File Under: Dub
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scientistencounterspacmanA

Scientist: Encounters Pac-Man at Channel One (Dub Mir) LP
In this great LP Scientist delivers one of his most progressive mixes, deconstructing the originals down to their skeletal base and adding just the right amount of mixing board-generated Echoplex and reverb with his patented minimal sound, a landscape resplendent with steely piano, depth-charge drums, and futuristic dub effects. A mind-warping yet eminently enjoyable way to check into dub central!

File Under: Dub
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stevens

Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP/CD
Carrie & Lowell (Asthmatic Kitty) is the newest offering from pop-art singer/songwriter Sufjan Stevens. These are aggressive times. Each morning we awaken to a psychic blitz of breaking news, social outrage, and millions of images and voices shrieking look at me and this onslaught does not cease until late at night when the last glowing screen fades to black.  This world demands our attention with one hand and destroys it with the other. That such a noisy age can deliver an album as graceful and honest as Carrie & Lowell should reassure anyone losing faith these days. Let no one say philosophy is dead, for here is a 44-minute meditation on mortality, memory, and faith. Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens’ gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without either myth or miracle – and this time around, his voice carries the burden of wisdom. If youth knew, if age could.

File Under: Indie Rock, Pop
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tusques

Francois Tusques w/ Barney Wilen: Le Nouveau Jazz (Cacophonic) LP
With track titles translating to Song For The Devil and The Witches, Francois Tusques’ rarest commercially released LP casts an early stylistic premonition of the vampire themed improvised soundtracks recorded for director Jean Rollin merely months after its release. Assembling the very same group of musical sorcerers this albums personnel (featuring, amongst others, soprano saxophonist Barney Wilen) reads like a who’s who of France’s early improvised music/free jazz scene resulting in a wholly unique European flavour while preserving the essence of other global inter communal travellers such as Don Cherry and Krzysztof Komeda. Originally extracted from three separate recording sessions in early 1967, Le Nouveau Jazz opens with themes conjured up for the short film Coda by French jazz documentarist Marc Pauly highlighting the composers adept ability in his multi-disciplined art further aligning him with the aforementioned pioneers. The rest of the album combines frenzied macabre picture music (akin to Detroit’s Wendell Harrison) and emotive piano improvisations (Mal Waldron anyone?) with the sui generis inclusion of a double double bass formation courtesy of Bernard “Beb” Guerin (Sonny Sharrock/Kühn Brothers) and Jean-Francois Jenny Clarke (Enrico Rava/Giorgio Gaslini). As Tusques’ second official album (after the seldom sighted Free Jazz from 1965) this LP expands on this important French musicians vision and follows up Cacophonic’s repress of his mega rare Don Cherry art installation collaboration from 1964 this time introducing extra rhythmic arrangements courtesy of Italian drummer Aldo Romano (Robin Kenyatta). Housed in the elegant original Witches artwork sleeve by comic illustrator Jean Vern with French liner notes by French psychiatry/beat poet/crime fiction writer Yves Buin this worthy reissue hopes to find a unique uninhabited part of your collection from an era that changed the Parisian underground prior to the important developments of labels like BYG Actuel and Futura Records in the early 1970s.

File Under: Jazz, Improv
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weaver

Jane Weaver: The Silver Globe (Bird) LP
When a handful of broadsheet music columns and reputable blog pages began to mention the vaguely familiar name Jane Weaver in the “Here’s One We Missed” themed features during 2014s end of year round-ups it became quickly apparent that the singer’s concept album The Silver Globe had already independently garnered a “must have” status amongst virtually any self-respecting music buyers. But unlike so many other big label “campaigns” that vied for PR attention via ego-fuelled video promos and down your throat advertising, this unassuming, dedicated, focused piece of experimental female vocal pop was in no way spoon fed to editors nor playlisters.  Nor did it fall within the lines of what might have been considered fashionable or culturally relevant. The Silver Globe defied species, and for once, was judged on its own merit as a brilliant uncompromising pop record. The sixth album by a long-standing pillar of the North West music scene (loosely based on a lost Polish dystopian feature film and a French novella featuring a personnel of vintage Atari music composers next to Australian synth pioneers) was a simply typical product of the way Jane Weaver has always operated – as an independent and resilient female experimental songwriter, on her own label, on the outskirts of anything that resembles a music industry. Throughout her twenty-year “career” she has stayed focused, avoided whimsical fads and distractions and used her experience to work as hard as she can when she can.  By Christmas The Silver Globe had been announced as Piccadilly Records’ best album of the year, earned a “worldwide” top ten track of the year accolade by Gilles Peterson, gleaned across the board full-stars and thumbs up from the music press, benefitted unanimous repeat plays from virtually every specialist DJ on BBC6 Music (amongst many more global radio stations), found DJ mix support from Andrew Weatherall, and filled most of the pages in a twelve month diary with gig and festival requests. Meanwhile, Jane’s own Bird Imprint (via Finders Keepers) has to worked around the clock to keep up with stock demands of her new (and old) music. Album collaborators such as David Holmes, Andy Votel and BC Camplight share gushing pride in the project and with this unanimous critical support (and long earned respect) Jane has reacted in the only way she knows best – to keep creating. In March, barely six months since its initial release, following tours with friend and sonic sister figure Laetitia Sadier (Stereolab) and one time backing band Black Rivers (two thirds of Doves), Jane will release an expanded edition of The Silver Globe – including a second full-length disc called The Amber Light which follows the original LP with the same dedication and adventurous zeal as its much loved synth driven sister record. With a title that alludes to the toils of trepidation and a running theme of industrial procreativity and DIY handy craft, The Amber Light carves a niche between new age motivational music, radiophonic folk and snarling krautrock echoing the kosmische stylings of The Silver Globe with the punk urgency of 80s domestic-synth pop. Featuring four brand new songs, three exclusive instrumental themes (including a commissioned theme from an American vampire film) and three new collaborative re-workings/duets based on tracks from The Silver Globe, this extensive package harbours work from Tom Furse (The Horrors), Andy Votel, Suzanne Ciani, members of Demdike Stare and original Silver Globe inhabitant Pete J. Phillipson. Substantiated by other extra format editions, including a silver vinyl version of The Silver Globe, a series of compact cassettes and a single release of standout robotic roller rink track Don’t Take My Soul (presented digitally as well as a split single with Bird Records label mate Tender Prey) Jane’s expanded Silver Globe/Amber Light project reciprocates the positive energy shared by her loyal readership and a wide host of new converts who have allowed Jane’s self-sufficient songs and synthetic soundscapes to flourish on he cusp of 2014/2015. Showing little signs of slowing down, Jane Weaver alongside her Bird Records family looks set for an airborne year. The Silver Globe is still turning and catching many a siege in its electric rays.

File Under: Electronic, Pop, Indie
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sciencefiction

Various: Science Fiction Park Bundesrepublik (Cache Cache) LP/CD
In the summer of 1982, in a cottage in the Bavarian forest a thirteen-year-old boy sits with his brother on the sofa and stares at the television. What he sees will transform his life. In rapid, revue-like sequences, young costumed people jump around in front of a painted background. They serenade tulips that are sparingly lit, twist and stretch under rubber sheets and with eyes taped over, iron on empty boards. Sometimes they just stand there, staring brazenly or absently into the camera, cryptic texts intoning through stiff mouths. The entire spectacle might be a direct transmission from Mars. The music accompanying all this is so radically new that the terminology to describe it doesn’t exist yet. Most of all, it is unexpectedly bizarre, minimalistic and electronic. The astonishing performance is garnished by four amateurish dancers obviously assigned to the musicians by a decree of the TV broadcaster. Nothing fits together, yet the combination is pure genius. The demeanor of the group is so shockingly modern and uncompromising that the boy in front of the television has to repeatedly pinch himself to prove he isn’t dreaming. This is the music he has waited years for. This is his music, and it sets off a catalytic spark in him. His little brother is drafted to write down the names of the bands Palais Schaumburg, Der Plan, Deutsch- Amerikanische Freundschaft, Lorenz Lorenz, Der Körper und die Seele (The Body And The Soul)… One can imagine the creative spelling that made it on to the list. Back home in Hamburg, as if possessed, the boy begins to experiment with a synthesiser, home organ, and voice and tape recorder. He is not the only one to begin explorations in this direction. The entire Federal Republic of Germany is just at the boiling point. A new form of home music is coming into existence. It has nothing to do with violin playing children, scratchy sweaters and well- combed relatives listening on the sofa, but rather combines the fears and dark abyss of industrial society. Remarkably it is the same industry that made the tools available to the raging youths: cheap Casio keyboards, synthesisers, drum computers and four track tape recorders. Suddenly anyone can acquire his own means of production to use in protest against the industrial forces. In Germany especially, that neurotic country whose dark Nazi past and subsequent East/West division filled its closet with skeletons, the electro-industry’s advance falls on fertile ground. The four-track tape studio becomes the medium of the collective unconscious; becomes the embrasure, the lighting rod and the magnetic witness to the fears of an imminent nuclear war. On top of that most of the recordings are born without strategy or intention of commercial exploitation. They are eruptions out of the crater of a society that had reached a deadlock during the so-called German Autumn with its failed RAF movement. Everyone was waiting… But for what? For the end of the world, approaching via an insane arms race? A new youth movement? A new kind of ice cream? In their freshly established home studios the protagonists practice the new underground music, the “undirected aggression of liberated sounds,” as Frank Apunkt Schneider expressed in his book Als die Welt noch unterging (As The World Was Still Ending). Everything that isn’t nailed or riveted down is used as an instrument: baking trays, cartons, room lamps, toys, wooden flutes, whistles, cans, trays, record players, televisions, a doorbell, a telephone. Out of the living rooms of the nation drones an obsession with noise, sparing not even the children. And what became of that thirteen-year-old boy who sat in front of the television back then? He hasn’t had a television for the last twenty-five years and is just now writing these lines. His enthusiasm for the cassette scene has remained to this day. And while collecting the pieces for this compilation he had to keep pinching himself in the arm. Compiled by German sound futurist Felix Kubin this eccentric compilation features 25 rare and mostly unheard tracks by bands like Plastiktanz, Neros Tanzende Elektropäpste, chbb, Holger Hiller and Pyrolator, as well as several one hit wonders by the rural tape label Pissing Cow Tapes.

File Under: German, Tape Music, Experimental, Home Recording
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…..Restocks…..

AKA KAK: Obaa Sima (Awesome Tapes From Africa) LP
William Basinski: Melancholia (Temporary Residence) LP
Belle & Sebastian: If You’re Feeling Sinister (Matador) LP
Belle & Sebastian: Girls In Peacetime… (Matador) LP
Black Mountain: In The Future (Jagjaguwar) LP
Black Mountain: Wilderness Heart (Jagjaguwar) LP
The Bug: Angels & Devils (Ninja Tune) LP
Chrome: Chrome Box (Cleopatra) Box
Cluster & Eno: s/t (Bureau B) LP
Dead Kennedys: Gimme Convenience… (Manifesto) LP
Dead Kennedys: In God We Trust Inc (Manifesto) LP
Death Grips: Money Store (Epic) LP
Death Grips: No Love Deep Web (Harvest) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Eternal Tapestry: Wild Strawberries (Thrill Jockey) LP
Ex-Hex: Rips (Merge) LP
Faith No More: The Real Thing (Music on Vinyl) LP
Father John Misty: Fear Fun (Sub Pop) LP
FKA Twigs: LP 1 (Young Turks) LP
Fleet Foxes: s/t (Sub Pop) LP
Harmonia & Eno: Tracks & Traces (Gron) LP
Daniel Johnston: 1990/Artistic Vice (Eternal Yip) LP
Moon Duo: Shadow of the Sun (Sacred Bones) LP
The National: Alligator (Beggars) LP
William Onyeabor: Who is.. (Luaka Bop) LP
Pissed Jeans: Shallow (Sub Pop) LP
Jessica Pratt: On Your Own Love Again (Drag City) LP
Sigur Ros: Meo Suo I Eyum Vio Spilum… (XL) LP
Sleater Kinney: s/t (Sub Pop) LP
Sleater Kinney: Call the Doctor (Sub Pop) LP
Sleater Kinney: The Hot Rock (Sub Pop) LP
Sleater Kinney: All Hands on the Bad One (Sub Pop) LP
Sleater Kinney: One Beat (Sub Pop) LP
Sleater Kinney: Start Together (Sub Pop) LP
Sword: Age of Winters (Kemedo) LP
Sword: Gods of the Earth (Kemedo) LP
Unicorns: Who Will Cut Our Hair… (Caterpillar) LP
Vampire Weekend: Contra (XL) LP
Chad Van Gaalen: Shrink Dust (Flemish Eye) LP
Chad Van Gaalen: Soft Airplane (Flemish Eye) LP
Scott Walker/Sunn o))): Soused (4AD) LP
Yo La Tengo: Extra Painful (Matador) LP

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…..news letter #684 – income wax…..

Well, if the bridge construction didn’t make traffic around here bad enough, 124th is just plain silly now with Groat Road completely shut down. But the good news is, if you are going to be stuck in traffic, you might as well park and came dig through the racks. Loads of great stuff coming in these days!

Also, Record Store Day is quickly approaching. The ‘official’ RSD list has been posted…. here. Please take a look at it and if there is something you’d like to be able to pick up on RSD here, please let us know ASAP. While we obviously order everything we thing our customers would be interested in, if you want to pick up that Dolly Parton LP as much as I do let us know so we can be sure to order enough so you and me aren’t fist fighting in the parking lot over it. The cut-off for orders is quickly approaching so let us know if you will be looking for something random sooner than later.

…..picks of the week…..

umiliani

Piero Umiliani: Tra Scienza e Fantascienza (WRWTFWW) LP
First vinyl reissue of a highly-sought after electronic abstract future jazz release by Italian soundtrack and library music composer Piero Umiliani, originally released on Umiliani’s label Omicron in 1980 under the pseudonym Moggi. Umiliani’s releases are generally expensive and hard to find, and Tra Scienza e Fantascienza is no exception. Umiliani was a master, gifted with a never-ending passion for music, and an experimental innovator who manipulated synthesizers with ease, forging a sound that could be reductively termed avant-garde. Timeless atmospheres and alien hypnotic sonorities that are modern and charmingly retro; minimal and complex; arranged with precision. Umiliani was way ahead of his time; hear, for instance, “Happy Accompaniment”: it sounds like a 2015 minimal house track.

File Under: Electronic, Library, Italian, Raerz
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CREP014LP_CU

Mutamassik: Symbols Follow (Discrepant) LP
FILE UNDER: AfrabiroQ.+Martial MelanQ.+Qubti FunQ.+… Mutamassik aka Giulia Loli: producer, musician, improviser, artist, synesthete. The follow-up to 2012’s Rekkez (ini.itu). “…uneasy… uncompromising… unapologetic” –Sam Davies, The Wire. “Deftly maneuvering the space between tradition and innovation, acoustic and digital, familiar and unexpected” –Okay Africa. “The headiness of the treated strings and clattering percussion sets her mixes apart from anyone culling beats” –Owen Strock, CMJ. “From the jungles of Brooklyn to a cave in the mountains of Italy via Cairo; Mutamassik keeps relocating headquarters for immigrant punkjaw revolution” –Anna Gavanas. MELANQOL BAROQUE parq dunq ARABIFIED SWAMP MUSIC darq punq QUBTI BEATS in addition to transcendental sonic experiments. From liner notes: “There born the excitement, from the loins of broken gear and deft midwife. Music for disinfection, in order to heal. To build a dream on. Because before we or they or us learned to ignite and harness fire existed. It only let us. Aggressive Atheists are being used to show how inevitable structured reverence is by inadvertently establishing their own religion by way of dogma, righteous conviction, intellectual punishment, headed by scientists as the new priests, technology as the ritual tool of salvation. With or without their knowing it Religious Zealots are being used to martyr their own religions on altars of utter faithlessness by carrying out just icing, consequentially projecting an image of a weak, untrustworthy god. With or without their knowing it.” “Plosive polyrhythmic instinct deep cut with ancient future inscriptions fashioned by hand — unfashionably — beveled metal revealing wood grain anima(l). Proof of origin. Lines of red paint on volcanic rock. Syncopathic shimmering soundtrack + magnetic tension. Symph slam somber chroma + hymns. Melancholic and sanguine and faith. Purposeful Anachronism for new dance. New spirituals.” –Mutamassik

File Under: Electronic, Ethnic, Collage, Experimental
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…..new arrivals…..

bird

Andrew Bird: Weather Systems (Wegawam) LP
Described by Pitchfork in 2003 as “music for the ages that demands to be heard”, the songs on Andrew Bird’s second solo album reveal themselves at a confidant, unhurried pace reflecting the thoughtfulness with which they were conceived. Weather Systems originated in a barn converted to studio/living space in remote western Illinois, as creating music was becoming central to Bird’s everyday life. The virtuoso instrumentalist employs violin, glockenspiel, organ, whistling, and tape loops to set the scene for the intimate, haunting stories he tells through his lyrics. It’s a lush, gorgeous collection of seven original songs plus Bird’s own adaptation of a Galway Kinnell poem and a Handsome Family cover “Don’t Be Scared” (which Andrew recorded again on his 2014 covers album, ‘Things Are Really Great Here, Sort Of”), showcasing his gift for conveying subtle emotional states purely through music. Originally released in 2003, Weather Systems is now available on vinyl for the first time (150 gram/re-mastered for vinyl) through Wegawam Music with reimagined art by Jay Ryan.

File Under: Indie Rock
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fields

Anna Caragnano & Donato Dozzy: Sintetizzatrice (Spectrum Spools) LP
Sintetizzatrice is the first recorded document of the collaboration between veteran DJ and producer Donato Dozzy and female vocalist Anna Caragnano. Through his solo work, and in his collaboration with Giuseppe Tilleci (Neel) as Voices from the Lake, Dozzy has achieved some of the most remarkable vistas contemporary electronic music has seen since the turn of this century. By removing himself from his areas of mastery to shift his focus on the voice, he has achieved a new peak with Sintetizzatrice. Over nine tracks, Dozzy works exclusively with the voice of Rome-based vocalist Anna Caragnano, with no other instruments. Heavy layering and effects processes are used to display an astoundingly versatile voice-centric vocabulary. Rarely can a record morph from R&B to kosmische, through traditional Italian folk music, to Fluxus styles and traditional chamber choir with no additional instrumentation. Just a singular, beautiful voice. The results are simply phenomenal. With the opening, “Introduzione,” an immeasurable cosmic weight arrives and remains through the duration of the album. “Star Cloud” ascends with melancholy extended drones that evaporate concepts like time and being, rendering basic human perceptions void all the way through “Parallelo.” “Parola” dances around the stereo field with dazing rhythms and melodies, while “Festa (A Mottola)” is an homage to the traditional music found in the rural region where, coincidentally, both Dozzy’s mother and Caragnano were born and raised. The album’s closing pieces “Love Without Sound” and “Conclusione” hit hard in a way to which no words can do justice. By fearlessly entering uncharted territories, Dozzy and Caragnano have made a collaboration which is truly experimental. Sintetizzatrice is a grand debut for Anna Caragnano and a fantastic twist for Donato Dozzy. Produced and mixed by Dozzy at Alaska Studio, Rome, in 2014. Mastered by Giuseppe Tilleci at EnissLab Studio, Rome. Transferred to tape by Pietro Micioni, Angelo Compagnoni, and Massimo Zuccaroli at Village Studio, Rome. Cut by Christoph Grote-Beverborg at Dubplates & Mastering, Berlin. Front cover painting by Angela Scaramuzzi. Cover design by Koto Hirai.

File Under: Electronic, Experimental, Vocal
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cortini

Alessandro Cortini: Forse 3 (Important) LP
Forse 3 is the final release in Alessandro Cortini’s Forse Trilogy. Like parts 1 and 2, Forse 3 has a distinct sound and feeling. Edition of 500. Alessandro Cortini (Nine Inch Nails, How To Destroy Angels) recorded Forse using a Buchla Music Easel; of which only 13 are known to exist. “Forse,” meaning “maybe” in Italian, is a series of three double LP releases. “All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion, filtering, wave-shaping, etc.) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. Of all the years with Nine Inch Nails, the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music-making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment.”

File Under: Electronic, Synth, Ambient, NIN
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fields

Lee Fields: Emma Jean Instrumentals (Truth & Soul) LP
“Instrumental version of Lee Fields & The Expressions’ Emma Jean record.”

File Under: Soul, Funk
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fort

Fort Romeau: Insides (Ghostly) LP
Like many others, Ghostly International became enamored with Fort Romeau’s idea of “slow listening,” the concept of enriching relationships with music through careful attention and focus. His understated take on deep, groove-friendly house started pushing this practice three years ago, when the producer’s debut LP, Kingdoms, appeared via 100% Silk. The native Londoner, born Mike Greene, has evolved considerably since then, finessing his sound over the course of three breezy 12″s, one EP, and lengthy DJ sets at some of the best clubs in Europe – not the least of which were Berlin’s famed Panorama Bar, London hotspot Plastic People, and Robert Johnson in Frankfurt. Those years Greene spent immersed in his craft and new inspirations have generously informed the eight stunning productions which comprise Insides, Fort Romeau’s long-awaited sophomore album. “Playing in those clubs definitely had an affect on how I approach composition and pacing,” Greene shares. “I want to allow things to breathe and develop gradually over longer track lengths, rather than cram everything into four or five minutes.” His patient methods are a central component to the billowy house music on Insides, though this isn’t an indulgent album of gratuitous buildups and tiresome breakdowns. Each production is pointed and purposeful, as the artist crafts every second of analog electronics with rich detail, nuance, and refinement. Throughout Insides, Fort Romeau guides us down misty corridors lined with supple synth pads, quietly thumping kicks, and elastic low-end sequences reinforced by an emotive confidence.

File Under: Electronic, House
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francis

Francis the Great: Ravissante Baby (Hot Casa) LP
Rare funk and avant-garde soul from a seven-year-old kid singer featuring the best musicians of France and the Cameroonian diaspora, recorded in Paris in 1977. The album contains two nicely dramatic tracks: “Ravissante Baby (Negro Phasing)” is a long, hypnotic, funky soukous track with a tremendous lead guitar and a long spoken-word and soulful kid vocal about the beauty of nature; “Look Up in the Sky (Negro Nature)” is a stretched funk groove with psych synth by Michel Morose, bubbling bassline by the great Victor Edimo, the famous Toto Guillaume on guitar, and a brilliant poetic lyric by Francis the Great, who at that time studied in Ménilmontant, Paris. Originally produced by his father, a great impresario of African artists in Paris during the ’70s, and coordinated by his mother, this album is unique, fresh, and almost unclassifiable. It’s universal funk! Hot Casa Records is proud to reissue this holy grail after years of research. Includes interview; officially licensed with Francis Mbarga himself, in Yaoundé, Cameroon.

File Under: Funk, Soul, Avant-Garde
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gaussianGaussian Curve: Clouds (Music From Memory) LP
Music from Memory’s fourth release sees the Amsterdam-based label taking an exciting sidestep with the release of Clouds. It’s the debut album from Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land of Light’s Jonny Nash, and Marco Sterk (also known as Young Marco). The trio came together during a weekend-long recording session in April, 2014, with no preconceived ideas. Developed around improvised jams, the eight tracks on the album are all single-take live recordings. The three musicians succeed in developing a musical language all of their own, with Gigi Masin on Rhodes and piano; Jonny Nash on guitar, melodica, synths, and trumpet; and Marco Sterk on synths, rhythmic structures, and production duties. Recorded in the heart of Amsterdam’s red-light district, the album reflects the unusually warm spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. And on the more introverted late-night compositions, the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. Clouds is a simple, heartfelt record of an inspired meeting of unique souls in unique surroundings.

File Under: Electronic, Ambient
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godspeed

Godspeed You! Black Emperor: Asunder, Sweet And Other Distress (Constellation) LP/CD
Out March 31st! Godspeed You! Black Emperor (GYBE) returns with its first single LP-length release since the group’s earliest days in 1997-99. Asunder, Sweet And Other Distress clocks in at a succinct 40:23 and is arguably the most focused and best-sounding recording of the band’s career. Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montreal, GYBE slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band’s inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorched-earth transitions. Asunder, Sweet And Other Distress finds Godspeed in top form; a sterling celebration of the band’s awesome dialectic, where composition, emotion and ‘note-choice’ is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight gatefold jacket with full-color printed dust sleeve, pull-out art poster and download code for 320 kbps MP3 copy of the album.

File Under: Rock, Post Rock, Drone
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komodoKomodo Haunts: Suijin (Aguirre) LP 
Komodo Haunts is the psychedelic drone solo project of Ollie Tutty (aka Mt. Tjhris), from Lincolnshire, UK. With his music he explores drone structure, sonic textures, meditative zones, and personal fictions. Making use of analog and digital technologies; tape jams playing on human familiarity, natural ambiances, faux-exotica, mythologies, “reality therapy.” Taking inspiration from drone masters and new-age wanderers, the Suijin album is all about getting into “the zone” and could be the soundtrack to an unreleased Tarkovsky movie. Building up from a basis of minimalistic stylings in the vein of Terry Riley’s Persian Surgery Dervishes and adding rich instrumental and vocal layers later. Notes on Suijin/notes on water: liquid forms; Suijin, the Shinto god of water — water as a force — the symbolic status of water — people-water relationship. Instruments range from shifting tape loops to reverb-laden electric guitar and dark synths, human voice, wind, distorted bass, ceramic ocarina, acoustic strings, processed electronics, and oscillating waves. Artwork by Tutty. Glossy finishing. Limited to 250 copies.

File Under: Drone, Ambient, Minimalism
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moor

Yannis Kyriakides/Andy Moor: A Life A Billion Heartbeats (Discrepant) LP
A Life Is a Billion Heartbeats continues Yannis Kyriakides and Andy Moor’s exploration and mining of the rich and mysterious terrain of Greek rebetika music from the early 20th century. Their first release of this project (simply titled Rebetika (2010)) was for the most part taken from a live recording at the Centre for Contemporary Arts, Glasgow, in 2006. In the years that they have been performing the set since, the songs and improvisations featured on this LP have grown and expanded in repertoire and range of expression, giving more space for rhythmic and hypnotic elements to come to the fore. The music ranges from more composed and arranged renditions of the old tunes to completely improvised pieces that try to capture a sense of the gesture and tonalities of the source music, albeit with a contemporary edge. The material derives again from the golden period of rebetika music, the late ’20s and early ’30s, including voices such as Rita Abatzi, Markos Vamvakaris, Giorgos Batis, and the great guitarist and singer Kostas Bezos. Mastered by Kyriakides. Limited to 500 copies.

File Under: Avant Rock, Greek, Rebetika, Collage
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fabiano

Fabiano do Nascimento: Danca Dos Tempos (Now Again) LP
“Dança dos Tempos is the debut album from thrilling, young Brazilian guitarist Fabiano do Nascimento, and it features legendary percussionist Airto Moreira in his first album project in over ten years. Dança dos Tempos follows folkloric Brazilian music as experienced through the mind and able fingers of an expansive musician, not yet thirty years old, and combines the heady ’60s and ’70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. It is the second Brazilian album released on Now-Again, following Seu Jorge and Almaz. Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own name, with his wife Flora Purim, and whose resume contains the names of — seriously — every musician worth mentioning from America or Brazil from the past 50 years — plays percussion on the album and is joined by do Nascimento’s long time drummer, Ricardo ‘Tiki’ Pasillas on trap drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental album that allows the guitarist’s virtuosity to shine through originals, folkloric Brazilian songs, and select covers by the likes of Pascoal and Powell, both formative influences on the guitarist. These duets show the camaraderie that two master Brazilian musicians — of two different generations, but of the same spirit — share with comrades of ages past as they imagine music for the years to come. These tracks were recorded live in the studio with no overdubs, straight to 2″ analog-tape, and only sparingly mastered to focus on the subtleties of the performances.”

File Under: Brazilian, Folk
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bruco

Bruno Nicolai: La Dama Rossa Uccide 7 Volte (Dagored) LP
First time ever on vinyl – Exclusive remastering – Exclusive artwork – in collaboration with Beyond Horror Design – Bonus poster (first pressing only) – Bruno Nicolai met Morricone when they were both studying at Rome’s Santa Cecilia music academy. Nicolai was the conductor on many of the maestro’s scores from For a Few Dollars More onwards, but also found himself with plenty of composing work of his own throughout the 60s and 70s. Nicolai became almost as prolific as the maestro himself, particularly within the western and giallo genres. The Red Queen is a great example of his giallo work. It has a distinctive and memorable main theme, and a second ascending piano-led theme that accompanies some of the suspense sequences. The first instance of the main theme comes right at the beginning, hauntingly sung by a small child on ‘Preludio & Titoli’. In ‘Minaccia’ we find that heavy suspense/chase bassline that Nicolai so often used in his giallo and Jess Franco scores, lush, atmospheric, and decidedly ‘euro’.

File Under: OST, Italian, Giallo
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notwist

The Notwist: Messier Objects (Alien Transister) LP
When The Notwist returned with their acclaimed seventh studio album Close to the Glass in early 2014, many were enchanted by the epic instrumental track “Lineri.” It was the only instrumental track featured on that album, but according to Markus Acher, the band’s vocalist, instrumental works had an important role in the album. Indeed, while the band’s members pursued solo projects between 2008’s The Devil, You + Me and 2014’s Close to the Glass, The Notwist also composed instrumental works for several theater productions and radio plays, some of which are compiled here as The Messier Objects. The collection obviously brings to mind the ghosts of library music and ’70s soundtracks, but can also be heard as a summary of the band’s ever-evolving musical cosmos. The 17 featured pieces range from sample-based electronic collages to the buoyant post-rock of “Das Spiel ist aus.” Whether the band is experimenting with modular synthesizers, analog percussion, or even horn sections (“Object 11″), there remains a constant flow of gentle grooves that makes this open-minded collection more than just a companion piece to Close to the Glass. The double LP edition is presented in a screen-printed cover, features an etching on side D, includes a download code, and is limited to 2000 copies worldwide.

File Under: Electronic, Instrumental
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twilight

OST: The Twilight Zone (Sonitron) LP
Released on Columbia Records in 1960. The Twilight Zone is a cornucopia of space age sounds and great space age pop names. Jerry Murad on harmonica, Mundell Lowe on guitar; Lois Hunt sang the ethereal wordless vocals, while Harry Breuer played the vibes and Phil Kraus covered miscellaneous percussion. Manning himself covered keyboards, using both Ondioline and Ondes Martenot. The album also earns a footnote in musical history as one of the very few recordings to use a serpent, the instrument, that is. Manning got his start during the Big Band era, and he was working as a freelance arranger by the early 1940s. He worked in radio, arranging and conducting for a variety of NBC and CBS shows, and began a long relationship with Columbia Records in the early 1950s. He arranged and conducted on many of Tony Bennett’s earliest hits, such as “Rags to Riches,” and he went on to provide backing for most of Columbia’s roster of singers through the late 1960s, including Vic Damone, Buddy Greco, Andy Williams, Robert Goulet, and Barbra Streisand. His arrangement for Bennett’s biggest hit, “I Left My Heart in San Francisco,” won a Grammy Award in 1962, and he was nominated several other times for other arrangements for Bennett, Perry Como, Brenda Lee, and others. The Twilight Zone opens with a version of the show’s well-known title music and is a very odd and different approach to “space pop.” Band leader Manning plays the Ondioline and the “Martinot” (sic), accompanied by a stellar cast of studio helpers including Mundell Lowe (guitar), Jerry Murad (harmonica), and Harry Breuer (percussion). There is so much percussion, in fact, that at times this sounds like “jungle exotica” gone to outer space. Special effects are attributed to Attilio J. Macero. Song selections include “Forbidden Planet,” “The Unknown,” “The Moon Is Low,” and “Far Away.” The industrial-sounding arrangement on the latter is referred to in the liner notes as a “tuned motorboat.” The effect-laden “Night on Bald Mountain,” featuring screams by vocalist Lois Hunt and electric guitar by Lowe, is another highlight. Limited edition of 300 copies.

File Under: OST, TV
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palestine

Charlemagne Palestine/Rhys Chatham: Youuu + Mee = Weee (First) (Sub Rosa) LP
Sub Rosa presents Youuu + Mee = Weee (First), a vinyl edition of the first disc of the three CD set Youuu + Mee = Weee. Youuu + Mee = Weee is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it’s precious. Following the musical meetings with Z’ev (Rubhitbangklanghear Rubhitbangklangear), and with Tony Conrad, these new Sub Rosa sessions create a sort of trilogy. Rhys Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young, also working as a harpsichord tuner for Gustav Leonhardt, Rosalyn Tureck, and Glenn Gould. He soon studied under electronic music pioneer Morton Subotnick became a member of Young’s group, The Theater of Eternal Music, during the early ’70s. Chatham also played with Tony Conrad in an early version of Conrad’s group, The Dream Syndicate. In 1971, while still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, such as Two Gongs (1971), owed a significant debt to Young and other minimalists. His concert productions included experimenters Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Pauline Oliveros, Steve Reich, and early alternative rockers such as Fred Frith, Robert Fripp, Arto Lindsay, and John Lurie. He has worked closely with visual artist and musician Robert Longo, particularly in the 1980s, and with visual artist Joseph Nechvatal on an experimental opera called XS: The Opera Opus (1984-6). By 1977, Chatham’s music had become heavily influenced by punk rock after an experience at an early Ramones concert. He was particularly influential upon the group of artists music critics would label “no wave” in 1978. Members of the New York City noise rock group Band of Susans began their careers in Chatham’s ensembles; they later performed a cover of Chatham’s “Guitar Trio” on their 1991 album, The Word and the Flesh. Chatham began playing trumpet in 1983, and his more recent works explore improvisatory trumpet solos employing amplification and effects. Youuu + Mee = Weee (First) features Charlemagne Palestine on Bösendorfer piano, Yamaha organ, and voice and Rhys Chatham on trumpet, loop pedal, and electric guitar. This first edition is pressed on clear red vinyl and limited to 500 copies.

File Under: Drone, Minimalism, Experimental
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papir

Papir: Live at Roadburn (El Paraiso) LP
After four studio albums, Papir unleash their first live album. It’s surprising it took so long, since the band’s shows have long been revered among fans. Recorded at the 2014 Roadburn Festival in Tilburg, Netherlands, where Papir were asked to perform three times. It’s the complete recording of the first and finest of these shows that Papir have chosen for this release, and it’s all here: Christoffer Brøchmann’s jaw-dropping drum chops, easing from delicate jazzy drumrolls one second into deranged math-psych explosions the next; Nicklas Sørensen’s vast array of guitar styles, blending post-rock drones with majestic wah-drenched soloing; and Christian Becher keeping it all together with his bouncing and booming bass lines, as well as utilizing his groovemaker to make blistering ethereal soundscapes. From the first note, Papir show just how far they’ve travelled over the span of a few years, catapulting a motoric track off their 2010 self-produced DIY self-titled debut into new soaring heights. The show also reworks “Monday” and “Sunday #2″ from Stundum, their first El Paraiso release, and drops a highlight from 2014’s IIII into the equation. As if this wasn’t enough, they premiere two tracks with the same stamina, making sure that Live At Roadburn is not just a roadmap of where they’ve been, but very much an up-to-date snapshot of one of Europe’s hardest working instrumental outfits. The album was mixed and mastered by Causa Sui’s Jonas Munk from a 24bit multitrack recording.

File Under: Rock, Psych
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raica

Raica: Dose (Further) LP
A former globetrotting DJ, Further Records founder Chloe Harris shelved that lifestyle and aesthetic for a more stable family life in the Seattle area and a more cerebral approach in the studio. With this collection of exploratory compositions, originally released as a limited cassette in 2012, she decided to experiment with an array of synthesizers, mainly the Waldorf Q. Working on the eight tracks here in her home setup, Harris would “layer as much as I could or sometimes there was no layering at all. I tried to let the machines talk. I was trying to find my own voice. It was sad and melancholy because I stopped DJing and decided to try something new in my career.” This change had financial and creative risks, but Harris has transitioned boldly into this more adventurous musical mode. Each track on Dose is a distinctive foray into beatless sound design. There’s too much happening here to describe this album as “ambient” or “chillout,” yet it’s not typically academic-sounding, either. Harris lets her intuition guide her and those finely calibrated instincts lead to gripping pieces that subtly evolve over their three- to six-minute durations. A thrilling sense of otherworldliness becomes the norm on Dose. “Water Dragn” achieves an aquatic grandeur with its teeming drones beneath elastic pulsations, throbbing with the subliminal ominousness of mid-’70s Tangerine Dream. “Tiwie” is the most up-tempo track here; marked by a wonky motif of what might be pitch-shifted seal utterances or some other sea-life’s emissions, it generates a woozy pattern that nudges the listener into a delirious reverie. “Couchfire Dron” is a deeply poignant and morose atmospheric work that suggests an infinite expanse of paradoxically exhilarating gloom. Similarly, the dank, frigid auroras of “Skrt” are shot through with skittering rhythms not made by drums but rather what seem like rapid intakes of breath, their textures hitting the ear like frantically sweeping ice-scrapers on windshields. “Harchone” unspools a psychedelic mélange of tones and textures swirling in a chromium abyss, reminiscent of Nik Raicevic’s mind-altering synthesizer abstractions recorded in the early ’70s. When album-closer “Entrldam” blooms into earshot, its profound whorl of gray drones signifies a momentous conclusion to a work that proves Harris has reached a new peak. Further Records now presents a vinyl reissue of this opus, spurred on by the urging of Italian techno magus Donato Dozzy. Mastered by Rashad Becker at Dubplates and Mastering.

File Under: Electronic, Space, Experimental, Dub
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silence

Silence: The Silence (Drag City) LP
“Batoh announced the end of Ghost, a band whose first work reached back to 1984. Quick on the heels of this heady announcement, Batoh declared the beginning of The Silence. Still in need of direction, he turned to another old companion and original Ghost-mate of the many years gone by, Ogino. Tasked with the production and arrangement of The Silence, Ogino selected Jan Stigter on bass, Ryuichiro Yoshida on flute and saxophone, and himself on organ and piano. With Okano playing drums and percussion and Batoh supplying guitar and vocals, The Silence was complete. The debut album from The Silence is at last available! Drawing deep into a collective musical soul that extends many eras into the past, the songs of The Silence fill the air with the richness of powerful rock and roll and the deep mystic resonance of the ancient traditional musics of the world. From the rich melodies of Silence originals, ‘Lemon Iro No Cannibis’ and ‘Jewels in Tibet,’ to their flute-and-power chord-laden version of ‘Black Is the Color of My True Love’s Hair,’ to the flowing liquid psychedelia of ‘Triptycon,’ the guttural cabaret mutterings of Can’s ‘Tango Whiskeyman’ and the frantic, explosive dimensions of ‘Pesach,’ The Silence runs through instrumental colors like passing thoughts in the mind, making each one of them music and making an incredible rock album for this century!”

File Under: Rock, Psych, Prog, Ghost
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spectre

Spectre: Ruff Kutz (Pan) LP
PAN digs into the archives of WordSound label founder Skiz Fernando Jr. (aka Spectre) to reissue for the first time his 1998 experimental hip-hop mixtape, Ruff Kutz, originally released as an extremely limited edition cassette. A definitive mixtape featuring hits, remixes, previously unreleased tracks, and dub-plate specials from Sensational, Mr. Dead, Bill Laswell, Jungle Brothers, Kevin Martin, and many more. The early ’90s witnessed a spike in mutant strains of future dub. In Bristol, trip-hop and jungle were on the rise; in Manhattan it was noise and breakbeat. But in Brooklyn, hip-hop experimentation was gaining momentum, led by Skiz’s independent label WordSound. With support from Bill Laswell, WordSound charted the experimental edge of hip-hop and dub, taking equal inspiration from Bronx rap and Jamaican roots music as they pioneered a lo-fi sound both primal and futuristic. By the turn of the decade, the combination of dub, ambient, and hip-hop aesthetics had been baptized by The Wire magazine as “illbient” — a short-lived classification now being exhumed in the form of Spectre’s obscure mixtape, Ruff Kutz. Ruff Kutz revisits the years between 1994 and ’98, a formative era for WordSound and experimental beats in general. The original cassette, according to Skiz, was composed of alternative mixes, obscure beats, and unreleased tracks and edits. Unsigned material from Dubadelic (supergroup of Bill Laswell, Ted Parsons, DXT, and others), rapper Sensational, Kevin “The Bug” Martin’s Techno Animal project, Professor Shehab as his lyrical alter-ego Psycho Priest, Djini Brown, Mr. Dead of the Metabolics, Doc Israel, Scotty Hard, and Slotek all appear throughout this vinyl reissue, fully mastered for the first time from the original DAT tapes in their original sequence. Mastered and cut at Dubplates & Mastering.

File Under: Hip Hop, Experimental, Illbient
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stevens

Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP/CD
Carrie & Lowell (Asthmatic Kitty) is the newest offering from pop-art singer/songwriter Sufjan Stevens. These are aggressive times. Each morning we awaken to a psychic blitz of breaking news, social outrage, and millions of images and voices shrieking look at me and this onslaught does not cease until late at night when the last glowing screen fades to black.  This world demands our attention with one hand and destroys it with the other. That such a noisy age can deliver an album as graceful and honest as Carrie & Lowell should reassure anyone losing faith these days. Let no one say philosophy is dead, for here is a 44-minute meditation on mortality, memory, and faith. Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens’ gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without either myth or miracle – and this time around, his voice carries the burden of wisdom. If youth knew, if age could.

File Under: Indie Rock, Pop
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tredici

Tredici Bacci: 13 Kisses (Feeding Tube) LP
Edition of 300. Originally released digitally in 2013. “First vinylization of the great debut by this large Boston ensemble, helmed by Simon Hanes (ex-Guerilla Toss) and dedicated to reinventing the sounds that drove Italian cinema throughout the ’60s and ’70s. Their touch is goddamn perfect, including technical tropes you’ll recognize as updates of everyone from Nino Rota to Ennio Morricone and way way beyond. Largely instrumental, the sound blends mysterious lone trumpets, plonking percussion twangers, syrupy organ bleeds, swathes of strings (real or imagined), and clomping rhythms in a way that’ll make you sit straight up in your chair and yell, ‘Ciao!’ A bunch of these players were also involved with Survivors Breakfast, who played with Anthony Coleman on his most recent Tzadik disc, The End of Summer (2013), but this project trumps all others. Great stuff. Can’t wait ’til they hook up with Asia Argento.” –Byron Coley, 2015

File Under: Pseudo-OST, 60s/70s Italian, Homage
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uneven eleven

Uneven Eleven: Live at Café OTO (Sub Rosa) LP
Supergroup power trio featuring drummer Charles Hayward (This Heat), guitarist Kawabata Makoto (Acid Mothers Temple), and bassist Guy Segers (Univers Zero) caught in wild act at Cafe OTO, London, on May 24, 2013.

File Under: Rock, Experimental
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biomech

Joel Vandroogenbroeck: Biomechanoid (Aguirre) LP
Biomechanoid is the classic 1980 album by composer and flutist Joel Vandroogenbroeck. It’s 1980, in Munich, Germany. Upstart production music label Coloursound Library releases their debut album. Capitalizing on the success of Ridley Scott’s Alien film, the label dropped Biomechanoid, featuring cover art commissioned by H.R. Giger — whose horrific Necronom IV lithograph served as the basis for the design of Alien — and the music of the relatively unknown Joel Vandroogenbroeck. Comprised of bleak, cinematic synth soundscapes and percussion, the album served as an inaugural calling card for what would be a decade of dizzying solo releases by Vandroogenbroeck for Coloursound, running the gamut from Mesopotamian ethno-folk to synth sequencer funk to electro drum breaks to in-utero ambient delights. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name, in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group’s three main (and collectible) releases in the early ’70s — Cottonwood Hill, Celestial Ocean, and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit — which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan — an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient on the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project. Biomechanoid stands after all these years as an album full of dark, strange, disturbing soundscapes, the obscure side of Brainticket, proving how Joel was still a creative artist. Matte finishing. Double-sided insert. Pressed on 180 gram vinyl.

File Under: Electronic, Prog, Experimental
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vatican

Vatican Shadow: Death Is (Modern Love) LP
Death Is Unity With God finds Dominick Fernow returning to the kind of feral, burned-out productions that dominated 2012’s Ornamented Walls. This double LP includes 12 of the 20 tracks included on the original 2014 limited six-cassette release of Death Is Unity With God, in advance of Modern Love’s triple-CD edition compiling all the material. It clocks in at an hour and a half and features some of the most compelling productions from Fernow yet. Nodding to classic Muslimgauze, but also inspired by the parallels between religious fundamentalism at home in the USA and abroad, the oppressive atmospheres and destroyed rhythms isolate the gutted toil and drone in “It’s to Come,” while “F.B.I. God” reduces the drums to scorched blasts against some harrowing, darkside chords. The quasi-speed torment of “Manufactured Silencers Under Direct Orders” ends the A-side with dread, flowing into the haunting chorales and chiming percussions of “Living On and Off At the Shadows Motel” and the scything techno roil of “Small Explosives and Blasting Caps Inside the Pages of a Phonebook,” before a particularly effective chamber-like meditation, “McVeigh Figure,” draws aesthetic lines between ambient black metal, Coil, and early Autechre. “Waco Postmortem (Murrah)” ends the set operating nearly out of earshot with those incredible, sashaying synth motifs persisting in their struggle against the patina of hiss and exasperated rhythms blurred around the edges. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Electronic, Ambient, Industrial
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watts

Alan Watts: This Is It (Numero) LP
Wayyyy out there cacophony & tribal GLOSSOLALIA from 1962!! Psychedelic music all began with the tiniest possible bang: a minuscule pressing of a self-produced LP by Zen Buddhist scholar Alan Watts. In one cosmic flash of inspiration and group improvisation, the next two decades of musical innovation was pre-supposed: psychedelic rock, spiritual jazz, and even new age. As this micro pressing barely made it out of the ashram, it was his writings that actually spread his ideas, usually through osmosis: he was profoundly influential on the beat poets and the subsequent counter-culture. He became the forebear of ‘60s counter-culture’s spirituality, much as William Burroughs was the forebear of its hedonism. Released in 1962, This Is It is an imaginative cacophony of percussion, non-verbal chanting, and free-flowing expression, punctuated occasionally by leisurely passes at a terrestrial piano, marimba, or french horn. It is at once, experimental, intellectual, and experiential. Three years before Ken Kesey’s inaugural Acid Test, This Is It! constitutes the first transmission for a tuned-in counterculture of hippies, beats, and psychedelic revolutionaries of all stripes. For fans of Cromagnon, Nihilist Spasm Band, or maybe even Terrence Mckenna.

File Under: Psychedelic, Experimental, Ground Zero
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wilson

Gary Wilson: Music for Piano (Feeding Tube) LP
“Although it might sound perverse to say so, Music for Piano may well be my favorite Gary Wilson record. Most people who dig Wilson are very into his lyrics, but I actually find them to be a bit taxing after a while. Those early records all sound and feel amazing, but what I really wanted was to hear the music without the words. I had high hopes when I found a copy of Another Galaxy, the 1974 Gary Wilson Trio LP, but it had a very different heft than that which Gary displayed on You Think You Really Know Me. It was really just a jazz LP. Well, here’s some instrumental material from the same mid-late ’70s time frame as You Think, and it’s pretty amazing. There’s one side of classic youthful piano destruction by Gary and the late Vince Rossi (one of Gary’s most dependable collusionists). And the second side has five shorter tracks with a trio, that moves like oddball soundtrack music from ’70s exploitation cinema (which is exactly what I’d hoped Another Galaxy would be like), before ending with the vocal track ‘I Love Gary’ — as maniacally collapsed a ‘pop song’ construct as anyone could hope for. It’s a great record. A bit more overtly avant than the other three GW LPs we’ve done. But surely you can handle that.” –Byron Coley, 2015

File Under: Piano, Weirdos
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xaba

Ndikho Xaba & The Natives: s/t (Matsuli) LP
“Ndikho Xaba was born in 1934 in Pietermaritzburg, KZN, South Africa. For thirty-four years — 1964-1998 — he lived in exile in the US, Canada and Tanzania. Originally issued by Trilyte Records out of Oakland, California, this 1970 recording is bracing, freewheeling Now Thing, suffused with SA idioms, and focused by a political urgency wiring together US Black Power, Black Aesthetics and the anti-apartheid front-line like nothing else. You can hear Trane from the off — ‘a spiritual offering to my ancestors’ — and plenty of Sun Ra, with whom The Natives several times shared double-bills. (Xaba was to become close with Phil Cohran and the AACM.) Freedom is a gutbucket-soul rendition of the people’s anthem; Nomusa is dedicated to Xaba’s new wife, a poet and CORE activist from Chicago. The thunderous finale Makhosi features drummer Keita from the West Indies, and Baba Duru, who studied percussion in India, before winding up with Xaba blowing eerily through a horn made from a giant piece of tubular seaweed. Hats off to Matsuli for this outstanding reissue.”

File Under: Jazz, Spiritual, African
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yonkers

Michael Yonkers: Neverending Light-Beam From Planet 00’s (Mystra) LP
“Do you know the numbers on people who are in it for life? They’re small. Real, real small. Kids & jobs come along to make regular adults out of most musicians. Even the ones who get that glossy magazine coverage or score that signing bonus can usually be found selling insurance 10 years down the line. A select few balance against family time. Fewer still find jobs teaching, and often have no energy left for their own stuff. Nobody, and I do mean nobody, just keeps going. It’s too hard. Michael Yonkers makes the energizer bunny look bad. He started making his own distortion (by slicing speaker cones) in the mid-1960s, built his own pedals, souped up his own guitars, and he’s still making distortion now that he’s in his late 60s. Even more unusual, his sound has gotten, if anything, cruder along the way. This is a collection that Yonkers put together from CD-s that he gave out to friends once a year between 2001 & 2008. What’s here are hard rock songs, and they’re goddamn well-written. Most of what you’ll hear are huge, scratched up, convulsive whorls of distortion piled all on top of themselves until you can barely discern the pitch underneath. Wow…The guy also ran a record & ephemera shop named Loonland during the 80s. He’s been a sheep breeder & a dance choreographer. He’s built a home studio or two, at least one of which had to work while he was confined to a hospital bed that was installed in his house. Yonkers suffers from adhesive arachnoiditis, a nerve swelling that seizes up your back, brought on by a 1971 accident where 2000 lbs fell on him, and permanently exacerbated by a nasty dye used to get xrays of the spine…. His voice has aged a little, but It’s still got a vibrato to it, mostly masked by the guitar here. But it’s better suited for these lyrics, as they’re a kind of burned & haunted you rarely hear.” –excerpt from Angela Sawyer’s liner notes. Silkscreened and hand-painted covers. Limited edition one-time pressing.

File Under: Psych, Fuzz, Garage

young, r

Roland P. Young: Confluences (EM) LP
The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young’s unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie and Istet Serenade, made complete via Young’s multi-instrumental chops on sax, bass clarinet, kalimba, and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery, and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present, and future. Perhaps more than any of his previous releases, Confluences realizes Young’s description of his own work as “Afro spiritual minimal electronic space music.” This release is the next stage of Roland P. Young’s never-ending voyage.

File Under: Spiritual, Minimal, Space
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boom

Various: Boom-a-Lay (Stag-o-Lee) 10″
Vinyl-only 10″ release. Stag-O-Lee presents Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7, released alongside Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 (STAGO 071LP) and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late ’50s and early ’60s — a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Plas Johnson & His Orchestra, Chance Halladay, Nick Anthony, Nicky de Matteo, David Seville, Ted Jarrett & Band, The Astro-Jets, Titus Turner, Ronny Savoy, Malcom Dodds, Alan Arkin, and the Dave Brubeck Quartet.

File Under: B&R, Exotica, Party

charred

Various: Charred Remains (Radio Raheem) LP
“In the annals of early 80’s American hardcore, no compilation holds more seminal weight than Charred Remains. Initially released in 1982 on cassette through Bob Moore’s Version Sound label and available in limited supply, the release served the world the first earfuls of such groundbreaking and legendary bands such as Hüsker Dü, Die Kreuzen, Void, Violent Apathy, Toxic Reasons, Articles of Faith, Rebel Truth, Personality Crisis, and Sin 34. Besides the actual sounds contained on the tape, Charred Remains was a testament to that primary quake of DIY ethics that empowered many a short-haired youngster to start bands, record labels, and fanzines and forge the underground to where it is today. To find an original copy of this compilation and not have to give up a kidney in exchange would be quite a feat, but now Radio Raheem waves their magic wand and Charred Remains is something for everyone to enjoy in the vinyl format. Re-mastered from the original master tapes with liner notes from Bob Moore and Die Kreuzen vocalist Dan Kubinski, Charred Remains is rescued from the collector ghetto and plopped right down into your lap to behold.”

File Under: Punk, Hardcore

chug

Various: Chug-a-Lug (Stag-o-Lee) 10″
Vinyl-only 10″ release. Stag-O-Lee presents Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8, released alongside Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7 and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late ’50s and early ’60s — a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Dick D’agostin & The Swingers, Don Carroll, Mike Shaw, Chance Halladay, Deane Hawley, Jim Burgett, The Viscounts, Bobby Scott, Malcolm Dodds, Trini Lopez, Jimmy Ricks, and Oscar Perry.

File Under: B&R, Exotica, Party

rise

Various: Rise & Fall of Paramount Records Volume 2 (Thirdman) 6LP Box
‘Rise and Fall of Paramount Records, Volume 2 (1928-1932)’ contains: * 800 newly-remastered digital tracks, representing 175 artists * 90+ fully-restored original 1920s-30s Paramount ads from Chicago Defender * 6 x 180g LPs pressed on alabaster-white label-less vinyl, each side with its own hand-etched numeral and holographic image * 250 pg. large-format clothbound hardcover book featuring original Paramount art and the label’s curious tale * 400 pg. encyclopedia-style softcover field guide containing artist bios & portraits and full Paramount discography * Polished aluminum and stainless steel cabinet, evoking 1930s high art deco stylings and America’s own Machine Age modernism * First-of-its-kind music and image player app containing all tracks and ads, housed on sculpted metal USB drive. On Nov 18th, Jack White’s Third Man Records, in partnership with John Fahey’s Revenant Records, will unlock the second and final chapter chronicling the curious tale of America’s most important record label with ‘The Rise and Fall of Paramount Records, Volume 2 (1928-1932).’ A stunning omnibus of words, music, art and design, ‘Volume 2′ picks up where the ”spectacular” (New York Times) and ”unprecedented” (Rolling Stone) ‘Volume 1′ left off. It documents the label’s final 5 year period between 1928-32, a stunning second act in which Paramount birthed the entire genre of Mississippi Delta blues and issued some of the most coveted recordings in the history of the medium: Skip James, Charley Patton, Son House, Tommy Johnson, Geeshie Wiley, The Mississippi Sheiks, Willie Brown, King Solomon Hill, and hundreds of others. ‘Volume 2′ contains six LPs, a sculpted metal USB drive with 800 songs and 90+ original hand-drawn ads from the Chicago Defender, a large-format hardcover book telling the label’s story via new writing and original images, and an illustrated Field Guide with biographies and recording information for each artist represented in the set. It is all housed in a streamline case of polished aluminum modeled after a portable phonograph in 1930s American ”Machine Age” Art Deco style. Like ‘Volume 1′, the collection was co-produced by leading Paramount authority Alex van der Tuuk. Paramount Records’ open-door recording policy led it to the very bedrock of America’s untamed blues, jazz, gospel and folk sounds. In the process the label provided the earliest and most representative snapshot of America’s sonic landscape. ‘Volume 2′ offers a magnificent conclusion to this story of how a Wisconsin chair company, despite producing records on the cheap, changed how America thought of itself by allowing this young country to hear what it really sounded like, in all its stripes, for the very first time.

File Under: Blues, Boxsets

slow 4

Various: Slow Grind Fever Vol. 4 (Stag-o-Lee) LP
Stag-O-Lee presents the fourth volume of Slow Grind Fever. Compiled by London’s DJ Diddy Wah, who is known for his Diddywah Blog, his radio show, and his constant presence as a host and DJ for London club nights like Heavy Sugar, Get Rhythm, and others. The decade between 1953 and 1963 offers an endless supply of danceable, up-tempo tunes. We’re talking rhythm ‘n’ blues, and the phase in the early ’60s when it morphed into soul (now called new breed), as well as popcorn — Belgian music with a mid-tempo style and a high groove-factor. The Slow Grind Fever series highlights the slower side of this period, and takes its title and inspiration from an Australian club night billed as “Melbourne’s only slow dance party.” These events would include only the “slowest, spookiest, sweetest records” the DJs could find, with folks dancing “real slow in a haze of smoke and dim red light.” Stag-O-Lee was convinced that this was a great concept for a compilation series, and have collaborated with those behind the Melbourne club night to present Slow Grind Fever, the fourth volume of which includes tracks by Jay Hawkins, Yvonne Fair & James Brown Band, Nappy Brown, Bobby Peterson Quintet, Big Daddy and His Boys, Roy Brown, Varetta Dillard, John Greer and His Combo, Duane Eddy, Howlin’ Wolf, Elmore James, The Jaguars, Yvonne Baker and the Sensations, The Stone Crushers, Cozy Cole, and El Pauling and The Royalton.

File Under:  R&B, Dance, Sleaze

spiritual

Various: Spiritual Jazz Volume 6 (Jazzman) LP/CD
The power of the human voice, especially when held in song, has long been known to be immensely influential, potent, and emotive across all of humankind. The sixth installment in Jazzman’s Spiritual Jazz series showcases jazz vocals in a collection of jazz messages that are united in voice. The majority of the tracks here are as political as they are theological, but they all share an inner sanctity. In fact, as the distinction between the theological and the humanistic is blurred, so is the definition of song — many of the tracks are atypical in that they do not possess lyrics with a beginning, middle, and end. Likewise the voices that convey them often can’t be said to be singing in the usual sense of the word; we hear solemn chanting, intense wailing, earnest poetry, and ardent recitation in between bouts of singing, the quality of which is often nothing short of exquisite. The styles of performance encompass modern jazz, the avant-garde, and jazz fusion, and include elements of styles from the long and winding path of the African diaspora, including Cuban, Brazilian, Caribbean, and other Pan-American rhythms. Spiritual Jazz 6: Vocals examines some of the rarest and most extraordinary vocal jazz recordings. The selection includes some well-known songs as well as some of the most obscure. There are tracks recorded for major labels and some that were issued privately. But all of them speak or sing of a better place or a better world, and the world can only be a better place when they are played. This is esoteric jazz, modal jazz, spiritual jazz — as performed with the human voice. Includes tracks by Max Roach, Charles Mingus, Sadaka, Norman Riley, E W Wainright, Clifford Jordan, Pharoah Sanders, Linda Theus, Dr Haki R. Madhubuti, Eddie Gale, Gary Bartz, Byron Morris, and Vibration Society. All tracks fully licensed and digitally restored from the original master tapes. Features comprehensive liner notes with notes for each track and original stories direct from the musicians involved. CD edition includes 24-page color booklet with in-depth liner notes, album cover scans, and previously unpublished photographs. Double LP edition presented in glossy gatefold sleeve.

File Under: Jazz, Spiritual, Free Jazz

tumba

Various: Tumba Rumba (University of Vice) LP
The most torrid tropic-o-Latin record ever! A collection of fast, hot and intense Latin songs played by Cuban, Puerto Rican, Venezuelan, Peruvian and Mexican wild dance orchestras. Recorded in the ’40s/’50s/’60s, and originally released on vinyl and 78rpm shellac records. Savage bongos, volcanic trumpets, atomic rumbas, mambo inferno and primitive boogaloo for a successful party of exotic ecstasy. Artists include: Tojo y su Orquesta, Orquesta Ciudad Trujillo, Chico Salas, Orquesta Riverside, Noro Morales, Tino Contreras, Beto Ovalle, Chino Ortiz, Miguelito Valdés, and Joe Valle.

File Under: Latin, Exotica, Tiki

uhf

Various: Ultra High Frequencies: Chicago Party (Numero) LP/CD
For 23 straight Saturday nights of 1982, The Chicago Party dance show assaulted Chicagoland UHF eyeballs with Spandex, Southside fly guys, tender tenderonies, magicians, contortionists, prismatic video gimmickry, and lip-synched singles by a rising regime of local postdisco casualties. Unfettered nightlife and outlandish humor poured out of oddball outpost The CopHerBox II and onto TV screens, presented here as a 100 minute video mixtape on DVD. Its companion compilation features five previously unreleased tracks, joined by music culled from a trove of self-released 45s and small-time 12″s. Die-cut cathode-ray jacket and six inpackage stills put the Party at your fingertips. Available on CD or 2LP, each edition of Ultra-High Frequencies: The Chicago Party will arrive in one of six cover configurations, all of which are interchangeable via printed inner sleeves and enclosed booklet. Both editions include our entertaining DVD mix tape, isolating the most absurd and outrageous moments from the original broadcasts. Play functions enable viewers to enjoy 23 unique musical performances, as well as a mini-documentary about the creation and realization of The Chicago Party. For fans of electronic soul with a public access aesthetic, Ultra-High Frequencies: The Chicago Party is the place to be.

File Under: Electro-Soul, 80s, UHF
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…..Restocks…..

A Winged Victory for the Sullen: s/t (Kranky) LP
Afrika Bambaataa: Planet Rock (Get on Down) LP
Algarnas Tradgard: Framtiden är ett svävande skepp, förankrat i forntiden (Subliminal) LP
Jorge Ben: Ben e Samba Bom (Doxy) LP
Sir Richard Bishop: Tangiers Sessions (Drag City) LP
Sir Richard Bishop/Bill Orcutt: Road Stories (Unrock) LP
Black Flag: Loose Nut (SST) LP
Black Flag: Who’s Got the 10 1/2? (SST) LP
David Borden: Music for Amplified Keyboard Instruments (Spectrum Spools) LP
Charles Bradley Victim of Love (Daptone) LP
Brand Nubian: In God… (Traffic) LP
Brotzman/Haino/O’Rourke: 2 City Blues (Trost) LP
Don Cherry: Eternal Rhythm (MPS) LP
Jordan De La Sierra: Gymnosphere (Numero) LP
The Drones: Miller’s Daughter (Bang) LP
Bill Fay: Time of the Last Persecution (4 Men With Beards) LP
Funkadelic: Maggot Brain (Westbound) LP
Goat: World Music (Rocket) LP
Jon Hassell/Brian Eno: 4th World: Possible Musics (Glitterbeat) LP
Kink Gong: Xinjiang (Discrepant) LP
Konstrukt/William Parker: Live (Holidays) LP
Ma_Doom: Son of Yvonne (Fat Beats) LP
Master Musicians of Bukkake: Far West (Important) LP
MDC: Millions of Dead Cops (Beer City) LP
Mr. Bungle: California (Music on Vinyl) LP
Mr. Bungle: Disco Volante (Music on Vinyl) LP
Mr. Bungle: s/t (Music on Vinyl) LP
Jonas Munk: Pan (El Paraiso) LP
Os Mutantes: s/t (Lilith) LP
Raekwon: Only Built 4 Cuban Links (Get on Down) LP
Souls of Mischief: 93 ’til Death (Traffic) LP
Spelljammer: Volume 2 (Riding Easy) LP
Ghedelia Tazartes: Hysterie (Holidays) LP
The Thing: Garage (The Thing) LP
Muddy Waters: After the Rain (Get on Down) LP
White Birch: Weight of Spring (Glitterhouse) LP
Various: Killed By Death #5 (KBD) LP

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…..news letter #683 – dig, dug…..

It must be the calm before the RSD storm, as there isn’t a whole lot in this week. A few big releases though, and of course, our used bins are crammed full of awesomeness these days. Come down for a dig through the stacks.

As you may know…. Record Store Day is quickly approaching. The ‘official’ RSD list has been posted…. here. Please take a look at it and if there is something you’d like to be able to pick up on RSD here, please let us know ASAP. While we obviously order everything we thing our customers would be interested in, if you want to pick up that Dolly Parton LP as much as I do let us know so we can be sure to order enough so you and me aren’t fist fighting in the parking lot over it.

…..pick of the week…..

eternal-tapestry

Eternal Tapestry: Wild Strawberries (Thrill Jockey) LP
Portland, Oregon’s sonic explorers Eternal Tapestry have always had a feeling of interplay between their impressionistic music and the dense forests that surround their hometown, but on their newest album, Wild Strawberries, they take that naturalistic inspiration to a new level. Wild Strawberries is a massive double album, which was recorded in a secluded cabin under the shadow of Mount Hood in Zigzag, OR. The Zigzag River flowed nearby, and the group spent time between takes learning about the area’s floral make up and relaxing under the stars. This idealistic lifestyle, however temporary, helped to chart the course of the recording process. Wild Strawberries’ artwork and song titles, which are named after plants specific to the region, both speak to the influence of that environment. The lush atmosphere combined with a week long sequestration from the outside world had a pronounced impact on the music, which unfolds in a panoramic slow burn. Wild Strawberries yields vast rewards for those who spend time in its aural forest. The contrast between the openness of the massive Oregon sky and the denseness of the trees is echoed in Wild Strawberries’ expansive guitar tones and looming organ drones. The album is thick with the lysergic leads that populated their earlier releases, but the airiness of the woods has seeped into Nick Bindeman’s guitar playing, refining it and opening it up to new modal possibilities. The album as a whole unfolds patiently, but not without purpose. Prior to the recording session drummer Jed Bindeman came across 700 Phish cassette bootlegs, and it was on these cassettes that the sessions for Wild Strawberries were taped, using an eight-track recorder. Thanks to the relaxed vibe of the cabin, the band was able indulge in extensive improvisational experiments, playing around with the limits of the tape machine. The wealth of material allowed them to select only the most successful of their many pieces.

File Under: Psych, Stoner Jams
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…..new arrivals…..

dodos

Dodos: Individ (Dine Alone) LP
For the Dodos “the best time to make a record is right after you’ve finished one” says vocalist and guitarist Meric Long. Having just wrapped up the sessions for their previous record Carrier, and fired up on the level of comfort achieved with brothers Jay and Ian Pellicci at Tiny Telephone studio, the duo immediately began laying to tape the batch of songs that would result in their latest and sixth record, entitled Individ. “There were things I didn’t want to forget, sounds that we had just scratched the surface of making that record that I wanted to capitalize on. Songs came together easily, there was not a lot of questioning, just moving ahead with the feeling that we were on the right track. We were freed up to do whatever came naturally” says Long. And for the Dodos, their natural inclination is to create music that sounds positively epic. “In a lot of ways making this record brought us back to making Visiter,” their 2008 critical and commercial breakthrough, “relying heavily on the movement that occurs between just two instruments, guitar and drums. From the first take of the first song we tracked, things sounded huge and that set the tone for the entire thing.” Individ’s first single “Competition” is a shining example of this proclivity, built on dueling guitar lines that overlap above and below a persistent drum beat as Long’s assured vocals soar above it all. At other points, “Goodbyes and Endings” infuses a similar up-tempo feel while changing time signatures every few bars. “Retriever” chugs along on one of the dirtiest guitar riffs the Dodos have ever set to tape, all the while accompanied by drums that are more akin to gunshots. As the album closes with “Pattern/Shadow” (a track that features vocals from Thee Oh Sees’ Brigid Dawson), Long sings “Your shadow remains / I cannot resist / The mirrored escape / Of your pattern.” It’s a moment that lyrically reinforces the record’s guiding force of acceptance, imparting a lesson to a band whose name inherently calls into question its future: resilience isn’t always about changing or adapting to a new environment, sometimes it’s about staying true to your instincts and asserting yourself in this ever changing atmosphere. Explains Long, “Carrier was about breaking habits, recognizing and imagining yourself away from the washing machine that has you trapped. That’s why the cover image was of someone watching a tornado go away from him. This record is about accepting what is natural for you or maybe even a part of you. Individ is what it sounds like inside the tornado.”

File Under: Indie Rock
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Mark_Kozelek_-_Live_at_Biko

Mark Kozelek: Live at Biko (Caldo Verde) LP
Mark Kozelek alienated a lot of people in 2014, from the War on Drugs to Meredith Graves to “fucking hillbillies.” Still, there are plenty of people who remain loyal to his work, so it will come as good news to many that the songwriter’s recent concert album Live at Biko will be getting a vinyl pressing. The album was recorded in the spring of 2014, and came out digitally and on CD in the summer through Calo Verde Records. While it’s billed under Kozelek’s own name, most of the material comes from his work as as Sun Kil Moon, with a number of tracks drawn from last year’s Benji LP.

File Under: SSW, Folk, Indie, Sun Kil Moon
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marlingLaura Marling: Short Movie (Ribbon) LP
Laura Marling returns with her fifth studio album in seven years Short Movie. The album, a follow up to 2013’s Mercury Prize nominated Once I Was An Eagle, marks a new chapter in her sound and development as an artist. Marling produced the album, which was recorded at Urchin Studios in London and aided by her long time drummer Matt Ingram and studio engineer Dan Cox. Short Movie sees Marling moving into new musical territory and may surprise fans with it’s prevalence of electric guitar. This apparent shift in sound can be attributed to her extended period of reflection and a conscious attempt to change her routine. The songs portray a striking new confidence in their mood, sound, and temperament. “I realized that I hadn’t been in one place for longer than two or three weeks since I was 16” she explains, “I thought I wonder what would happen if I try and root myself somewhere?” Short Movie is what happened – an album freer and looser sounding than anything she has done before. Recording since the age of 17, Laura Marling’s flawless output has established her as one of the most respected artists of her generation. Her career so far includes two Brit Award nominations (winning in 2011), three Mercury Prize nominations, as well as an NME Award for Best Solo Artist. “It’s the first to feature Marling moving from acoustic to electric guitars, and that shift has added a heft to her exquisitely crafted and performed songs.” – Los Angeles Times

File Under: SSW, Indie
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modest mouse

Modest Mouse: Strangers to Ourselves (Epic) LP/CD
Strangers To Ourselves marks the first album in eight years from Pacific Northwest luminaries Modest Mouse and the long awaited follow-up to their platinum 2007 release We Were Dead Before the Ship Even Sank. Their sixtth full-length recording overall, the 15-track offering is preceded by the well received lead single “Lampshades on Fire.” We Were Dead Before the Ship Even Sank, featuring The Smith’s Johnny Marr, debuted at #1 on the Billboard 200 and was released to rave reviews. In 2009, the band issued a collection of unreleased songs and b-sides entitled No One’s First And You’re Next, and, in 2012, they premiered a 45-minute documentary on the making of 1997 masterpiece The Lonesome Crowded West. Since playing Coachella in 2013, the group headlined Fun Fun Fun Fest and re-released their critically-acclaimed albums This Is a Long Drive for Someone With Nothing to Think About, and The Lonesome Crowded West, on Glacial Pace. Both earned “Best New Reissue” ratings from Pitchfork, with The Lonesome Crowded West earning a perfect 10/10 score.

File Under: Indie Rock
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2112Rush: 2112 (Mercury) LP
In tomorrow! In 2014 UMe/Mercury reissued Rush’s self-titled debut on heavy-weight vinyl in celebration of the album’s 40th anniversary. Now in 2015, let the Rush 40 celebration continue with ’12 Months of Rush’ reissues – in chronological order – starting with 1975’s Fly By Night on LP. During the ’12 Months of Rush’ campaign all 14 of the band’s Mercury albums will be remastered on 200-gram heavy-weight vinyl at legendary Abbey Road, all from original analogue masters. All LPs will also include a digital download code for a 320kbps MP4 vinyl ripped Digital Audio album download. Rush’s fourth album, 2112, originally issued in 1976, proved a breakthrough, highlighted by its seven-part title suite written by Lee and Lifeson, with lyrics by Peart, recounting a dystopian story set in the year 2112. It comes in at #2 on Rolling Stone’s list of “Your Favorite Prog Rock Albums of All Time” and most Rush fans consider it the band’s definitive recording. 2112 has sold in excess of 3 million copies in the U.S. alone and is certified triple-platinum. “Their influence is undeniable…and their legacy is that of a band that stayed true to themselves no matter how uncool they may have seemed to anyone. I think it’s safe to say that Rush are indeed a band that has balls…and they’ve always been cool.” – Dave Grohl inducting Rush into the Rock and Roll Hall of Fame

File Under: Prog, CanCon
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rush allRush: All The World’s A Stage (Mercury) LP
In tomorrow! In 2014 UMe/Mercury reissued Rush’s self-titled debut on heavy-weight vinyl in celebration of the album’s 40th anniversary. Now in 2015, let the Rush 40 celebration continue with ’12 Months of Rush’ reissues – in chronological order – starting with 1975’s Fly By Night on LP. During the ’12 Months of Rush’ campaign all 14 of the band’s Mercury albums will be remastered on 200-gram heavy-weight vinyl at legendary Abbey Road, all from original analogue masters. All LPs will also include a digital download code for a 320kbps MP4 vinyl ripped Digital Audio album download. Rush’s 1976 double-live album, All The World’s A Stage was co-produced with Terry Brown and recorded at Toronto’s Massey Hall on June 11-13, during the band’s 2112 tour. Named after the William Shakespeare play As You Like It, the record climbed to #40 on the U.S. Billboard chart and is certified platinum in both the States and Canada. The band explained that, “This album to us, signifies the end of the beginning, a milestone to mark the close of chapter one, in the annals of Rush.” “Their influence is undeniable…and their legacy is that of a band that stayed true to themselves no matter how uncool they may have seemed to anyone. I think it’s safe to say that Rush are indeed a band that has balls…and they’ve always been cool.” – Dave Grohl inducting Rush into the Rock and Roll Hall of Fame

File Under: Prog, CanCon
File Under

spelljammers

Spelljammer: Vol II (Riding Easy) LP
Stockholm’s Spelljammer VOL. II is like a herd of bison running off a cliff. Not for the faint of heart, this is one of the best doom albums of the last 10 years. If you like your music heavy and slow, there is nothing that quite satisfies the itch the way that Spelljammer does. Out previously on a very limited run of vinyl that has fetched $100 and more, this record is now made available to the masses via RidingEasy Records on LP and CD (for the first time ever). For fans of MONOLORD, Conan, Sleep & Electric Wizard.

File Under: Metal, Stoner
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Twin-Shadow-Eclipse-Cover-Art-Final-608x608Twin Shadow: Eclipse (Warner) LP
In tomorrow! George Lewis Jr.’s Twin Shadow project exists in a careful balance between style and substance, with ’80s pop and R&B tropes and tones punctuated by sharp hooks and his crooning vocals. At the centre of Twin Shadow though, is Lewis himself, a popstar trapped in indie music’s anti-star world. So it comes as no surprise that Lewis made the jump to a major label to realize his grand musical ambitions. Yet Eclipse, the first product of this new partnership, puts this delicate balancing act out of whack. On the one hand, tracks like “To the Top” and “Old Love/New Love” find the musician working at the peak of his powers, as both songs expertly build to a sublime catharsis. But many of these tracks lack the musical subtleties that make Twin Shadow records such a joy to revisit. The production on Eclipse — the most contemporary-sounding of his career — is more Bastille than Morris Day. It grabs listeners on first listen, yet it lacks the idiosyncratic charm of Lewis’s previous work. What’s most surprising of all, though, is how Lewis himself fades into the background on his own record. Rather than constructing this new, contemporary sound around his Twin Shadow persona, Eclipse finds the singer shoehorning himself into an awkward space between the Weeknd and any number of faceless pop-rock groups like One Republic or Maroon 5. Home to both some of Twin Shadow’s best and worst moments, Eclipse suggests Lewis is at a crossroads between his popstar ambitions and his affinity for paving his own sonic path. There are moments here where he manages both in one fell swoop, but on his third time out, he can’t sustain the momentum for an entire album.  (Warner)

File Under: Indie, R&B
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wutang

Wu-Tang Clan: A Better Tomorrow (Warner) LP
Emerging in 1993, when Dr. Dre’s G-funk had overtaken the hip-hop world, the Staten Island, NY-based Wu-Tang Clan proved to be the most revolutionary rap group of the mid-90s – and only partially because of their music. Turning the standard concept of a hip-hop crew inside out, the Wu-Tang Clan were assembled as a loose congregation of nine MCs, almost as a support group. Instead of releasing one album after another, the Clan was designed to overtake the record industry in as profitable a fashion as possible – the idea was to establish the Wu-Tang as a force with their debut album and then spin off into as many side projects as possible. Surprisingly, the plan worked. All of the various Wu-Tang solo projects elaborated on the theme the group laid out on their 1993 debut, the spare, menacing Enter the Wu-Tang (36 Chambers). Taking their group name from an powerful, mythical kung fu sword wielded by an invincible congregation of warriors, the crew is a loose collective of nine MCs. All nine members work under a number of pseudonyms, but they are best known as RZA , GZA/Genius, Ol’ Dirty Bastard (RIP), Method Man, Raekwon the Chef, Ghostface Killah, U-God, Inspectah Deck, Masta Killa and Cappadonna. The vision of the Wu-Tang Clan is undoubtedly due to the musical skills of RZA. Under his direction, the group – through its own efforts and the solo projects, all of which he produced or co-produced – created a hazy, surreal, and menacing soundscape out of hardcore beats, eerie piano riffs, and minimal samples. Over these surrealistic backing tracks, the MCs rapped hard, updating the old-school attack with vicious violence, martial arts imagery, and a welcome warped humor. The collective has issued five acclaimed full-length albums including Enter the Wu-Tang (36 Chambers) (1993), Wu-Tang Forever (1997), The W (2000), Iron Flag (2001) and 8 Diagrams (2007). Warner Bros. Records has signed a global recording contract with the legendary group which now includes RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, and Cappadonna. As a group, Wu-Tang has sold over 6.5 million records in the US, while they’ve sold nearly 40 million records worldwide, including individual members’ album sales as well as group sales collectively. The group’s first release on the label will be the highly-anticipated 20th anniversary album, A Better Tomorrow, which serves as Wu-Tang Clan’s first release in 7 years. RZA on the album to Billboard: “It’s a record to me that merges the way music was made in the classic essence, in an analog way. As well as merging what’s going down the digital way. All the entire 10 Clan members are on it. All the [living] members, which is a beautiful thing. And the album has a small concept in a sense, musically it travels from a guy who is going through difficulties, tries to find himself, gets involved with some violence, some troubles, but then realizes that it’s best sometimes to walk away from the past and all the bad times and maybe work on making his life better, and making a better tomorrow.”

File Under: Hip Hop, Rap
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Young-Guv-Ripe-4-Luv

Young Guv: Ripe 4 Luv (Slumberland) LP
In tomorrow! Who’s @youngguv? He’s still underground, but everyone will know him soon. Right now, he only has 1500 followers, so we need to get this kid a checkmark as soon as possible. Here’s the rundown: He’s a white boy in a backwards snapback with fake Emoji neck tattoos. He’s a ripped bald kid fronting one of the most important and successful hardcore bands in Toronto history. He’s a ghostwriter eating pasta as he pens al dente tunes for the likes of Sum 41, Kelly Clarkson, Taylor Swift, a few Canadian Idols, Snow, a slew of hardcore bands, Maroon 5 and one or two OVO affiliates. He’s a tortured artist turning down Katy Perry’s edits to his tunes because she didn’t like his babies as they were. Do I need to go on? @youngguv is Ben Cook, and he’s putting out an album, Ripe 4 Luv, on one of the greatest labels ever, Slumberland Records. Having been around for a minute, Guv has decided to put together a set of pop tunes that shows off his range as a performer, singer, songwriter, style icon and retweet-worthy pop star. Guv got it right the first time with his band No Warning, one of the only Canadian hardcore acts to achieve recognition from major labels in the U.S. He parlayed this experience into a successful career as the creeper peaking through the curtain as better-looking people sing his songs to an appreciative audience. In addition to writing for pop royalty and no-name punk acts, Young Guv has spent the last 7 years playing guitar in fellow Toronto legends Fucked Up, selling 10’s of 1000’s of singles recorded in various bedrooms, and helping put the East End back on the GTA’s music map with his Bad Actors imprint. Guv has been around for a while, and now he’s helping new, young talent get around and release classic records. How could you not like this guy? He’s got the bone structure to go viral at any moment. Ripe 4 Luv is a beautiful album for beautiful people. Plus, it really shows off his range. There’s only one way to describe this record: Guv sings like Prince into expensive audio-nerd mics over power pop backing tracks that evoke Big Star after they got some nookie but before they became depressed about their failure to appeal to the right audience. If that’s not good enough for you, then it sounds like Cheap Trick produced by Jimmy Jam and Terry Lewis. Or how about Drake’s producer 40 manning the boards for a Hall & Oates session? Any of those will help sell this record to the blogs, just pick one and run with it.

File Under: Indie Rock, Fucked Up, Cancon
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…..Restocks…..

A Tribe Called Red: Nation II Nation (Sony) LP
Band: Last Waltz (Warner) LP
Daft Punk: Discovery (EMI) LP
Daphni: Jiaolong (Merge) LP
Dead Kennedys: Bedtime For Democracy (Manifesto) LP
Dead Kennedys: Fresh Fruit for Rotting Vegetables (Manifesto) LP
Descendants: Milo Goes To College (SST) LP
Bob Dylan: Blonde on Blonde (Sundazed) LP
Bob Dylan: Bringing It All Back Home (Sundazed) LP
Bob Dylan: Freewheelin’ (Sundazed) LP
Bob Dylan: Highway 61 Revisited (Sundazed) LP
Bob Dylan: Nashville Skyline (Sundazed) LP
Bob Dylan: Times They Are A Changin’ (Sundazed) LP
Bruce Haack: Electric Lucifer II (Telephone Explosion) LP
Husker Du: Zen Arcade (SST) LP
J Dilla: Donuts (Stones Throw) LP
Kraftwerk: Radioactivity (EMI) LP
Kraftwerk: Tour De France (EMI) LP
Kraftwerk: Trans Europa Express (EMI) LP
Lucero: That Much Further West (Sabot) LP
Madvillian: Madvilliany (Stones Throw) LP
Melvins: Ozma/Bullhead (Boner) LP
Melvins: Eggnog/Lice-All (Boner) LP
Sergio Mendes & Brasil 66: Look Around (Music on Vinyl) LP
Modest Mouse: The Moon & Antarctica (Epic) LP
Mos Def: Black On Both Sides (Universal) LP
Nas- Ill-Matic (Def Jam) LP
Nirvana: Unplugged (Geffen) LP
Pink Floyd: Dark Side of the Moon (EMI) LP
Pink Floyd: The Wall (EMI) LP
Jessica Pratt: On Your Own Love Again (Drag City) LP
Royal Blood: s/t (Warner) LP
Nina Simone: Forbidden Fruit (Dol) LP
Nina Simone: At The Village Gate (Dol) LP
Strokes: Is This It? (RCA) LP
Swans: My Father Will Guide Me… (Young God) LP
Weezer: Pinkerton (Geffen) LP
White Stripes: Elephant (Third Man) LP
Wu-Tang Clan: Enter The Wu-Tang (36 Chambers) (BMG) LP
John Zorn: Song Project (Tzadik) 6LP

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…..news letter #682 – waxin’ & relaxin’…..

Not only is it beautiful out, but there’s loads of killer wax pouring through the doors as of late. Both our used bins and new bins are over flowing with killer tunes to keep your ears happy while you enjoy the changing seasons.

As you may know…. Record Store Day is quickly approaching. The ‘official’ RSD list has been posted…. here. Please take a look at it and if there is something you’d like to be able to pick up on RSD here, please let us know ASAP. While we obviously order everything we thing our customers would be interested in, if you want to pick up that Dolly Parton LP as much as I do let us know so we can be sure to order enough so you and me aren’t fist fighting in the parking lot over it.

…..picks of the week…..

cooc

Arthur Russell: Calling Out of Context (Audika) LP
“The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur’s vast archive. This first album Calling Out of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur’s prime years 1985-90.” When Arthur Russell died in 1992 he left an overwhelming archive of over a 1000 tapes that reveal the sublime genius of one of the most important musicians of the last 25 years. As a cellist, songwriter, composer, and disco visionary Arthur Russell consistently blurred the lines of our expectations of what pop music could be. Originally from Iowa, Arthur travelled west in 1970 to study Indian classical composition with Ali Akbar Khan, befriended Allen Ginsberg, performed with Alice Coltrane, and then moved to New York in 1973 to study at the Manhattan School of Music. Quickly gravitating to the then burgeoning downtown scene, Arthur wrote and performed his minimal compositions (captured on Instrumentals and Tower Of Meaning. Both to be re-issued by Audika) and collaborated with a who’s who of some of New York’s most influential artists including Rhy’s Chatham, Ernie Brooks, David Byrne, Phillip Glass, Laurie Anderson, Jon Gibson, Robert Wilson, Christian Wolff, John Cage, Arnold Dreyblatt, and Phill Niblock. It then changed by a mere accident. Simply, he went to a disco. Inspired by the sonic repetition and sense of community, Arthur wrote and recorded some of the most important records of the disco era including ‘Kiss Me Again’, ‘Is It All Over My Face’, and co-founded Sleeping Bag Records with partner Will Socolov releasing ‘Go Bang’ and the album 24-24 Music. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to issue previously unreleased and out of print material from Arthur’s vast archive. The first album Calling Out Of Context , features 12 previously unreleased tracks recorded during Arthur’s prime years 1985-90. The material is drawn from Corn, an album that was completed in 1985 but never released, and an abandoned album recorded for Rough Trade as Arthur had become ill. Many of these tracks show hidden sides of Arthur’s talent and underline the loss of his great potential. Contrary by nature, Arthur’s spontaneous reaction and altered perception to his environment produced music that remains challenging and contemporary. Arthur’s open hearted attitude to music was far ahead of it’s time, and now that time is ours.”

File Under: Pop, Disco, Cello, 80s, Essential Grooves
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noise

Broadcast: Noise Made By People (Warp) LP
In tomorrow!!! Broadcast will have their long out of print LPs made available again through Warp Records. Compilation album Work And Non Work (1997); full-lengths The Noise Made By People (2000), Haha Sound (2003) and Tender Buttons (2005); rarities album The Future Crayon (2006); and mini-album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009) – will all be released on the label in March 2015. Released at the turn of the new millennium, it is this 2000 debut that keeps people lauding Broadcast as one of the most overlooked and influential outfits of the past 15 years. Their juxtaposition of sugary 1960s pop melodies against experimentalist sampling and production has never been rivaled or even successfully imitated. Echoey chimes and eerie insomniac melodies play out against a backdrop of orchestral instrumentation and cinematic symphony. The atmospheres created on this record are truly unique – testament to the outfit that constructed them.

File Under: Electronic, 60s Pop, Pseudo-Library
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…..new arrivals…..

future

Broadcast: Future Crayon (Warp) LP
In tomorrow!!! Broadcast will have their long out of print LPs made available again through Warp Records. Compilation album Work And Non Work (1997); full-lengths The Noise Made By People (2000), Haha Sound (2003) and Tender Buttons (2005); rarities album The Future Crayon (2006); and mini-album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009) – will all be released on the label in March 2015. A compendium of early EP tracks and B-sides, along with rare compilation tracks that plays through like a concise summary of their music to date. Through the deeply intricate orchestral compositions and the unmistakably glassy vocal work of Trish Keenan, this treasure chest is the perfect introduction to Broadcast’s singular form of indie electronica. Cuts like “Illumination” and “Unchanging Window” embody their fusion of melancholia and unease. Even the more ambient instrumentally-led cuts like “Locusts” and “DDL” carry that same sense of exploratory symphony. Always delivered with a streak of honest pathos and emotional authenticity, this is a collection of gems from Broadcast’s prolific output.

File Under: Electronic, 60s Pop, Pseudo-Library
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broadcast

Broadcast: Haha Sound (Warp) LP
In tomorrow!!! Broadcast will have their long out of print LPs made available again through Warp Records. Compilation album Work And Non Work (1997); full-lengths The Noise Made By People (2000), Haha Sound (2003) and Tender Buttons (2005); rarities album The Future Crayon (2006); and mini-album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009) – will all be released on the label in March 2015. Having graced more “Albums You Must Hear” lists than many other revered long players, Haha Sound is vintage, retro-centric electronic pop that helped to establish Broadcast’s inimitable sound. “Ominous Cloud,” for example, is an archetypal Broadcast treasure. Blissful, glowing compositions holding up the vacant melodies of Trish Keenan. “Lunch Hour Pops” is another blast of their idiosyncratic sound which reaches a spiralling climax on closer “Hawk.” Poetic lyricism, cinematic instrumentation and a constant undercarriage of life’s darker possibilities.

File Under: Electronic, 60s Pop, Pseudo-Library
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tenderBroadcast: Tender Buttons (Warp) LP
In tomorrow!!! Broadcast will have their long out of print LPs made available again through Warp Records. Compilation album Work And Non Work (1997); full-lengths The Noise Made By People (2000), Haha Sound (2003) and Tender Buttons (2005); rarities album The Future Crayon (2006); and mini-album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009) – will all be released on the label in March 2015. Returning after a two year absence, this LP saw a new sound for the band and a new line up of just Keenan and James Cargill. Stripped down to these essential components, they sought inspiration from minimalist post-punk outfits like Young Marble Giants and created a record of pop melodies that maintained the signature Broadcast feeling of melodrama and despondency. Having lost a third member in the run-up to this album, track 11 is entitled “Minus 3″ and further demonstrates Broadcast’s ability to bring real life experiences to record in inventive and effective ways. The stark minimalism of Tender Buttons was a first for Broadcast but their enduring melodies triumphed once again.

File Under: Electronic, 60s Pop, Pseudo-Library
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work

Broadcast: Work & Non-Work (Warp) LP
In tomorrow!!! Broadcast will have their long out of print LPs made available again through Warp Records. Compilation album Work And Non Work (1997); full-lengths The Noise Made By People (2000), Haha Sound (2003) and Tender Buttons (2005); rarities album The Future Crayon (2006); and mini-album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009) – will all be released on the label in March 2015. Warp compiled these singles in 1997 to collect the riches that had people infatuated with Broadcast’s distinctive sound. Their retro-futurist vision was brought about by shapeless analogue oscillations and sliced sampling. The dystopian lullaby melodies that featured on singles like “According To No Plan” and “The Book Lovers” were – and still are – completely in their own lane. Trish Keenan’s vacant vocals cascade around the instrumentation and production of James Cargill and Roj Stevens.

File Under: Electronic, 60s Pop, Pseudo-Library
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focusBroadcast & The Focus Group: Investigate Witch Cults of the Radio Age (Warp) LP
In tomorrow!!! Broadcast will have their long out of print LPs made available again through Warp Records. Compilation album Work And Non Work (1997); full-lengths The Noise Made By People (2000), Haha Sound (2003) and Tender Buttons (2005); rarities album The Future Crayon (2006); and mini-album Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009) – will all be released on the label in March 2015. A collaborative effort between Broadcast and Julian House of The Focus Group (who has also been responsible for the artistic direction of every Broadcast sleeve to date). Spanning 50 minutes and 23 tracks, the psychotronic sound of Investigate Witch Cults Of The Radio Age evokes both the spirit of Nigel Kneale’s Quatermass and the creepy horror of Tigon’s Witchfinder General and Blood On Satan’s Claw.

File Under: Electronic, Pseudo-Library
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butlerWill Butler: Policy (Merge) LP
“Will Butler has been a member of the band Arcade Fire for over 10 years. This is his first release under his own name. Policy is American music—in the tradition of the Violent Femmes, The Breeders, The Modern Lovers, Bob Dylan, Smokey Robinson, The Magnetic Fields, Ghostface Killah. And John Lennon (I know, but it counts). Music where the holy fool runs afoul of the casual world. Policy was recorded in one week in Jimi Hendrix’s old living room (upstairs at Electric Lady Studios). Jeremy Gara played drums; other musicians contributed woodwinds and backing vocals. Most everything else was played by Will. The song structures are traditional; the arrangements are clean. The music is experimental only in that it attacks consistency as a requirement for sincerity. The songs are angry, loving, joking, tired, honest, idiotic. They clash against each other but also fit and work together—as if a blind watchmaker made a Frankenstein watch that came alive and told extremely accurate time while having conflicting feelings about its creator. No, about creation itself. But then the watch makes friends with a talking rat, and they go on hilarious adventures until it turns out that the rat was dead the whole time. With a really good credits song—I mean, the whole soundtrack is excellent. You should check it out.”—Memphis Slim

File Under: Indie Rock, Arcade Fire
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cve

Caribou Vibration Ensemble: CVE Live 2011 (CVE) LP
Our first batch of these never even hit the shelf, I’m sure these copies won’t last long! Comes in clear sleeve with a poster designed by Jason Evans and Matthew Cooper. Proceeds go to genderedintelligence.co.uk in memory of Julia Brightly, Caribou’s sound engineer. “We’ve played a lot of shows and it’s senseless to document them all but every once in a while you get the feeling that something special is happening – and that it might only happen once. That’s what it felt like when in 2011 we assembled a group of friends – Four Tet, James Holden, Ahmed Gallab of Sinkane and the quartet of horn players who recorded on ‘Swim’: Kyle Brenders, Colin Fisher, Rob Piilonen and Steve Ward, and the four members of Caribou’s regular touring band – under the name of the Caribou Vibration Ensemble. And that’s why it felt like it would be a good idea to document it. We gathered for a small tour around ATP’s Nightmare Before Christmas festival in 2011 and the music collected here comprises recordings from two shows – one at Scala, London on Dec 7th, 2011 and one at Concertzaal Vooruit in Ghent, Belgium on Dec 8th, 2011. Opener ‘Bowls’ is reinvented by combining the album version from ‘Swim’ with elements from James’ Holden’s own remix. The next track ‘Ahmed, Colin, James, Kieran, Kyle, Rob and Steve’ is an improvised collaboration between all the members not in the regular Caribou touring band and features Ahmed’s drum kit triggering all the synthesizer sounds coming from James’ modular synthesizer. The release closes with an epic version of ‘Sun’. Thanks for listening,” – Dan Snaith, Caribou

File Under: Electronic, Pop, CanCon
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carltonCarlton Melton/Kandodo 3: split (Creepy Crawl) LP
Carlton Melton lead the charge with three new tracks, recorded at the Dome with Brian McDougall taping it down and John McBain mastering it for vinyl perfection. This is the Melton soaring into the stratosphere with their own toke on spaced travel via olfactory motion. Many would simply say “psych”, we say “SPACE” and “NO frontiers!”, fly on brothers. Kandodo 3 is the new “nom de plume” for Simon Price’s (The Heads) Kandodo project, having roped in fellow Heads’ Wayne Maskell (drum patterns and rhythm driving) and Hugo Morgan (bass throb and guidance) to record under the name Kandodo 3. They take up their whole side with one looping soundscape that jitters and skitters into and around patterns of dub and space, this exhilarating take on an already pre-determined trajectory is as awesome in its scope as it is in its journey, catch a ride! Mastered by Shawn Joseph (Optimum). Simon Kandodo Price artwork. 500 copies only.

File Under: Psych, Space Rock
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damon

Damon & Naomi: Fortune (20/20/20) LP
“Grey day celebration music for meshed afternoons; eleven strums and songs to savor as you wander till spring.  Did Damon & Naomi dream them? Did I? Will you?” —Andy Zax  People talk about Damon & Naomi as if they’re the raw infrastructure that remained after Galaxie 500 fell apart, a steel skeleton stubbornly standing after an earthquake. But when the pair began a new project, they weren’t adjusting so much as starting from scratch. By the time they released More Sad Hits, they had grown enough as musicians and songwriters that they didn’t need to lean on stark sincerity and reverb-drenched emoting. Instead, they reigned in their sound, favoring acoustic over electric, building more complex and specific textures, and exploring smaller sonic spaces. If Galaxie 500 was ahead of its time, Damon & Naomi are prescient in their own way, firmly rooted in the early ’90s but hinting at things to come. The project provided a necessary platform for the pair to focus, hone and build on the groundwork that they laid for themselves, peeling away layers to reveal a shy closeness that Galaxie 500 never could. The pair’s latest project, Fortune, is an LP released in tandem with Naomi Yang’s video piece of the same name. She refers to the work as “a silent movie,” though the visuals are so bound up in the music (and vice versa) that it’s more of a long-form music video, a visual poem set to the metronome of a textural score. She conceived of the piece to explore conflicting feelings surrounding her father’s recent passing; Yang was suddenly burdened with a massive archive of his artistic work (her father was a photographer), as well as the ongoing aftermath of flawed parenting. Her use of the term “fortune,” then, is tinged with sardonicism but also with nostalgia—portraits from the 1940s and ’50s painted by protagonist Norman von Holtzendorff’s father (also recently deceased, and who also left his archive in Norman’s hands) feature prominently. An ongoing tarot card motif ties in another facet of the suddenly slippery term “fortune,” using Damon & Naomi’s now familiar brand of close, acoustic warmth to explore the past’s bearing on the future: “I want to be over / To touch and be gone / Forget this amnesia.” Fortune—as a film or an album—is itself an expressive portrait, but doesn’t adhere to any obvious narrative; rather, it’s a comfortable space that the viewer can move in and out of, dreamlike and immersive. The eleven new songs don’t require visual accompaniment—Damon & Naomi have constructed the sequence to communicate through sound alone—but at upcoming performances the duo will be presenting them live as a soundtrack to Yang’s “silent” film.

File Under: Pop, Indie Rock, Galaxie 500
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davachi

Sarah Davachi: Barons Court (Students of Decay) LP
Barons Court is the debut full-length album by Canadian electroacoustic composer Sarah Davachi, following short run releases on Important Records’ Cassauna imprint and Full Spectrum. Trained at Mills College, Davachi’s academic approach to synthesis and live instrumentation unites with a preternatural attunement to timbre, pacing and atmosphere.  While the record employs a number of vintage and legendary synthesizers, including Buchla’s 200 and Music Easel, an EMS Synthi, and Sequential Circuit’s Prophet 5, Davachi’s approach to her craft here is much more in line with the longform textural minimalism of Éliane Radigue than it is with the hyper-dense modular pyrotechnics of the majority of her synthesist contemporaries. Three of the album’s five compositions feature acoustic instrumentation (cello, flue, harmonium, oboe and viola, played by Davachi and others) which is situated alongside a battery of keyboards and synths, and emphasizes the composerly aspect of her work. “heliotrope” slowly billows into being with a low, keeling drone that is gradually married to an assortment of sympathetic, aurally complex sounds to yield a rich fantasia of beat frequencies and overtones. Later, “wood green” opens almost inaudibly, with lovely eddies of subtly modulating synth clouds evolving effortlessly into something much larger, as comforting and familiar as it is expansive.  In an era in which the synthesizer inarguably dominates the topography of experimental music, Davachi’s work stands alone—distinctive, patient and beautiful.

File Under: Ambient, Electroacoustic, Synth, CanCon
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destruction

Destruction Unit: Live in San Francisco (Castle Face) LP
“I believe Destruction Unit to be one of the most important underground bands in America. The live shows vary from dense chaos to dumbstruck pandemonium. The volume is always colossal. The spectacle, dramatic.  “Putting microphones on these Arizona weirdos is similar to trying to get a decent recording of a soccer riot—getting Ryan [Rousseau] to sing into our microphone like shooting a hummingbird with a spitball from across a gorge…but we’ve done it. Polished up and pushing the red, we present this deathless comet captured to tape. Headphones on, lowlights flickering, spliff in hand—you are a warrior on the dawn of a new perilous passage…until you have to flip the LP. Enjoy.” —John Dwyer

File Under: Punk
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dick diver

Dick Diver: Melbourne, Florida (Trouble in Mind) LP
Dick Diver managed to avoid the “sophomore slump” with their 2013 album Calendar Days (Chapter Music) and look to perfect a “three-peat” with their 3rd album Melbourne, Florida, which hums with a strident assurance, buoyed by the benefit of the band’s four talented songwriters whose singular voices sit comfortably beside each other in the albums 12 tracks. If Dick Diver weren’t already leading the pack of new-school Australian pop (as their ranks include members of Total Control, UV Race, Lower Plenty, and Boomgates) then Melbourne, Florida is sure to put them in the pole-position.

File Under: Australia, Indie Rock
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elder

Elder: Lore (Armageddon) LP
Elder is a heavy psych band from Boston, USA. Founded by long-time friends Nicholas Disalvo, Jack Donovan and Mat Couto, the group spent years plodding in Sabbathian territory, releasing their self-titled debut 2007, followed by Dead Roots Stirring in 2011. They also released a two song EP Spires Burn / Release in 2012 showing musical growth in a more refined vision of the band’s sound. With Dead Roots Stirring and Spires Burn, Elder took a surprising turn away from their more traditional stoner rock roots, incorporating uplifting melodies and progressive song structures into their lengthy epics. Their third full length Lore is a watershed moment in the band’s history. Joining the interplay of heaviness and melody which has become the hallmark Elder sound are a host of new meanderings through uncharted kosmische territory; krautrock, prog as well as classic heavy rock and doom can all be heard unfolding throughout the record’s five songs. By giving equal credence to riffs and atmosphere, Lore bypasses genre constraints, the group’s penchant for progressive songwriting and melody shining more brightly than ever. While Elder’s sound is now much more evolved and varied, it is still consistently based around rock and metal, originally influenced by such heavy landmark bands as Black Sabbath, Sleep and Electric Wizard.

File Under: Metal, Stoner
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excult

Ex-Cult: Cigarette Machine (Castle Face) LP
On the tail of their breakout second LP Midnight Passenger, Memphis-based punk cyclone Ex-Cult delivers a brand new batch of bruisers.  Chris Shaw lends a sneering, spitting toughness to the proceedings while the band flays riffs in loose, hairy, mosh-inducing menace behind him, touching on post-punk, psych sprawl and early-’80s hardcore while remaining beholden to none. They have the power to convert even the most jaded and bored concertgoer into a sweaty mess in the pit. Punks, skate rats, scenesters, skinheads, hardcore kids, druggies—so many disparate groups dig this band it’s like an MRR cartoon waiting to happen.  The adrenal-enhancers on Cigarette Machine are road warriors already, having been honed on the band’s recent tour that no doubt laid waste to a town nearby. The only problem with this sterling batch of sluggers is that it’s over too quick.

File Under: Punk
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3r4

B.C. Gilbert/G. Lewis: 3r4 (Superior Viaduct) LP
In 1980, after three relentlessly creative albums, the members of Wire were at an impasse, unsure of how to push themselves any further as a four-piece rock band. While frontman Colin Newman spent the band’s hiatus mining Wire’s knack for intelligent and contorted pop songs, guitarist Bruce Gilbert and bassist / vocalist Graham Lewis joined forces for a series of experimental projects (Dome, Cupol, etc.) where the primary motivating concept was “studio as instrument.” 3R4, the duo’s only LP under the B.C. Gilbert/G. Lewis moniker and the very second album to be released on 4AD, eschews melody and structure in favor of ambient-noise soundscapes, metallic textures and tense moods. If the brief “Barge Calm” tracks appear like sonic exercises, the longer pieces (“3. 4…” and “R”) are true exorcisms, conjuring supernatural found-sounds with the patience and deliberation of (un)holy men. Play this record loud and try not to think that it is the soundtrack to a lost David Lynch film. This first-time vinyl reissue is recommended for fans of Faust, David Cunningham, and Thomas Leer & Robert Rental’s The Bridge.

File Under: Experimental, Wire
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impetuous

Impetuous Ritual: Unholy Congregation of Hypocritical Ambivalence (Profound Lore) LP
In their brief career, Australia’s Impetuous Ritual has already been recognized as one of the mightiest death metal entities in the underground today, alongside such likeminded acts as Portal (with whom Impetuous Ritual shares two members) and Mitochondrion. From their leveling, jaw-dropping live performances to the devastating, ultra-brutal, occult-driven style showcased on their Relentless Execution of Ceremonial Excrescence debut album, no death metal on the planet captures the vibe, attitude and aesthetic of Impetuous Ritual.  With their anticipated follow-up to Relentless Execution, the band takes their sound even further into the depths of horror and depravity. Christened Unholy Congregation of Hypocritical Ambivalence, the album will be hailed as the death metal triumph of 2014.

File Under: Metal, Death Metal
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living eyes

Living Eyes: Living Large (Agitated) LP
Geelong delinquents The Living Eyes will unleash a new, 10-track slab of stompers, Living Large via Agitated Records. The Living Eyes are Billy Gardner (who, not only runs the esteemed Geelong record label Antifade, but also plays in Ausmuteants and Wet Blankets amongst others…) on vocals and guitar, Mitch Campleman on guitar / vocals, bassist Dayle Herbert and drummer Nicholas Hill. Their second full-length, Living Large, was recorded in a day-and-a-half by (Straight Arrows’ front man) Owen Penglis in his (new) Sydney hideout, Goliath Professional Recording Studio. The tapes were then driven back down the Hume highway and finished off in a couple of West Geelong bedrooms before being sent off to Australia’s mixing master, Mikey Young. Taking their cues from the likes of The Easybeats, The Hoodoo Gurus, The Saints and The Hard Ons, The Living Eyes stand true to the vitriolic punk brash and sharp garage crunch of their self-titled debut (2013, Antifade Records) whilst crafting some Damn Sweet power-pop hooks. The Living Eyes are Living Large with feral wallaby beat to make you pick up your feet and a shake you just can’t shake! For Fans Of: Jay Reatard, Citadel Records, The Kinks, Waterfront Records, The Ramones, In The Red Records, High Voltage AC /DC.

File Under: Punk, Garage
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mingus1

Charles Mingus: Black Saint and the Sinner Lady (Superior Viaduct) LP
Bassist / composer Charles Mingus is one of the most radical figures in American music. Throughout the ’50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie and more. In the ’60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. The Black Saint and The Sinner Lady is without question Mingus’ magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialogue of trumpets, trombone and tuba, swooping reeds and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor. In his best-known essay, “Psychotic Reactions and Carburetor Dung,” Lester Bangs praises, “the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you’ll never be quite the same again. Black Saint and The Sinner Lady did that, and a very few others. They’re events you remember all your life, like your first real orgasm.” This long out-of-print vinyl release has been carefully remastered from the original master tapes.

File Under: Jazz, Classics
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mingus

Charles Mingus: Mingus Plays Piano (Superior Viaduct) LP
Bassist / composer Charles Mingus is one of the most radical figures in American music. Throughout the ’50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie and more. In the ’60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. Mingus Plays Piano, released just a few months after his masterpiece The Black Saint and The Sinner Lady, is the only record to feature Mingus performing on his instrument of choice for composing. From the opening track, appropriately titled “Myself When I Am Real,” Mingus shrugs off any virtuosic pretensions of solo albums and stakes out more introspective territory. These trance-like, poetic musings reveal a tenderness rarely associated with Mingus, reminiscent of Erik Satie’s piano works and Art Tatum’s free rhythmic style. This long out-of-print vinyl release has been carefully remastered from the original master tapes.

File Under: Jazz
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courts

Parquet Courts: Live at Third Man (Third Man) LP
Parquet Courts brought a sweltering performance to the hallowed grounds of Third Man’s Blue Room on June 5th of last year–and very fortunately, TMR was able to lovingly capture it with their one-of-a-kind, direct-to-acetate recording process. The set included a dynamic selection of songs from last year’s critically acclaimed album Sunbathing Animal, as well as the 2013 EP, Tally All The Things That You Broke. The end result? A record that will have your feet stompin’ and body rockin’ as soon as the needle hits.

File Under: Punk, Indie
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peebles

Ann Peebles: Handwriting is on the Wall (Fat Possum) LP
Released in 1979, The Handwriting Is On The Wall boasted some high-powered funk backdrops, but for the most part the album finds Ann Peebles taking on a set of straight-ahead soul numbers in which she was usually either taking a man away from some woman who didn’t know how to hold on to him, or was warning the ladies why they should stay away from her signifi ant other. Peebles is a tower of defiant sass on “I Didn’t Take Your Man” and “You’ve Got the Papers (I’ve Got the Man),” she leaves no doubt about why she’s dating outside her age group on “Old Man with Young Ideas,” and “Bip Bam Thank You Mam” alerts listeners to the consequences of not pleasing Ms. Peebles. Willie Mitchell pairs Peebles up with some full-bodied soul and funk arrangements for these songs, and while unfortunately most of the great Hi Rhythm Section were unavailable for this record, the players on board do fine work, even if the groove lacks the ineffable touch of Peebles’ finest work. The Handwriting Is on the Wall was Ann Peebles’ last album for Hi, and the last new set she would release until 1988, but it captures one of the great R&B singers of the 1970s doing what she does best, and here she bows out on a high point.

File Under: Funk, Soul
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pink section

Pink Section: s/t (Superior Viaduct) LP
Named after San Francisco Chronicle’s pink-hued arts and entertainment guide, Pink Section coalesced at SF Art Institute and performed their first show at the legendary Deaf Club on Valentine’s Day, 1979. These self-taught musicians existed on the fringe (even in the local underground scene), producing an unusual brand of off-kilter post-punk against a backdrop of Dadaist aesthetics. The group itself was strangely symmetrical: singer Judy Gittelsohn and drummer Carol Detweiler (both members of Inflatable Boy Clams), singer / guitarist Matt Heckert (Survival Research Laboratories) and bassist Stephen Wymore. While the hallucinatory layers of male / female vocals on “Shopping” conjure images of deranged domesticity and ’50s Americana gone haywire, the fractured riffs of “Midsummer New York” deconstruct Yoko Ono’s original even further, stripping bare Pink Section’s fondness for angular rhythms and out-of-control oscillations. This first-time retrospective LP collects the band’s rare 1979 single, the self-titled EP, unreleased demos and live material. Recommended for fans of Suburban Lawns, Units, and DEVO.

File Under: Punk, Dadaism
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spiral shades

Spiral Shades: Hypnosis Sessions (Riding Easy) LP
Limited RED vinyl! RidingEasy Records is pleased to announce the debut release of Hypnosis Sessions by Spiral Shades; a uniquely assembled doom metal album four thousand miles in the making. Formed by Vennesla, Norway-native Filip Peterson and Mumbai based singer-songwriter Khushal Bhadra Spiral Shades is a metal record unlike any other. As avid fans of obscure 70s rock, doom and proto-metal, prior to forming Spiral Shades both Peterson and Bhadra relied on YouTube to unearth lost music and showcase their individual talents as musicians. Each would upload cover versions of songs by artists they had discovered online but it wasnt until one evening in the Summer of 2012 that Khushal happened to stumble onto Filips channel where he was taken aback by the Norwegians choices and impressive guitar playing.

File Under: Metal, Doom, Norway
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tft

Terminal Fuzz Terror: Vol. 0: In the Shadow of the Mountain (Robotic Empire) LP
On their vinyl debut, Vol. 0: In the Shadow of the Mountain, Terminal Fuzz Terror unleashes raw rock ’n’ roll fury sifted through the filters of punk, psychedelia and blues. Pummeling percussion and wailing riffs accompany vocals channeling an obliterated Jim Morrison at the height of religious revelry! The magnanimous, side-long, 17-minute title track closes the album with a long-form, slow-burning mind-melter.  Terminal Fuzz Terror is comprised of D. Rodriguez (guitar, vocals), D. Nelson (guitar, vocals), A. Crawshaw (drums) and J. Kleine (bass). The band recorded at Witch Ape Studio and enlisted Tad Doyle (Tad) to engineer / mix the album. Limited to 300 copies, Vol. 0: In the Shadow of the Mountain is housed in a silk-screened jacket printed at Broken Press in Seattle, WA, and includes a high-quality digital download.

File Under: Rock, Blues, Punk, Psych
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tuma

Scott Tuma: Hard Again/The River (Scissor Tail) 2LP
Scott Tuma has earned himself a cult status via his involvement in Souled American—the precursor to Uncle Tupelo, Wilco and Son Volt in the late ‘80s/early ‘90s. Hard Again sees Tuma team with Jim White (Dirty Three, Cat Power) and Michael Krassner (Boxhead Ensemble), while The River is a solo affair. Fans of Dirty Three, David Pajo or Neil Young’s Dead Man OST will find solace in these ethereal sounds. Limited edition of 500 copies.

File Under: Guitar Soli, Ambient
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urinals

Urinals: Next Year At Marienbad (Happy Squid) LP
The legendary URINALS are back with their third long-player, Next Year at Marienbad. Sure to be another fan sing-along favorite, the record delivers thirteen high-energy tracks showing the Urinals haven’t taken their foot of the pedal. Formed in the first wave of Los Angeles punk in 1978, the Urinals forged a unique path by gigging with bands across the LA punk and post-punk spectrum, from hardcore (Black Flag, Circle Jerks, Minutemen) to paisley underground (The Last, Rain Parade, Bang[les]) to everything in between (Go-Go’s, X, Savage Republic, Gun Club). They morphed into 100 Flowers in the early ‘80s and released a critically acclaimed LP (recently reissued on vinyl by Superior Viaduct) and are back now as the Urinals, playing songs from all phases of their 35 year career. The Urinals are Kevin Barrett (drums), Rob Roberge (guitar/vocals) and John Talley-Jones (bass/vocals). In the past few years the Urinals have headlined festivals from Calgary to Louisville, from Belgium to Beijing. They continue to perform on a regular basis, giving their fans a taste from the past (”I’m A Bug,” “Black Hole,” “Ack Ack Ack Ack”) mixed with songs from their current lineup. They band will be touring the US and Europe to promote NYAM.

File Under: Punk

wand

Wand: Golem (In The Red) LP
Following up their debut full-length on Ty Segall’s God? label, Wand presents their second album, Golem, on In The Red. Recording with Chris Woodhouse at his Hanger studio in Sacramento, Wand summons the dark and heavy power of the riff. Back in September 2013, Wand was quietly dismembered and ritually eaten in the hills near Dodger Stadium. Wand was reborn as “Wand” an obese organ falsely organized as four overjoyous nerds. Four flesh balloons betting on a few aging amplifiers. Rumor has it they listen to Here Come the Warm Jets on loop all day and plot mail fraud. What’s more, they allegedely stole Dale Crover’s car and sacrificed it to the weather near the Los Angeles County Line. A few things, at least, are certain: Wand hears ghosts. Wand prefers serpents. The Sun is the mother of every fiction. All phenomena will be consumed in alphabetical order, but desire will recirculate ad infinitum. If all else fails, Wand will just devour more hands. Wand is coming your way soon.

File Under: Rock
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…..Restocks…..

A Tribe Called Red: Nation II Nation (Sony) LP
Aleph Null: Nocturnal (Riding Easy) LP
Alexisonfire: Old Crows/Young Cardinals (Dine Alone) LP
Aphex Twin: I Care Because You Do (1972) LP
Beirut: March of the Zapotec (Pompeii) LP
Beirut: Flying Club Cup (Ba Da Bing) LP
Big Star: #1 Record (4 Men With Beards) LP
Black Keys: Rubber Factory (Fat Possum) LP
Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
Boards of Canada: Twoisms (Warp) LP
Glenn Branca: Ascension (Superior Viaduct) LP
James Brown: Love, Power, Peace (Polydor) LP
Budos Band: s/t (Daptone) LP
Brandi Carlile: Firewatcher’s Daughter (ATO) LP
Coloured Balls: Heavy Metal Kid (Defcon) LP
Daft Punk: Alive 1997 (EMI) LP
D’Angelo & The Vanguard: Black Messiah (RCA) LP
Miles Davis: Kind of Blue (Columbia) LP
Death Grips: Money Store (Sony) LP
Death Grips: No Love Deep Web (Harvest) LP
Lana Del Rey: Ultra Violence (Interscope) LP
Lana Del Rey: Born To Die (Interscope) LP
Lana Del Rey: Born To Die: Paradise Edition (Interscope) LP
DOA: Hardcore 81 (Sudden Death) LP
DOA: Something Better Change (Sudden Death) LP
Eno/Hyde: High Life (Warp) LP
John Fahey: Voice of the Turtle (4 Men With Beards) LP
Flipper: Generic Flipper (4 Men With Beards) LP
Flying Lotus: You’re Dead! (Warp) LP
Fugazi: End Hits (Dischord) LP
Fugazi: In On The Killtaker (Dischord) LP
Fugazi: Instrument OST (Dischord) LP
Fugazi: Red Medicine (Dischord) LP
Fugazi: Repeater (Dischord) LP
Galaxie 500: This is Our Music (20/20/20) LP
France Gall: Double Best of (Barclay) LP
Grouper: Ruins (Kranky) LP
Bruce Haack: Electric Luficer II (Telephone Explosion) LP
Hot Snakes: Automatic Midnight (Swami) LP
Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
King Khan & BBQ Show: Invisible Girl (In The Red) LP
King Khan & BBQ Show: What’s For Dinner? (In The Red) LP
La Dusseldorf: s/t (4 Men With Beards) LP
Mammatus: Coast Explodes (Holy Mountain) LP
Mastodon: Blood Mountain (Reprise) LP
Moondog: s/t (4 Men With Beards) LP
Nine Inch Nails: Hesitation Marks (Null) LP
Oh Sees: Drop (Castle Face) LP
Oh Sees: Floating Coffin (Castle Face) LP
Oh Sees: Warm Slime (In The Red) LP
Old Man Gloom: Ape of God 1 & 2 (Sige) LP
OM: Conference of Birds (Holy Mountain) LP
OM: God Is Good (Drag City) LP
Purity Ring: Another Eternity (Last Gang) LP
Purity Ring: Shrines (Last Gang) LP
Real Estate: s/t (Woodsist) LP
Residents: Kawliga (Music on Vinyl) LP
Ty Segall/Black Time: split (Telephone Explosion) LP
Ty Segall: Goodbye Bread (Drag City) LP
Ty Segall: Melted (Goner) LP
Ty Segall: Sleeper (Drag City) LP
Ty Segall & Mikal Cronin: Reverse Shark Attack (In the Red) LP
Del Shannon: Further Adventures of… (Trouble in Mind) LP
Slow Season: Mountains (Riding Easy) LP
Sonic Youth: A Thousand Leaves (Goofin) LP
Sonic Youth: Daydream Nation (Goofin) 4LP Box
Sonic Youth: Murray Street (Goofin) LP
Sonic Youth: Rather Ripped (Goofin) LP
Sonic Youth: s/t (Goofin) LP
Sonic Youth: Sonic Nurse (Goofin) LP
Stereolab: Transient Random Noise… (1972) LP
T. Rex: The Slider (Fat Possum) LP
T. Rex: Electric Warrior (Rhino) LP
Timber Timbre: Hot Dream (Arts & Crafts) LP
Total Control: Typical Systems (Iron Lung) LP
Twin Shadow: Confess (4AD) LP
Kurt Vile: Constant Hitmaker (Woodsist) LP
Jack White: Blunderbuss (Third Man) LP
Jack White: Lazaretto (Third Man) LP
Wooden Shjips: s/t (Holy Mountain) LP
Wooden Shjips: Vol. 1 (Holy Mountain) LP

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…..news letter #681 – waximum overdrive…..

Another massive week here. So many great things in this week that I’ve opted to have 3 picks this week, which still isn’t enough. And if that isn’t enough, I’ve been buying some sweet blues and other records off a fellow as of late, so there’s some killer used gems hitting the bins as well, good news for those of you who aren’t lovin’ all the crazy jazz going out.

Also, next Wednesday is my monthly night ‘Cosmic Grooves‘ at the wonderful Daravara. I urge you to grab some drinking pals and come down and have some delicious food and drink while I spin records from around the cosmos.

…..picks of the week…..

algarnas

Älgarnas Trädgård: Framtiden är ett Svävande Skepp, Förankrat i Forntiden (Subliminal Sounds) 2LP
Subliminal Sounds presents a vinyl reissue of Älgarnas Trädgård’s 1972 debut album Framtiden är ett svävande skepp, förankrat i forntiden, a rare and totally flipped-out psychedelic underground space rock masterpiece from Sweden. The band name translates to “The Garden of the Elks” and the album title to “The Future Is a Hovering Ship, Anchored in the Past.” A long, long time ago, long before our time, there was high-standing civilization on earth. It was then that the elks lived. In their garden was a huge generator of pink glass that radiated the four elements. It was a sort of primal force for everything that one might call God. These elks eventually learned to master the matter and then went into the astral transcendental plane. Since then nobody has seen them… This reissue is a facsimile deluxe re-release from the master tapes. Includes additional LP with previously unreleased recordings from the same time period. Features never before seen photos and liner notes by the band.

File Under: Psych, Sweden, Raers, Space Rock
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sierra

Jordan De La Sierra: Gymnosphere: Song of the Rose (Numero) LP
Before New Age hit terra firms at the dawn of the 1980s, the classically-trained Bay Area composer Jordan De La Sierra’s consciousness soared with cosmic concepts. With cues and lessons from the great minimalists La Monte Young,Terry Riley, Pandit Pran Nath, and help from the venerable public radio program Hearts of Space, De La Sierra embarked on a journey in alternate tunings and resounding reverberations, transporting entranced listeners from the Golden Gates to the intergalactic. Take an interstellar ride on the sensory engulfing space piano with this lovingly recreated double LP set, complete with De La Sierra’s India-inspired visual artwork and musings on the tableau of space.

File Under: New Age, Minimalism, Ambient, Drone
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baba

Baba Commandant & The Mandingo Band: Juguya (Sublime Frequencies) LP
Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabé musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band — when he’s not playing with the now-famous Burkinabé musician Victor Démé — is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Adé are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabé society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougou’s DIY underground musical culture. Juguya is their sound.

File Under: Afro-Beat, Jazz-Funk, African, Fuzz
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…..new arrivals…..

place

A Place To Bury Strangers: Transfixiation (Dead Oceans) LP
After two years of constant touring and recording, Brooklyn, NY’s A Place To Bury Strangers will release their new album Transfixiation in early-2015 via Dead Oceans. Transfixiation, the fourth full-length from the band, is a bold experimental step forward. Rather than fixating on precious recording techniques and minute details, the members of the group – guitarist/singer Olvier Ackermann, bassist Dion Lunadon, and hard-hitting drummer Robi Gonzalez – trusted their instincts and tried to keep things as pure as possible. Music is much more exhilarating when it’s unpredictable even on repeat plays, and this is very much an unpredictable record. Gonzalez makes his recording debut with the band here, and it’s obvious that he’s helped push the band’s sound closer to the level of their infamous live shows.

File Under: Indie Rock
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live knots

Oren Ambarchi: Live Knots (Pan) LP
“Oren Ambarchi presents Live Knots, two live realizations of ‘Knots,’ the epic centerpiece of his 2012 album Audience of One. Built on the interplay between Ambarchi’s swirling guitar harmonics and the metronomic pulse and shifting accents of Joe Talia’s DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework. ‘Tokyo Knots’ is the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo’s legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia’s insistent ride cymbal and the shifting tonal bed of Ambarchi’s rich, overtone-drenched guitar, eventually going into a free rock free fall of buzz saw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit. ‘Krakow Knots’ works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece’s textural range with lush chordal blocks, uneasy dissonances, and occasional Ligeti-esque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves toward its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece’s final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars, and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise, and academic psychoacoustics. The final moments of the performance pit Talia and Crys Cole’s amplified objects and spring reverb textures against a field of gently gliding string glissandi before the audience erupts in much-deserved applause” –Francis Plagne.

File Under: Electronic, Ambient, Free Improv, Modern Classical
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badbad

Badbadnotgood & Ghostface Killah: Sour Soul (Lex) LP
IN TOMORROW! Sour Soul is the new collaborative album from Toronto jazz/hip-hop trio BADBADNOTGOOD and Staten Island rap champ Ghostface Killah (Wu-Tang Clan). Inspired by 1960s and ’70s music – taking inspiration from the recording techniques and production of that era, and eschewing sampling in favor of live instrumentation – BBNG with producer Frank Dukes have created a dramatic, cinematic musical staging for Ghostface’s vivid storytelling. Sour Soul also features guest spots from MF Doom, Elzhi (Slum Village), Danny Brown and prodigal new rapper Tree (Project Mayhem).

File Under: Hip Hop, Jazz, CanCon, Wu-Tang
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bretzer

Travis Bretzer: Waxing Romantic (Mexican Summer) LP
Waxing Romantic is the debut album from Canadian artist Travis Bretzer. Hailing from Edmonton, Alberta, 24-year-old Bretzer has an appropriately singular, off-beat take on guitar pop. An adroit songwriter and true troubadour, Travis sidesteps easy pigeonholing. On his debut EP Making Love (2013) he managed to touch on the new-pop of Orange Juice, the playful idiosyncrasies of Prefab Sprout, with a freewheeling sensibility present in much of the Stiff Records catalog. Above all, Making Love displayed some truly sophisticated songwriting that belied its occasionally haphazard bedroom production and casual delivery. On Waxing Romantic, Travis has stepped up the production in a big way, graduating from the bedroom to a full studio environment. Recorded at Gary’s Electric in Brooklyn and produced by Jorge Elbrecht (of Ariel Pink’s Haunted Graffiti and Lansing-Dreiden fame) the new environment has allowed for Travis’ songs to be taken to new, fully-realized heights. The album also features a solid crew of players, including members of Haunted Graffiti, James Richardson of MGMT and Regal Degal’s Josh da Costa, who was key in shaping drum arrangements. The move to the studio also feels very in keeping with the sonic inspiration Travis had for the album, which came in part from memories of rifling through his parents’ soft-rock LPs: think Gerry Rafferty, Al Stewart, Christopher Cross, The Eagles. With their warm drums and smooth, clean studio sound informing Travis’ sonic palette, it makes sense that Gary’s Electric became the venue for the album recording. As the title indicates, Waxing Romantic is thematically concerned with love. For Travis, the album reads like a storybook of the first coupleof years of his current relationship, with each song acting like a totem for different events and moments. For this reason, the album is very personal – it navigates the giddy and elated feelings of falling in love, and the process of looking back and reflecting on it. In keeping with the album’s ’70s pop mode, the lyrics are kept simple and sweet, but never cloying. Lead single “Promises” is built around a breezy, cascading guitar riff and oozes a casual temperament. Warm slide guitars and fuzzy power-pop riffs color the lofty melodies of “Lonely Heart.” Elsewhere, “Idle By” recalls the glistening guitar lines of Felt, and “Lady Red” shows Travis doing his best scrubbed up, sophisticated pop song.

File Under: Indie Rock, Pop, Edmontonians
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brotz1

Peter Brotzmann/Keiji Haino/Jim O’Rourke: Two City Blues 1 (Trost) LP
One of two different sets, along with Two City Blues 2, recorded on one intense night at Tokyo’s Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O’Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O’Rourke: guitar.

File Under: Free Jazz, Improv
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brotz2

Peter Brotzmann/Keiji Haino/Jim O’Rourke: Two City Blues 2 (Trost) CD
One of two different sets, along with Two City Blues 1, recorded on one intense night at Tokyo’s Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O’Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O’Rourke: guitar.

File Under: Free Jazz, Improv

budosBudos Band: Burnt Offering (Daptone) LP
FINALLY BACK IN STOCK TOMORROW!!! When it came time to title their new album, one decision was easy: “This isn’t The Budos Band IV,” proclaims drummer Brian Profilio. “This isn’t just more of the same.” The Budos Band embarked on an experimental journey since the release of The Budos Band III in 2010, seeking inspiration from sources far and wide. While wizards use books of spells and alchemy to mix their masterful potions, the Budos employ heavy doses of continent-spanning psychedelic rock to beckon the occult and conjure the supernatural. Hence the title of the band’s fourth album: Burnt Offering. “We made a conscious decision to embark on a new sound,” explains baritone saxophone player Jared Tankel. The heavy, trippy side the group unveiled on The Budos Band III reaches full flower on new tunes like “Aphasia,” “Trouble in the Sticks” and particularly the title track “Burnt Offering.” “We were messing around with an old Binson Echorec at practice one night and this loop emerged,” recalls bassist Dan Foder. The droning fuzz guitar is a call to the gods from below and encapsulates the band’s sonic progression perfectly. “This record is fuzzy, buzzy and raw, and more obviously psychedelic,” adds Profilio. Like a cratedigger’s classic from a parallel universe.

File Under: Funk, Psych, Groove
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chapman

Michael Chapman: Window (Light in the Attic) LP/CD
Every artist has a piece of work that niggles them—something that they wish they could redo, given the chance. It’s why Paul McCartney once reproduced Let It Be and why Kate Bush re-recorded Wuthering Heights for her best-of album. For the prolific Michael Chapman, that album is Window, the missing link in the series of Chapman’s early albums being reissued by Light In The Attic Records. Window sits just after the previously released Fully Qualified Survivor and Rainmaker, right before Wrecked Again. In 1970, signed to the hip Harvest label (home to Kevin Ayers and Syd Barrett, among others), Chapman was still an artist waiting for that first big success, perpetually skint and permanently touring to make ends meet. With that in mind, he aimed to make Window in as little time as possible because being in the studio meant not being on the road. Producer Gus Dudgeon–who’d been working with Elton John–had other ideas and booked Chapman and his band into one of the UK’s most expensive studios, Trident. The singer-songwriter and prodigious guitarist was in transition from his folkier origins to his heavier future and heading for a whole mess of trouble with the same year’s Wrecked Again. Given the touring bust-ups and tortured recording sessions to come, Michael’s wife Andru Chapman remembers the recording of Window was noted for a “lack of hiccups. No one threw their toys out of the pram, unlike Wrecked Again.” Recorded with U.S. guitar player Phil Greenberg, violin player Johnny Van Derek, and pianist Alex Atterson, the album has a blend of electric and acoustic instruments, both traditional and experimental at once, synthetic sounds melding with finger-picked guitars. The trouble came later. Immediately after recording finished, Michael took the band back out on the road with the understanding that as soon as he got back, he’d put the final acoustic guitar tracks down to replace what he’s always said were only guide tracks. Unfortunately, Harvest’s parent label decided the album was finished and pressed it up anyway. And Chapman, as a result, hates it. Indeed, 34 years later he even set out to right the wrong, re-recording parts of the LP and noting it was a strange experience listening to “dead people on the between-track studio chatter” (Dudgeon, engineer Robin Cable, and drummer Richie Dharma have all since passed). As part of Light In The Attic’s revival of Chapman’s early career, however, the album is presented as was originally released, with Michael’s blessing and albeit with two CD-only bonus tracks. Andru notes, “Warts and all, it is an important part of the Michael Chapman: The Early Years story.” Michael has been less diplomatic in talking about the album. “It is a piece of my history for those interested in that, even though I think it sounds like a piece of crap,” he says. We’re loathe to disagree with him, but, well, why don’t you take a listen and decide for yourselves?

File Under: Folk, Rock
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collinsLyn Collins: Think (About It) (Get On Down) LP+7″
“James Brown had several incredibly talented ‘funky divas’ in his late ’60s and early ’70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hit maker of that funky JB era. Her strong voice and commanding stage presence — which earned her the nicknames ‘The Female Preacher’ and ‘Mama Feelgood’ — quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky ‘Think (About It),’ hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, ‘Think’ gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash ‘It Takes Two,’ by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Brown’s new People Records label — the imprint’s second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers’ ‘Ain’t No Sunshine,’ the socially progressive ‘Women’s Lib,’ the Gamble & Huff-penned ‘Never Gonna Give You Up’ (originally done by Jerry Butler), and even a daring, muscular take on the song ‘Fly Me to the Moon,’ made famous by, among others, Frank Sinatra. All throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown-assembled musical crew that included Pee Wee Ellis, Fred Wesley, and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did. Included in this special Get On Down deluxe package is a 22″ x 22″ poster of the album cover and a bonus 7″ of Collins’ 1973 People single, ‘We Want to Parrty, Parrty, Parrty’ with the B-side ‘You Can’t Beat Two People in Love,’ which is unavailable on any Lyn Collins full-length.”

File Under: Funk, Soul, James Brown, Breakz
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dangelo

D’Angelo & The Vanguard: Black Messiah (RCA) LP
FINALLY AVAILABLE ON VINYL 3/10! The wait is finally over! D’Angelo and The Vanguard’s highly anticipated and much buzzed about brand new album, Black Messiah, is upon us courtesy of RCA Records. Nearly 15 years in the making, Black Messiah contains 12 tracks of timeless music with poignant and provocative lyrics that requires repeat listening at maximum volume! On the album, D’Angelo is joined by his band, The Vanguard, alongside Pino Palladino, James Gadson and Questlove on various tracks. All lyrics were written by D’Angelo in addition to Q-Tip and Kendra Foster who also offered songwriting assistance on several songs. With the high quality of live musicianship featured on Black Messiah, it’s important to note that no digital ‘plug-ins’ of any kind were used in this recording. All of the recording, processing, effects and mixing was done in the analog domain using tape and mostly vintage equipment. “‘Black Messiah’ is a hell of a name for an album. It can be easily misunderstood. Many will think it’s about religion. Some will jump to the conclusion that I’m calling myself a Black Messiah. For me the title is about all of us. It’s about the world. It’s about an idea we can all aspire to. We should all aspire to be a Black Messiah. It’s about people rising up in Ferguson and in Egypt and in Occupy Wall Street and everyplace where a community has had enough and decides to make change happen. “It’s not about praising one charismatic leader but celebrating thousands of them. Not every song on this album is politically charged (though many are) but calling this album Black Messiah creates a landscape where these songs can live to the fullest. Black Messiah is not one man. It’s a feeling that, collectively, we are all that leader.” – D’Angelo, Black Messiah forward In 1995, Richmond, VA native D’Angelo made an undeniable impact with the release of his debut album Brown Sugar, ushering in a new and inescapable sound with classic hits such as the album title track, “Lady,” “Cruisin,” and more. D’Angelo returned in 2000 with his platinum-plus selling album Voodoo. The critically acclaimed album won a Grammy Award for Best R&B Album and the hit single, “Untitled (How Does It Feel), won a Grammy for Best Male R&B Vocal Performance.

File Under: Soul, R&B
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space

Jean Pierre Decerf: Space Oddities 1975-1979 (Born Bad) LP
Jean-Pierre Decerf was born in the Paris suburb Neuilly-sur-Seine in 1948, lived in Paris until 2003, and now lives as a hermit in a remote village in the Touraine. From the early ’70s to the mid ’80s, this self-taught musician composed about 20 albums of production and library music with generic cover art and titles (Out of the Way, Keys of Future, Pulsations, etc.) that evoke interstellar travel. These experimental discs, made with love, humility, and rudimentary means, had no ambition other than to accompany other peoples’ images. By exhuming these obscurities from the dustbin of history, Born Bad Records have decided otherwise. Archaeologists with an agenda, they seek to give Decerf the renown he deserves: that of an innovator whose rhythmic, synthetic compositions inspired the harbingers of the French touch (Air comes to mind), and were sampled by many East Coast rappers, including the Wu-Tang Clan.

File Under: Electronic, Library, Psych
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dilloway

Aaron Dilloway/Jason Lescalleet: Popeth (Glistening Examples) LP
It is with great pride and pleasure that Glistening Examples announces the newest collaborative efforts of Aaron Dilloway and Jason Lescalleet. Recorded at Tarker Mills in February 2014 then mixed and mastered at Glistening Labs, this 38-minute LP was carved deeply into 150 grams of virgin vinyl via Direct Metal Mastering at GZ Media in the Czech Republic. These records are sheathed in deluxe poly-lined inner sleeves and presented in 300 gsm uncoated reverse board, beautifully adorned by Australian artist and novelist Matthew Revert. “Aaron Dilloway and Jason Lescalleet worked on through the night until the sun came up, and the results are presented on Popeth, their riveting second full-length LP. Few artists exhibit such routinely impressive understanding of loops not as mere repetitions, but as possibilities for tectonic movement. Their music evolves and devolves simultaneously within the use of these patterns. They also realize the possibilities inherent in a host of experimental techniques. Their methods are not simply demonstrative ends, but tools for the exploration of new vistas. The nest, a recurring theme in their collaborative work, is usually a protective place, a place of comfort. But in the Dilloway/Lescalleet milieu the nest is a place where protection and comfort fray and break open. You didn’t come here for protection or comfort, though. The first side, ‘Black Mountain,’ is a chain of glacial swirls. Icy wheels of sound are punctuated by warbling tape and a ghostly voice. Flip the record and you’ll find ‘Western Nest’ and ‘Ewch I Gysgu, Popeth,’ two tracks which push the idea of simplistic structure to the limits of its vitally complicated ends. This is the sound of looking at a spiral staircase, or a clothesline, or a power line, or the center line on the highway. It’s the result of deeply electric consciousness. There is a gap in the assembly, a terrible and magnificent peace, a true taste of the passage of time, a measure of the hours and their shifting conditions. It’s their most perfectly realized report yet. The album is a statement of confidence, an assertion of purpose with the assured possibility of purposelessness.” –Matt Krefting, Holyoke, MA 2014

File Under: Electronic, Musique Conrete
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eleh

Eleh: Homage (Important) 3CD
Important Records is proud to present Eleh’s Homage series remastered and on CD for the first time. Certain frequency combinations that were impossible to cut on LP are effectively presented in this digital edition. Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle/saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation, Eleh enables an individual reaction free of the clutter of white noise.

File Under: Minimalism, Ambient, Drone
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emmanuel

JD Emmanuel: Echoes from Ancient Caves (Black Sweat) LP
Probably one of the most underestimate artists of electronic music from the early ’80s, has been lately rediscovered. An expert modulator of electronic and natural sounds, with this work JD Emmanuel seems to recall and reflect extensively on the poetics of the cyclic and mantric sound investigated by other pioneers such as Terry Riley and La Monte Young. The microtonal patterns of the compositions are animated by dense and minimum pulses that amplify the hypnotic and meditative dimension and can be colored by Tibetan suggestions or guitar glissandi. Flows and reflections of sounds define abstract landscapes but remain always deeply reverent with nature and its micro-cosmic variations. In this way, Echoes from Ancient Caves is ideally connected to the previous experimentations of Rain Forest Music (1981) and Wizards (1982). 500 copies on black vinyl + a download link for the digital edition.

File Under: Electronic, New Age, Ambient
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gordon

Peter Gordon: Symphony 5 (Foom) LP
Many of Peter Gordon’s old friends and collaborators, such as the late Arthur Russell, have been extensively documented through reissues, books, and films, but Gordon himself remains a bit of an enigma. In 2007, his music received a high-profile push from James Murphy, who prominently featured Gordon and Love of Life Orchestra in his FabricLive.36 mix. In 2010, Murphy’s label DFA released a revelatory collection of Gordon’s music from the ’70s and ’80s, which included two little-heard tracks recorded with Russell, and shed light on Gordon’s long career. Gordon performed his first symphony, Symphony in Four Movements, at The Kitchen in New York in 1976, with a band that included Russell, Philip Glass, Laurie Anderson, and Rhys Chatham, and formalized his Love of Life Orchestra in April 1977, initially a 12-musician group. Gordon’s exploration of disco, electronic, pop, and jazz elements blended with experimental music has since included collaborations with Factory Floor, Archangel, and Tim Burgess, as well as a role as music producer on Robert Ashley’s opera Vidas Perfectas. Gordon now presents Symphony 5, recorded in front of a live audience by Grammy-winning producer Jeff Jones “The Jedi Master” on June 5, 2013, in the acoustically marvelous Roulette concert hall in Brooklyn. The performance is tight but loose: there’s plenty of room for the unexpected as Gordon the composer allows Gordon the conductor to make decisions on the fly. Throughout the work’s five movements (one of which, “Juvenalia,” is an homage to “Project Chick” by Lil Wayne’s and Mannie Fresh’s hip-hop super group Cash Money Millionaires), Gordon’s instrumental writing keeps moving, leading the listener through careening textures of counterpoint and groove, to say nothing of pleasure and pain; beneath all its exuberance and dry humor flows a dark undercurrent. The performance includes long-time LoLO members Peter Zummo (trombone), Randy Gun (guitar), Ned Sublette (guitar), and Bill Ruyle (mallet percussion). Also featured in the ensemble are Cuban jazz luminaries Elio Villafranca (piano) and Yunior Terry (bass), renowned Latin jazz musician Robby Ameen (drums), New York veteran Paul Shapiro (saxophones), Katie Porter (clarinets), and second-generation LoLO member Max Gordon (trumpet). Peter Gordon conducted the performance while playing combo organ and synth. Symphony 5 is the first release in Foom’s extensive series devoted to Gordon. The series will concentrate on new recordings, unearthed material from his personal archive, as well as a few select reissues from his discography.

File Under: Jazz, Funk, Classical, Arthur Russell
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Gruppo

Gruppo Di Improvvisazione Nuova Consonanza: Eroina (Holidays) LP
There are still so many treasures to be discovered out there, but when one finds a gem like this, one can put the research on hold for a little while and give it a deep listen. Recorded at Fono Roma in 1971, Eroina is a series of haunting improvisations — each one inspired by the effects of a different drug — made of whirling electronic glitches, skronky horns, pounded piano, funky drums, and weird tape experiments. The best drone/spaced-/drugged-out free music performed by the legendary ensemble of Ennio Morricone, Mario Bertoncini, Egisto Macchi, Bruno Battisti D’Amario, Franco Evangelisti, and Walter Bianchi. A timeless masterpiece available for the first time on vinyl. Limited to 400 copies.

File Under: Morricone, Italian, Library, Jazz, Funk, Psych, Drugs, Experimental
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gruppo1

Gruppo Di Improvvisazione Nuova Consonanza: Gli Occhi Freddi Della Paura (Dagored) LP
In 1971 for the great soundtrack of Enzo Castellari’s Gli Occhi Freddi della Paura, Morricone called on the services of Gruppo d’Improvvisazione Nuova Consonanza, the legendary avant garde and improvisational combo of which he was a founding member. Not only a classy soundtrack but also a classic of the experimental and free jazz genres.

File Under: Morricone, Italian, OST, Library, Jazz, Psych, Experimental
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hanoi

Hanoi Masters: War is a Wound, Peace is a Scar (Glitterbeat) LP
The first volume in Glitterbeat’s Hidden Musics, a series of unmediated field recordings of lesser-known global music traditions. War Is a Wound, Peace Is a Scar is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan (Tinariwen, Malawi Mouse Boys, The Good Ones). The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep, personal connections to the upheavals of the Vietnam War; the recordings’ mesmerizing mood navigates the blurred line between raw beauty and sadness. An album of cautious healing and an unforgettable meditation on conflict, resistance, collective memory, and the longing for what has been lost. Brennan recalls the recording process for this remarkable document in the album’s liner notes, excerpted here: “We had gone to Hanoi to record veterans from their side. Some were music masters, one of whom had joined the army at age thirteen and whose job it was to sing to the troops to boost morale and provide solace. Another was a former AK-47 issued village leader who had not sung in over forty years, and proved to be the most dead-on vocally. She did not hide or adorn, but quietly revealed muted emotions that a microphone often can detect more easily than face-to-face interaction. Then, immediately afterwards, she withdrew back into a stoic shell… With a whammy-bar technology that dates back to the ninth century, it is fair to say that Vietnamese traditions had a bit of a head start over the headbangers of the 1980s. A startling revelation was a plucked instrument (the k’ni) that is clasped between the teeth as the local dialect… is spoken through the
 single string. What sounds like an extraterrestrial instrumental to the uninitiated actually contains coded, poetic lyrics… Let it suffice to say that these artists are a far cry from the lip-synching karaoke show that we saw on the local cable, with groups of teenagers cavorting on a soundstage and mouthing the words to K-pop songs — air-karaoke, if you will — that managed to render something pre-fab even less real. These elders carry a haunting, but muted sadness that seems only fully revealed through the music that they valiantly keep alive in the face of industrialization, waning regard and interest, and the rapid homogenization and ‘progress’ overtaking their homeland.”

File Under: Ethnic, Vietnamese, Traditional
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humans

Humans: Noontide (Hybridity) LP
Double LP version; includes bonus
track “And He Goes.” Vancouver’s indie-electronic duo Humans present their highly anticipated album Noontide, following up 2013’s acclaimed EP Traps (HYB 001EP). Robbie Slade and Peter Ricq’s sound has been called infectious, smartly crafted, and an absolute force in a live setting. Produced by Nik Kozub (Shout Out Out Out Out), Noontide is a showcase of Humans’ innovative mix of heavy electronics with modern pop sensibilities. The album is carefully constructed, building upon the band’s restless aesthetic experimentation.

File Under: Electronic, Indie, SO4
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kerridge

Kerridge: Always Offended Never Ashamed (Contort) LP
Always Offended Never Ashamed by Kerridge marks the beginning of Samuel and Hayley Kerridge’s record label Contort. Much like their renowned Berlin event series of the same name, the label will provide a platform for new and old talent, supporting artists’ autonomy and individuality. Samuel Kerridge has already established himself with critically acclaimed releases on Downwards, Blueprint, and Horizontal Ground. Always Offended Never Ashamed is his most personal recording to date, spanning seven tracks, with the spotlight on his own vocals. Thrashes of guitar sit alongside steely percussion, and show restraint and elegance in the process. Electric pulses wreak havoc on the senses, with earth-shuddering bass and kicks providing the raw physicality that has become synonymous with his work. Mastered and cut by Matt Colton. Artwork by John Osborn. Edition of 500 copies.

File Under: Techno, Dark Ambient, Drone
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konstrukt

konstruKt: Live at Tarcento Jazz (Holidays) LP
konstruKt is the revelatory Turkish free jazz quartet of saxophonist Korhan Futacı, guitarist Umut Çağlar, drummer Korhan Argüden, and percussionist Özün Usta. They offer a real breath of fresh air, like the Art Ensemble of Chicago did in the ’70s. This live multi-channel recording by Giulio Moratti captures their whole performance at the Tarcento Jazz Festival in Udine, Italy, on July 18th, 2014, and gives a perfect taste of their cosmic Turkish free jazz, with an electronic touch provided by the use of a Farfisa organ and tape echoes. Lacquer cut by Alessandro di Guglielmo at Elettroformati, Milan. Cover artwork by Canedicoda. Limited to 200 copies. “These guys are the real deal” –Joe McPhee.

File Under: Free Jazz, Turkey
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konstruktparker

konstruKt/William Parker: Live at NHKM (Holidays) 2LP
konstruKt have shared stages with such legends as Evan Parker, Marshall Allen, Joe McPhee, and Peter Brötzmann, showing their great ability to adjust their instantly composed music to the presence of a guest. This latest collaboration with the legendary American double bassist William Parker is another testament to their prowess. This 75-minute set of outstanding music was performed at Nâzım Hikmet Kültür Merkezi, Kadıköy, Instanbul, on September 12th, 2014, with a real arsenal of instruments. Four sides of pure spiritual fullfillment! William Parker: double bass, gralla; Korhan Futacı: tenor, alto, and soprano saxophones, flute; Umut Çağlar: electric guitar, moog, flute, zurna, percussion; Özün Usta: double bass, percussion; Korhan Argüden: drums. Lacquer cut by Alessandro di Guglielmo at Elettroformati, Milan. Cover artwork by Canedicoda. Limited to 200 copies.

File Under: Free Jazz, Turkey
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krokodil

Krokodil: First Recordings (Krokodil) LP+DVD
The year was 1968. We were playing, practising and experimenting every single day until late into the night in a basement in the heart of the city of Zürich. We were determined to follow our own musical path. Meanwhile, Serge Meier was setting up his recording studio on the outskirts of town. The generous financial offer from the cigarette company was too good to refuse. We bought ourselves the amplifiers we needed and recorded our first single, ‘Camel Is Top,’ with him. This also led—in the spring of 1969—to the recordings that we are now releasing to the public for the very first time. Teddy Meier, EMI Switzerland‘s A&R man, travelled to Munich with the tapes and handed them to the renowned producer Siegfried E. Loch. This paved the way for our band‘s first recording sessions in Germany for the American Liberty label. When the 1968 generation took to the streets, armed with Mao‘s Little Red Book, we were on a completely different trip. On the road with a sitar, violin, tambourine and harmonica, the beat, the bass, rhythm and blues, guitars and a keyboard, the congas and drums, we made our own music. Krokodil Music!” The bonus DVD contains his exciting account of the Krokodil story. For this definitive issue, Krokodil band leader Düde Dürst has assembled photos and film material painstakingly collected over many years.

File Under: Psych, Blues Rock, Switzerland
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big gun

Ennio Morricone: The Big Gun Down (Dagored) LP
Ennio morricone’s legendary score for The Big Gundown (Italian La Resa Dei Conti) is so densely packed with pathos and drama that run so deep into the listener’s mind. Using almost the same great talents shown on Sergio Leone’s “The Dollar’s Trilogy” with the orchestra conducted by fellow Bruno Nicolai and the mighty twangin’ guitar of Alessandro Alessandroni, the Maestro Morricone deliver similarly outstanding results!

File Under: Maestro, Italian, OST, Westerns
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munk

Jonas Munk: Absorb/Fabric/Cascade (El Paradiso) LP
Second solo LP from Causa Sui guitar player and producer Jonas Munk. This is pattern music, characterized by slow builds and subtle, but refined transformations, where gradual tectonic shifts and tiny harmonic gestures generate vivid emotional responses. Instead of imposing any direct intention or meaning, it’s an album that can create a mental environment for the listener to expand and open up into. “Absorb,” taking up the entire A-side, is a piece of meticulous balance, structured from techniques recalling the classical minimalists: soft-glowing analog synthesizer patterns in perpetual motion, creating new harmonic content as each bar progresses. Gradually, randomized modular effects are introduced as well as layers of white noise and detuned, heavily tube-overdriven guitar drones, slowly bathing the piece in warmly filtered fuzz. The B-side opens with two identical organ lines played against each other. After a few minutes the organs lock into a an effortless flow, gently rolling toward a pastoral peak several minutes later, where piano and various layers of electronics enters the soundscape, recalling the blissed-out spiritualism of Alice Coltrane or Popol Vuh. The album’s last track, “Cascade,” opens peacefully but soon enough crosses into an oscillating flood of sound. Gradually the intertwined layers of sound rise to enormous billows of sonic saturation, where each drone harmonizes against layers of distorted pulses. LP pressed on colored vinyl; includes download card. Limited to 500 copies.

File Under: Ambient, Kosmiche, Psych
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nature

Nature: s/t (Subliminal Sounds) LP
First ever vinyl reissue of rare and sought-after Swedish underground hard rock psych treasure from 1972. The band’s serious heavyweight musicians managed to create the ultimate so-called “brass och öl” (pot and beer) album. Includes a booklet with previously unpublished photos and in-depth liner notes by Reine Fiske. Limited edition of 600 copies.

File Under: Psych, Hard Rock, Sweden
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supa1

Joey Negro & Sean P: Supafunkanova Vol 1 (Z) LP
To tie in with second installment of Supafunkanova, Z Records presents a repackaged reissue of Vol. 1, originally released on double CD in 2007. Disco historians and top deckhands Joey Negro and Sean P cast the net yet wider with Supafunkanova, another retrospective of outstanding 12″ tracks from the late 1970s and early 1980s. Unearthing 24 gems from their respective colossal record collections, the groovesome twosome pull together some of the original backstreet 12″s that put funk into the disco decades. It’s a collection sure to please all. The hard-bitten funk fan is likely to find something previously unknown and the newly initiated disco boogie fan will find this a great place to start digging. There’s even an exclusive remix by Joey Negro of the old school classic “We Rap More Mellow” by The Younger Generation, thrown in as an added bonus. Reigning in sounds from New York, South Carolina, Washington, Boston, and Los Angeles, Supafunkanova Vol. 1 is an intoxicating blend of fiercely groovy arrangements, bouncy drumbeats, and funk-driven synths. A musical mix of tracks still as likely to get the booty shaking as they were decades ago! Also includes tracks by Backlash, Leprechaun, V.I.P. Connection, Silver Lining, The Power Band, Jackie Cole & Hot Platnium Fantasy, and Johnny Adams.

File Under: Funk, Disco, Boogie

supa2

Joey Negro & Sean P: Supafunkanova Vol 2 (Z) LP
Following the phenomenal success of Italo House and Remixed With Love, Z Records returns with another humdinger of a compilation to start off 2015. Supafunkanova Vol. 2 was compiled by Joey Negro and Sean P, who together have curated many previous albums including Disco (Not Disco), Destination: Boogie, and the ever popular Soul of Disco series. The dynamic duo continues to dig deep, compiling high quality albums filled with lesser known disco and boogie. As the title suggests, Supafunkanova focuses on the funkier end of the ’70s and ’80s, showcasing some of the bumpier grooves recorded in the disco era when even James Brown had to take notice of the Saturday Night Fever (1977)-inspired disco explosion. It will come as no surprise to hear some particularly hard to find gems have been unearthed here, and ones that aren’t just rare but genuinely merit being reissued. The first installment was released back in 2007, and the duo has been working Vol. 2 for some time. It takes a while to finish these albums — tracking down the owners of these musical gems, finding the right image for the sleeve — but it’s finally come together, and its release coincides with the repackaged reissue of Supafunkanova Vol. 1, available on double CD and double LP. Once again Z Records gives outstanding value with ten tracks on the double LP version. Highlights include Airplay’s boogie synth-infused “Drive Me Insane” and the “White Horse”-ish “Cool Out” by Magnum Force. Things get more DC go-go style on Stimulus’s “Super Stimulus,” ex Skull Snaps member Sam Culley delivers the up-tempo jazz funk track “Walk,” and the soulful, Teena Marie-ish “Sound Reason” by Splash gets an exclusive Joey Negro edit. Also includes tracks by The Blue Denim Band, The Sunburst Band, Star Quality & Class, Brenda Harris, and Nice and Tight Band.

File Under: Funk, Disco, Boogie

notwist

The Notwist: Shrink (Outer Battery) LP
“Back in print for the first time in many years, it’s The Notwist’s classic Shrink LP! Originally released in 1998, Shrink was The Notwist’s record that set the stage for their groundbreaking Neon Golden LP on Domino. Scanning 50,000+ copies in the U.S., Neon Golden was their first LP to receive wide exposure in America and was given a 9.2 by Pitchfork when it was released, but the true Notwist fans knew that Shrink was the record to own. To quote Pitchfork’s review of Neon Golden, ‘Shrink was a huge step into the world of electronic music and sounded almost completely unlike anything else made at the time. Mixing rock and pop with free jazz, old-timey folk, jagged minimalist beats and just about anything else you could toss in, I don’t have any problems saying now that the record was ahead of its time. To top it off, the shame in it all is that very few took notice; Zero Hour went belly up (rendering 12 and Shrink virtually impossible to find in record shops these days).’ With a new record on Sub Pop having scanned 6000+ copies to date, and original copies of Shrink now selling for $100+, we’re very excited to be reissuing this incredible release on vinyl. Housed in a beautiful gatefold sleeve, now is the time to grab this classic LP!”

File Under: Indie Rock, Pop, German
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batman

OST: Batman Animated Series (Mondo) Die-Cut 12″
Batman: The Animated Series Die-Cut 12″ Single featuring Main Titles & End Credits from the television show, housed in an incredible gatefold jacket designed by Phantom City Creative, and pressed on Black Vinyl with Gray Splatter. Die-Cut into the shape of the Bat-symbol.

File Under: OST, Animation, Mondo

cannibal

OST: Cannibal Holocaust (Mondo) LP
Considered one of the most notorious films ever released and banned in over 50 countries for many years, Ruggero Deodato’s most brutal film (and surely one of the first “found footage” films) still retains the power to shock to this day as it charts a team of documentary filmmakers as they go deep into the jungle to find and film the indigenous tribes of the area. “One thing that always stuck out like a sore thumb when viewing Cannibal Holocaust was Riz Ortolani’s score, which is beautifully composed, offering a mix of traditional orchestration and early synth work. As a stand alone piece of music it’s staggering, offering some respite from the violence onscreen and the juxtaposition between the sights onscreen and musical soundtrack have in my opinion never been bettered.” – Spencer Hickman, Mondo and Death Waltz Label Manager.

File Under: OST, Horror, Mondo
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das

OST: Das Madchen von Hongkong (Black Pearl) LP
A German b-movie action & crime soundtrack “Das Mädchen von Hongkong” / “The Girl from Hongkong” from 1973, that was never released before and shot in HongKong with an international flair and with the very famous German actor and show-man Joachim “Blacky” Fuchsberger. The music of this soundtrack was written by Gerhard Narholz and recorded under different pseudonyms and with different groups. Gerhard Narholz is a very famous library composer, musician and owner of the music-archive Sonoton. The music is between typical library crime music & gangster action cinematic tunes, with very funky grooves, wah wah guitars, Hammond organ riffs, fat horn stabs and fuzzy guitars and all that elements & ingredients that a gangster movie needs! Mastered by Sonoton studio-engineer legend Gerhart Frei, this album was never supposed to be released back in the day and the Black Pearl crew is very proud to present this unknown soundtrack pearl for the first time to music-lovers & record collectors worldwide!!!

File Under: OST, Funk, Wah
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django

OST: Django (AMS) LP
In 1966 the ‘spaghetti western’ genre was reworked once again by Sergio Corbucci’s “Django” – a director with the impressive average of 2-3 films per year. The settings change, with sand replaced by mud, and the protagonist, rather than moving on horseback, walks through wilderness dragging a coffin which hides a mysterious content. As Leone chose Eastwood, the hero is embodied by the unknown Franco Nero.These and other factors made “Django” an absolute cult, that gave way to a long series of sequels and that in recent times has been repeatedly honored at several levels (not only movies but also comics, music, cartoons…). Among the most recent contributions we have Quentin Tarantino’s “Django Unchained”: not only the original theme was used in its soundtrack, but the film has even an exceptional appearance of Franco Nero in the flesh! Perfect accompaniment to the muddy, cynical and gloomy scenarios, is Luis Bacalov’s music, an Argentine conductor well known to Italian progressive rock fans, since he worked with New Trolls, Osanna and Il Rovescio della Medaglia. The “Django” main theme gives chills even today, almost 50 years since its conception; it was recorded in two versions, one sung in Italian (by Roberto Fia) and the other in English (by Rocky Roberts), but only the first was released as a 45rpm at the time, while the second, along with several other tracks, was revived for the first time only in 1985.

File Under: OST, Westerns
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perrak

OST: Perrak (ASM) LP
Clarinetist, saxophonist, composer and arranger Rolf Kühn won the 2011 ECHO Jazz Award for his life’s work (coincidentally Rolf’s brother, the pianist Joachim Kühn, also won). This great honor will likely provide Rolf with the stamp of “jazz artist” for the rest of his life. It is hard to imagine that Rolf Kühn did in fact find the time to create solid works in other musical genres, such as the so called “easy listening”, swing, groovy and related forms of library music, plus original film and television scores. Historically many renowned jazz artists flirted with the big screen and left essential jazz influenced soundtracks for posterity. The names Miles Davis (ASCENSEUR POUR L’ECHAFAUD), Duke Ellington (ANATOMY OF A MURDER), Herbie Hancock (BLOW UP), and well-known “Kühn fan” Don Ellis (THE FRENCH CONNECTION) immediately come to mind. Rolf Kühn’s first film score was for DAS GELBE HAUS AM PINNASBERG (THE YELLOW HOUSE IN PINNASBURG – 1970) directed by Alfred Vohrer – a fast-paced, witty caricature of the sexual liberation movement of that time, which opposed the seemingly endless series of German sexploitation farces of the 1970s (such as the popular Schulmädchen series). Inspired by the great success of DAS GELBE HAUS the same contributors produced another genre movie: the crime film PERRAK (aka HARD WOMEN 1970). This production was even more exquisitely produced than DAS GELBE HAUS which resulted in a highly effective, tense thriller. PERRAK provided audiences with excellent entertainment, and currently it is still held in a revered cult position amongst professional filmmakers, mainly due to the involved artist’s unwillingness to compromise on quality, and it’s impressively modern production values. For both films director Alfred Vohrer wisely trusted Kühn’s skills and gave him carte blanche for the musical aspect. He got a big band and 12-15 strings – in total 30 instrumentalists. Kühn personally composed, arranged, orchestrated and conducted both works. As each of these scores were very well received by both critics and audiences they were reused many times, and later applied to several other movies.

File Under:  OST, Jazz
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scanners

OST: Scanners/The Brood (Mondo) LP
For the first time ever on vinyl, the soundtrack to two of David Cronenberg’s most iconic films, and the start of his decades long collaboration with Howard Shore: Scanners / The Brood. Featuring two pieces of original artwork by Sam Wolfe Connelly (each representing one of the films) and containing liner notes by Shore expert Royal S. Brown.

File Under: OST, Horror, Mondo

trawler

OST: Tales From Beyond the Pale: Hole Digger/Trawler (Deep Focus) LP
Inspired by the vintage radio shows of Alfred Hitchcock and Orson Welles, Tales From Beyond The Pale was conceived and is curated by Larry Fessenden and Glenn McQuaid. Deep Focus records brings you these two fantastic audio dramas with score and theme music on a deluxe double vinyl set. DISC 1: THE HOLE DIGGER: It was the summer that everything changed, that summer in Cape Cod when me and my brother first found the hole dug down in the dunes in front of our house. Whether it was for a grave or a treasure, that hole changed our lives for good. Larry Fessenden’s haunting tale stars James Le Gros (Drugstore Cowboy, Phantasm II) and Owen and Tobias Campbell (Bitter Feast, Conviction), and features Kevin Corrigan (The Departed, Pineapple Express), Heather Robb (House of the Devil, Stake Land) and Joel Garland (Orange is the New Black). DISC 2: TRAWLER: Glenn McQuaid’s bizarre tale of mayhem and menace on the high seas, Trawler takes us to the edge of sanity and beyond the pale. Featuring the voice talents of Christopher Denham (Shutter Island), AJ Bowen (House of the Devil, You’re Next) and Larry Fessenden (Habit, I Sell The Dead). “Tales from Beyond the Pale looks backward into nostalgia while offering glimpses of futuristic ambition… a handful of these episodes push the state of the art to the next level.” ­ Slate “Fans of shows from ‘A Prairie Home Companion’ to ‘This American Life’ that take their stylistic cues from radio’s glory days — should enjoy these macabre R­-rated tales.” ­ The New York Times Two LP set in a gatefold sleeve. Limited to 500 numbered copies. 100 copies come on colored vinyl (red and black swirl for The Hole Digger / Clear with blue and black mix for Trawler) and will be randomly inserted. Theme music by Jeff Grace, original score by Dave Eggar.

File Under: Radio Plays, OST, Horror

pelican

Pelican: The Cliff (Southern Lord) LP
The Cliff is a new vocal driven 12″ vinyl EP release from Chicago’s esteemed instrumental quartet Pelican which offers fresh reimaginings of “The Cliff,” a highlight from their most recent album, 2013’s Forever Becoming, and one recently completed exclusive new song. The four track EP includes remixes from Justin Broadrick (of Godflesh, Jesu), Aaron Harris and Bryant Clifford Meyer (of ISIS/Palms), and, for only the second time in their fourteen year career, vocals. Allen Epley (Shiner, The Life and Times) once again returns to the band’s fold to transform, in a complementary manner, the concept and overall outcome of what we have come to know as Pelican. No cheap juxtaposition, Epley’s seasoned voice is as broad and astonishingly capable on “The Cliff” as the members behind the music, a claim those who have listened to Epley’s contribution on “Final Breath” from 2009’s What We All Come To Need will attest to. Elsewhere on the record, Broadrick and AH/BCM turn in fresh takes of the source material, feeling less like remixes than new compositions reworked from the original source. Rounding out the set is the previously unreleased song “The Wait,” a contemplative semi-acoustic simmer that builds to an explosion of cathartic distortion and melody in true Pelican fashion.

File Under: Metal, Remixes
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pin

Post Industrial Noise: The Official Anthology (Medical) LP
Medical Records in collaboration with Crispy Nuggets (http://crispynuggets.blogspot.com) isproud to present a collection of tracks by Post Industrial Noise. PIN was an “audio artsemble” conceived in 1982 in Columbus, Ohio by the trio Robert Crise Jr, Gerald F. Nelson, and Dana Riashi Ritchey. They started on a drum machine, guitars, and vocals but quickly evolved to one member on synths and two guitarists on occasional synths. Robert Crise Jr maintained a studio titled “The Center For Contemporary Realism” where he conceived most of the lyrics for PIN. Gerald F. Nelson was a local performance artist, and Dana Riashi (OSU art student) claimed to be the “idea-mediator” between Robert and Gerald. Robert produced a flexidisc of PIN material through an Ohio Arts Council grant and distributed it through the OSU art tabloid “Dialogue”. The accompanying article from Cleveland’s Spaces Gallery noted PIN to have “redigested their input from influence bands such as Tangerine Dream, PIL, and Kraftwerk, to produce their own unique sound”. PIN performed mainly in galleries and occasionally clubs at the time. They produced a cassette release and were soon feeling the pressure to specialize towards more concrete art performance or club venues. It was this pressure that soon led all activity of PIN to a strangling halt unfortunately. Robert soon left Ohio for graduate studies in Detroit where he remains a “future archaeologist” today. Gerald and Dana then proceeded to form the outfit Near Paris (reissued on Medical Records in 2013). The output of PIN could be described a more experimental/minimalist offshoot of new wave with pleasant synth sequences blanketed in rich synth tones. Fans of Near Paris will obviously draw comparisons, but the overall feel of PIN is a bit darker and possibly more lo-fi in all aspects. The opening track “Sketch” has a definite cold wave vibe with slightly echoed vocals over a subtle drum machine beat and monotonous synth lines. “Prelude” is a deep instrumental cut with synth and sample interplay resulting in a hypnotic slab of brilliance.

File Under: Minimal Wave, LoFi
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purity ring

Purity Ring: Another Eternity (Last Gang) LP
Canadian duo Megan James and Corin Roddick – aka Purity Ring – return with their second full-length album entitled Another Eternity. 2012 breakthrough debut Shrines was in many ways a prescient suggestion of indie and popular music to come. The album earned the #1 spot on iTunes electronic chart, Pitchfork “Best New Music” laurels and praise from New York Times, Rolling Stone, NPR and more. While Shrines was composed remotely between Halifax and Montreal, Another Eternity marks the first time Megan and Corin were able to create a record in the same room. The pair ventured home to the frozen industrial landscapes of their birthplace Edmonton, Alberta to document much of what was to become the album. Megan and Corin recorded and produced their follow-up themselves, as always. With Another Eternity, Purity Ring trade the claustrophobic atmospheres of Shrines for wide-open expanses of sound. Between the brooding anthem “Begin Again,” the infectious “Bodyache,” and the time suspending “Stillness in Woe,” the emotional geography of Another Eternity is wider than ever: gloomy valleys and gleaming peaks in equal measure. Megan’s vocals are in sharper focus as she details her lyrical universe of “sweat and dreams” populated by seacastles, rattling spines and weeping drawers. Corin’s gift for evocative melody remains intact but his percussive skills and sense of composition have been refined and honed.

File Under: Indie Pop, Hip Hop
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schulze

Klaus Schulze: Official Bootleg Vol 1: Stars are Burning (Mirumir) LP
This double-LP set contains a recording of a performance by Klaus Schulze at Brussels University on April 16, 1977. The double-LP also includes a track exclusive to the vinyl edition of the release, “Invisible Musik,” recorded in Schulze’s studio in Hambühren in November 2007 and originally released on the 2008 compilation Muting the Noise 01. In this excerpt from his liner notes, Klaus Dieter Mueller recalls the process of releasing this singular artifact: “During his career Klaus has played 380 concerts, 119 as soloist and the others with guests or in a group such as Psy Free, Ash Ra Tempel, Tangerine Dream, or Stomu Yamashta’s Go. Some of these concerts were recorded and some of it was already released. The very first was the double LP album …Live… in 1980, and KS promised then, as it was printed on the cover: ‘This is my first and last live album.’ Meanwhile… we have a few more concert recordings of Klaus Schulze released, for posterity… and for enjoyment of the present listeners. These historic concert recordings from the concert tour in 1977 were partly available before on an illegal bootleg. We had the obvious idea to make this album (and maybe others) finally ‘official.'” Housed in a gatefold sleeve.

File Under: Electronic, Ambient, Kosmische
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mr face

Ty Segall: Mr. Face (Famous Class) 2×7″
Famous Class is proud to announce the brand new TY SEGALL: Mr. Face EP!!! Not only is this gatefold double 7″ EP packed with 4 killer jams ‘Mr. Face’, ‘Circles’, ‘Drug Mugger’, ‘The Picture’ it doubles as a playable pair of 3D glasses! Pressed on translucent red + blue colored vinyl, you just look through the records to activate the supercharged 3D artwork. Get weird with us.

File Under: Garage, Punk, 3D
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pinx

Shearing Pinx: People (Psychic Handshake) LP
On the cusp of the band’s 10th year in existence, Psychic Handshake Recordings is proud to present the latest slab of abstract shred from Canada’s preeminent noise rock outfit, Shearing Pinx. Blending shrapnel guitar work, free-jazz drum-pummel, and a new focus on head-banging bass lines, People is a hallmark release from a band that continues to innovate against the multiplying strictures of rock and roll in the age of the Internet.

File Under: Noise Rock, Post-Punk, CanCon
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shiflet

Mike Shiflet/High Aura’d: Awake (Type) LP
Awake is a collaboration between noise veteran Mike Shiflet and guitarist John Kolodij (aka High Aura’d), and was recorded over the course of three autumn days in Kolodij’s Rhode Island studio. This isn’t your expected by-email collaboration though; rather, the two sat together in the same room with amps humming and strings vibrating, letting the space and the physicality dictate the music. The sessions were improvisational in nature, and as the recordings were cleaned up and edited, only sparse field recordings were added to enhance the live takes. It’s a record that might sound electronic in parts — indeed, echoes of Tim Hecker or Yellow Swans are present throughout — but has the guitar at its core. Awake is a direct descendent of Godspeed You! Black Emperor or even Glenn Branca, but has been smudged, distorted, and delayed beyond recognition. What’s left are traces — the ghosts and outlines of songs, trapped in a fog of white noise and overdrive — and the end result is disarmingly serene. Mastered and cut by Matt Colton. Edition of 500 copies.

File Under: Electronic, Dark Ambient
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skenet

Skenet: Allting Rullar (Subliminal Sounds) LP
Limited edition of 500 copies. Stellar electric instrumental folk rock. Skenet are four young musicians who grew up in rural Sweden and started playing the fiddle when they were kids. They stand for the renewal of the genre and take it in new and truly exciting directions with electric guitars and Mellotrons, among other instrumentation. Members Lena and Staffan, who both are also legitimate riksspelmän (National Folk Musicians of Sweden), have previously worked with bands like Dungen. Now they present their own musical vision. If you dig progressive psych and folk this is definitely for you. Limited edition of 500 copies.

File Under: Folk, Psych, Prog, Sweden
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thing

The Thing: Garage (The Thing) LP
Garage is Scandinavian free jazz trio The Thing’s acclaimed third album, originally released in 2004 by the Norwegian label Smalltown Superjazzz. In the wake of this album’s original release, which was heralded by media outlets ranging from the BBC to Uncut to The Observer, the trio played a sold-out show in London with Four Tet and Prefuse 73 and embarked on European and American tours. Their performance at Oslo’s Øya Festival with Sonic Youth’s Thurston Moore as a guest guitarist was particularly mind-blowing, and the trio was soon invited by Basement Jaxx to play the Wireless Festival in London. Garage includes covers of songs by the Yeah Yeah Yeahs, The Sonics, Peter Brötzmann, The White Stripes, and Norman Howard, along with two of the trio’s originals. It was recorded on January 3 and 4, 2004, by Kai Andersen at Athletic Sound. Played by Mats Gustafsson: tenor and baritone saxophones; Ingebrigt Håker Flaten: double bass; Paal Nilssen-Love: drums, percussion, and megaphone-sampler.

File Under: Free Jazz

torche

Torche: Restarter (Relapse) LP
Heavy rock titans Torche make their Relapse debut with the thunderous Restarter, a ten song triumph of an album. The group rose to popularity merging huge infectious melodies with downtuned, crushing sludgey rock and on Restarter they’ve perfected the marriage. This is a record that is simultaneously hum-able and heavy that will just as easily appeal to fans of Dinosaur Jr and Sonic Youth as it will Melvins and High On Fire. But what truly sets Torche apart from their peers is their ability to use top-notch songwriting and soaring, harmonic vocals to create records that are heavier, louder and hookier than anyone else out there. Bass player and producer Jonathan Nuñez said of the new album: “I feel it’s strong sonically and harder hitting than the previous record [Harmonicraft]. I’m happy with the last record, but I feel on this record, it’s just more solid song to song. You’ve got to move forward. You can’t release the same record over and over.”

File Under: Metal, Hard Rock
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torrisi

Nedelle Torrisi: Advice From Paradise (Ethereal Sequence) LP
“Nedelle Torrisi is a singer with a voice for the ages and a songwriter who would fit in at the Brill Building. Her most recent album Advice from Paradise is the brainchild of Torrisi and producer Kenny Gilmore, guitarist / keyboardist /drummer / secret-musical-mastermind with Ariel Pink’s Haunted Graffiti. Gilmore plays most of the instruments on Advice, a labor of love more than two years in the making, cut between tours and other engagements. Let us be clear: this all-heart, no-gimmick album is truly excellent. Nedelle’s songcraft harkens to a time when albums were albums, songs had structure, anyone could sing them. Rich in emotion, neither retro nor particularly modern, Advice from Paradise suggests a timeless midway point between Carole King and Sade. Best known as the lead singer of Cryptacize, Nedelle has also sung on albums by Ariel Pink, Dev Hynes, and Sufjan Stevens, and opened tours for Julia Holter, Deerhoof, of Montreal, Magnolia Electric Co., Destroyer, Xiu Xiu, Jens Lenkman, and Fiery Furnaces. In her spare time, Nedelle writes a romance advice column at advicefromparadise.com.”

File Under: Indie, Pop
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tsetse

Tse Tse: Land in Sicht (Medical) LP
Medical Records returns to Germany for another piece of the Neue Deutsche Welle story with the reissue of the one and only album by Tse-Tse. Long out of print from it’s original 1983 pressing on Neuland Tonträger, it is due to be heard again. Tse-Tse were Claas Melhop and Clement Hülse. The duo met in Hamburg at a disco. While Claas was a medical student and trained flutist, Clem was a school drop out playing in a German punk band (Hermann’s Ogrie) which he joined when he was only 16. They hit it off and spent a lot of time listening to early Human League, Virgin Prunes and other oddball stuff from the time. In between hanging out at trendy bars at some point, Clem took a tiny toy Casio keyboard over to Claas’s place. They began improvising and playing through the home stereo. The drum machine sounds were simply whatever was built into the cheap gear, and everything was recorded on a cassette tape player. The songs came together quite easily with key changes and rhythms evolving quite instinctively. A friend of the band ran an independent record label and insisted they go into the studio. They recreated their homemade tunes and added some vocals, sax, bass, and effects. They did use a Korg MS20 and Roland Drumatix which they now had access to. Following the recording, Clem moved to Berlin and later London. He played in multiple grunge bands, but none of them had any use for the novelty toy synthesizers (which at this point were deteriorating rapidly). Back in Hamburg, Claas finished the album but shortly thereafter he suffered a serious car accident. Sadly the entire project suffered a premature end, and none of the pieces were ever performed live. Clement is still playing in bands today and works as a web designer. Claas eventually finished his medical degree and moved to Berlin. He continued to play music with Temple Fortune who released several albums. He is now an established psychiatrist. The album is a very interesting hybrid of minimal instrumentals interspersed with unique more melodic tracks with vocals. There seems to be an almost prog element (in the most stripped down of fashions) and a clear knack for experimentation. After the brief intro, the first track “Land In Sicht” highlights the duo’s mastery of novelty keyboards highlighted by restrained use of synth and bass guitar with moody vocals. Whereas the first side tends to feature more traditional style synth oriented tracks with vocals (though still quirky and atypical), the second side evolves into long convoluted instrumental pieces with samples and an array of synths and drum machines in a more heady fashion. Highly recommended for fans of the Neue Deutsche Welle genre and especially those fans of Die Gesunden, instrumental tracks of Der Plan, and even the synth stylings of Soft Cell.

File Under: New Wave, Synth Pop

velvet illusions

Velvet Illusions: s/t (Moi J’Connais) LP
Following the success of their Human Expression reissue, Moi J’Connais continues their search for forgotten Californian bands of the late 60s. Having unfortunately fallen into the pits of oblivion, The Velvet Illusions never released a full LP. Hailing from the Northwest, the young fellows (aged 14 and 17 at the time) moved to Hollywood in the hope of finding glory and success. Between 1967 and 1968, an EP and three singles were released, and now these ten rare gems are finally available as an LP! Organ and saxophone, unbridled fury, a trip through garage music from acid beats to anti-pot-smoking ballads (!!!), this record paints a bizarre picture of what American youth in the 60s was trying to do. The ten tracks are as intriguing as they are catchy, with inspiring sing-along melodies that break the aesthetic mould of most bands of the time.

File Under: Garage
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white

Matthew E. White: Fresh Blood (Domino) LP
Richmond, Virginia-based singer, songwriter, bandleader, and musical polymath, Matthew E. White releases Fresh Blood, his first full-length album for Domino and the follow-up to the “magical” (Pitchfork) debut Big Inner. Produced by White and Spacebomb partner Trey Pollard, and mixed by Pat Dillett (David Byrne, Nile Rodgers), Fresh Blood marks the next chapter of White’s Richmond, VA-based Spacebomb — an analog studio, record label and production house with in-house strings, horns and a choir at his behest. Fresh Blood is a bracing, beguiling record and a bold advance for White – a record that feels like the brilliant bloom to Big Inner’s striking bud.

File Under: Indie, Pop
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white birch

White Birch: Weight of Spring (Glitterhouse) LP+CD
In August 2006, Norwegian band The White Birch played what seemed at the time to be their final show, and broke up after ten years and four albums together. The band survived, though, in the heart and mind of Ola Fløttum, who refused to forsake the band. He began composing music for films, learning bit by bit how to accompany pictures with his music. He describes his time since the band’s break-up: “It has taken nine years, many songs have been thrown out the window before I eventually found my 12 chosen ones. During these years I’ve lost my mother, started a family, raised two kids, and bought a house in Oslo were I’ve recorded most of the album in the basement.” The resultant music takes the form of sometimes almost unnoticeable tones and soundscapes. The Weight of Spring. The world as we see it. A long road. In the end Darkness will prevail. “Once I was just a boy with the urge to destroy. I did not read these newborn sparks through the wilting trees, I could only see the dark as it came.” Earth, as it awakes. Warmth. “I was blind, now I can see… no more darkened doors.” And as it elapses. Pain. “As the morning dew fell as rain.” The White Birch became Ola Fløttum. “A lot of freedom, not always so easy to cope with, since you have to argue with yourself.” Fløttum recorded alongside the classically trained composer Ole Henrik Moe on violin, viola, and singing saw, with rhythm from Norwegian Academy of Music graduate Pål Hausken and Moren Barrikmo — both members of Susanna Wallumrød’s Magical Orchestra (Wallumrød herself contributes vocals on “The Hours”). The album also features Ingrid Olava, Ingar Hunskaar (Kings of Convenience, St. Thomas, Serena-Maneesh,Jaga Jazzist), and Fløttum’s wife, the actress Ellen Dorrit Petersen. Grammy-winning mastering engineer Bob Katz put the final touches on The Weight of Spring. Will we remember this album in the distant future? And if so how? Names? Instruments? Its origin? The places it took us to? The White Birch: The Weight of Spring: Love, as it awakes. “Love will never change the morning sun, love will never change the way the darkness runs.”

File Under: Indie, Norway
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cajun

Various: Hypnotic Cajun & Obscure Zydeco Vol. 2 (Moi J’Connais) LP
Following the success of Volume 1 in 2009, Cajun / Zydeco Vol. 2 is finally here! The long wait was not due to a lack of inspiration but rather to the creator’s diligent research. MJC dig into some of the world’s most moving and lesser-known music, creating a rich compilation of rare gems. Some of these tracks had never been pressed onto vinyl since their original 12” version! It’s a trip into the South of Louisiana, where this music – a blend of worlds and traditions – took shape at the beginning of the 20th century.

File Under: Cajun, Zydeco, The South

…..Used Goodies…..

A.C. Reed: I’m in the Wrong Business (Alligator) LP
A.C. Reed: Take These Blues And Shove ‘Em (Ice Cube) LP
The Band: Cahoots (Capitol) LP
The Band: Moondog Matinee (Capitol) LP
The Band: Northern Lights – Southern Cross (Capitol) LP
The Band: Stage Fright (Capitol) LP
The Band: s/t (Capitol) LP
The Beatles: Sgt. Pepper’s Lonely Hearts Club Band (Capitol) LP
The Beatles: Magical Mystery Tour (Capitol) LP
The Beatles: White Album (Capitol) LP
Carey Bell: Blues Harp (Delmark) LP
Big Mama Thornton: In Europe (Arhoolie) LP
Eddie Clearwater: Flim Doozie (Rooster) LP
Eddie Clearwater: The Chief (Rooster) LP
Eddie Clearwater: Two Times Nine (Charly) LP
Ry Cooder: Chicken Skin Music (Reprise) LP
Ry Cooder: Paradise and Lunch (WEA) LP
Crosby, Stills, Nash & Young: Deja Vu (Atlantic) LP
Curved Air: Midnight Wire (BTM) LP
Curved Air: Airborne (RCA) LP
Curved Air: Air Cut (Warner) LP
Rev. Gary Davis & Pink Anderson: Gospel, Blues & Street Songs (Riverside) LP
Floyd Dixon: Houston Jump (Route 66) LP
Willie Dixon: Blues Roots Vol. 12 (Chess) LP
Willie Dixon: Live (Jackal) LP
Bo Diddley/Muddy Waters/Little Walter: Super Blues (Checker) LP
Donovan: 7-Tease (Epic) LP
Donovan: Fairytale (Marble Arch) LP
Donovan: Universal Soldier (Marble Arch) LP
Donovan: Ocean Road (Epic) LP
Donovan: Like It Is (Hickory) LP
Donovan: Barabajagal (Epic) LP
Bob Dylan: Desire (Columbia) LP
Bob Dylan: Freewheelin’ (Columbia) LP
Bob Dylan: John Wesley Harding (Columbia) LP
Jimi Hendrix: Electric Ladyland (Reprise) LP
Jimi Hendrix: The Essential (Warner) LP
The Hollies: Words & Music by Bob Dylan (Epic) LP
Sam ‘Lightning’ Hopkins: the Blues (Joker) LP
Big Walter Horton: With Carey Bell (Alligator) LP
Howlin’ Wolf: Vol 1 (Chess) LP
Howlin’ Wolf: Vol 2 (Chess) LP
Howlin’ Wolf: s/t (Chess) LP
Etta James: Tell Mam (Chess) LP
Jethro Tull: Thick as a Brick (Capitol) LP
Jethro Tull: Aqualung (Capitol) LP
Lonnie Johnson: Blues By (Bluesville) LP
Robert Johnson: King of the Delta Blues (Columbia) LP
B.B. King: Now Appearing at Ole Miss (MCA) LP
B.B. King: From The Beginning (Kent) LP
B.B. King: Live In Cook County Jail (Pickwick) LP
B.B. King & Bobby Bland: Together For the First Time… Live (ABC) LP
King Biscuit Boy: Mouth Of Steel (Stony Plain) LP
King Biscuit Boy: Richard Newell (Stony Plain) LP
King Curtis: Trouble In Mind (Tru-Sound) LP
Hip Lankchan: Original Westside Chicago Blues Guitar (JSP)  LP
Leadbelly: Legend of (Joker) LP
Bob Marley: Legend (Island) LP
Brownie McGhee: Brownie Speaks (Paris Album) LP
Memphis Slim: Steady Rolling (Bluesville) LP
Memphis Slim: The Real Folk Blues (Chess) LP
Memphis Slim: Travelling With The Blues (Storyville) LP
Johnny Otis: Into The Eighties (Charly) LP
Wilson Picket: The Exciting (Atlantic) LP
Pink Floyd: Wish You Were Here (CBS) LP
Pink Floyd: Dark Side of the Moon (EMI) LP
Rolling Stones: Hot Rocks (London) LP
Rush: Moving Pictures (Mercury) LP
Sam & Dave: Soul Men (Atlantic) LP
Sly & The Family Stone: Greatest Hits (Epic) LP
Al Smith: Hear My Blues (Bluesville) LP
Super Super Blues Band: Howlin’ Wolf, Muddy Waters, Bo Diddley (Checker) LP
Buddy Tate: A Basket of Blues (Spivey) LP
T. Rex: The Slider (Reprise) LP
Maurice John Vaughn: Generic Blues Album (Alligator) LP
Sonny Boy Williamson: Blues Classics (Blues Classics) LP
Sonny Boy Williamson: Down & Out Blues (Chess) LP
Sonny Boy Williamson & The Yardbirds: 1962 Live in London (L+R) LP
Jimmy Witherspoon: Evenin’ Blues (Prestige) LP
Neil Young: Harvest (Reprise) LP
Various: Blues Roots (Poppy) LP
Various: Fillin’ in Blues (Herwin) LP
Various: Chicago/The Blues/Today! Vol 1 (Vanguard) LP
Various: Mississippi Delta Blues Vol 2 (Arhoolie) LP
Various: Soul Meeting Saturday Night Hootenanny Style (Vee Jay) LP
Various: Story of the Blues (Columbia) LP

…..Restocks…..

Aleph-1: s/t (Raster Noton) LP
Arcade Fire: Reflektor (Sonovox) LP
Arctic Monkeys: AM (Domino) LP
Les Baxter: Barbarians (So Far Out) LP
Sir Richard Bishop: Tangier Sessions (Drag City) LP/CD/CS
Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Twoisms (Warp) LP
James Brown: Live at the Apollo (Mr Suit) LP
Captain Beefheart: Trout Mask Replica (Reprise) LP
Caribou: Our Love (Merge) LP
John Carpenter: Lost Themes (Sacred Bones) LP
Causa Sui: Euporie (El Paradiso) LP
Nick Cave: Let Love In (Mute) LP
Nick Cave: Push The Sky Away (Mute) LP
Nick Cave: Tender Prey (Mute) LP
Chrome: The Visitation (Cleopatra) LP
Clipse: Hell Hath No Fury (Get On Down) LP
Cluster & Eno: s/t (Bureau B) LP
Cream: Fresh Cream (Vinyl Lovers) LP
Death From Above 1979: Physical World (Last Gang) LP
Dirty Beaches: Drifters/Love is the Devil (Zoo) LP
Dr. Hoffman/Les Baxter: First Electronic Chill Out Record (Black Sweat) LP
Earth: Primitive & Deadly (Southern Lord) LP
Ella Fitzgerald: 3 Classic Albums (AOM) 3LP
Flying Lotus: Until The Quiet Comes (Warp) LP
Flying Lotus: You’re Dead! (Warp) LP
Marvin Gaye: What’s Goin’ On (Tamala) LP
Myriam Gendron: Not So Deep As A Well (Feeding Tube) LP
Gnod/White Hills: Drop Out II (Rocket) LP
Harold Grosskopf: Oceanheart (Bureau B) LP
Harold Grosskopf: Synthesist (Bureau B) LP
Hawkwind: Space Ritual (Rock Classics) LP
JB’s: Food for Thought (Get on Down) LP
Seu Jorge & Almaz: s/t (Now Again) LP
Joy Division: Unknown Pleasures (Rhino) LP
Kinks: Kinks Are The Village Green (Sanctuary) LP
Erkin Koray: Arap Saci (Pharaway Sounds) LP
Yusef Lateef: Eastern Sounds (Prestige) LP
Madlib/Freddie Gibbs: Pinata (MMS) LP
MF Doom: Mmm. Food (Rhymesayers) LP
Harry Mwale Experience: s/t (Strawberry Rain) LP
National Wake: Walk In Africa (Light in the Attic) LP
Om: Live (Outer Battery) LP
Orchestre Poly-Rhythmo: Skeletal (Analog Africa) LP
OST: Jurassic Park (Mondo) LP
OST: The Raid (Mondo) LP
Salty Dog: s/t (Strawberry Rain) LP
Sonny Sharrock: Black Woman (4 Men With Beards) LP
Andy Stott: Faith in Strangers (Modern Love) LP
Survival: Simmer Down (Strawberry Rain) LP
Thin Lizzy: s/t (Light in the Attic) LP
Thin Lizzy: Shades of a Blue Orphanage (Future Days) LP
Thin Lizzy: Vagabonds of the Western World (Future Days) LP
This Heat: s/t (These) CD
Witch: Lazy Bones (Now Again) LP
Various: Bambara Mystic Soul (Analog Africa) LP
Various: Brazilian Disco Boogie (Favorite) LP
Various: Country Funk (Light in the Attic) LP
Various: I Am The Center (Light in the Attic) LP

Tagged , , , , , , ,

…..news letter #680 – yack…..

…..pick of the week…..chrome

Chrome: Box (Cleopatra) 7LP Box
The monumental 1982 vinyl box set from San Francisco art rock legends Chrome gets revisited with this super deluxe collector’s version! This limited edition piece contains the original 6 LPs of the band’s most well known works including 1977’s Alien Soundtracks, 1979’s Half Machine Lip Moves, and 1981’s Blood On The Moon PLUS a special bonus LP of the 1984 album that has not been available on vinyl for almost 30 years! All albums are pressed on 180 gram vinyl and packaged in a silk screened box with a gorgeous 40 page, full color book by Neil Martinson, containing extensive Chrome history, rare photos and illustrations!

File Under: Punk, Psych, Art Rock, Box Sets
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…..new arrivals…..

ata kak

Ata Kak: Obaa Sima (Awesome Tapes From Africa) LP
Ata Kak’s 1994 cassette Obaa Sima fell on deaf ears when it was self-released in Ghana and Canada. The music on the recording – an amalgam of highlife, Twi-language rap, funk, hip-hop and electronica – is presented with the passion of a Prince record and the DIY-bedroom-recording lo-fi charm of early Chicago house music. The astute self-taught songcraft and visionary blend of sounds and rhythms has made the album a left-field cult favorite among adventurous listeners worldwide. Awesome Tapes From Africa founder Brian Shimkovitz found the tape in 2002 in Cape Coast, Ghana – one of only a few pressed – and later made it the inaugural post on the Awesome Tapes From Africa blog. Thousands of downloads, hundreds of thousands of views on YouTube, music videos, remixes and years of mystery as to Ata Kak’s whereabouts, culminate in this remastered release featuring rare photos and the full back story of one of the internet age’s most enigmatic artists.

File Under: African, Highlife, Rap, Electronic
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blackmoth

Black Moth Super Rainbow: House of Apples & Eyeballs (Graveface) LP
The House of Apples & Eyeballs is not a split, but a year-long, full-length collaboration by both bands. While a couple tracks did make it to the record in their original, one-band form, most were passed back and forth for several rounds of dismemberment, rearrangement, and augmentation. The result overflows with sonic treats: cut-up beats and vocoder melodies collide with huge, distorted riffs.

File Under: Electronic, Pop
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body

The Body & Thou: You, Whom I Have Always Hated (Thrill Jockey) LP
The Body and Thou are bands with Southern roots that have been pushing the boundaries of heavy metal for over a decade. Both have maintained relentless touring schedules, a dedication to DIY ethics and aesthetics, and a commitment to push their respective brands of extreme music into previously unexplored territories. You, Whom I Have Always Hated is a new collaborative release from Thrill Jockey that showcases both bands’ unique abilities to create music that is emotionally effecting and unrelenting. On You, Whom I Have Always Hated, each band’s distinctive elements shine through and combine to create something more visceral than the sum of their parts. While the groups have different approaches to live performance and stylistic nuances, they share general creative ideas and have a history subsumed in themes of alienation, melancholy, and despair. They describe the new collaboration as “a twilight dungeon crawl exploring the winding, ruined halls of Mad King Duro’s Castle, best friends at your side, enemies crushed beneath your heels, mysteries solved, and treasures found.”

File Under: Metal, Doom
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tender

Nick Cave & The Bad Seeds: Tender Prey (Mute) LP
2015 Heavy-Weight 180 Gram vinyl reissue with download. Fourteen classic Nick Cave & The Bad Seeds albums have been made available for the first time on heavyweight 180g vinyl. Each album has been re-mastered (overseen by Mick Harvey, former Bad Seed and founder member), and all album artwork reflects the original release from the cover to the printed inner sleeves. Originally released on the 19th September 1988, recorded in Berlin, London and Melbourne and produced by the band. Tender Prey kicks off with ‘The Mercy Seat’ — a song whose critical stature as a masterpiece was all the more heightened when Johnny Cash covered it on his American Songs III album in 2000. Tender Prey also features a song that has become a live staple, ‘Deanna’.

File Under: Rock, NICK CAVE
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dengue

Dengue Fever: Deepest Lake (Tuk Tuk) LP
The Deepest Lake finds Dengue Fever expanding their trademark psych/surf/Cambodian pop sound with African percussion, vocals that would make Exene and John Doe proud, sweeping melodies and extended psychedelic jams of songs that often time out after five or six minutes. The band made a conscious decision to head into the studio looking to expand their sound while also following their instincts to explore jams that came out of demos recorded in their home studio where the album was produced entirely by the band themselves. The result is sound that showcases their musically adventurous side while still remaining faithful to the bands otherworldly sound.

File Under: Psych, Surf, Cambodian Pop
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seasonalSteve Gunn & Black Twig Pickers: Seasonal Hire (Thrill Jockey) LP
Steve Gunn and The Black Twig Pickers are key figures in the current resurgence of American traditional and folk music. Gunn’s songwriting and inventive guitar playing are driven by his restless mind, having released 9 solo and collaborative albums and appeared as a guest on nearly as many since his debut in 2007. The Black Twig Pickers play a fervent form of traditional music from their Appalachian homeland. The group performs often forgotten traditional songs, especially from their Virginia stomping-ground, creating a living history of old time music. They also have an ongoing residency at the legendary Floyd Country Store. Their individual works have received extensive praise from Rolling Stone, NPR, the BBC, Mojo, Uncut, Maverick, Elmore, and Pitchfork. Seasonal Hire, their first full-length collaborative release, combines Gunn’s circular, meditative guitar playing with the Twigs’ energetic mastery of old time instrumentation in a purely acoustic environment resulting in  a warm,  energetic, and exceptional album. Seasonal Hire collects four original tunes and one traditional piece, with Gunn and The Black Twig Pickers’ Mike Gangloff and Sally Anne Morgan all taking turns with lead vocal and songwriting. Like all of the Twigs’ albums, it was recorded live, without overdubs or amplification. Gunn fell right in with this aesthetic and threw down guitar parts like he’d been sparring with banjos and fiddles for years. The majority of the album was recorded at Joseph Dejarnette’s Studio 808a in rural Topeco, Virgina, where Gunn and Gangloff recorded Melodies for a Savage Fix, an improvisational masterpiece of pan-cultural meditations. Echoes of Melodies can be heard on Seasonal Hire’s titular b-side, an extended, beautiful ramble equally indebted to old time music and Indian ragas. Additional recording was done closer to Gunn’s New York home at the famed Black Dirt Studios. Black Dirt has been the home for many groundbreaking records by artists such as Charlie Parr, Jack Rose, Bill Orcutt,  Expo 70, and Tom Carter. The album was mastered by Patrick Klem. Seasonal Hire shows the impressive range of some of the most talented and imaginative musicians that have made a name for themselves experimenting in folk forms today.

File Under: Blue Grass, Folk, Roots, Banjo
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hopkins

Jon Hopkins: Late Night Tales (Night Time Stories) LP
After releasing his debut album ‘Opalescent’ at the rookie age of 21 in 1999, he’s gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album ‘Immunity’ in 2013, which was nominated for the Mercury Prize. The story arc with which Hopkins succeeded on ‘Immunity’ makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. Opening with the unreleased ‘Sleepers Beat Theme’ by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming. Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’. Poet and fellow Brian Eno collaborator (their joint album ‘Drums Between The Bells’ was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer ‘I Remember’, underpinned with additional sound design by Hopkins.

 File Under: Electronic, Slow Techno, Ambient
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zep

Led Zeppelin: Physical Graffiti (Warner) 2LP/3LP
Painstakingly remastered from the original master tapes by guitarist Jimmy Page, and pressed at Pallas (Europe’s best plant), this Deluxe Edition 180g 3LP of Led Zeppelin’s Physical Graffiti sounds and looks utterly amazing. Page spent years on this project with one goal in mind: Making these reissues the end-all-be-all definitive editions of his iconic band’s records. He has succeeded, and then some. In addition to the reference-caliber audio, each LP features packaging that fully replicates the look of the first pressing of the original album. You won’t believe how these records sound, look, and feel. In addition, this special Deluxe Edition features previously unreleased companion audio that will satisfy every fan. The companion audio for Physical Graffiti: Deluxe Edition features seven bonus tracks that offer illuminating insight, including rough mixes of “In My Time Of Dying” and “Houses Of The Holy,” as well as an early mix of “Trampled Under Foot” called “Brandy & Coke.” All the unreleased companion tracks offer fans a chance to hear well-known songs from a different perspective, including the Sunset Sound mix of “Boogie With Stu” and “Driving Through Kashmir,” a rough orchestra mix of the band’s eight minute opus “Kashmir.” Also featured is “Everybody Makes It Through,” a strikingly different early version of “In The Light” with alternate lyrics. Certified 16x platinum in the U.S., the commercial success of Physical Graffiti was equaled by its critical reception. Generally regarded as one of the greatest double albums of all time, the original 15 tracks represent a creative tour de force that explores the band’s dynamic musical range, from the driving rock of “Custard Pie” and acoustic arrangement of “Bron-Y-Aur Stomp” to the Eastern raga of “Kashmir” and funky groove of “Trampled Under Foot.”

File Under: Classic Rock
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magma5

Magma: Felicite Thosz (Jazz Village) LP
“Magma first released Félicité Thösz in 2012. Dominated by the celestial voice of Stella Vander, it was the band’s first studio album since they re-formed in the early part of the century. With lyrics in French (which is not common in the band’s discography) as well as Kobaïan, the language invented by Christian Vander, Félicité Thösz is a trip which will lead you from Japan to the Urals via Central Asia, with a detour to pay homage to Tamla Motown. Powerful, hypnotic, and unclassifiable, there has been absolutely nothing like Magma in the last fifty years.” 180-gram vinyl. Includes download code.

File Under: Prog, Jazz Rock, Zeuhl
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magma6Magma: Slag Tanz (Jazz Village) LP
“Jazz Village’s Magma series primarily focuses on classic recordings, reissued in celebration of the band’s 45th anniversary. However, Slag Tanz — a masterpiece of symphonic metal — has previously only been heard in live performance.” 180-gram vinyl. Includes download code.

File Under: Prog, Jazz Rock, Metal, Zeuhl
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meter

Meters: Fire on the Bayou (Rhino) LP
By the time they released Fire On the Bayou in 1975, The Meters (now a quintet, with the addition of Cyril Neville to the lineup) had graduated from regional cult heroes to an internationally renowned recording act. In addition to playing on records by the likes of Paul McCartney, Dr. John, LaBelle and Robert Palmer, they were personally invited by the Rolling Stones to open their 1975 U.S. tour. The momentum helped Fire On the Bayou become one of the Meters’ most acclaimed and commercially successful albums and it remains a fan favorite, thanks to such gritty classic jams as “Talkin’ ‘Bout New Orleans” and “They All Ask’d for You,” which brilliantly demonstrate the band’s effortless instrumental expertise and organic rhythmic rapport.

File Under: Funk, Soul
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freecovers.net

Metric: Grow Up and Blow Away (Last Gang) LP
Grow Up and Blow Away was the first recorded album by indie rock band Metric. The album was recorded in 2001, but delayed for years by their record label. As the years passed, the band’s sound changed to the point where they no longer felt the album would be what the fans expected to hear, so Metric recorded a completely new album, Old World Underground, Where Are You Now?, and released that instead. Last Gang Records later purchased the rights to the album and released it on June 26, 2007. Compared with the 2001 version, there were added the songs “London Halflife” and “Soft Rock Star” (Jimmy vs. Joe mix) from the 2001 EP Static Anonymity and removed the songs “Torture Me”, “Fanfare” and “Parkdale”. Also the order of some songs was changed and some songs (like the title track and “Rock Me Now”) were slightly re-worked.

File Under: Rock, Indie
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moon duo

Moon Duo: Shadow of the Sun (Sacred Bones) LP+7″
The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time that they were privy to the act. Moon Duo‘s third full-length LP, Shadow of the Sun, was written entirely during one of these evolving phases. Working in a rare and uneasy rest period for the band, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes, offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the new album in the unfamiliar environment of a new dwelling; a dark Portland basement. The effect was akin to the act of descending from a train after a long and arduous trip, only to see it (and all your subsequent realities) speed off into the horizon without you. It was from this stir-crazy fire that Shadow of the Sun was forged. Evolving the sound of their critically acclaimed first two full length records, Mazes (2011) and Circles (2012), Ripley Johnson and Sanae Yamada have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band‘s last release, Live in Ravenna. Moon Duo used the creative process as a flickering beacon of sanity in an ocean of uncertainty while in these land bound months. The unchartered rhythms and tones of this album reflect their strive for equilibrium in this new environment, and you can hear that Shadow of the Sun is the result of months of wrangling with this profound, unsettling way of being. Exploring the record, a listener will perceive the song “Night Beat,” with its off-kilter dance rhythm, as an attempt by the band to find meaning and acceptance in this new, shifting ground, while “Wilding” delivers a familiar Moon Duo sound, taking refuge in a repetitive, grinding riff-scape. Elsewhere on the record, the band recognizes that no journey is possible without being on the road, paying tribute to the cosmic trucker boogie saint in “Slow Down Low” and “Free the Skull.” From the narcoleptic dancefloor killer “Zero,” the record spirals perfectly into a resplendent daydream, the ecstatically pretty “In a Cloud,” which is a spectacular moment to witness. In a nod to a great pop tradition, the lead single, “Animal,” will appear as the A-side of a 7-inch, packaged with each copy of the vinyl edition. The song has an early West Coast punk viciousness to it that is entirely unique to the Moon Duo catalog. To further coat the album with an air of uncertainty and tension, the duo decamped to Berlin to mix with Finnish beat-meister Jonas Verwijnen of Kaiku Studios. There in a counter-intuitive act of creative catharsis, they managed to dissolve the album’s formal technique into a cool and paradoxically sane sound of confusion. The result, at the end of the trip, is the album Shadow of the Sun.

File Under: Psych, Rock, Wooden Shjips
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no age

No Age: Weirdo Rippers (Fat Cat) LP
By now the two young heavyweights from the LA skate/art/punk underworld, No Age, are a well-known and established part of the indie pantheon. But back in 2007 Dean Spunt and Randy Randall were just building quite a bit of noise in the wake of the demise of their previous band Wives.  After working out their sound in the LA scene revolving around the now fabled venue The Smell (pictured on the cover of Weirdo Rippers) they decided to release five limited vinyl only releases on a variety of DIY indie labels across the globe on the same day (namely UTR, Deleted Art, Teardrops, Youth Attack, and Dean’s own PPM label). Designed by Brian Roettinger, Randall and Spunt, the back of each record’s sleeve was a different color, and had one of the letters that, when you collected all of them, would join to spell No Age. Their debut LP release for FatCat, Weirdo Rippers, was a collection of recorded highlights taken from the aforementioned releases. At the time it was readily available on CD and has since found a home digitally but it’s not found its way back to the vinyl format that first gave many of these tracks life. Now they’re presenting the first domestically available version of Weirdo Rippers pressed to vinyl; an utterly essential piece of No Age’s past!

File Under: Indie Rock
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prekop

Sam Prekop: The Republic (Thrill Jockey) LP
Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and exploration. As the singer and guitarist of The Sea and Cake, Prekop has incorporated elements of traditional styles from around the world, expanding the public perception of what it means to be the leader of a pop band. In recent years, he has also established himself as a modular synthesist, building his instrument meticulously to find the perfect combination of oscillators, sequencers, limiters and filters to create a system that allows him to create sounds that are surprising and inviting. His new album The Republic is his latest synthesizer work, following 2010’s Old Punch Card, and showcases Prekop’s talent for creating expressive music through mechanical patterns, repetitions, and chance. Prekop’s innate gifts of melodic turns of phrase that have made him a revered songwriter are transferred into new forms in his synthesizer work, aided by the unpredict  able mel  odic capabilities of analog sequencers, and The Republic is an exciting new chapter in his development as an accomplished synthesist. The first half of The Republic consists of songs that were originally created as a score for a video installation of the same name by David Hartt, which was shown at the David Nolan Gallery in New York. These pieces strike an impressive balance between control and spontaneity, seamlessly transitioning from abstraction and discord into passages of blissful harmonic consonance. The second half of the record consists of some of Prekop’s most warm and inviting synth work yet, built using ideas that worked better on their own as opposed to accompanying the installation. These songs have a sense of forward motion that is often missing in many recordings by modern modular synthesists, which Prekop attributes to his incorporation of the instrument into his writing process for The Sea and Cake’s acclaimed 2012 album Runner. The Republic is an entrancing album that moves Prekop’s synthesizer compositions further into the realm of the accessible without abandoning the experimental legacy of the instrument. The Republic was recorded in Prekop’s home studio in Chicago during the early months of 2014. Although he has primarily only performed synthesizer sets in Chicago, in part due to the extensive process of setting up and dismantling the instrument, he plans to perform works incorporating elements of The Republic throughout the US in 2015.

File Under: Electronic, Sea & Cake
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ronson

Mark Ronson: Uptown Special (RCA) LP
Uptown Special, the fourth album by producer-songwriter-musician Mark Ronson, is a tale of several cities, a wide range of collaborators, and a road trip deep into the American South. However the story of Ronson’s latest project really starts back when he was New York’s hottest DJ. In the late 1990s into the early 2000s the New York club scene was percolating with booming hip-hop and glitzy R&B. In those days before he emerged as a multi-talented musical force Ronson manned the turntables of many great parties. Uptown Special has all of the flavor of a night with Mark rocking the ones and twos with funk, soul, and psychedelic pop in a style that echoes classic productions by Quincy Jones and Steely Dan, and funneled through its creators sophisticated understanding of arrangement and melody. Of his three previous albums Mark feels like Uptown Special is closest in spirit to his 2003 debut, Here Comes the Fuzz, which came directly out of his DJ experience. “The difference,” Mark says “is I was reaching for things musically I wasn’t quite ready to execute. With all the experience I’ve gained over the years I had the maturity and knowledge to really pull this together.” Mark Ronson’s Uptown Special is a unique blend. It’s an album with a serious literary pedigree matched to down home greasy funk. It features a progressive pop vocalist from Australia and one reared in Mississippi, the spiritual root of American music. Hot young contemporary players dominate while some tracks are spiced with legendary musicians. It’s a mix that reflects the musical taste and life experience of its creator.

File Under: Pop, Funk, Soul
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segall

Ty Segall: Live in San Francisco (Castle Face) LP
By now you should know what you’re in for here: an eardrum-toasting take to tape of the mighty Ty Segall Band, captured during two nights in San Francisco at the barely-pushing-medium-sized venue The Rickshaw Stop. Rowdy crowd, meet stacks of amplifiers – Ty, Charlie, Mikal and Emily came to singe your ears off. There have been live recordings of Ty before, of course, but never so crisply and fully realized as this scorching platter of fuzz. As always, the cover artwork showcases beautiful black and white photos shot to film at the venue by Castle Face’s favorite lensman Brian Pritchard. As always, the tape takes are tweaked and saturated to perfection by their incredible crack team of engineers and knobgoblins. Live in San Francisco features jams from throughout Mr. Segall’s torrential output of the past few years, including a take of the first single ‘Feel’ off his great new record Manipulator. It’s the next best thing to getting in to the show, which is getting harder and harder with Ty these days.

File Under: Punk, Garage
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von

Sigur Ros: Von (XL) LP
Originally issued in 1997, Von (hope) is the debut full-length album from widely acclaimed Icelandic post-rock outfit Sigur Ros. The sound across these 12 tracks is reassuringly primitive, though often daring, drifting from 4AD-inspired quasi-shoegazing atmospherics at one moment to John-Cage inspired silence the next. The band was quite obviously at this stage not only looking at the reverberating echoes of the British indie scene of the late 80’s, but also in its more ambitious forefather, prog rock. Frequently unrecognizable from the bulk of their subsequent work, Von is an experimental and ambient work.

File Under: Ambient, Pop, Iceland
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…..restocks…..

Arcade Fire: Suburbs (Merge) LP
Beastie Boys: Check Your Head (EMI) LP
Beastie Boys: Hello Nasty (EMI) LP
Beastie Boys: Ill Communication (EMI) LP
Beastie Boys: Paul’s Boutique (EMI) LP
Charles Bradley: No Time For Dreaming (Daptone) LP
Charles Bradley: Victim Of Love (Daptone) LP
Budos Band: III (Daptone) LP
Clash: Give Em Enough Rope (Epic) LP
Clash: Combat Rock (Epic) LP
DJ Shadow: Endtroducing (Mo Wax) LP
Father John Misty: I Love You, Honeybear (Sub Pop) LP
Godspeed You Black Emperor: Allelujah! (Constellation) LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Ariel Kalma: An Evolutionary Music (ReRVNG) LP
Modest Mouse: Good News… (Epic) LP
Monolord: Empress Rising (Riding Easy) LP
Swami John Reis & The Blind Shake: Modern Surf Classics (Swami) LP
Sleater Kinney: No Cities to Love (Sub Pop) LP
Viet Cong: s/t (Flemish Eye) LP
War On Drugs: Lost in the Dream (Secretly Canadian) LP
White Stripes: Elephant (Thirdman) LP
Whitehorse: Leave No Bridge Unburned (Six Shooter) LP/CD

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…..news letter #679 – mu…..

Alrighty, finally a shipment has made here from the Boston area! So this week’s list is a monster. Unfortunately, it has kept me from the jazz records, but I’m still hoping to get some priced and put out late today or tomorrow.

…..picks of the week…..

alessandroni

Alessandro Alessandroni: Industrial (Dead-Cert) LP
Holy Grail territory here from Andy Votel and Demdike Stare’s mighty Dead-Cert imprint, who finally bring you this incredible album of previously unreleased industrial-themed recordings made in 1976 by experimental pioneer and Ennio Morricone cohort Alessandro Alessandroni. The concept itself is riveting enough — the guy who provided that infamous guitar riff for The Good, The Bad and The Ugly (1966) delivering utterly bent and synth-heavy recordings previously unheard by the wider world — but the material and execution is just nothing short of a revelation, unlocking an uncannily prescient suite of rhythmik pieces that sound completely dissimilar to much library music of the same era. Industrialperfectly encapsulates the heightened state of creativity in the mid ’70s surrounding Alessandroni and his close peers Giuliano Sorgini — together known as Braen Raskovich — and Morricone, for whom Alessandro also famously whistled the theme to A Fistful of Dollars (1964). Recorded at Piero Umiliani’s Sound Workshop in Rome, and made with an arsenal of EMS Synthi VCS3 modular systems, tape loops, and a treated Petrof grand piano, plus a bundle of string instruments, the industrial results (coincidentally issued the same year as Throbbing Gristle’s debut release) present a pulsating take on this kind of music, breaching tightly-coiled motorik systems and mood percolators with atonal strings and viral oscillations. Most importantly, the sense of minimalist efficiency and the clarity of the recordings are shocking, pushing the envelope of electro-acoustic music and pre-empting the early notions of an entire genre movement. Artwork by Anthony Shallcross. Liner notes by Shallcross, Jr., aka Andy Votel. Limited to 500 copies.

File Under: Library, Italian, OST
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bishop

Sir Richard Bishop: Tangier Sessions (Drag City) LP
“The tone of the guitar and Sir Richard’s gentle, loving touch with it hold forth from the first moment ofTangier Sessions, sitting clear and true in the home-recorded night air above the city. The album sequence is the precise order of the songs as they were conceived and recorded. Rick’s all over the neck in the early going while sorting through the dynamics of the instrument — in fact, guitarophiles, the first couple of songs feature Sir Richard Bishop playing without a plectrum for the first time ever! Towards the end of the first side of Tangier Sessions, Sir Richard and guitar begin to chill out and cut loose in a different way — arriving in the moment that was imagined for them, they stretch out, finding themselves in open space with fewer changes. This is a place where a player like Sir Richard Bishop can relax while remaining totally focused and present, hearing what the guitar and he are capable of in real time. The discoveries of side one give way to the trilogy of songs that comprise the second side, and the issues presented by ‘Mirage’ are revisited from another angle, another spot on the map in ‘International Zone,’ leaving finally a sense of journey completed in the serene moments of ‘Let It Come Down.’ The narrative that builds as a function of this (noble)man-guitar dialogue gives Tangier Sessionsa visceral punch that makes for a singular listening experience, even in the crowded realm of solo acoustic guitar albums. Nobody plays the guitar like Sir Richard Bishop — and on Tangier Sessions, he’s found a guitar that nobody but him plays either.”

File Under: Guitar Soli, Sun City Girls
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…..new arrivals…..

affinity

Affinity: s/t (Repertoire) LP
Gatefold, custom all round ‘vintage’ look, with matt laminated outer. Half speed mastering at the legendary Abbey Road studios from HD 24 bit audio. Our ’vintage‘ packages are bespoke and original, and perfectly replicate the LPs from the classic rock era, with exceptional scanning, detailed reproduction of artwork and printing to original specifications. This LP is faithfully replicated to look like it has survived the decades (only with a newly remastered crackle-free LP within!) Affinity was one of several brilliant British jazz rock groups that emerged in the early Seventies. It was formed by former students from the science department at Sussex University, including Grant Serpell (drums) and Lynton Naiff (piano). They recruited singer Linda Hoyle and were managed by jazz club proprietor Ronnie Scott, who was impressed by their refreshing approach. A later member of the band was renowned bass guitarist Mo Foster. ‘Affinity’ was their only album, first released by Vertigo in 1970. Comprising such numbers as ‘I Am And So Are You’, ‘Night Flight’ and ‘All Along The Watchtower’, the group’s blend of rock and fusion jazz retains its refreshing appeal and Linda Hoyle is a distinctive singer, whose work is now gaining greater recognition and respect.

File Under: Jazz Rock, Psych, Vertigo
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behold

Oren Ambarchi/Jim O’Rourke: Behold (Editions Mego) LP
Behold is the second collaborative release from Oren Ambarchi and Jim O’Rourke following the 2011 LP Indeed. Ambarchi and O’Rourke seamlessly blend field recordings, electronics, guitar, drums, and other acoustic instruments into a subtle combination of krautrock, minimalism, and classic free flowing electronics. Side A takes the listener into the Fourth World adventures pioneered by Jon Hassell on Fourth World Music Vol. I: Possible Musics, while the flip seems like an unlikely pairing of krautrock aesthetics and the slow, building, repetitive structures of The Necks. This is sharp, focused contemporary music, with minimalist motifs meeting maximalist tendencies. Behold is another landmark recording made by two of the most enthusiastic experimental explorers active today. Oren Ambarchi: guitar, drums, etc.; Jim O’Rourke: synth, piano, etc. Recorded and mixed at Steamroom, Tokyo in 2012 and ’13. Additional recording at SuperDeluxe, Tokyo on January 26, 2012, byMasahide Ando and at Chinatown, Melbourne by Joe Talia. Cut byChristoph Grote-Beverborg at Dubplates & Mastering, Berlin in August 2013. Photography by Shunichiro Okada.

File Under: Electronic, Ambient
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ambarchi

Oren Ambarchi: Quixotism (Editions Mego) LP
Editions Mego presents the vinyl edition of Oren Ambarchi’s Quixotism, a five-part piece recorded over two years with a multitude of collaborators in Europe, Japan, Australia, and the USA and released on CD in 2014. Furthuring Ambarchi’s interest in combining abstract sonic textures with rhythm and pulse (apparent in his drumming with Keiji Haino, the subtly driving ride cymbals of collaborator Joe Talia, and the motorik grooves of 2012’s Sagittarian Domain), Quixotism’s 47 minutes rest on Thomas Brinkmann’s foundation of pulsing electronic percussion. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, joined by tabla master U-zhaan for the piece’s final, beautiful passages. The pulse acts as a thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Cole’s contact mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede, appear and reappear in a non-linear fashion, even as the piece plots an overall course from the gray, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth andEvyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism, in a kind of dream-logic, moves with nearly imperceptible transitions through its sonic diversity. Though it is shaped by its many contributors, the resulting sound world is unmistakably Ambarchi’s own, and the summation of his career thus far. Played by Oren Ambarchi (guitars and percussion), Thomas Brinkmann (computable drums with an application to the Entscheidungsproblem), Matt Chamberlain (drums and electronics, Parts 3 & 4), Crys Cole (contact mics and brushes, Part 4), Eyvind Kang (bowed gender, Part 1 and violas, Part 5), Jim O’Rourke (synths, Parts 4 and 5), John Tilbury (piano, Parts 1 & 2), U-zhaan (tabla, Part 5), and Ilan Volkov & the Icelandic Symphony Orchestra (Parts 1 & 3).

File Under: Electronic, Experimental
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haino

Oren Ambarchi/Jim O’Rourke/Keiji Haino: Tea Time (Black Truffle) LP
“At this point, it can justifiably be said that Keiji Haino, Jim O’Rourke and Oren Ambarchi have become one of the leading groups in experimental music. This, their sixth release, presents the entire second set of the trio’s March 2013 concert at SuperDeluxe (the first set is available on Black Truffle as Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen). While the first set of the evening saw the trio branching out into new instrumental configurations, here they return to their signature line-up of guitar, bass and drums. The LP begins abruptly, with one of the finest performances by the trio captured on record thus far already in full swing. Throughout the course of this 12-minute piece, O’Rourke and Ambarchi lay down a thudding, meterless pulse, the impossible midway point of Milford Graves and motorik Krautrock, over which Haino unfurls a number of distinct strategies developed in his work since the 1980s: formless blurs of reverb-drenched guitar noise, looped pointillist fragments and wandering, dissonant lines obscured in clouds of distortion. Continuing Haino’s habit of naming albums with phrases that seem to obliquely comment on the music they contain, it could definitely be said that this is music made by three people ‘determined to completely exhaust every bit of this body they’ve been given.’ Showing the trio at new heights, this track carries on in the spirit of some of Haino’s greatest work: music made with the ingredients of rock that somehow manages to sidestep all of its forms and traditions while retaining and amplifying its fundamental power. If this track alone lays to rest concerns about whether the trio has exhausted the guitar/bass/drums format, the remainder of the record serves as a demonstration of the multitude of possibilities still available for their continued exploration. The three are now so in-tune with one another that almost anything can be integrated into their improvisations: in the slow-burning second piece, O’Rourke’s heavily effected bass wanders from anti-music thuds to an almost funky passage with Ambarchi sounding not unlike Buddy Miles circa Hendrix’s Band of Gypsys — it bespeaks the hours of listening to fusion and classic rock that continue to form an important part of O’Rourke and Ambarchi’s musical personalities. The final piece is a continuous side-long performance that moves through a number of discrete episodes, from vocal and flute solos by Haino delicately accompanied by O’Rourke’s sparse bass and Ambarchi’s sizzling cymbals, to a final stumbling dirge over which Haino unleashes a stunning torrent of in-the-red guitar skree.” –Francis Plagne; Design by Stephen O’Malleywith high quality live shots by Ujin Matsuo and stunning artwork by Norwegian noise legend Lasse Marhaug.

File Under: Fushitsusha, Japanese Psych, Drone
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atobe

Shinichi Atobe: Butterfly Effect (Demdike Stare) LP
Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel’s Chain Reaction imprint back in 2001. He delivered the second-to-last 12″ on the label and then disappeared without a trace, leaving behind a solitary record that’s been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12″ has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and — unbelievably — an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is — deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It’s a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare’s DDS imprint, following the release of Nate Young’s Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.

File Under: Electronic, Techno, Basic Channel
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blackshaw

James Blackshaw: Apologia (Bladud Flies) LP
Apologia is the first solo guitar recording by James Blackshaw, which he self-released in 2003 on CD-R in an edition of 30. Bladud Flies! now presents a limited vinyl edition of 500 copies. “Apologia was written on a cheap Yamaha guitar with a ridiculously high action over the course a couple of months in 2002 and recorded in February 2003, a few months before I picked up a 12-string guitar for the first time and wrote and recorded my first release, Celeste. I’d just started fingerpicking and had gotten comfortable enough with some techniques to experiment with open tunings of my own devising and write my own compositions, which were at that time very inspired by the musicians I adored — John Fahey, Robbie Basho, and lots of old country blues players like Mississippi John Hurt, Blind Blake, and Reverend Gary Davis. I burned about 30 CD-Rs with homemade covers in jewel cases, gave most to friends and family and sold a few in the record shop I used to work in Soho. I felt for some time afterward like I was only just starting to find my own voice with Apologia — the songs are shorter and more straightforward and the cyclical structures and appreciation of drones and overtones really came to the fore later on, as did my appreciation of adding other instrumentation and experimenting with sounds generally. Plus, I wasn’t entirely happy with the sound of the recording (some small EQ changes and reverb was added for this edition) and let’s just say the situation in the studio was far from ideal, but that’s another story. For that reason, I never chose to reissue Apologia. Now, almost 12 years later, I’m hearing them in a different way, realizing the songs’ charms rather than simply concentrating on the flaws. It doesn’t sound quite like anything I’ve ever done since and there’s a simplicity and raw energy about them that I’ve grown to appreciate. It’s an interesting snapshot of where I was then and how things have changed. It is an absolute pleasure for me to work with Bladud Flies! to release Apologia as a limited edition LP now — something I would never have dreamed of back in 2003.” –James Blackshaw

File Under: Guitar Soli
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bordenDavid Borden: Music for Amplified Keyboard Instruments (Spectrum Spools) LP
David Borden, born Christmas Day, 1938, in Boston, Massachusetts, is an American minimalist composer and electronic music pioneer. He was one of the first people to beta test Bob Moog’s modular synthesizer systems. His Earthquack Records imprint inspired Mimi Johnson to found the legendary Lovely Music, Ltd. with Robert Ashley. He formed the first all-synthesizer ensemble, Mother Mallard’s Portable Masterpiece Company, in 1969. If there were ever a missing link in American minimalism, Borden is it. Music for Amplified Keyboard Instruments is his masterpiece, released in 1981 to little fanfare on the now-defunct Dutch label Red Records. As its reputation has grown, most listeners have had to settle for compressed YouTube clips and poor vinyl-to-digital transfers, with original copies increasingly rare and expensive. Now, 34 years after its original release, Spectrum Spools presents the first reissue of Music for Amplified Keyboard Instruments, after recovering in Borden’s private archives the only known safety master. Music for Amplified Keyboard Instruments contains four pieces, each utilizing three players and six keyboard instruments. “Etsy Point, Summer 1978″ begins with a mournful, ominous mood and slowly blossoms into an immense, humid labyrinth of colorful, buzzing textures and howling melodies. “The Continuing Story of Counterpoint” is a 12-part cycle for synthesizers, acoustic instruments, and voice, upon which Borden labored for over 11 years. Parts nine and six, included here, are miraculous achievements in prodigious playing technique, remarkable mosaic-like structure, and aural magnitude, operating in the relative terrain of Steve Reich’s Music for 18 Musicians and Terry Riley’s Dervishes pieces. The “Counterpoint” pieces here are rigidly arranged with breakneck key changes and intricate time signature maneuvering. The resulting audio conjures kaleidoscopic patterns of beautiful melodies and compositional anatomy unparalleled in much of American minimalism. “Enfield in Winter” displays some of Borden’s more ambient leanings, with slow, morphing drones and gentle pad sounds that erupt into shimmering patterns backed by a grandiose chord progression. Music for Amplified Keyboards represents a veritable zenith in Borden’s corpus; a radiant achievement in sonic elegance, experimentation, and ambitious composition technique, and a work of the highest archival significance. Music for Amplified Keyboard Instruments was remastered with love and transparency by Giuseppe Tillieci at Eniss Lab, Rome. These newly remastered works are superior to the original vinyl master, giving the world a chance to hear this remarkable work in the highest possible fidelity across multiple formats. Includes extensive liner notes and photos by Borden.

File Under: Early Electronic, Synths, Moog, Ambient
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carter

Carter Tutti: Play Chris & Cosey (CTI) LP
Double LP version, includes all five tracks from the limited CD Remix Chris & Cosey (CTI RSDUK01, 2014). Reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from the pair’s much-requested live performances of Carter Tutti Plays Chris & Cosey, taking place in an unprecedented series of shows in the U.K., Europe, Scandinavia, and North America from 2011 through 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired to re-record this collection of reworked classic versions in their own Norfolk studio. Housed in a gatefold sleeve.

File Under: Experimental, Synth Pop
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caveNick Cave & the Bad Seeds: Let Love In (Mute) LP
“Let Love In, the eighth studio album by Nick Cave & the Bad Seeds, was originally released in 1994. Their first full-length studio album in over two years, Let Love In preserves the same line-up (Nick Cave, Mick Harvey, Blixa Bargeld, Conway Savage, Martyn Casey and Thomas Wydler) as established on its two immediate predecessors: Henry’s Dream (1992), the band’s troubled collaboration with producer David Briggs, and Live Seeds (1993), an interim concert compilation. “The novelty of recording in America with a “name” producer now long behind them, Nick Cave & the Bad Seeds returned to familiar turf, choosing to conduct both demo and album sessions in their accustomed habitats of the UK and Australia. In September 1993, recording proper for Let Love In commenced at London’s Townhouse III Studios (formerly The Who’s Ramport studio, purpose-built for Quadrophenia), and the album was completed and mixed at Metropolis in Melbourne by the end of that same year. “Producer/engineer and long-time confederate Tony Cohen was reinstated to preside over the sessions, and a veritable “Who’s Who” array of Australian guest musicians were called in to lend a hand with the overdubs. Artwork depicting the lyric sheet-festooned area around the piano gives some indication of the obsessive mood permeating the sessions, which Nick ascribes at least in part to the massive amounts of amphetamine being consumed during the sessions.

File Under: Rock, NICK CAVE
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clapclap

Clap! Clap!: Tayi Bebba (Black Acre) LP
After storming the gates with his warmly-received Tambacounda EP, Clap! Clap! returns to Black Acre to deliver his debut album. Tayi Bebba is a conceptual work that manages to balance a highly cerebral concept with making some good old-fashioned bangers. Tayi Bebba is an album tour of an imagined island; each song representing a location, event or ritual. Sonically, it’s a fast-moving charge across the soundscape, fusing field recordings and found sound with incredibly surgical drum programming. Flavors of house, footwork and hip-hop punctuate your migration with a very specific sound palate, giving this amazing work a cohesive feel. Clap! Clap! is long-time jazz player Cristiano Crisci, also known in electronic circles as Digi G’Alessio. With cross-genre accolades and support spanning the globe, he is already established as one of Italy’s brightest talents. A multi-instrumentalist with a long history of collaborations with Crookers/Khalab/Kae, and more.

File Under: Electronic, Tribal, Juke
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cowell

Jeff Cowell: Lucky Strikes & Liquid Gold (Numero) LP
Ten road-weary tales from the wrong side of outlaw country. Jeff Cowell may have huffed the same narcotic air as Townes Van Zandt and David Allan Coe, but hunkered far from the Nashville city limits, nary a Cash or Paycheck would drunkenly slur through his tunes. Recorded in 1975, Lucky Strikes and Liquid Gold is an isolated, backwoods loner epic, top-loaded with odes to hitch-hiking and rambling the crumbling Michigan countryside of Cowell’s hard-drinking youth. Previously available only out of the backs of borrowed cars, truck stops, campgrounds, and country-western bars between Algonac, Detroit, East Lansing, Cadillac, and Manistee, this LP now finds new life in similarly detached environs: the last remaining record stores.

File Under: Folk, Country
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craig

Carl Craig: More Songs About Food & Revolutionary Art (Rush Hour) LP
“revolutionary art is not determined by its avantgarde content; nor its formal or technical trickery, its interpretation of reality or its verisimilitude, but, rather, by how much it revolutionizes our thinking and imagination; overturning our preconceptions, bias and prejudice and inspiring us to change ourselves and the world” –Jeff Sawell’s text on the cover of More Songs About Food and Revolutionary Art. Carl Craig’s 1997 album features such timeless highlights as “Televised Green Smoke,” which, after a short introduction, floats in on a haze, working through the classic blueprint of dance music — the gradual addition of layered, complementary elements — until it reaches a soft peak. “Red Lights” works a slow-grind breakbeat, cycling through the Paperclip People oscillator with strings in the background and an atmosphere reminiscent of The Godfather. “Dreamland” and “Butterfly” are closer to traditional Detroit productions, sharp and focused but rather melancholy; the former is a reach-out to the Britain-Detroit axis (As One, The Black Dog, B12), while the latter evokes the classic late ’80s productions of Craig’s friend Derrick May (who co-produced a later track on the album, “Frustration”). The Maurizio dub “Dominas” is nocturnal and unhurried, even despite the insistent beat and a female vocal sample repeating the title one word after another — it’s included here, though it was left off the original vinyl release. Another classic, “At Les,” balances a few gently cascading chords with a rhythm program that keeps pushing the track forward and faster. Planet E and Rush Hour now present a remastered reissue of this techno classic.

File Under: Electronic, Dance
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sierra

Jordan De La Sierra: Gymnosphere: Song of the Rose (Numero) LP
Before New Age hit terra firms at the dawn of the 1980s, the classically-trained Bay Area composer Jordan De La Sierra’s consciousness soared with cosmic concepts. With cues and lessons from the great minimalists La Monte Young,Terry Riley, Pandit Pran Nath, and help from the venerable public radio program Hearts of Space, De La Sierra embarked on a journey in alternate tunings and resounding reverberations, transporting entranced listeners from the Golden Gates to the intergalactic. Take an interstellar ride on the sensory engulfing space piano with this lovingly recreated double LP set, complete with De La Sierra’s India-inspired visual artwork and musings on the tableau of space.

File Under: New Age, Minimalism, Ambient, Drone
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detail

Detail: First Detail (Rune Grammofon) LP+CD
If anybody deserves to be called a living legend in Norwegian free jazz it must surely be saxophone, flute, and clarinet player Frode Gjerstad. Since the late ’70s, he has been central on more than fifty records and played with a number of prominent free jazz musicians including Evan Parker, Derek Bailey, Peter Brötzmann, Louis Moholo, Han Bennink, and Paal Nilssen-Love. Foreningen norske jazzmusikere named Gjerstad Jazz Musician of the Year in 1996, and the Norwegian Jazz Forum awarded him with the Buddyprisen in 2008. He founded Detail in 1981 with close friend Eivin One Pedersen (1956-2012) and legendary free jazz drummer and Spontaneous Music Ensemble founder John Stevens (1940-1994). The group became a quartet with the addition of bassist Johnny Dyani, and toured of Norway in March of 1982. They performed at the Molde International Jazz Festival in the summer and toured again in the fall. Pedersen left the group after the tour, and the remaining trio of Gjerstad, Stevens, and Dyani went straight to Stavanger and recorded Detail’s first two albums, Backwards and Forwards/Forwards and Backwards (1983) and Okhela «To Make a Fire» (1984). So the intended quartet never got to make a record, but some live recordings do exist. This recording of the first performance from the fall 1982 tour, at the Henie-Onstad Art Centre outside Oslo, captures not the full quartet, but a variation on the trio: Gjerstad, Pedersen, and Stevens, without Dyani, who couldn’t make it to the gig. The main reason for the delay in releasing this historic recording, according to Gjerstad, is that he couldn’t listen to it because there were too many feelings involved. After the tour, his close friend Pedersen suddenly left the group, Dyani died in 1986, then Stevens in 1994 and Pedersen in 2012. There was also some doubt about his own playing, but after finally listening to the tapes, he realized how good everything was. It’s almost unbelievable that Pedersen had just turned 26 at the time of this recording. Stevens is also incredible, quite different from what one might be used to from the Spontaneous Music Ensemble — more open, possibly. Gjerstad is, as always, himself. At a time when most Norwegian sax players wanted to be Jan Garbarek, Gjerstad followed his own nose. Frode Gjerstad: tenor and soprano saxophones, bass clarinet, alto flute; Eivin One Pedersen: piano and keyboards; John Stevens: drums.

File Under: Jazz, Free Jazz, Norway

dino bug

Dinosaur Jr: Bug Live (Outer Battery) LP
“Reissue of ultra-limited 2012 vinyl-only release featuring Dinosaur Jr performing their classic album Bug in its entirety at the 9:30 Club in Washington, DC, June 2011. This is a beautiful recording, mastered exclusively for vinyl and packaged in a beautiful silkscreened sleeve featuring a Marq Spusta (Farm, Several Shades of Why) rendition of the original Bugcover art. Limited to 1000 copies.”

File Under: Rock, Live
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duch

Michael Francis Duch: Tomba Emmanuelle (Sofa) LP
Tomba Emmanuelle is Michael F. Duch’s second solo album for the double bass. It was recorded in May 2013 at the Emmanuel Vigeland Mausoleum in Oslo. The piece was commissioned by Ny Musikk Bergen in 2012. Whereas Duch’s solo debut Edges (3DB 010CD) focuses on the music of Morton Feldman, Christian Wolff and others, Tomba Emmanuelle explores different registers, timbres and acoustic effects of the instrument in relation to the room it is being performed in. The Vigeland Mausoleum is probably one of Northern Europe’s most unique concert venues, and highlights the acoustic phenomena that the piece is based on. Michael Francis Duch (b. 1978) is one of the foremost double bass-players on the Norwegian contemporary music scene. Since 2012 he has been associate professor at the Institute of Music, NTNU, Trondheim. He has established himself as a solid interpreter of Cornelius Cardew’s music, documented through releases with the trio Tilbury/Davies/Duch. The album Cornelius Cardew: Works 1960-70 was included on The Wire’s list of best releases in 2010.

File Under: Minimalism, Experimental, Avant Garde
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flashback

Flashback #6 Mag
Issue #6 of Flashback, Winter 2014. Edited by Richard Morton Jack (co-founder of Sunbeam Records and editor of the Galactic Ramble and Endless Trip books), it features writing from some of the world’s leading pop music authorities. In this issue:Sam Gopal: The full story of the British underground enigma. Despite recording frustratingly little, this groundbreaking Malaysian tabla virtuoso had a powerful impact on London’s late ’60s underground rock scene. Richard Morton Jack tells his remarkable tale in full for the first time. Jukebox: Cathedral’s Lee Dorrian on 12 tracks that have inspired him. Album By Album: The renowned producer and bassist Tony Reeves revisits several of his productions and performances. TeenSet: The story behind this pioneering 1960s American rock magazine. First Person: The reclusive singer-songwriter Bill Fay offers some rare insights into his unique music. Aardvark: At long last, the taxonomy of this elusive British progressive beast. The David: The remarkable tale of these precocious Californian teens. Margo Guryan: A detailed interview with the singer-songwriter behind 1968’s wondrous Take a Picture album. James Williamson: An in-depth audience with the legendaryStooges guitarist. Jimmy Page: His fullest ever interview about The Yardbirds, unseen since early 1969. International Albums: Forty intriguing LPs from the furthest reaches of the rock world. Spinal Tap: A rare reprint of Polymer Records’ 1984 Smell the Glovepress kit. Crying to Be Heard: Dick Hamilton’s sole album — the most enjoyable Dylan imitation of the 1960s. Reviews: Thorough coverage of recent CDs, LPs, and books, taking in household names (Bob Dylan,George Harrison, Small Faces), cult heroes (The Artwoods, Soft Machine, Marc Brierley), and ultra-obscurities (Min Bul, Tickawinda, Hot Knives), with exclusive Q&As about certain items under review.

File Under: Reading

ghostface

Ghostface Killah: 36 Seasons (Salvation) LP
“On 36 Seasons Ghostface once again delivers exactly what the hardcore Wu-fans crave: desperate tales from the dark side over soulful boom-bap tracks. The soundscape is provided The Revelations [Brooklyn’s acclaimed soul band/production team]. Their hard-hitting tracks match the intensity of Ghost’s violent narrative. His co-stars on 36 Seasons are legendary lyricists and storytellers in their own right, 3 of the greatest of all-time: AZ, Kool G Rap and Pharoahe Monch. The album also features vocal contributions from Blue Note Records’ rising star Kandace Springs and gritty soul singers Rell and Tre Williams.”

File Under: Hip Hop, Rap, Wu-Tang
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gnod

Gnod/White Hills: Drop Out II (Rocket) LP
Rocket Recordings are pleased to announce the reissue of the now highly sought-after 2010 double LP Gnod Drop Out With White Hills II. This reissue comes packaged in different artwork from the original release. Gnod Drop Out With White Hills II is the first official collaboration between two of the most colossal cosmic manglers on the planet, that of astral rejecters Gnod (Manchester, UK) and space-rock juggernauts White Hills (New York). Hot on the heels of their Not Not Fun sold out release, as well as countless self-unleashed CD-Rs and various indie label alliances, Gnod have been stirring their galactic soup of flashbacked rituals with unpredictable, incendiary results, both on record and as a live experience. Having them join forces with White Hills for this record is akin to having the aural equivalent of those 3D magic eye stereograms — looked at in one way, they just don’t make sense, but seen through the repetition of the music, the result is out of this world. Since White Hills’ last outing with Rocket Recordings on the Collisions split withThe Heads in 2009, the band have successfully released their debut album for Thrill Jockey and now have notched up an impressive back catalog of releases. Their fiery brand of heavy space-rock has seen them burning up live appearances over the years as they continue on the path towards uncharted territories. To celebrate this thundering union, Rocket Recordings have embarked upon the release of a double vinyl LP expanding into four phases of pulsating mantras, awash with all the hypno-propulsion both bands’ motor skills can pilot. It’s brimming with surrendered NEU!-like patterns, like both bands driving through Dingerland with “L.A. Woman” blasting from the rushing air. We have 16-minute elegant Bel Air suites, whose ebbing and flowing mesmerizing grooves burst with swooping grandiose synths, like gentle waves hanging in time. Interjections of oscillating guitars and keyboards, designed to propel the captured listener into a trance-inducing sun roof of kosmische blur, rupture out through the expansive blue. The 8 tracks are embedded with four long 10-minute+ pieces and these anchor the whole experience firmly into an exciting haze of echoing psychedelia, electronic and experimental Krautrock trippo-nova. After which, all four corners of your mind’s eye have been consecrated in a world of undulating symphonies.

File Under: Psych, Freakout, Jamz, Space Rock
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hey colossus

Hey Colossus: In Black and Gold (Rocket) LP
Emerging in a haze of demented riff science and booze-addled abandon, London-based tinnitus machine Hey Colossus have carved out a notable niche for themselves in the British underground’s murkier quarters. They’ve dished out a formidable array of wax over the last decade, specializing in a primordial barrage of abject noise from overheated amp stacks. Yet for all the grit and gnarl of their output thus far, it’s seemingly only been a warm-up for their latest opus, which sees their monstrous assault finely honed into an album as beguiling as it is bulldozing. In Black and Gold, their eighth album proper and first for Rocket Recordings, ushers in a new incarnation of Hey Colossus. Marrying malevolent attack to expansive celestial splendor, In Black and Gold follows a sonic trajectory that expands on Hey Colossus’s trademark ornery overload. The songs herein may be leaner and more artful than the fearsome sound that made the band’s name on albums like 2008’s Project: Death and the monstrous 2013 opus Cuckoo Live Life Like Cuckoo (MIE 018CD/LP), but Hey Colossus remains possessed of the Stoogian and Stygian wrath that fuels their noise rock transgression. With their maximalist tendencies augmented by a sharp focus on space and restraint, not to mention a refreshing stylistic diversity, the band delivers some strange aural alchemy. Here, they sound as comfortable tackling electronically-fried dub mantras like “Lagos Atom” as they do the Cluster-esque lullaby of opener “Hold On.” Yet there’s no shortage of primal rock action to be had on In Black and Gold; on “Sisters and Brothers” they summon up a swaggering, demented groove that sashays like a zombified Gun Club, while on the dramatic spaghetti-psych of the title-track a revelatory cinematic sprawl of sound recalls The Bad Seeds and The 13th Floor Elevators engaged in a psychic duel in the noonday sun. Hey Colossus have always made fine work on the vital and Spinal Tap-approved “fine line between clever and stupid.” Yet with In Black and Gold, in a laudable leap of faith, they’ve stepped beyond, and the result is both vicious and visionary. These unpretentious underworld overlords have emerged from the shadows to create an avant-garage pièce de résistance, finding that the sunlight suits them better than they ever realized.

File Under: Psych, Krautrock, Acid Rock
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villalobos

Insanlar/Ricardo Villalobos: Kime Ne (Honest Jon’s) 2×12”
Stunning new music from Istanbul! Wild baglama improvisation and mystical male-unison singing, atop the propulsive mass of a Berlin half-stepper, with turbulent detours into dub, radiophonics, and psychedelia. “Kime Ne” means “so what,” “what’s it got to do with you.” The song adapts verses from the seventeenth-century poet Kul Nesîmî, wistfully invoking the Melami strain of Sufism as a touchstone of humility and tolerance in dark times. “Insanlar” means “humankind”… “The Human Beings.” RV’s mixes are expert, taut and hard-grooving. “2” is the more agitated and dubwise. Side D is etched with Katharina Immekus’s lovely artwork.

File Under: Electronic
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iw_vol1_outer

Iron & Wine: Archive Series Volume 1 (Black Cricket) LP
Very limited (indie only) white vinyl edition.16 Previously Unreleased Early Home Recordings! Iron And Wine’s ‘Archive Series Volume No. 1’ is the first in a series – Sam Beam will be gathering otherwise unreleased home recordings, covers, live sets, and curiosities from his entire career as Iron And Wine and releasing them on his own label – Black Cricket Recording Co. ! ! This first release taps into a set of songs created before Sam was Iron And Wine, when he was making music without the public in mind. The songs on ‘Volume No. 1’ came to life at the same time as those selected for Iron And Wine’s debut album,’ The Creek Drank The Cradle’ (Sub Pop, 2002, 197K Sales To-Date). Performed and recorded at home on a 4-track cassette – the songs on ‘Creek’ were only 11 of the many crafted by Sam prior to his debut. Some of this material has been widely bootlegged, but has never received a wide-spread or proper release.! ! ’Archive Series Volume No. 1’ collects 16 of these unreleased early home recordings for the first time.! ! This initial chapter in the ‘Archive Series’ has been digitally transferred from the original cassettes and packaged in gatefold artwork featuring the Bird of Paradise Quilt (licensed from the American Folk Art Museum).

File Under: Folk, Indie
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harbour

Last Harbour: Caul (Gizeh) LP
Based in the northern English city of Manchester, Last Harbour play music with a dark, gothic heart, yet their songs are always beautiful and transcendent. After working with producer Richard Formby (Wild Beasts, Spacemen 3, Ghostpoet) on two previous albums, the band took time out after touring to build their own studio in 2013. They recorded Caul in that self-created space over a year between 2013 and ’14 in a patient and detailed recording process that allowed time for experimentation and careful arrangement. Caul contains all of the band’s trademark bruised laments and doom-filled rock, but there is also an added layer of raw, bleak experimentation that marries ideally and simultaneously with brighter, almost joyous moments. Most noticeably, “Guitar Neck” moves from a metronomic, semi-spoken verse to a richly orchestrated chorus with the FX-heavy vocal of K. Craig soaring above the pulsing instrumentation. There’s another powerful moment in “Fracture/Fragment” when group vocals take center stage and the record immediately takes on a deeper and wider atmosphere, while elsewhere, “Before the Ritual” comes laced with vintage synths and organs. “The Deal” is a highlight, combining an insistent rhythm, menacing vocal, and obscured analog effects, and leading off a trilogy of tracks that form the album’s second half, the negative image to the first half’s positive; two sides of the same story. Closer “The Promise” is the band’s most ambitious statement of their career so far. The epic 13-minute track is cinematic in scale, beginning with droning soundscapes and minimal notes that open out into a beautiful, melodic section with rhythm-led breakdowns and doo-wop backing vocals, before descending into a haunting, sparse, reverb-drenched coda. That song, and the album as a whole, make clear the progression on Caul from its predecessor Your Heart, It Carries the Sound. There is a new focus, a need to explore, a quest to push further into the void.

File Under: Rock, Folk, Goth
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leigh

Heather Leigh: Nightingale (Golden Lab) LP
After an intense one-on-one dialogue with Heather Leigh regarding Golden Lab Records’ mission to present beautiful records that showcase styles of guitar in all their extremities, Golden Lab is delighted to deliver what is, without question, an absolutely blinding example of just such a record. Leigh recorded Nightingale direct to cassette, delivering one of those performances in which the pedal steel rages so hard that the vocals never have the opportunity to even make an appearance. Recorded in glorious mono and mastered to really bring out the harshness of those insane tones, Nightingale captures an almost tape-like quality in the pedal steel itself, and its transfer to vinyl only warms it up further into a new zone of somehow cozy metallicism. This is an absolute joy — a real tear-yr-face-off record that sort of acts as a companion piece to Leigh’s 2014 performances with Stefan Jaworzyn as Annihilating Light. 140-gram vinyl presented in a black and silver matte sleeve and limited to 250 copies.

File Under: Experimental, Noise
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mccann

Sean McCann: Ten Impressions for Piano & Strings (Root Strata) LP
Realized over a four-year period, Sean McCann’s Ten Impressions for Piano & Springs is a document of transition and maturation. Slow-moving cloud forms over corporeal landscapes, these impressions whisper of McCann’s decisive lean toward classical and avant-garde musics, culminating in 2013’s Music for Private Ensemble, released on his own imprint, Recital. Less a final statement on ambient music, more a meditation on change, discovery and process. LP includes download code.

File Under: Ambient, Classical, Avant-Garde
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microtub

Microtub: Star System (Sofa) LP
Consisting of three fully microtonal tubas, Microtub explores group tuba music from the perspective of microtonality. Color-coded sculptural scores are used to define areas of harmonic space in just intonation, presenting geometric structures to be explored by the players over time. The 3-dimensional graphic scores used on the album Star System are subsets of the Hayward Tuning Vine, which arose out of a desire to visualize the harmonic space implicit within the microtonal tuba. Each of the balls represent pitches, and the struts between them musical intervals. In “Star System” (side A), the musicians orbit once around the star-like structure, revealing the harmonic space implicit within it. In “Square Dance” (side B), the various squares and rectangles within the score are gradually explored by the musicians, analogous to a slow dance through harmonic space. Star System was recorded at Sjobygda Art House in Selbu, Norway in April 2013. Mixed by Espen Reinertsen and mastered by Helge Sten. Microtub: Robin Hayward (microtonal F-tuba); Kristoffer Lo (microtonal C-tuba); Martin Taxt (microtonal C-tuba).

File Under: Experimental, Minimalism
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sauna

Mount Eerie: Sauna (P.W. Elverum & Sun Ltd.) LP
The sauna that this album was inspired by is not a sauna that actually exists anywhere. It is about the idea of a small man-made wooden room crushed beneath a universe’s worth of bad weather; a concentration of extreme heat within a vast tough world. Inside this deliberate space a transformation occurs. The exaggerated atmosphere of flames, steam, smoke and dim light obliterate the usual sensations and new kinds of perception are exposed. Then the shocking plunge under cold water and the razor sword through sky. This is the same transformative potential of music, at least the kind of music that Mount Eerie has been attempting for the past few years. Carefully built worlds of sound and sensation, large weights and clear ideas, depth shown through simple moments. The singer is standing on the street in the rain, considering whether she hears a tractor idling or maybe an ancient memory of a mammoth tearing through brush. The view through the big windows at the airport in 2014. Sauna is described as an “ultimate” Mount Eerie album, and something about it does feel final, or perhaps the beginning of something new and big. The songs narrow these ideas to tight moments, a honed thesis. The compositions are complicated and grown-up, the instrumentation is gnarly and big, the pictures are painted bright. Recorded fully analog on 24 tracks at the Unknown (the reclaimed old wood church in Anacortes, Washington), this is certainly the most “hi-fi” Mount Eerie album ever made, while still sounding as raw as low tide in November. Phil Elverum is joined by singers Allyson Foster and Ashley Eriksson, cutting through the jet noise roar of the music with clear harmonic counterpoints. Gongs flange, distorted bass arches its back, organs blanket the room, the piano is half-swallowed. Are those drums or lumber? Flutes or laughter? Actual audible steam hangs in the branches. Twelve songs, 55 minutes total, inhabiting two high resolution 45rpm LPs, super-pretty heavy old-style gatefold jackets, jumbo poster, download card… the works.

File Under: Indie, Folk, Rock
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naka naka

Naka Naka: Mundo Harsh (Black Opal) LP
Black Opal presents the debut LP from Jerónimo Jiménez, released under his alias Ñaka Ñaka. Mundo Harsh features somber, minimalist synth-scapes coalescing with scattering techno patterns into a mature dancefloor workout. References to classic ’90s ambient techno can be heard throughout, though they take on a timelessness when refracted through Jiménez’s gaseous clockwork structures. Tracks like “dioges” and “def def” throw light and shade in equal measure, with the mood oscillating between hopeful and desolate. The B-side runs stranger, breaking at the seams with rusting drones of “jAaz” and finding a final forceful kick with the evil pump of “vibrocalyx,” a track made for the dankest floors. Harsh worlds for the individual to witness, a suitable soundtrack to the decay.

File Under: Electronic, Techno, Synth
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om

Om: Live (Outer Battery) LP
“Inspired by those classic ’70s bootlegs, Al Cisneros, who besides his work with Om has been laying down the low end with Sleep since day one, wanted to capture the raw live feel of Om’s 2013 European tour on vinyl. Housed in a plain white sleeve with a paste-on wraparound cover, Live harkens back to the days when you rifled through the back bins of your local record store searching for the latest ‘import’ releases from Pink Floyd and Led Zeppelin. We’ve kept that Trademark of Quality spirit with this release… limited to only 700 copies and pressed on Acapulco-gold-colored vinyl, this one is not to be missed!”

File Under: Metal, Drone, Doom
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Utopia_(Original_Television_Soundtrack)

OST: Utopia 1 (Silva Screen) LP
Initial pressing of just 500 copies Yellow Vinyl. One of the most critically acclaimed scores of 2013, Utopia Series 1’s soundtrack was described by The Arts Desk as “Cristobal Tapia de Veer’s cunning, menacing music”. Coming out on DLP vinyl for the first time (and on limited yellow vinyl at that), the score features instruments ranging from a rare Chilean trutruka recorded in Borough tube station to the percussion sounds of a rhino turd from Zimbabwe! This one of the most eclectic and innovative TV scores in a long while and has been specially mastered for this vinyl release. Mojo Magazine’s – No.4 in Top Ten 2013 soundtracks!! “a twitching, engaging and unique score that sounds unlike anything we’ve heard in some while. We’ve been waiting for this release since the show appeared on telly so we’re well chuffed now it’s out.” – Record Collector – 5/5 stars

File Under: OST, TV
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tam

Jose Prates/Miecio Askanasy: Tam… Tam… Tam… (Trunk) LP
Trunk Records presents the first reissue of Tam… Tam… Tam…!, an incredibly rare Brazilian LP by José Prates and Miecio Askanasy. In August of 2014, London-based DJ and record collector Gilles Peterson, who had been offered an original copy for $4,700, sent out a request for someone to reissue this extraordinary album. Originally issued in a one-time 1958 pressing as part of Askanasy’s 1950s touring Braziliana show, Tam… Tam… Tam…! is a landmark in the development of the Brazilian sound that would explode around the world in the decade to follow. It’s stunning both as a historical touchstone and as a standalone musical triumph. The solid blueprint of 1960s Brazilian music runs through it; for example, “Nānā Imborô” clearly prefigures Sérgio Mendes’s 1966 hit “Mas Que Nada.” The infectious rhythms, melodies, and exotic sounds that fill this album are deep, raw, and totally engaging. And the more one listens to Tam… Tam… Tam…! the more one hears its importance and future influence. This reissue comes at a time when, in a world saturated with information, few important things have escaped attention and reappraisal. Finding anything new and genuinely incredible is a rare feat. This is a prime example of amazing, influential music that until now has remained hidden. In producing this reissue, spurred on by Peterson’s request, Trunk Records found that no master recordings could be located. The original 1950s label showed no interest in a reissue, but Ed Motta, the renowned artist, producer, and record collector, agreed to transcribe his original copy on his EMT deck and send the files from Brazil to the UK. The sound was not in the best condition, and the original 1950s vinyl pressing has several musical inconsistencies. Trunk Records painstakingly worked toward a suitable sonic balance, making sure to maintain the bright and driving original sound without cleaning it up so much that the life of the music was diminished. Accordingly, the vinyl edition of reissue was pressed with some very slight surface noise — any more cleaning would interfere with the true wax sound. The CD edition, however, was pressed with more digital enhancement. Vinyl edition includes original full color LP sleeve. CD edition includes four-page booklet.

File Under: Brazil, Tropicalia
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ramones

Ramones: WBUF 1979 (Keyhole) LP
This outstanding performance by The Ramones was taped for radio broadcast in Buffalo, New York, on February 8, 1979, shortly after Marky Ramone joined the band. It captures New York’s punk pioneers at the peak of their powers, tearing through many of their most renowned songs in typically energetic style. It’s presented here in superb fidelity, with background notes and rare photos. Digitally remastered.

File Under: Punk

sanul

San Ul Lim: Psychedelic Years 1977-1979 (Dounia) LP
“Limited edition of 500 copies. At a time when punk is unfolding over England, when guitars are faster and more aggressive, all packed up in protesting slogans against Establishment, in South Korea appears Sanullim, a group formed by three brothers Kim Chang Wan, Kim Chang Hoon and Kim Nan Suk. Instead of wearing studded perfectos and multicolored ridges, the brothers prefer 3 part costumes and psychedelic melodies that were at top of charts around the world, 10 years ago. Sanullim is a well-typed retro 60’s band that has nothing to envy to their elders! One has only to listen to Are You Coming In Fall to be convinced! Languid, almost melancholy, with à lot of organ and distortion, this title is a good summary of the potential of Sanullim. Always oscillating between a heavy psychedelic rock like on the title Oh Already, and more pop tunes like It Was Probably Late Summer or Two Of Us, which the organ is not without reminding us of floydians vapors. Sanullim offers us through this compilation, his vision of rock, with a lot of shades. Without just copying, Sanullim have their own sound that will delight lovers of garage and exotic obscurities. The climax of this awesome compilation is the 18 minutes of You Are Already I, where the group leaves free speech to the instruments: guitars filled with a lot of fuzz, weird keyboards and dry bass echoes together to weave a dantesque fresco! A must have for fans of the genre!”

File Under: Psych, South Korea
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semool

Semool: Essais (Souffle Continu) LP
Souffle Continu Records presents the first official vinyl reissue of Essais, the sole album by Semool, originally released in 1971. This LP is the third in Souffle Continu’s series of ten reissues from the catalog of the cult French label Futura Records, fully licensed by Futura founder Gérard Terronè. Semool was a trio of Philippe Martineau, Olivier Cauquil, and Rémy Dédé Dréano. They recorded Essais between 1969 and 1971; under the underground, it’s a foggy lo-fi psychedelic alien with echoes of Pink Floyd and Black Sabbath drowned in oceans of heavy delay and acid guitars. Presented in a 350g sleeve with obi strip and matte finish. Limited to 1000 copies: 700 on black vinyl.

File Under:  Psych, Prog
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sun ra

Sun Ra Arkestra: Live in Nickelsdorf 1984 (Trost) 4LP Box
The great Sun Ra Arkestra, live at Jazzgalerie Nickelsdorf, Austria on March 11th, 1984. This is a recording of the entire — nearly three hour — performance. Personnel for this show was Sun Ra (piano, synth, vocals); John Gilmore (tenor saxophone, clarinet, evi, vocals); Marshall Allen (alto saxophone, flute, kora, percussion); Danny Ray Thompson (baritone saxophone, flute, percussion); Eloe Omoe(Leroy Taylor) (alto saxophone, bass clarinet, percussion); James Jackson (basoon, flute, drums, vocals); Ronnie Brown (trumpet); Rollo Radford (standup bass); Don Mumford (drums); Matthew Brown(congas, dance); Myriam Broche (dance); Greg Pratt (dance). Vinyl box limited to 1,000 copies.

File Under: Jazz

mugstar

Damo Suzuki/Mugstar: Start From Zero (Important) LP
Limited edition of 500 copies packaged in a heavy duty gatefold sleeve. On a long hot summer night in 2012, a meeting of minds happened in Liverpool, England. Damo Suzuki visited the city to play a show with Mugstar. After a flurry of emails, Damo asked Mugstar not to practice or figure out any music prior to the performance, as he believed it should “start from zero,” leaving the whole performance to be entirely improvised on the spot. It proved to be quite a night: the shamanic presence of the legendary Damo Suzuki immersed in the full-on, intense sound of Mugstar — one of the leading bands currently exploring fresh and uncharted areas — as they forge forward through the deep space of Kraut/psych. The music that emerged that evening moved through driving, head-spinning double wah-wah attacks, eerie, ethereal passages and onto an extended motorik coda, all powered along by thunderous bass and drums. Damo settled in immediately, a master of his own unique art. Surging along with Mugstar as “sound carriers,” absorbed in the energy and atmosphere through to the show’s exhausting end, it’s a great pairing.

File Under: Psych, Krautrock, Improv, Can
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totland

Otto A. Totland: Pino (Sonic Pieces) LP
Otto A. Totland’s modern compositional elements are most widely-recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K. Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the five-minute A-side of Sonic Pieces’ 7″, Harmony from the Past. Otto’s previously brief vignettes are now expanded into a fully personal realization of his own style. Initial track “Open” fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what’s to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you’ve ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios. With Pinô, Otto A. Totland appears out of the Norwegian landscape, sharing an achievement that will provide relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland’s compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O’Halloran.

File Under: Ambient, Electronic, Deaf Center
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trader

Trader Horne: Morning Way (Flashback) LP+7”
UK-based magazine Flashback presents the inaugural release on its vinyl-only label. “I would like to see Trader Horne getting more recognition. They have that feel, that warmth in their music that brings it to life” –Robert Plant, 1970. British folk duo Trader Horne released their only album, the timeless psychedelic folk classic Morning Way, in 1970. Produced with the full involvement of members Judy Dyble and Jackie McAuley, Flashback’s reissue comes in a strictly limited edition of 500 copies, each including a numbered certificate signed by Dyble. The album is pressed on 180-gram virgin vinyl and is housed in a lavish heavyweight embossed gatefold sleeve. Also included are Trader Horne’s 1970 non-album single Here Comes the Rain/Goodbye Mercy Kelly in a picture sleeve, a reproduction of the poster sent out to record shops to promote the album in March 1970, a facsimile of the large postcard that came with the earliest original copies, and a 16-page full-color booklet containing detailed notes and a treasure trove of rare memorabilia and contemporary press.

File Under: Psych, Folk
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we the people

We The People/American Zoo: Visions of Time (Guerssen) LP
Guerssen presents Visions of Time, the amazing story of We the People, a ’60s teen band from LA (not to be confused with the Florida band of the same name) that created an amazing blend of garage, folk rock, and psychedelic sounds. Between 1967 and 1968, this group of four young kids recorded a few 45s for Reena Records, two of them released under the name American Zoo. Despite their young age, the band members were accomplished musicians and songwriters. They debuted in 1967 with Feelings of My Emptiness/For No One to See, two amazing pieces of moody garage with superb vocal harmonies and arrangements. Their second 45,Back Street Thoughts/Who Am I?, offered two pieces of introspective psychedelia with some over the top tape/echo effects courtesy of Dal Kacher, a session guitarist and sound engineer who had been part of early lineup of The Mothers of Invention. “Who Am I?” was included decades later in Diminishing Returns, a famous psych mix by DJ Shadow. In 1968, the group released their third 45, this time as American Zoo: Mr. Brotherhood/Magdalena featured two more examples of outstanding garage psychedelia. A second pressing of the 45 was released with a new mix of “Mr. Brotherhood,” losing one minute but incorporating some wild electronic effects. In the 1980s, the song was included on such legendary compilations as High All the Time and Psychedelic Unknowns. That same year, American Zoo released their last 45, Back Street Thoughts/What Am I?; the B-side is a reworking of “Who Am I?” with more psychedelic production by Kacher. Even more amazing than the story of these young musicians is the story of what happened to them later: guitar player Bill Bottrell has gone on to win Grammy Awards as a producer, working with Michael Jackson,Madonna, and George Harrison, among others. Drummer Jason “Jasun” Martz toured with Frank Zappa and recorded with Michael Jackson, and is now a well-known avant-garde artist and sculptor. Steve Zaillian, the first We the People drummer, won an Academy Award for his screenplay of Schindler’s List (1993). This collection includes all the We the People/American Zoo 45 sides plus two previously unreleased tracks from 1967, taken from the only surviving copy of the band’s 10″ demo acetate. Carefully remastered sound. CD booklet features rare photos and detailed liner notes by Gray Newell (Shindig!, Ugly Things).

File Under: Psych, Garage
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whitehorse

Whitehorse: Leave No Bridge Unburned (Six Shooter) LP
Where there’s smoke, there’s fire. Whitehorse’s story has been told as two acclaimed musicians joining forces under one new name – no drummer, no keyboard player, violinist or even bass player on call, and no producer. Just Luke Doucet and Melissa McClelland The first album and EP demonstrate the success of this simple equation, one plus one, with an abundance of guitar slinging, songwriting expertise and white-hot desire. Now, with the sophomore LP Leave No Bridge Unburned, Whitehorse messes with the math. The duo hired ex-pat producer Gus Van Go to make the record. The three met at the 2013 Polaris Music Prize Gala, where Whitehorse performed as a Short List nominee for The Fate of the World Depends on This Kiss. With this move, Whitehorse’s studio team instantly doubled – Gus and his frequent collaborator Werner F transformed the duo’s song-making dynamic into a group conversation. Fans also know that the band’s family life has grown with the arrival of a baby. Leave No Bridge Unburned signals a new era for Whitehorse, a time of expanded musical influence, community, and kin. Leave No Bridge Unburned boasts more of everything that makes Whitehorse exciting and innovative – it’s Whitehorse amplified, increased, intensified. If The Fate of the World Depends on This Kiss was Whitehorse’s urgent, romantic statement on uncertainty and impending disaster, Leave No Bridge Unburned is a reckoning, a confrontation. The smoulders on Fate have become a full-blown blaze, a wall of heat. Leave No Bridge Unburned is all about surging ahead; there’s nothing to lose and no way to return.

File Under: Indie, Folk, CanCon
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woorden

Woorden: s/t (Omega) LP
“Massively unlikely out-of-nowhere exact repro reissue of this insane underground LP, still the most amazing slice of OTT freak to come out of the Netherlands in the late 1960s: a project masterminded by four far-out poets — Simon Vinkenoog, Bob Lens, Hans Wesseling and Nona — Woorden’s closest companion might be Walter Wegmuller and the Cosmic Courier’s majestic Tarot set, with diversions into concrete tape work, solo harmonica jams, heavy psych, freak jazz, acid folk and total musical non that touch on aspects of Patrick Conrad, Allan Kaprow, Toshi Ichiyanagi, Popol Vuh and an unholy Chie Mukai/Masayoshi Urabe junk/reeds/drone ritual. Long one of the rarest and whispered about underground Euro masterpieces, Woorden sees the poets chant, flip, sing in heavy F/X reverb heavens and work oracular magic ala Starmaiden herself while the music (courtesy of heads who also played on Group 1850’s legendary Agemo’s Trip To Mother Earth) moves from radical free jazz through laminal voice constructs that confuse automating surrealism and screwed tape/sound works based around ‘universal orgasms’ and the kind of percussion/vocal freak that is somewhere upwind of Junko and Yoko Ono. The harmonica and drums jams come over like a Cromagnon Kaoru Abe w/almost Sergius Golowin levels of eye-lolling universal worship. Hard to think of an album that is so completely Nurse With Wound list than this amazing long-lost classic and this handy, though ultra limited, reissue saves you selling your car to get a hold of a copy. Profoundly out, massively damaged, classic 60s-utopian art/theatre/noise/psych from a buncha heads with an umbilical to another galaxy altogether.” — David Keenan; on purple vinyl with insert.

File Under: Outsider, Experimental, Psych?, Bent
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yorke

Thom Yorke: Tomorrow’s Modern Boxes (Landgrab) LP
“Tomorrow’s Modern Boxes” is a new eight-track record from Thom Yorke. A record born of silver darkness, pressed onto heavyweight 180g white vinyl completed with undersize 75mm centre labels, housed within heavy white board inner and outer sleeves. These are printed with a metallic silver laminate then multi-tone black and a striking neon green; the whole is enclosed in a bespoke anti-static shield bag – a metallised laminated material usually used by the electronics industry for protecting components from electrostatic interference. The bag is printed with neon green on both sides, and has a resealable grip closure. Contains digital download card.

File Under: Indie, Electronic, Radiohead
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zappa

Frank Zappa/Captain Beefheart: Live (Keyhole) 3LP
Keyhole presents a triple LP edition of its double CD set Providence College, Rhode Island, April 26th 1975. Childhood friends and fellow rock visionaries Frank Zappa and Captain Beefheart put aside their differences to tour the US together in the spring of 1975 — Beefheart’s only tour with The Mothers of Invention. The resulting shows found them both in superb form, as evidenced by this legendary 1975 set, preserved in superb fidelity. This edition is pressed on 180-gram vinyl, features remastered sound, and includes an insert with background notes and photos.

File Under: Rock, Blues, Legends, Live

arizona

Various: Best Arizona Garage (HDM) LP
‘The Arizona music scene during the sixties can easily be likened to its desert surroundings: The monotony of average and sometimes even good bands writing less than good and even average songs. Then one day you hear a band that knocks you out. Those are the kinds of bands that I had the opportunity to discover and produce that suddenly emerged out of garages and other little holes in walls ? wherever they could find a place to converge and create their music. I now have the honor and the privilege to present to you the bands that I think are Arizona’s best garage bands from 1967 to 1970.’ — Hadley Murrell. “At an age when most of us were just listening to music, Hadley Murrell got involved. At 14 he started playing drums with The Carnations, and went on to work in radio, as well promoting shows and other live events. Much of what he made went towards studio time to produce the music heard in this collection. Often garage rock is under produced to its detriment. That’s not the case here, Murrell recorded at Phoenix’s Audio Records, other clients included Dwayne Eddy, Dyke & The Blazers and Waylon Jennings (among many others). And unlike many garage rock sides ? Hadley took his performers into the studio prepared and ready to lay down tracks as hot as the Arizona desert. In addition to music that captures a moment in time, the release features a 20 page booklet filled with the story of each of the groups included here along with period photography, show flyers and more.”

File Under: Garage, Psych

brazilian

Various: Brazilian Boogie Connection (Cultures of Soul) LP
“This album is another chapter in the ongoing ‘there’s-muchmore- to-Brazil-than-bossa-nova’ saga. It’s filled with disco-era tracks produced for the Brazilian domestic marketplace, some of which were hits, others which were quite obscure. What binds them all together – besides their common origins, time period and overall musical approach – is the fact that their reputation has been steadily transcending Brazil’s borders. This has allowed these tunes to find their place on set lists, want lists and in the crates of the world’s most discerning DJs and tastemakers. Artists like Jorge Ben and Marcos Valle have been legendary and influential for decades, and the duo Robson Jorge & Lincoln Olivetti dominated the Rio studio scene in the ’80s before creating huge buzz overseas in recent years. Banda Black Rio and Cassiano are also both household names amongst crate diggers and fans of rare groove. While this album is sure to highlight the work of the artists featured on it, its main aim is to shine a spotlight on a sound and a style that continues to hypnotize scores of music lovers. Most importantly, its goal is to get dance floors moving across the world.”

File Under: Brazil, Boogie, Disco, Funk

ACE-CiaoBella-CD-Fro

Various: Ciao Bella (Ace) LP
The 1960s girl-pop compilations on our occasional Ace International and Big Beat International imprints rank among our most popular releases of recent years. Having hit upon a winning formula by hopping over the Channel to France for ‘C’est Chic!’ and ‘Tres Chic!’, and by venturing further afield to Japan for two volumes of ‘Nippon Girls’, we now turn the spotlight on Italy. The collection opens with Brunetta’s prized dancefloor-filler ‘Baluba Shake’ and closes with ‘Cuore’, a dramatic beat ballad by petite dynamo Rita Pavone. Star of the show is the prolific Mina – queen bee of Italy’s female singers – with three tracks: ‘No’ (a wailing folk rock nugget), ‘Più Di Te’ (a cover of the Tracy Dey/Bob Crewe classic ‘I Won’t Tell’) and ‘Se Telefonando’ (a sophisto-pop epic courtesy of maestro Ennio Morricone). Other highlights include the sitar-embellished ‘Il Mio Posto Qual’È’ by Ornella Vanoni, a convincing cover of ‘Baby Please Don’t Go’ by beat girl Caterina Caselli, Gigliola Cinquetti’s superbly orchestrated Eurovision-winner ‘Non Ho L’Età (Per Amarti)’ and breathy-voiced actress Catherine Spaak’s bossa-imbued ‘La Notte È Fatta Per Rubare’.

File Under: Italian, Girl Groups, Pop

fallin

Various: Fallin’ Off the Reel Vol. 3 & 4 (Truth & Soul) LP
“Truth & Soul is proud to present the second volume of our Fallin’ Off The Reel compilation on double long playing vinyl. In keeping with T&S tradition when we get enough singles out we get them together onto a comp for the people who collect CDs and digital files. Also in keeping with T&S tradition, when we get to two volumes we choose some of our favorite tunes from both and press them on a double vinyl release. This combo of Vol 3 and 4 contains 26 tracks on 4 sides with songs from Lee Fields & Expressions, Lady, Liam Bailey, El Michels A air, Bacao Rhythm & Steel Band, The Olympians, and more. Vinyl comes with a free download card.”

File Under: Funk, Soul

tanzania

Various: Music of Tanzania (Sublime Frequencies) LP
Music of Tanzania is a spectacular collection of field recordings gathered by Laurent Jeanneau between December 1999 and March 2000. This debut volume of Sublime Frequencies’ exploration of indigenous Tanzanian music compiles sacred and profane songs and dances of the Hadza, Datoga, and Makonde people. Highlights include stoned ecstatic dancing in a Hadza encampment; a drunken celebration of preteen sexual initiation from a Makonde fishing village; baboon imitations performed on the malimba; electrified Islamic trance percussion; and useful tips for amateur hyrax hunters. Many of these poignant, exhilarating performances come from dwindling minority groups whose way of life stretches back to the Stone Age, and who are capable of creating breathtaking music with anything from agricultural tools to tin cans and plastic tubes. Laurent Jeanneau is absolutely fearless in his pursuit of rare, exceptional and vibrant performances. He views his ongoing documentation of ethnic minority music as an act of resistance to globalization, state-sanctioned “peasant traditions,” and cultural homogeneity, and accordingly spends months living under harsh and dangerous conditions in order to capture impromptu performances in their everyday cultural context. Using this method, Jeanneau has self-produced almost 100 albums preserving threatened musical traditions from some of the most remote regions on earth, in addition to compiling multiple volumes for Sublime Frequencies. This limited edition double LP tip-on gatefold package includes striking photographs by James Stephenson and detailed liner notes by Jeanneau.

File Under: Audio Tourism, Ethnic, African
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…..Restocks…..

A Tribe Called Quest: Midnight Marauders (Jive) LP
Arcade Fire: Funeral (Merge) LP
Black Flag: Damaged (SST) LP
Black Flag: TV Party (SST) LP
Black Flag: The First Four Years (SST) LP
Black Flag: My War (SST) LP
Black Flag: Family Man (SST) LP
Black Flag: Slip It In (SST) LP
David Bowie: Space Oddity (EMI) LP
Built To Spill: Ancient Melodies of the Future (Music On Vinyl) LP
Caribou: Our Love (Merge) LP
Causa Sui: Euporie (El Paradiso) LP
Causa Sui: Live/Freak Valley (El Paradiso) LP
Nick Cave: From Her To Eternity (Mute) LP
Chrome: Visitation (Cleopatra) LP
Dead Weather: Sea of Cowards (Reprise) LP
Decemberists: What A Terrible World (Capitol) LP
J Dilla: Donuts (Stones Throw) LP
Bob Dylan: Shadows in the Night (Columbia) LP
Lee Fields: Faithful Man (Truth & Soul) LP
Robert Fripp/Brian Eno: Evening Star (Pangyric) LP
Robert Fripp/Brian Eno: No Pussyfooting (Pangyric) LP
Gun Glub: Mother Juno (Bang) LP
I Marc 4: s/t (Sonor) LP
JB’s: These Are The JBs (Now Again) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino) LP
Leyland Kirby: Death of Rave (History Always Favors The Winner) LP
Kraftwerk: Radio-Activity (EMI) LP
Led Zeppelin: III (Warner) LP/2LP
Led Zeppelin: IV (Warner) LP
Dan Mangan: Club Meds (Arts & Crafts) LP
Magma: Emehntehtt (Jazz Village) LP
Magma: Riah Sahi (Jazz Village) LP
Magma: Kohntarkosz Ant… (Jazz Village) LP
Magma: Kohntarkosz (Jazz Village) LP
Modest Mouse: Good News… (Epic) Lp
Lee Perry: Super Ape (Get On Down) LP
Phoenix: Alphabetical (Parlophone) LP
Phoenix: It’s Never Been Like That (Parlophone) LP
Phoenix: United (Parlophone) LP
Sainte Anthony’s Fyre: s/t (Zonk) LP
Sex Pistols: Never Mind the Bollocks (Rhino) LP
Sleaford Mods: Austerity Dogs (Harbinger) LP
Sleaford Mods: Divide/Exit (Harbinger) LP
T. Rex: Electric Warrior (Rhino) LP
Thin Lizzy: Jail Break (Universal) LP
Thin Lizzy: Johnny The Fox (Universal) LP
Tool: Lateralus (Zoo) LP
TV on the Radio: Seeds (Interscope) LP
Tom Waits: Bad As Me (Anti) LP
Washed Out: Life of Leisure (Mexican Summer) LP
Jack White: Lazaretto (Third Man) LP
White Noise: An Electric Storm (Island) LP

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