…..news letter #711 – vuuuuuh…..

Oh boy! As you will see below, we got a massive shipment of prog from Spain this week. Obviously, the Popol Vuh reissues are the highlight, but there’s some really killer other gems in there as well. As well as many other swell new releases as well, so dig in….

…..picks of the week…..

popol vuh

Popol Vuh: Aguirre (Wah Wah) LP
Werner Herzog’s 1972 film Aguirre, The Wrath Of God  was the first collaboration between the famed director and Popol Vuh. Florian Fricke was approached by old friend Herzog to do the soundtrack for his third movie. Three years later, in 1975, after the international success of Herzog’s film, Popol Vuh issued the LP Aguirre. It featured material recorded for the movie plus some other songs. Some of them recorded prior to 1975 – the Aguirre soundtrack ones, of course, plus there is the presence of the big Moog from Popol Vuh’s early albums, and also contains Morgengruss II, an update of the Morgengruss song that had prevously appeared on Ensjäger Und Siebenjäger. “Popol Vuh’s “hypnotic music” for Aguirre met with considerable acclaim. Roger Ebert wrote, “The music sets the tone. It is haunting, ecclesiastical, human and yet something else… The music is crucial to Aguirre, the Wrath of God…” AllMusic noted, “The film’s central motif blends pulsing Moog and spectral voices conjured from Florian Fricke’s Mellotron-related “choir organ” to achieve something sublime, in the truest sense of the word: it’s hard not to find the music’s awe-inspiring, overwhelming beauty simultaneously unsettling. The power of the legendary opening sequence of Herzog’s film…owes as much to Popol Vuh’s music as it does to the director’s mise-en-scène.” Herzog explained how the choir-like sound was created, “We used a strange instrument, which we called a ‘choir-organ.’ It has inside it three dozen different tapes running parallel to each other in loops. … All these tapes are running at the same time, and there is a keyboard on which you can play them like an organ so that [it will] sound just like a human choir but yet, at the same time, very artificial and really quite eerie.” In 1975, Popol Vuh released an album entitled Aguirre. Although ostensibly a soundtrack album to Herzog’s film, the six-track LP included only two songs (“Aguirre I (L’Acrime Di Rei)” and “Aguirre II”) taken from Aguirre, the Wrath of God. The four remaining tracks were derived from various recordings done by the group c. 1972–1974. At the time of Aguirre, the band members were Fricke (piano, Mellotron), Fichelscher (electric guitar, acoustic guitar, drums), Djong Yun (vocals), and Robert Eliscu (oboe, pan pipe).” (Wikipedia) Werner Herzog: “The music in my films is also very much neglected, if I may interrupt you, in Germany as well. Since AGUIRRE, my friend Florian Fricke, has done the music for almost all my films – for STEINER, for LA SOUFRIERE, for STROSZEK, and for HEART OF GLASS – and I’ve tried to push very hard so that he would be given the National Film Award this year. They’ve never given it to him, and there has been complete neglect of his work. Not even a single mention! And this year they just by-passed him once again!” [From: Images at the Horizon, 1979] Popol Vuh has been nominated three times for an Oscar for best original score:
 1972 (Aguirre), 1979 (Nosferatu) and 1987 (Cobra Verde). There have been several different editions of Aguirre and each has varied slightly or quite a lot from the original issue. Several reissues change the last track (the 17 minute long Vergegenwärtigung) to include material from other Popol Vuh albums, even in cases the song is listed on the sleeve the music is from completely different sources. Thanks to the accurate archive work of SPV on offer here is the original version of the album as it was first released in 1975. Limited edition featuring one bonus track, remastered sound and original artwork plus an insert with liner notes and photos. It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile. HIGHLY RECOMMENDED!!!

File Under: Ambient, OST, Krautrock
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Popol Vuh: Nosferatu (Wah Wah) 2LP
The story of the Nosferatu soundtrack editions through the years appears a little caotic. Several editions, with several sleeves and completely different tracklists have appeared in different countries. What we tried to offer here is the definitive edition of Popol Vuh’s works for this fantastic Werner Herzog 1979 tribute to the old Murnau classic. When asked for a new soundtrack for Herzog’s project, Florian Fricke and Daniel Fichelscher came out with a magnificent album that once again, as it had happened with Hosianna Mantra, opened new paths to follow. The album, although having been recorded with the movie in mind, was not titled Nosferatu. Instead it was released as Brüder des Schattens – Söhne des Lichts, which can be translated as “Brother Of Darkness – Son Of Light”. It first came out in 1978 featuring amazing new age / ambient escapades based on repetitive passages and instrumentation of incredible beauty, recorded with the help of Al Gromer (Amon Düül) on sitar, Bob Eliscu (Between) on oboe, Ted de Jong on tamboura plus a complete church choir ensemble from Munich. Brüder des Schattens…, also issued in other editions as Nosferatu, makes disc one on this gorgeous double LP set. Disc two of the Wah Wah edition features the LP that was originally released as the Nosferatu Original Sound Track album, also known as On The Way To A Little Way. A 1978 release, although it contained material recorded prior to that date. Right in the middle of the film production, Herzog felt he needed more music and asked Fricke for obscure, scary material. He searched the Popol Vuh archives and compiled the great collection that Nosferatu / On The Way… is. It came out a varied selectionç where older Moog tracks mix with more reflexive material that already gives clues of what’s to come in Brüder des Schattens… Nevertheless, despite all the variety -or maybe thanks to it,- Nosferatu / On The Way To… turned out to be a fantastic, classic Popol Vuh album. We have added one bonus track previously unreleased in vinyl format. Werner Herzog: “The music in my films is also very much neglected, if I may interrupt you, in Germany as well. Since AGUIRRE, my friend Florian Fricke, has done the music for almost all my films – for STEINER, for LA SOUFRIERE, for STROSZEK, and for HEART OF GLASS – and I’ve tried to push very hard so that he would be given the National Film Award this year. They’ve never given it to him, and there has been complete neglect of his work. Not even a single mention! And this year they just by-passed him once again!” [From: Images at the Horizon, 1979] Popol Vuh has been nominated three times for an Oscar for best original score:
 1972 (Aguirre), 1979 (Nosferatu) and 1987 (Cobra Verde). Collected in a gorgeous limited edition double LP set, first half of the edition issued in transparent red vinyl, are the two albums that relate to Werner Herzog’s Nosferatu. Housed in a fantastic silver sleeve with the Klaus Kinski / Isabelle Adjani artwork from the movie poster as used for the 1979 PDU Italian issue. The gatefold cover artwork is completed with graphic material from On The Way To A Little Way plus photos from the movie kindly provided by Werner Herzog himself. A killer 50 x 70 cm full colour reproduction of the movie poster is included, as is an insert with detailed liner notes and one bonus track not on the original albums. HIGHLY RECOMMENDED!!!

File Under: Ambient, OST, Krautrock
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letzePopol Vuh: Letze Tage, Letze Nachte (Wah Wah) LP
Letzte Tage, Letzte Nächte is probably the most “rock” sounding work of Popol Vuh’s production. Recorded by the classic trio of Fricke, Fichelscher and Yun, plus Ted de Jong on tamboura and Amon Düül members Al Gromer on sitar and Renate Knaup on additional vocals, its sounds seem to be more based on power than on ambient. Strong guitar passages emphasize this, with Fischelscher’s playing being harder than the Conny Veit ethereal parts on earlier records. The title track is also the first time that Popol Vuh record English words on a song. “With his blistering and emotional guitar work Fichelscher made his mark on many of the Popol Vuh albums. An album like ‘Letzte Tage, letzte Nachte’(1976) would not be possible without him. But also this album would be impossible without multi-tracking, a technique that Popol Vuh was heavily dependent on throughout their existence. This album shows Popol Vuh from its most rocking and dynamic side. But even here it is evident that a remarkable spiritualism defines the music. In a down-to-earth way Fricke wanted his music to be a ‘healing force’, an ‘uplifting experience for the human soul’. This spiritual quality is inherent and constitutive for all the music he made during his career. This proves Fricke was successful in communicating these intentions to the musicians involved.” Dolf Mulder (www.popolvuh.nl) Limited edition, featuring one bonus track not on the original vinyl and remastered sound, issued in a reproduction of its original sleeve and with an insert featuring photos and liner notes.

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


Battles: La Di Da Di (Warp) LP
In Tomorrow… As any consciously relevant social-interest story will inform you post-haste, we are living in an increasingly Networked Age. As a society we are connected in more ways than ever before, technologically linked with one another through an ever-growing web of invisible electronic pathways, which as they evolve begin to approach the kind of cognition we used to associate with the idea of ESP or ‘psychic’ behavior. We’re able to tell where each other went on vacation or what each other had for lunch without ever having to utter a word to one another, or even be in the same room, let alone time zone. While on the macro level humankind grapples with how best to utilize this newfound capacity for awareness, on the micro level small groups of individuals have spent years finding more functional applications for it. Battles are the Networked Band, or perhaps the-band-as-network. An island chain linked by a unique combination of artistry, experimentation, technology and singular focus. A three-headed cyborg that forces our aptitude for pure physical industry to flirt lasciviously with our encroaching digital reality. A band that holds computerized loops in their brains, leaves sweat on their machines and whose sonic heartbeat is almost brutally human. It only makes sense that such bastards of both the hi/low-tech worlds would look for an alternative means of communication. La Di Da Di is the prompt, the exclamation and the riddle to hang in the air while we try to make sense of just what Battles have done now. Dave Konopka, Ian Williams and John Stanier have turned the tables on themselves this time, confronted their own ideas of what Battles is – and here on their third album, have willed an answer to that question into existence. The tangled wires and entrails of Mirrored and Gloss Drop have been pulled out, flung against the wall and scraped into an unruly pile to be tread upon. As the name might imply, La Di Da Di is a mushrooming monolith of repetition. Here is an organic techno thrum of nearly infinite loops that refuse to remain consistent. The rhythmic genus of Battles is here as ever; full frontal, heightened and unforgiving – the gauntlet through which melody and harmony must pass, assailed at every turn. “The Yabba” squawks to life, tumbling down the stairs before it finds it’s own dislocated gait. The title of “Dot Net” hints at its propulsive bait-and-glitch, while “FF Bada” and “Summer Simmer” twitchily reach dizzy heights of forward-gazing no wave bluster. For a ‘breather’ “Cacio e Pepe” isn’t much of a breather, all unsettling harmonic shafts of light, like a short walk on an especially strange beach. The album’s middle section that it bookends with it’s spiritual cousin “Tyne Wear” are surely some of the more mutated deployments of conventional rock instrumentation you’ll have heard in some time. It’s about at this point that you begin to realize the truly bionic reimagining of what a band can sound like. That seems like hyperbole until you lurch into the eerie skank of “Megatouch”, and by the time you realize that genre’s been swept out the window you’re thrown unapologetically through the percussive “Flora>Fauna” and into the seeming zero-gravity of “Luu Le” which reveals itself to be a shapeshifting carnival ride, eventually depositing you gently at the exit gate – wondering how it is you’ll explain what La Di Da Di means.

File Under: Indie Rock, Prog, Math Rock
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Century Expanded: Concerto for Wah Wah (Wah Wah) LP
Wow, what a discovery! A previously unknown gem from 1970. Originally released on the ultra-rare Perspection label, this generous 30-minute jam feast of mind blowing psychedelia features two long tracks. Wah-wah, fuzz and tremolo dueling guitars, searing organs, spacey vibes and trippy percussion set the atmosphere, in that out-there psychedelic sound reminiscent of San Francisco’s Summer Of Love and at the same time as hypnothic and adventurous as kraut rock innovators Neu! First ever vinyl reissue, presented on textured sleeve and remastered sound in a limited edition of only 500 copies worldwide.

File Under: Electronic, Psych, Krautrock
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City & Colour: If I Should Go Before You (Dine Alone) LP
In Tomorrow… “There’s a line that I’m trying to find, between the water and the open sky,” sings Dallas Green on “Friends,” the penultimate track off of his fifth release as City and Colour, If I Should Go Before You. For someone like Green, it’s hard to imagine that there’s much left to search for – he’s traversed the globe on tour, released numerous albums (one most recently as You+Me with Alecia Moore, aka P!nk) and collected scores of accolades. Though Green is a musician, he doesn’t make a show of things: that’s the songs’ job. Thus he’s done this all quietly, intentionally, still looking for the next answer or dog-eared chapter each record holds. And this time, on If I Should Go Before You, he once again uncovered something new: a certain kind of family in his bandmates. “It’s been a very special two years for me,” says Green, about the period since the release of 2013’s The Hurry and the Harm, which has seen him touring with the consistent ensemble of Dante Schwebel (guitar: Dan Auerbach, Rumba Shaker), Doug MacGregor (drums: Constantines), Jack Lawrence (bass: The Raconteurs, Dead Weather) and multi-instrumentalist Matt Kelly. “They inspired me to want to create new music, just to create it with them – I don’t think I wrote these songs for the band, per se, but I certainly wrote them because of the band.” Green had always been an introspective, solitary writer, demoing songs in his basement, working up every instrumental part by himself. But he considers If I Should Go Before You to be a band record, where the input of these trusted comrades was of the upmost importance. Even more pivotal was trying to capture the essence of their live show symbiosis in the studio; which comes through with an undeniable force. For a project that was very much about the inner world of Green, these relationships have morphed City and Colour into something with more emotive power than ever before: the layers go beyond just music and lyrics, into the people creating the songs themselves. But there was one thing that Green did want to do himself this time: produce the record. He returned to Blackbird Studios in Nashville, where The Hurry and the Harm was made, but decided to take the production reigns himself, with the help of friend Karl Bareham as his partner and engineer, along with the masterful mixing skills of Jaquire King (Dawes, Kings of Leon, Tom Waits). Everyone who had a hand in the making of the record was or became part of the City and Colour family. Green’s songs have always had a striking, visceral feel that pumps through the veins like oxygen, and, this time, it became a sort of translatable DNA. It’s a perfect time to think of everything he has done – and If I Should Go Before You is a celebration of that. With instrumentation recorded live off the floor, it comprises every part of the person Green has become over the years: chugging ballads that tug at the gut, aching confessionals set to slicing guitars, little licks of pedal steel for his new southern-swept soul, moody distortion from punk rock roots. Though he’s recorded in many incarnations, If I Should Go Before You acts like a roadmap through all of them, showing that none of these were simply “projects,” but they were part of the same whole. The album opens with the sweeping, “Woman,” a track that very well could be a surprise to those who might expect a simpler, acoustic-based entrance gate. At over nine minutes long, it’s a sultry and dynamic ode to everlasting love expressed through a powerful, layered build of sounds and emotions like a complex sweep of watercolors – a percussive heartbeat, echoing riffs, Green’s grounded yet ethereal falsetto. You can almost picture the stage lights spiral across a crowded auditorium; it moves with a life outside just the studio walls.

File Under: Indie Rock
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Code III: Planet of Man (Wah Wah) LP
Brothers Manfred and Wolfgang Schunke were pioneers of the Kunstkopf Stereophonie (artificial head, dummy head) binaural recording system. This recording technique was created in the Technical University of Berlin in 1974 with the aim to reproduce real stereo sound as the human ears perceive it. Human ears listen to the sounds in a concrete way that is affected not only by the sound frequencies themselves but also by the position of the listener in respect to the different sound sources. The Schunke brothers wanted to experiment this recording technique, and as early as 1974 they set their own kunstkopf recording studio, Delta Acustic, with the help of Klaus Schulze. Code III was the vehicle for Manfred Schunke to explore the possibilities of kunstkopf recording. To do so, he joined forces with two Berlin-resident americans: Ed and Mary Key. Lyrically, Planet Of Man verses on the big theme of the creation of Earth, as The Crack In The Cosmic Egg book details it: “The music on PLANET OF MAN is a sonic depiction of the history of the Earth, from the void of empty space, via the formation of the planets, the evolution of life, through to man’s domination of the planet, and ultimately back to the void. The opening and closing excursions, involving atmospheric electronics, injections of a dreamy folk song, and disembodied resonant female voice, hint a little at Brainticket’s CELESTIAL OCEAN, although the mood is much spookier. Confusingly “Dawn Of An Era” (the lyrics are sung in the previous track) involves what sounds like demented Neanderthals involved in some weird drum ritual. “Countdown” adds up to a blend of atmospheric electronics with abstract use of voice collage and effects (and Indian music), onto a remarkably clever accelerating space-rock burn-out featuring Klaus Schulze at the drum stool! Returning to weird space music at the end, it all adds up to a remarkable and unique album.” Planet Of Man was one of the six releases on the Delta Acustic label, all recorded using the Kunstkopf Stereophonie techniques. After that, the Schunke brothers would quit the studio and move to new adventures. Manfred continued experimenting with dummy head recording, he would work, among others, on albums by Can and also use his binaural engineering experience on Lou Reed’s 1978 Lps Street Hassle and Take No Prisoners, among many others. There were originally two different versions of the album, the Wah Wah edition reproduces the longer, uncut one. First ever official vinyl reissue, with remastered sound and an insert with liner notes curated by Wolfgang Schunke for the occasion.

File Under: Electronic, Krautrock
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Coeur De Pirate: Roses (Dare to Care) LP
In Tomorrow… Roses is award-winning singer-songwriter and pianist Cœur de pirate’s highly anticipated third album. Roses, a collection of songs dating as far back as 2012, was written mostly in Montreal and recorded in studios in Stockholm, London, Bristol and Montreal. The album was recorded in Stockholm with producer Bjorn Yttling (Peter Bjorn and John, Robyn, Lykke Li), in Bristol, UK, with Rob Ellis (PJ Harvey, Bat For Lashes, Cold Specks), and with Ash Workman (Metronomy, Christine and the Queens) at London’s Church Studio, where Adele’s Skyfall fame took its roots. Roses is the object of a very meticulous marketing plan. The advertising plan prepared by the label features both the album and the tour dates in all the different markets to maximise the visibility of the promotion initiatives. A national ad campaign will take place in advance of the release to promote the artist and draw attention towards her tour dates as well as her upcoming album. We plan to market the upcoming album through a combination of radio advertising, television spots, online and print ads. Our strategy includes live radio sessions, TV performances, combined with our strong radio promotion and aggressive postering campaign across Canada. Cœur de Pirate is the solo project of award-winning singer-songwriter and pianist Béatrice Martin. She released her self-titled debut album in September 2008, to immediate national and international acclaim, before returning in November 2011 with her sophomore album, Blonde. In 2014, Martin provided the soundtrack to Radio-Canada’s hit TV series, Trauma, as well as the original score to Ubisoft’s video game, Child of Light. Cœur de Pirate has now sold more than one million albums worldwide and counting.

File Under: SSW, Indie Rock, CanCon
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COS: Postaeolian Train Robbery (Wah Wah) LP
An obscure classic from the 1970’s Belgian jazzy prog scene that has become a much sought after piece in the collector’s market since it was originally released in 1974. Highly inspired by both the UK’s Canterbury scene and the zeuhl sound, the debut album by Cos has been compared to the likes of Soft Machine, Gong, Hatfield & The North, National Health, Gilgamesh, Egg, Placebo, Magma or Zao, with Pascale Son’s unique wordless vocals and nonsense syllables singing in a voice that some sources have compared to Flora Purim’s. The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality. The album was released on the small obscure label Plus, and has arised interest not only among prog-rock psych-heads and jazz experimentalists, but also among those looking for breaks and bits to sample. The Wah Wah reissue comes housed in a beautiful reproduction of the original gatefold sleeve, featuring the original booklet and an insert with photos and liner notes. Mastered from the original tapes. First official LP reissue in a limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell.

File Under: Prog, Jazz Rock
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Gregor Curten/Anselm Rogmans: Planes (Wah Wah) LP
Wah Wah Records proudly presents a luxury vinyl reissue of this rare 1974 private pressing. Cool long electronic experiments splitted in two tracks, one on each side. Recorded in one take and offering an astounding combination of synth drones, wordless vocals, ambiental electric organ and ethereal guitar arpeggios. An outstanding work that moves away of the more classical kraut cosmische sounds to walk darker paths, yet retaining some early Kluster reminiscences. The Wah Wah reissue comes to life thanks to the cooperation of Gregor Cürten himself, this new LP and the 2012 CD release on Entr’acte are the only legit reissues of this great lost piece of kraut music history. Don’t be fooled by imitations! Limited to only 500 copies. Remastered sound and featuring an insert with liner notes.

File Under: Electronic, Ambient, Krautrock
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dungenDungen: Allas Sak (Mexican Summer) LP
Dungen returns after a five year hiatus with Allas Sak, picking up where 2010‘s Skit I Allt left off, but sounding bolder and livelier, feistier yet more focused. One of the best and most consistently inventive psych rock bands in the world, the quartet jams with greater purpose and principle on songs like the otherworldly instrumental “Franks Kaktus” and the stately “En Gång Om Året,” while the prismatic “Flickor Och Pojkar” and closer “Sova” reveal subtle nuances in the band’s arrangements. “Åkt Dit” moves like a well-told story, with piano and bass setting the scene, the vocals tracing the rising action, and a saxophone solo providing the climax. Allas Sak is about everyday matters: family, friends, the fine texture of life. Common but never mundane, these subjects anchor the music in the here and now, while the music lends a certain grandeur to ordinary moments. “Lyrics are very important to me,” says primary songwriter Gustav Ejstes, who sings almost exclusively in Swedish. “These songs are my everyday experiences, my thoughts and stories from the life I live. I hope people can create their own stories around the music and maybe we can make music together, the listener and I.” “This is music made in blissful oblivion…and made to conjure it, too.” – The New York Times

File Under: Psych, Indie Rock
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Eagles Of Death Metal: Zipper Down (T-Boy) LP
In Tomorrow… Jesse Hughes and Joshua Homme, co-founders of American rock band Eagles Of Death Metal, return with their fourth album, Zipper Down, the project’s first new studio release since 2008. For the Zipper Down sessions at Pink Duck Studios in Burbank, CA, Hughes and Homme co-wrote all of the album’s songs (with the exception of their cover of Duran Duran’s “Save A Prayer”), and performed all of the instruments and vocals themselves. The album was produced by Homme. “The new album, Zipper Down, really represents to me an attitude and philosophy of life,” says Hughes. “One should not zipper up, they should zipper down and let it all hang out.” Homme says, “In an independent study, four out of three doctors say Zipper Down is an eargasm trapped inside a crazerbeam. And I believe them.” About the album’s lead single, Homme explains, “‘Complexity’ is the musical equivalent of holding a lucky rabbit’s foot with the unlucky rabbit still attached.” “‘Complexity’ is sort of our way of saying, ‘Keep it simple, stupid,’” adds Hughes. EODM was formed in 1998 in Palm Desert, CA by best friends Jesse Hughes and Joshua Homme. Despite their band name, EODM is not a death metal band. The story goes that a friend was introducing Homme to the death metal genre, and he wondered what a cross between the Eagles and a death metal band would sound like. With that, EODM was born. The band released Peace Love Death Metal in 2004, followed by Death By Sexy in 2006, and Heart On in 2008.

File Under: Rock, Queens of the Stone Age, Kyuss
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Hans Edler: Elektron Kukeso (Wah Wah) LP
After having served in the rich Swedish beat 1960’s scene as a member of The Ghostriders and We 4, a.o., at the end of the decade Hans Edler became one of the pioneers of psychedelic electronic sounds experimentation in Europe. His “Elektron Kukéso” LP is a landmark in the genre. Released in 1971, it featured his explorations in electronic avant-garde music from the period 1969-1971. It was recorded at the Electronic Music Studio foundation, one of the world’s most advanced studios in the era, and one of the few prepared for the creation of electronic music. Influenced by the works of Karl-Heinz Stockhausen and using techniques similar to those of Pierre Henry or Raymond Scott, Edler brought a psychedelic edge into electronic music just like Silver Apples had done in the USA. The album has also a strong rock attitude plus a certain pop sensitivity in some passages, not far from that of David Axelrod’s, which confers it a distance from what used to be the more serious appeal of what most electronic pioneers had been doing, giving the album an accessivity that is closer to the electronic hits of artists such as Gershon Kingsley, Jean-Jacques Perrey or Dick Hyman. However, be it because of the songs being sung in Swedish or the outsider reputation Edler seems to have in the Swedish musical scene, this great LP remained an obscurity – hardly spoken of outside a small circle of connoisseurs and collectors. “It really doesn’t get much better than this. In these days of harsh turmoil to uncover a rock & roll sweetheart like Hans Edler it really proves the gods to be smiling. Bonafide electronic experimentation with a heart full of pop is a love potion most desirable. Listen to the religious Brian Wilson-meets-Jandek orayer hymns of young Edler and travel to a time when long haired girls and dope-laced boys were truly getting it “on”. The hybrid fascination of electronic space composition and soul sweet pop-love in such a fresh state has me floating to my tombstone cloud.” Thurston Moore (Sonic Youth). “Hans Edler’s Elektron Kukéso reflects a man who, musically speaking, is in a world of his own. Edler’s music seem to be totally uninfluenced by the music of his day. On the contrary, Edler seemed to be making up his own musical rules, and if the rest of the world didn’t follow, that was probably fine with him. As for his tunes…(they)… resemble folk music, but in a strange, contorted way. I have never heard an album that is so devoid of musical influence of others, and to me, that’s what makes it remarkable.” Dana Countryman (Cool and Strange Music Magazine). Since the original LP was pretty short, seven bonus tracks not appeared on the original release have been added. These songs predate the LP tracks and are from 1969 / 1970. Remastered sound, an insert with photos and liner notes complete this great reissue of this legendary Swedish electronics LP.

File Under: Electronic, Psych
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mark jenkins

Mark Jenkins: Analog Archives (Wah Wah) LP
A leading figure in the UK’s electronic music scene, Mark Jenkins has played with White Noise, Arthur Brown and members of Can, Gong, Van Der Graaf Generator and Tangerine Dream. He is the author of the acclaimed books Analog Synthesizers and iPad Music (Jenkins became the first musician in the world to release a CD created entirely on the Apple iPad). Analog Archives is a collection of recordings from the early to mid eighties. Armed with his Moog Sonic Six, Sequential Prophet 600, EDP Wasp & Spider and other legendary electronic weapons Mark Jenkins delivers envolving electronic textures that could be filed along those of artists like Klaus Schulze or Ash Ra Tempel. These recordings are issued in vinyl format for the first time ever, in a limited edition of 500 copies only.

File Under: Early Electronic


Ariel Kalma: Le Temps Des Moissons (Wah Wah) LP
First solo recording LP from Ariel Kalma, recorded in 1975. After a long journey to India where he learnt the basics of modal music and singing, Ariel was inspired by the fusion of ancient and modern ways of playing music in the 70s with saxophone, ethnic instruments, effects, electric instruments and electronic filters. Kalma is also known for have played  in albums by other French experimental artists like Delired Chameleon Family, Nyl, Heldon… Nowadays very rare and hard to find private pressing, some copies came with a hand drawn cover and some in printed form. The Wah Wah reissue reproduces the original printed sleeve, comes mastered sound from the original tapes, 2 bonus tracks and an insert featuring liner notes and photos, in a limited edition of only 500 copies.

File Under: New Age, Ambient, Experimental
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Mark Kozelek: Rock ‘n’ Roll Singer (Badman) LP
Mark Kozelek has recorded six studio albums with Red House Painters, four solo albums, and two with Sun Kil Moon. Kozelek has toured the world extensively as a solo artist and with Red House Painters. His songs have appeared in numerous movie and television soundtracks. Kozelek acted in the Cameron Crowe film “Almost Famous.” He played the bass player for Stillwater. He also compiled, and contributed tracks for Take Me Home – A Tribute to John Denver. Mark Kozelek’s (Sun Kil Moon, Red House Painters) singer/songwriter’s debut solo album. 3 1/2 Stars – Rolling Stone. “Best of 2000” – Amazon.com

File Under: Indie Rock, Red House Painters
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Hardy Kukuk: Atemnot (Wah Wah) LP
One of the biggest rarities from the cosmische kraut underground scene has to be Hardy Kukuk’s lost 1981 top Berlin School electronic masterpiece Atemnot. Kukuk’s synth explorations take the adventures of masters of the genre like Tangerine Dream or Klaus Schulze one step further into the early eighties. Kukuk is joined on these recordings by Andreas Schneider on guitar and congas and Klaus Bloch (of A La Ping Pong fame) on guitar and tape effects. After Atemnot Kukuk recorded a second LP, Timeless, before joining forces with Matthias Culmey in the early 2000’s to form the electronic duo Beatboys 2000. The Wah Wah reissue comes with remastered sound and housed in a faithful reproduction of original private pressing sleeve. It also includes an insert with cool photos and liner notes. First ever vinyl reissue limited to 500 copies only!

File Under: Electronic, Krautrock


Franco Leprino: Integrati… Disintegrati (Wah Wah) LP
It was 1977, the year when punk rock exploded in the face of disco-music, but some thinking heads in Italy managed to escape the set trends of the year and walk a totally different path. Pioneers like Franco Battiato had already been experimenting with a crash of rock and electroacoustic music since the beginning of the decade, and others like Roberto Cacciapaglia or Riccardo Zappa would explore farther in those lands, mixing acoustic instruments with the bourgeoning synth technology. Among all these artists, an obscure little gem missed the attention it deserved:  Integrati… Disintegrati, by Francesco Leprino, is undoubtedly one of the best albums of the genre. More freely unchained from the prog rock links that albums like Battiato’s celebrated Fetus and Pollution LPs or Zappa’s Celestion still retain, Leprino merges a very pure classical instrumentation of Spanish guitar, piano and flute with more modern electric guitar sounds, 12 string guitar and -of course- a V.C.S. 3 and Moog synths background that creates highly avantgarde atmospheres. Binson tape echoes, Hammond and Thomas organs, oboes, vibraphone and other additional instruments add texture richness to the final mix. An outstanding opus split through both sides of an LP in two 20 minutes long pieces that has become a much sought after album among collectors. It will appeal those interested in the development of synth music, beautiful athmosferic landscapes and electronic-acoustic orchestrated sounds. Reissued under license from Francesco Leprino in a 500 copies limited edition that respects the original artwork, comes with remastered sound and includes an insert with liner notes and photos.

File Under: Electronic, Experimental
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love machine

The Love Machine: Electronic Music to Blow Your Mind By (Wah Wah) LP

Hey fans of Free Pop Electronic Concept, Jimmie Haskell, Astro Sounds for the Year 2000, Pierre Henry or Les Maledictus Sound, here’s one for you! KILLER exploito psych LP from 1968 by the Love Machine, “Electronic Music to Blow Your Mind By!!!” – and trust me, it CAN be done – on the Design label. One of the harder-to-find exploito-psych albums with an absolutely KILLER psychedelic cover. Like all these studio cash-in albums, you need to approach this one in the right state of mind, and by that I mean altered. But the great thing about these budget albums is that someone behind the controls seems to be trying out ALL the latest psychedelic effects – stereo panning, phasing and whatever electronic gadgetry they had left over from the last time Beaver and Krause blew through town.  And so, if you can get past the fact that no REAL bands were involved here, this is still one heck of a BLAST to listen to! The Love Machine add in a steady stream of outer space synth and moog sounds, like some rejected soundtrack to an episode of “Star Trek” (the original one, kids, with William Shatner), all echoed and delayed in suitably “cosmic” fashion. Remastered sound, killer sleeve with backflaps and limited to 500 copies only!

File Under: Rock, Psych
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Wolfgang Orschakowski: Zippo Zetterlink in the Poor Sun (Wah Wah) LP
Wolfgang Orschakowski is one of the most free spirits of the krautrock underground. Hailing from Hamburg, he has been producing music, paintings and all other kinds of artistic projects for the past four decades, always active with dozens of new projects boiling inside his head. Zippo Zetterlink In The Poor Sun, originally released in 1971 as a self produced private pressing that is nowadays impossible to find unless you are ready to pay some amounts of money in the collector’s market, was his first ever release. It is at last reissued in vinyl, a properly licensed edition done with the kind cooperation of Wolfgang himself and housed in an exact repro of its original sleeve. The music contained could be taken as the seed to Orschakowski’s music world : free-form underground sounds, a way-out trip through expansive guitar riffs and strumming, hypnotic bass lines, killer drum breakbeats and elusive percussion, plus the occasional vocal, some blues freak-out and psychedelic effects. It will appeal to fans of other kraut classics like Amon Düül’s Psychedelic Underground, early Guru Guru and the likes. The Wah Wah reissue comes with a fantastic bonus CD featuring another of Wolfgang’s projects: the acid psych music of WoOZ! performing their Катюша / Katyusha, カチューシャ, red point on g-spot 10-song album. Reissued under license from Wolfgang Orschakowski in a 500 copies limited edition that respects the original artwork, comes with remastered sound and includes a bonus CD by Orschakowski’s psychedelic project WoOZ! housed in a fold-out poster sleeve with liner notes and photos.

File Under: Krautrock, Blues Rock
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Pack: s/t (Ugly Pop) LP
Nobody can tell us that this 1978 German monster isn’t one of the best footlongs of the era, a gnarly slab of pure ’70s punk rock recorded in an abandoned WW2 bunker with two mics in one session. Pack is just hit after hit, killer songs delivered with snarl, style and non-stop energy. Essential first generation punk, remastered with extensive liner notes and vintage photos!

File Under: Punk
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Placebo: Without You I’m Nothing (Virgin) LP
In Tomorrow… This U.K. three-piece’s self-titled debut often got compared to Smashing Pumpkins and Rush–Smashing Pumpkins for its unashamed mid-’70s prog-rock allusions and Rush because of singer Brian Molko’s unusually high-pitched, almost androgynous voice. In reality, Placebo were far more salacious, downright dirty, and culturally confusing than either. (The band is a mix of American, Swedish, and English, with some Lebanese and Luxembourgian thrown in.) For their second album, Placebo have looked to the late ’70s for inspiration, to the sound of early New Order and the Banshees–with a dash of the ’90s thrown in: “Brick Shithouse,” for example, starts like the most balls-out Prodigy song. If their debut was the sound of a no-holds-barred sexual drug frenzy lasting way into the next day, then Without You I’m Nothing is the resultant rumpled, libidinous comedown. As such, it’s much classier, cerebral and great to listen to when hung-over. “I’m unclean / A libertine / And every time you vent your spleen / I seem to lose my power of speech,” Molko breathes on the awesomely overcharged title track. In a year when Marilyn Manson and Bauhaus continue to revitalize the goth movement across America, Placebo’s moment may well have arrived. –Everett True

File Under: Alternative Rock
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Popol Vuh: Das Hohelied Salomos (Wah Wah) LP
We start our second series of Popol Vuh reissues with the fantastic Das Hohelied Salomos, which takes it over from where Einsjäger Und Siebenjäger left it. It features the classic trio of Florian Fricke, Daniel Fichelscher and Djong Yun, plus the help of Amon Düül’s Al Gromer. The theme of the album is taken from biblical passages, using verses from King Salomon’s tales on The Old Testament. The music is superb, great guitar soloing, amazing percussion work and the mesmerizing voice of Djong Yun on nine songs that echo previous works, mostly Einsjäger…, but also Hosianna Mantra comes to mind here and there. A perfectly balanced record that merges progrock sounds, eastern influences through the use of sitar and tabla and spiritual meditation. The Wah Wah limited edition will have three bonus tracks and come housed the beautiful original sleeve artwork printed on art type paper, as it was first released, and feature a triptic insert with liner notes. It has been master Cut by Lex Van Coeverden @ www.thevinylroom.nl for a high quality sound pressing that will satisfy the most exquisite audiophile.

File Under: Ambient, Krautrock
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Popol Vuh: Herz Aus Glass
Popol Vuh: Coeur de Verre (Wah Wah) LP
Another classic soundtrack produced by Popol Vuh for a Werner Herzog film was Herz Aus Glass. Its music still retains the powerful emphasis given to the previous LP in certain passages, although it goes back to their more reflexive ambiental athmospheres yet presenting that concept one step further into more evolutive structures and even adding some touches of a certain folk music feel. Djong Yun is not present anymore, but Daniel Fichelscher and Florian Fricke can still count on the collaboration of Al Gromer on sitar, plus the addition of Mathias von Tippelskirch on flute. Werner Herzog: “The music in my films is also very much neglected, if I may interrupt you, in Germany as well. Since AGUIRRE, my friend Florian Fricke, has done the music for almost all my films – for STEINER, for LA SOUFRIERE, for STROSZEK, and for HEART OF GLASS – and I’ve tried to push very hard so that he would be given the National Film Award this year. They’ve never given it to him, and there has been complete neglect of his work. Not even a single mention! And this year they just by-passed him once again!” [From: Images at the Horizon, 1979] Popol Vuh has been nominated three times for an Oscar for best original score:
 1972 (Aguirre), 1979 (Nosferatu) and 1987 (Cobra Verde). On offer here two different sleeves to chose from. Half of the copies will come in its original blue cover, as it was originally issued in Germany, the other half will be housed in the beautiful French sleeve, originally released as Coeur de Verre. Audiophile fidelity remastered sound plus an insert with photos and liner notes.

File Under: Ambient, Krautrock, OST
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Protomartyr: The Agent Intellect (Hardly Art) LP
Consider the urgency with which Protomartyr has approached everything – three albums in three years, each more extraordinary and rewarding than the last. This music is inherently, unassumingly high stakes. October 2015 marks the release of The Agent Intellect, their third and finest work to date. Named after an ancient philosophical questioning of how the mind operates in relation to the self, it’s an elegant and often devastating display of all that makes Protomartyr so vital and singularly visceral an outfit. Over the course of several months, guitarist Greg Ahee waded through more than a hundred song fragments until he reached the bottomless melodies of “I Forgive You” and “Clandestine Time,” the inky depths of “Pontiac ’87” and titanic churn of “Why Does It Shake?” Lyrically, frontman Joe Casey is at his most confident and haunting. He humanizes evil on “The Devil in His Youth,” and, amid the charred pop of “Dope Cloud,” he reassures us that nothing – not God, not money – can or will prevent our minds from unraveling until we finally fade away. We are no one and nothing, he claims, without our thoughts. It’s a theme that echoes through the entirety of the record, but never as beautifully as it does on “Ellen.” Named after his mother and written from the perspective of his late father, it’s as romantic a song as you’re likely to hear this or any year, Casey promising to wait for her on the other side, with the memories she’s lost safely in hand. All LPs include a lyric zine, poster insert and download code.

File Under: Punk, Post-Punk
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Shindig! #50 Mag
Shindig! 50th Birthday Issue! It’s a big one for anyone; us particularly, considering what 2015 threw up. And here we are, alive and kicking at 50. The issue hits the shops ( we will also unleash our Podcast with interviews and chat with TEMPLES, GHOSTBOX and WHITE FENCE recorded at Green Man). Shindig! Magazine is a publication put together with genuine understanding, sincerity and utter belief. We seek to end mediocrity in music magazines… to bring the scope and knowledge of old fanzines and specialist rock titles to a larger readership: quality journalism, columns, music and film history; exciting new bands and culture. From the most far-out ’60s sounds through country-rock and folk to soul and electronic experimentation. It’s all there. We have already inspired every major music mag… so let us inspire you too!


Suck Electronic Enciclopedic: Asfixia al Carrer Valendia (Wah Wah) LP
We are proud to present for the first time ever the lost 1976 / 1977 recordings by this legendary band from Barcelona. Suck Electrònic Enciclopèdic were born in 1975, in the last days of Franco’s dictature, when Spain was awaking again to democracy and everything was possible. Even with the menace of an army too friendly to the old regime a fresh new breeze was spreading the change, and S.E.E. were an important part of its musical underground movement and the ones who brought influences from their kraut cosmische heroes Klaus Schulze or Tangerine Dream to it. The constant line-up changes (over 30 musiccians have been members of S.E.E. at one time or another, with some of them moving to other important projects of the era – like Neuronium, for instance) made it difficult for them to produce a consistent recorded work. Actually they only released one LP and it was already in the 1980’s, but the recordings contained on Asfixia al carrer València where done in their early days, when they were at the peak of their creativity in 1976 / 1977. At that time they had a unique sound that no one else shared since they were building their own synthesizers and they were the only Spanish band to feature four keyboardists, and also one of the few to tour with bands such as Embryo, Etron Fou Leloublan, Potemkine or Henry Cow. They were part of the Rock In Opposition (RIO) collective along with Stormy Six, Univers Zero, Samla Mammas Manna, Art Zoyd, Art Bears, and other experimental progressive avant-garde outfits. The Wah Wah LP is a selection of tracks from more than three hours of material that was recorded but never released. Plans for LPs produced by Kevin Ayers and Robert Wyatt were made, as others to record in France – first in Avignon’s Free Son Studios under production from Daevid Allen and David Vorhaus with the collaboration of Shakti Yoni, and then in Tolouse’s Tangara Studio with Jean Pierre Grasset from Verto – but they never materialised. A phenomenal document of the electronic psychedelic sound that Suck Electronic Enciclopèdic were exploring in their early days, including plenty of photos and memorabilia to transport the listener to their world of science ficcion imagery, psychedelia and progressive experimentation that was to supply a lot of influences to many bands to come in the Barcelona scene. Previously unreleased, recorded between 1976 and 1977, the Wah Wah issue will come housed in a quality glossy laminated gatefold sleeve printed on silver cardboard, remastered sound by Bob Drake (of Henry Cow fame), and featuring a 20 page booklet with photos and liner notes and a comic strip. Limited edition of only 500 copies.

File Under: Electronic, Psych, Space Rock
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Supergrass: I Should Coco (Parlophone) LP
In Tomorrow… To celebrate the 20th anniversary of Brit-pop forerunners Supergrass’ chart-topping platinum 1995 debut full-length, I Should Coco, Parlophone Records is reissuing the time honored classic on 180g vinyl with remastered audio complete with a colored copy of the 7” single “Stone Free” / “Odd?” which was originally released with the album. Supergrass burst onto the UK music scene in 1994 with the hit singles “Caught By The Fuzz” and “Mansize Rooster.” Their infectious blend of power-pop melodies, youthful punk attitude and wicked sense of humour set them apart from their Britpop contemporaries. Their sound was not tied to a particular artist or era, so has allowed their music to remain timeless. When I Should Coco hit the shelves in 1995, it was an immediate smash, reaching the #1 spot on the UK album chart making it the biggest selling debut album for Parlophone since The Beatles’ Please Please Me. The album featured two Top 10 hits: “Lenny” and “Alright,” the latter becoming one of the defining songs of their career. These young men devoured a lot of music in their youth; combining the melodicism of The Kinks and The Beatles, the ferocious rhythms of The Who, the Anglo-centric vocals of Madness with the punk/pop energy of The Buzzcocks into a musical stew that sounded like no one but Supergrass. They delivered a nearly perfect album to kick-start their career; a record that still resonates and charms two decades on. The LP includes a special bonus: The original 7” single of “Stone Free”/”Odd?” on red vinyl with a reworked red/yellow classic Parlophone 45 label but in its original retro ‘Parlophone’ housebag. “Stone Free” was originally recorded during a long night at Falconer Studios on April 12, 1995 just after the band returned home from their first American tour. “Odd?” was recorded at BBC Maida Vale on January 10, 1995, as part of their first John Peel session which was initially broadcast 4th Feb 1995. It was also Rob Coombes’ first appearance on keyboards with the band.

File Under: Rock, Brit Pop
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Ticket: Awake (Wah Wah) LP
Here’s a hard dose of amazing guitar driven heavy psych from New Zealand’s pride Ticket! Having served in several NZ 1960s bands like The Challenge, The Blues Revival or The Jamestown Union, members Paul Woolright (bass guitar, vocals), Eddie Hansen (lead guitar, vocals), Trevor Tombleson (lead vocals, percussion) and Ricky Ball (drums and percussion) got together as Ticket to perform an explosive electric mixture of bluesy psychedelic sounds under the influence of Hendrix, Cream, Traffic or Sly & The Family Stone, plus adding their very own touch and some funky rhythms in the same vein Atomic Rooster did in the era. Awake was the first of their two LPs, and it collected several songs that had been released as 45s during 1971, plus some extra material recorded specifically for the LP in 1972. Eddie Hansen would relocate to Australia teaming up with another music legend, Harvey Mann. Ricky Ball became the back-beat of Hello Sailor. Paul Woolright would become part of the Pink Flamingo’s and Hello Sailor. Trevor Tombleson changed his name to Trevor Richards, went to England and played in the Keith Hartley Band. Originally released in Down Under in 1972, the Wah Wah reissue will come housed in a quality glossy laminated, three backflaps sleeve reproducing the original artwork, amazingly remastered sound and an insert with photos and liner notes. Limited edition of only 500 copies.

File Under: Psych, Blues Rock
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Annexus Quam: Osmose (Wah Wah) LP
Beck: Morning Phase (Capitol) LP
Big Black: Atomizer (Touch & Go) LP
Black Sabbath: Master of Reality (Rhino) LP
Black Sabbath: Paranoid (Rhino) LP
Black Sabbath: Sabbath Bloody Sabbath (Rhino) LP
Black Sabbath: 4 (Rhino) LP
Donald Byrd: A New Perspective (Blue Note) LP
City & Colour: Little Hell (Dine Alone) LP
City & Colour: Sometimes (Dine Alone) LP
Clear Light Symphony: s/t (Wah Wah) LP
Clipse: Hell Hath No Fury (Get on Down) LP
John Coltrane: Giant Steps (Atlantic) LP
John Coltrane: A Love Supreme (Impulse) LP
Dead Weather: Dodge & Burn (Thirdman) LP
Destroyer: Poison Season (Merge) LP
Doors: LA Woman (Rhino) LP
Doors: Morrison Hotel (Rhino) LP
Doors: Soft Parade (Rhino) LP
Doors: s/t (Rhino) LP
Doors: Waiting For The Sun (Rhino) LP
Kenny Drew: Undercurrent (Blue Note) LP
Emtidi: s/t (Wah Wah) LP
Emtidi: Saat (Wah Wah) LP
Fairport Convention: Liege & Lief (Universal) LP
Bill Fay: s/t (4 Men With Beards) LP
Bill Fay: Time of the Last Persecution (4 Men With Beards) LP
Lee Fields: Emma Jean (Truth & Soul) LP
Dexter Gordon: One Flight Up (Blue Note) LP
Andrew Hill: Point of Departure (Blue Note) LP
Billy Holiday: Strange Fruit (DOL) LP
Freddie Hubbard: Breaking Point (Blue Note) LP
Inner Space (Can): Agilok & Blubbo (Wah Wah) LP
Fela Kuti: Box 3 (Knitting Factory) Boxset
Madlib: Shades of Blue (Blue Note) LP
Jackie McLean: Capuchin Swing (Blue Note) LP
Hank Mobley: Soul Station (Blue Note) LP
Hank Mobley: Turnaround (Blue Note) LP
Lee Morgan: Search For A New Land (Blue Note) LP
Neu!: s/t (Gronland) LP
Neurosis: Through Silver In Blood (Relapse) LP
Neurosis: Times of Grace (Relapse) LP
Wayne Shorter: Juju (Blue Note) LP
Wayne Shorter: Speak No Evil (Blue Note) LP
Spacecraft: Paradoxe (Wah Wah) LP
Swans: My Father Will Guide Me (Young God) LP
Sword: Age of Winters (Kemedo) LP
Sword: Gods of the Earth (Kemedo) LP
Television: Marquee Moon (Rhino) LP
Unwound: Empire (Numero) 4LP
Bernd Witthuser: Lieder Von Vampiren… (Wah Wah) LP

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…..news letter #710 – atomized…..

Well, I think today is the first day in about a week and a half that I DIDN’T buy any used records for the shop. Probably for the best though, we’ve got a major backlog going on here now. I’ve made a small list below of just SOME of the stuff we’ve put out recently to whet your appetite. Come down this weekend and have a dig.

…..pick of the week…..


Big Black: Atomizer
(Touch & Go) LP

So, there’s so much to love about this album. So frantic, so angsty, so abrassive. It’s the auditory equivalent of crashing through the windshield of your car and then skidding on your face for a block and living to tell the tale. “Originally released in 1985, and now remastered by Steve Albini and Bob Weston at Chicago Mastering, Big Black’s first full-length album Atomizer will be re-released in September 2015. To save you having to do the math in your head, yes, that makes this a 30th anniversary reissue. This remastered version of Atomizer also includes the song “Strange Things” which appeared on the first pressing, but was not present on subsequent vinyl pressings nor on The Rich Man’s Eight Track CD. It also comes with a double sided insert and a digital download coupon. To put this release into context for the uninformed: Big Black began in 1982. Steve Albini, then a sophomore at Northwestern University, fanzine writer and loudmouth, released the Lungs EP on the Chicago co-operative label Ruthless (whose other artists at the time included Naked Raygun and the Effigies). Lungs was recorded in his apartment on a borrowed 4-track for the price of one case of beer. After that record’s release, Jeff Pezzati (singer for Naked Raygun) and Santiago Durango (Naked Raygun, Arsenal), both linchpins of the burgeoning Chicago music scene, joined Big Black. During this period, the band established itself as a live act, recorded two more records, the Bulldozer EP and the Racer X EP, toured the U.S., and had -in general – a pretty good time. Pezzati’s other obligations precipitated his departure from the band in 1984, when he was replaced by Dave Riley, bass player for Chicago swing-punk band Savage Beliefs. This lineup persisted until the band’s self-destruction in August of 1987. Big Black toured the U.S., England, Europe, and Austrailia. They recorded a shitload of records: Il Duce 45, Atomizer LP, Headache EP (which bore the heartbreakingly-honest disclaimer “Warning! Not as good as Atomizer. Don’t get your hopes up, Cheese.”), Heartbeat 45, He’s A Whore 45, Songs About Fucking LP, and the Pig Pile LP.” HIGHEST RECOMMENDATION!

File Under: Punk, Albini, Drum Machines
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…..new arrivals…..


Born Ruffians: Ruff (Paper Bag) DLX LP
The deluxe edition is loaded with unique surprises! We could tell you what makes it so special, but in the internet age there’s little mystery left in music and Born Ruffians love surprises. Order the deluxe edition and discover all the hidden treasures when you receive the vinyl on release date! The deluxe edition will be signed by the band, but that’s about the only surprise that we can share. *Deluxe Edition comes with limited edition Born Ruffians slip mat! The record is RUFF – simultaneously a return to form and a departure from expectations. Songs of refutation, lamentations of forgotten past lives and ecstatic self-erasures that say “eat shit, we did it!”. RUFF, as an idea, is everything – sound, message, band. If Birthmarks was polished and presentable, RUFF is the ugly innards that hide beneath.

File Under: Indie Rock, CanCon
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Chvrches: Every Open Eye (Glassnote) LP
In tomorrow…. A lot has changed for CHVRCHES in the past few years. When the Glaswegian trio wrote and recorded their debut, The Bones Of What You Believe (2013), no one had heard of them. The three members (Iain Cook, Martin Doherty and Lauren Mayberry) came together with the idea of working on a writing project together, unsure of what path that would take other than one which belied their previous musical projects and foregrounded melody and classic songwriting styles before everything else. There were no pre-existing ideas of what the record would or should be like, no pre-conceptions and nothing to live up to – just three people in a basement studio in Glasgow making music they believed in. The album went on to sell over 500,000 copies and earned rave reviews far and wide. Approaching the new album, Every Open Eye, one could argue that everything is different for the band but they tried not to treat it that way. CHVRCHES returned to the same hometown studio that had housed them during the recording of their first LP, their basic goal to shut off the outside world and get back to what they know best: writing. Made in CHVRCHES’ Alucard Studios – a converted three-bedroom flat on the southside of Glasgow – Every Open Eye offers an alternative approach in a climate of music written by committee or the same handful of well-known songwriters, going back to the idea that a band can write, record and produce their work entirely by themselves. Using some ideas the band had recorded in venues during their time on the road as a starting point, the band found riffs, loops and melodies they wanted to develop or started from scratch on the synths, pads and machines they had been gathering in their basement to create the instrumentals of the songs. Vocal melodies were developed as the songs took shape with the lyrics added last, developed from words and sentences from notebooks Lauren Mayberry had kept on tour. Musically, Every Open Eye seeks to do more with less. To make big sounds without racking up endless tracks within Cubase sessions. To make something intense and urgent and visceral, using the basic tools of melody, rhythm and arrangement rather than the mentality that ‘more is more’. Sonically, Every Open Eye develops CHVRCHES’ signature style, juxtaposing the light and the dark, creating their own brand of twisted pop music that uniquely merges the organic with the electronic, molding sounds and ideas forged over two years on the road into an electronic-pop record with a heart. Lyrically, Every Open Eye is not a break up album. It is a record about past heartbreaks and getting over them (“Leave A Trace”). About perspective and the benefit of hindsight. About being unapologetic and not being told what to do or who to be (“Bury It,” “Never Ending Circles,” “Playing Dead”). About moving on to better things, holding on to the good and letting go of the bad (“Down Side Of Me,” “Clearest Blue,” “Afterglow”). Mixed by Spike Stent and mastered by Bob Ludwig.

File Under: Electronic, Synth-Pop
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Daft Punk: Tron Legacy (Disney) LP
In tomorrow… A few years ago this came out, and everyone was like “It’s too expensive…” then it sold out and started selling for 4-5 times as much online. Well, now you can buy it for slightly less than it originally cost, so, maybe waiting paid off… “Continuing to exploit their creative urges to their ends, multi-platinum electronic duo Daft Punk (Guy-Manuel de Homen-Christo and Thomas Bangalter) took on one of their most ambitious projects to date in 2008, when they agreed to score the modern remake of the hugely influential 1982 film, Tron. Daft Punk’s reverence of the original film and the themes that define it (the evolving relationship between humans and technology, specifically) rendered them discontented working within the means of their own studio. “We knew from the start that there was no way we were going to do this film score with two synthesizers and a drum machine,” stated Guy-Manuel. Enlisting a 100-piece orchestra, they emerged from the studio after two years with a work whose importance superseded the editing process of the actual film – the movie was cut to the score, atypically. Tron: Legacy peaked at #4 on the Billboard 200 albums chart and was awarded with a gold certification for 500,000 units sold shortly thereafter.”

File Under: Electronic, OST
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Discharge: Toronto 83 (Ugly Pop) LP
In tomorrow… Discharge are one of the greatest punk bands of all time, and this 1983 set captures them in ferocious form. Rescued from an old tape, the sound is violent, dirty and powerful, a raw document of a raw band blazing through 14 tracks of relentlessly furious hardcore. Fully legit and authorised, not a bootleg. WARNING: do not expect NOFX CD sound– this is noise not music!

File Under: Punk, Hardcore
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girl band

Girl Band: Holding Hands With Jamie (Rough Trade) LP
Holding Hands with Jamie, Girl Band’s debut album, comes a few years into their tenure; a few years after their first tour, nine days crammed into a Fiat Panda; a few years of stamping 7″ sleeves to sell at merch tables and mail-order; a few years of writing songs and touring and developing a live ferocity unmatched by nearly anyone. Recorded in April 2015 in their home town of Dublin at Bow Lane Studios over two days after returning home from their first-ever US tour, the nine tracks making up Holding Hands with Jamie capture, more than any previous recordings, the tension and abrasive energy of a Girl Band performance. Recalling any number of things but for only milliseconds at a time, Girl Band make a mockery of comparisons, because you can only get as far as “oh this bit sounds like” before a guitar scuff-screams, the bass crunches like a car in a bailing press, or something else visceral and glorious comes from the speakers, and the thought’s erased. But ultimately, anyone who’s paying attention can only conclude, like Noisey did: “The one blindingly obvious thing about Girl Band is that this is fucking great.” “Paint-peelingly vicious” – Toronto Star. “One of the most confident, shit-kicking bands around.” – NME. “You don’t so much listen to a Girl Band song as get strapped into it” – Pitchfork.

File Under: Punk, Noise Rock
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Helen: The Original Faces (Kranky) LP
“When I was a child, I spoke to Helen. “Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (backup vocals). Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members and their friends Nick, Chris, and, largely, Justin Higgins. Written together, some songs based on Liz and Scott’s demos.”

File Under: LoFi, Shoegaze, Grouper
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Mark Lanegan: 2002 Houston Publishing Demos 2002 (Ipecac) LP
In tomorrow… Mark Lanegan first rose to fame with his band the Screaming Trees in the ’90s. Like other noted artists Lanegan has carved out a strong identity of his own as a vocalist and songwriter informed by the blues but willing to take his darkly poetic sensibility wherever his muse was pointing him, from hard rock to electronics. Cut to 2002, The Screaming Trees had just recently disbanded and Lanegan was in the early years of his solo offerings (at this point he had released a mere five solo albums). The songs on Houston Publishing Demos 2002, were written, recorded, then shelved until now, with the release of this 12-song collection of previously unreleased demos on Ipecac Recordings. In addition to familiar tunes like “Has God Seen My Shadow?,” “Halycon Daze” and “Gray Goes Black,” most of the material here is being unveiled for the first time. Houston Publishing Demos 2002 was produced by Justice Records’ Randall Jamail while the artwork for the album was done by The Mekon’s John Langford.

File Under: Indie Rock
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rateliffNathaniel Rateliff & The Night Sweats: s/t (Fantasy) LP
In tomorrow… BACK IN STOCK! Nathaniel Rateliff & the Night Sweats practically explodes with deep, primal and ecstatic soulfulness. This stunning work isn’t just soul stirring, it’s also soul baring, and the combination is absolutely devastating to behold. You don’t just listen to this record – you experience it. So it’s entirely fitting that the self-titled album will bear the iconic logo of Stax Records, because at certain moments Rateliff seems to be channeling soul greats like Otis Redding and Sam & Dave. But as this gifted multi-instrumentalist honors the legacy of the legendary Memphis label, he’s also setting out into audacious new territory. Those who were beguiled by In Memory of Loss, Rateliff’s folky, bittersweet 2010 Rounder album, will be in for an initial shock when they spin Nathaniel Rateliff & The Night Sweats. But when you delve beneath the rawboned surface of the new album’s wall-rattling presentation, with its deep-gut grooves, snaky guitars, churning Hammond and irresistible horns, you’ll find that same sensitive, introspective dude, who bravely tells it like it is, breaking through his reticence to expose often harsh truths about the life he’s lived, the people he’s hurt and the despair he’s struggled with. The difference between the two albums is that the Nights Sweats’ funkiness insulates the starkly confessional nature of Rateliff’s songs while at the same time underscoring their emotional extremes. As the band blazes away on the soul-rock rave-up “I Need Never Get Old,” the visceral “Howling at Nothing” and the supercharged “Trying So Hard Not to Know,” which open the album with a sustained outpouring of torrid intensity, Rateliff is opening himself up emotionally as well as physically, the raw grit in his voice conveying anguish and hope in equal measure. The buoyant immediacy of the music makes the hard truths embedded in the songs easier to swallow than it would be in Rateliff’s other primary mode – a solitary guy with a guitar, the brim of his baseball cap pulled down, putting his heart and guts on the line without the protection of his simpatico cohorts. Make no mistake, these songs would stop you in their tracks presented in that naked way as well, but the additional layers of soulfulness provided by the Night Sweats – its core comprising guitarist Joseph Pope III, drummer Patrick Meese and keyboardist Mark Shusterman – bring a convergence of intensities, musical and psychological, to the performances. “S.O.B.” sits at the dead center of the album, between the brutally honest confessionals “I’ve Been Failing” and “Wasted Time.” Thematically, the song is the album’s linchpin – partly a rebuke, partly a cry of defiance, “S.O.B” is the “fuck it all” anthem of a blue-collar kid from the Heartland whose conditioned idea of therapy is a shot and a beer chaser, and then another round, on the way to sweet oblivion. From there Rateliff contemplates some of the sustaining aspects of existence, from redemption by way of the forgiving love of another in “Thank You,” “Look It Here” and “I’d Be Waiting” to sexual heat in the N’awlins-style strutter “Shake.” The album ends on a hopeful note with the relatively laidback “Mellow Out.” When it came time to pick a producer, Rateliff went with Richard Swift, a polymath who has made records under his own name, helmed projects for Damien Jurado, the Mynabirds and others, and has played with The Black Keys and the Shins. Swift’s specialty is summoning (and capturing) inspired performances in the moment, and the synergy in the studio, first with Rateliff and then with his band, was instant and palpable. Rateliff and the Sweats already had the arrangements of the new songs down cold, having shaped them on the road. Swift, knowing a good thing when he heard it, set the mics, honed the sound, giving it plenty of space so that the studio itself served as an integral sonic component. Then he pressed “record” and coaxed it into happening organically.

File Under: Funk, Soul, Blues
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Max Richter: From Sleep (Deutsche Grammophon) LP
One of Britain’s leading contemporary composers has written what is thought to be the longest single piece of classical music ever to be recorded. Sleep is eight hours long – and is actually and genuinely intended to send the listener to sleep. “It’s an eight-hour lullaby,” says its composer, Max Richter. The landmark work is scored for piano, strings, electronics and vocals – but no words. “It’s my personal lullaby for a frenetic world,” he says. “A manifesto for a slower pace of existence.” Sleep will receive its world premiere this September in Berlin, in a concert performance lasting from 12 midnight to 8am at which the audience will be given beds instead of seats and programmes. The eight-hour version will be available as a digital album while a one-hour adaptation of the work entitled From Sleep will be released on double vinyl, both from Deutsche Grammophon. “You could say that the short one is meant to be listened to and the long one is meant to be heard while sleeping,” says Richter, who describes the one-hour version as “a series of windows opening into the big piece.” Richter does not expect anyone to sit down and listen to Sleep in its entirety, although some surely will. “It’s really an experiment to try and understand how we experience music in different states of consciousness.” He says he came up with the idea because of a long-standing fascination: “Sleeping is one of the most important things we all do,” he says. “We spend a third of our lives asleep and it’s always been one of my favourite things, ever since I was a child.” Coinciding as it does with the renewed interest in durational works within the fine art community, Richter says: “This isn’t something new in music, it goes back to Cage, Terry Riley, and LaMonte Young, and it’s coming around again partly as a reaction to our speeded-up lives – we are all in need of a pause button.” Richter adds, “I’m perpetually curious about performance conventions in classical music, our rigid rules that dictate how and what music we can appreciate. Somehow in Europe over the last century, as complexity and inaccessibility in music became equated with intelligence and the avant-garde, we lost something along the way. Modernism gave us so many stunning works but we also lost our lullabies. We lost a shared communion in sound. Audiences have dwindled. All my pieces over the last few years have been exploring this, as does Sleep. It’s a very deliberate political statement for me.”

File Under: Classical, Ambient
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Telekenesis: Ad Infinitum (Merge) LP
When it came time to make Ad Infinitum, the fourth Telekinesis album, drummer/songwriter/principal architect Michael Lerner found himself in a predicament. In just under five years, he had released three fantastic records—Telekinesis! (2009), 12 Desperate Straight Lines (2011), and Dormarion (2013)—each more ambitious than the last. He had toured all over the world, shared stages with great bands, and enthralled fans of his infectious, ebullient power pop. Newly married and happily ensconced in the home studio he’d assembled in his West Seattle basement, Lerner found himself asking the question that has haunted modestly successful bands down the ages: What do you do after the rock and roll dreams you had when you were 19 have come true? “I went down to the basement,” Lerner recalls, “and started playing the same chords I always play… I just felt like I’d exhausted everything I knew. I was not excited at all. I just could not make another power-pop album.” While many artists have made fruitful use of vintage sounds and production techniques in recent years, Ad Infinitum is a different animal. It feels less like a time capsule and more like a time machine. In the movie version of the story, Lerner would stumble on his way down the stairs, hit his head, and wake up in 1983, and the only way he could get back to the present day would be to make a record using available instruments. Then he’d wake in 2015 to discover he’d been in his basement studio all along. And the record he’d made in that strange dream state would turn out to be Ad Infinitum, the most ambitious and assured Telekinesis release to date.

File Under: Indie Rock
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Wand: 1000 Days (Drag City) LP
Recorded in Los Angeles and San Francisco in between tour days, 1000 Days finds Wand searching in corners. Where have all the people gone? Where have they put them? Panoramas of the body history are viewed through Wand’s spy-glass as it sweeps the horizon. Major mutations blooming and ballooning in the cities. The vault where plans for an invasion gather dust. The latest fables buzzing down the civil wire. All these and more are folded and packed neatly into a traveler’s trunk stuffed with tonal frequencies – sounds that tickle a Pavlovian response, the heartache and the sadness and the anger that we feel, the tug of our highest ideals. All by punching a key or playing a chord – an illusion made of parts representing a sequence or set of steps that, taken together, add up to an exploded diagram of a subject and its perception, meant to be swallowed as a whole. Whether it addresses a way of life, a homebrewed philosophy, a dark part of history or a cacophony of personal desires, the song remains truly a thing, regardless of the angle of affection.

File Under: Psych Rock
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Elyse Weinberg: Greasepaint Smile (Numerophone) LP
The unreleased second album by an original lady from the canyon. Recorded and recanted in 1969, Greasepaint Smile is more assured than its self-titled, Tetragrammaton-issued predecessor. Weinberg’s finger-picked acoustic is layered over distant drumming, while her gravel-pit voice evokes life, love, and mortality. Fellow Torontonian Neil Young sears “Houses” with his signature fuzz-tone, casting chaos over the beautiful ballad, while J.D. Souther, Kenny Edwards, and Nils Lofgren, pick up the slack. Masterfully produced by David Briggs, Greasepaint Smile has climbed out of the canyon and is bound for every turntable east of the 405.

File Under: Folk
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Neil Young: Monsanto Years (Reprise) LP
In tomorrow… Neil Young + Promise of the Real have joined forces for the new ecologically/environmentally-focused studio album, The Monsanto Years, inspired by the food industry conglomerate Monsanto. For this guitar-centric, full steam-ahead and highly-charged rock album, Young is joined by Promise of the Real, an LA-based rock band fronted by Lukas Nelson (vocals/guitar), along with Micah Nelson (guitar, vocals), Anthony Logerfo (drums), Corey McCormick (bass) and Tato Melgar (percussion). The album’s artwork is a send up of the famous American Gothic painting featuring Young and his girlfriend Daryl Hannah.

File Under: Rock
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Youth Lagoon: Savage Hills Ballroom (Fat Possum) LP
In tomorrow… Trevor Powers, the Idaho musician known as Youth Lagoon, has found what used to be destructive is now what gives him life. “I’ve never felt truly comfortable. It’s this feeling of uneasiness that follows me everywhere I go because my thoughts never shut up,” says Powers. “It used to exhaust me, but I’ve learned discomfort is invaluable. Safety makes us numb. It’s when we find ourselves in territories we’re unfamiliar with that we can really grow.” While on tour throughout Europe, Powers received a phone call from home informing him that one of his closest friends had drowned in the local river. After canceling the tour and flying home for the funeral, the following months marked a defining shift in Powers’ approach to songwriting. “Just how entwined we are never truly hit me before that,” claims Powers. “We are all connected. Even strangers. Our existence is one dazzling pattern that repeats itself endlessly. What makes us distinct is our flaws. In our defects lies something great.” Youth Lagoon’s third album Savage Hills Ballroom is rooted in discomfort, rather than avoiding it. Influenced by society’s desire to exude a flawless existence, the album’s musical direction and visual aspects were conceived on Powers’ late-night walks through Idaho’s suburbs. “When I see rows and rows of seemingly ideal houses, I can’t help but think that humanity has an innate craving to look perfect. And usually the better someone’s life seems from the outside, the more they’re hiding,” states Powers. “I’ve had a lot of barriers for a long time that I haven’t let people past, and I’ve gotten really sick of playing pretend.” Shortly after meeting co-producer Ali Chant through a series of webcam chats, Powers relocated to Bristol, UK for two months to record Savage Hills Ballroom at Toybox Studios — an underground recording space in a vaulted Georgian basement.

File Under: Indie Rock
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daptonegoldIIVarious: Daptone Gold 2 (Daptone) LP
In tomorrow…The Daptone Gold II double LP is packaged in a silver foil gatefold sleeve and comes with a poster, liner notes and iron-on. CD is packaged in a deluxe embossed silver foil digipak with liner notes. A collection of fan favorites, 45 only, and exclusive killers soooo good it turns Gold to Platinum. Dig on 21 tracks hand-picked by Daptone Staff, Musicians, and fans. But what’s REALLY special are the exclusive tracks by Naomi Shelton & the Gospel Queens, as well as “The Baddest Band in the Land” The Dap-Kings, who offer up a dance-floor dominator, “Thunderclap.” Still need more convincing?  How about extensive liner notes from the foremost authority on SOUL Music, Mr. Fine Wine – the DJ behind WFMU’s longest running SOUL program, Downtown Soulville. For the vinyl enthusiast, there are a couple special goodies inside each silver foil embossed 2xLP Gatefold: a double-sided FULL-SIZED poster adorning all the album artwork that has made Daptone the world’s #1 source for the modern yet classic aesthetic.  And for you crafty sorts, there’s an iron–on Daptone Logo sporting the mantra “There’s no Business Like Soul Business”, you can put on the back of your favorite white demin jacket. …just saying.  It’s the perfect album for those down with the Daptone Sound, but who also enjoy consolidation. Voila! Daptone Gold Volume II.

File Under: Funk, Soul

…..used goodies…..
Haven’t done one of these in a long while, but we’ve had a flood of great used stuff coming in lately so I figured I’d tease those of you who don’t come dig through the bins on the regular. We probably put at least 100 new used records out every week, be sure to come dig…..

Richard Abrams: Levels and Degrees of Light (Delmark)
Albert Ayler: The Last Album (Impulse)
Blue Cheer: Vincebus Eruptum (Philips)
Arthur Blythe: The Grip (India Navigation)
John Cale: Fear (Island)
Jaki Byard Experience: s/t (Prestige)
Miles Davis: Bitches Brew (Columbia)
Miles Davis: Four and More (Columbia)
Miles Davis: Kind of Blue (Columbia)
Miles Davis: Water Babies (Columbia)
Miles Davis: Get up With It (Columbia)
Miles Davis: Live Evil (Columbia)
Eric Dolphy: Iron Man (Columbia)
Chico Freeman: Kings of Mali (India Navigation)
Marvin Gaye: Live at the London Palladium (Motown)
Buddy Guy: I Was Walking Through The Woods (Chess)
Humble Pie: s/t (A&M)
The Kinks: Kink Kontroversy (Reprise)
JB Lenoir: Natural Man (Chess)
Memphis Slim: Real Folk Blues (Chess)
Charles Mingus: Mingus Ah um (Columbia)
Van Morrison: Astral Weeks (Warner)
Mothers of Invention: Freak Out (Verve)
The Move: Shazam (A&M)
James Newton: Password Del Mar (India Navigation)
Pharoah Sanders: Live at the East (Impulse)
Archie Shepp: Atttica Blues (Impulse)
Sly and the Family Stone: Fresh (Epic)
Spooky Tooth: It’s All About… (Island)
Sun Ra: It’s After The End Of The World (MPS)
Television: Marquee Moon (4 Men With Beards)
Townes Van Zandt: Flying’ Shoes (Tomato)
Velvet Underground: White Light/White Heat (Verve)
Neil Young: Harvest (Reprise)
Various: Blues Piano Orgy (Delmark)
Various: Heavy Heads Voyage 2 (Chess)
Various: Mississippi Moaners 1927-1942 (Yazoo)
Various: The Roots of America’s Music 1 (Arhoolie)
Various: Sanctified Singers Part One (Folkways)


Air: Pocket Symphonies (Parlophone) LP
Air: Talkie Walkie (Parlophone) LP
Air: Virgin Suicides (Parlophone) LP
Animal Collective: Sung Tongs (Fat Cat) LP
Beach House: Depression Cherry (Sub Pop) LP
Black Keys: Brothers (Nonesuch) LP
J Dilla: Donuts (Stones Throw) LP
Nick Drake: Five Leaves Left (Island) LP
John Fahey: Great San Bernardino Birthday Party… (4 Men With Beards) LP
Father John Misty: I Love You, Honeybear (Sub Pop) LP
Fuzz: s/t (In The Red) LP
Half Japanese: Box 2 1987-1989 (Fire) Box
Iron Maiden: Book of Souls (Parlophone) LP
Kinks: Something Else (Sanctuary) LP
Kinks: Village Green Preservation… (Sanctuary) LP
Kinks: Arthur of The Decline.. (Sanctuary) LP
Kraftwerk: Autobaun (EMI) LP
Kraftwerk: Man Machine (EMI) LP
Kraftwerk: Tour de France (EMI) LP
Fela Kuti: He Miss Road (Knitting Factory) LP
LCD Soundsystem: 45:33 (DFA) LP
Led Zeppelin: III (Warner) LP
Led Zeppelin: In Through The Out Door (Warner) LP
Led Zeppelin: Physical Graffiti (Warner) LP
Lootpack: Soundpieces: Da Antidote (Stones Throw) LP
Lumineers: s/t (Universal) LP
Melvins: Eggnog/Lice-All (Boner) LP
MF Doom: Mmm… Food (Rhymesayers) LP
Neu!: 2 (Gronland) LP
Neu!: 75 (Gronland) LP
Neurosis: Times of Grace (Relapse) LP
Night Beats: s/t (Trouble In Mind) LP
Nine Inch Nails: Ghosts I-IV (Null) LP
Nine Inch Nails: The Slip (Null) LP
Quasimoto: The Unseen (Stones Throw) LP
Roxy Music: s/t (Capitol) LP
Roxy Music: Country Life (Capitol) LP
Shannon & The Clams: Gone By The Dawn (Hardly Art) LP
Silver Jews: Natural Bridge (Drag City) LP
Sturgill Simpson: Metamodern Sounds in Country Music (Thirty Tigers) LP
Sinoia Caves: Beyond The Black Rainbow OST (Jagjaguwar) LP
Spoon: Ga Ga Ga Ga Ga (Merge) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Viet Cong: s/t (Flemish Eye) LP

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…..news letter #709 – listening…..

The time as arrived! Tonight we are hosting a Listening Party for the new DEAD WEATHER album! We’ve got swag to give away and prizes to be won. Party starts at 7pm come on down and hang out!

…..picks of the week…..


Kurt Vile: B’lieve I’m Goin (Deep) Down (Matador) 3LP
In tomorrow? Kurt Vile does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why his sixth full-length record and first in two years – the focused, brilliantly clear and seemingly candid B’lieve I’m Goin Down… is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, the album is a handshake across the country, East to West coast, through the dustbowl history of Woody honest straight forward talk Guthrie, and a Cali canyon dead still night floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer songwriter upcycling. Capturing Vile both deeply introspective and briskly self-assured, he explains: “I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it’s on my couch – not in a lo-fi way, just more unguarded and vulnerable.” The Deluxe Version of Kurt Vile’s newest Matador Records endeavor is entitled B’lieve I’m Goin (Deep) Down… and comes pressed on limited edition triple gatefold vinyl with 6 bonus tracks for a total of 18 in all plus an extra printed innersleeve. “It’s a weird, accepting, mature record, acknowledging the inherent immaturity of being a person whether father, husband, partner, adult, musician, not perfect, but compelling for its understanding…that’s life though so sad to say…” – Kim Gordon

File Under: Indie Rock, Stoner Folk
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Neurosis: Times of Grace (Relapse) LP
Back in with enough stock to last more than an hour… Times Of Grace is yet another ferocious war cry from Oakland, CA seminal hardcore auteurs Neurosis. Their sixth full-length offering overall is brutally honest, original, and categorically defiant, a bold work which lures with its vivid rhythms, strikes with a siege of emotion, and consumes with abysmal force! Relapse Records is pleased to offer super deluxe vinyl reissues of Neurosis’ Through Silver In Blood (originally released in 1996, first time on vinyl in 10 years), Times Of Grace (originally released in 1999, first time on vinyl in 15+ years) and the Times Of Grace companion piece, Tribes of Neurot’s Grace (originally released in 1999, never before on vinyl). All three records are pressed on 180 gram vinyl and are housed in heavy duty ‘tip-on’ jackets.

File Under: Metal
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…..new arrivals…..


AFX: Orphaned Deejay Selek 2006-2008 (Warp) 12″
For the first time since the Analord series released through 2003-2005 on his own Rephlex Records imprint, Richard D. James aka Aphex Twin revises his legendary AFX guise with an 8-track collection of tracks for the alien dancefloor. Orphaned Deejay Selek 2006-2008 appears on an initial run of special spot-glossed and die-cut packaged 12″ vinyl LPs made in the Designers Republic. Previous AFX releases include Analogue Bubblebath (1, 2, 3, 4, 5), Smojphace and Hangable Auto Bulb. Hangable Auto Bulb is the only previous standalone AFX release on Warp, originally released on 2 x 12”s and compiled to CD with new artwork in 2005.

File Under: Electronic
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Beta Band: Champion Versions (Rhino) LP
Formed in 1996, Scottish cult act The Beta Band was renowned for their ability to mix together a truly eclectic range of genres and influences – folk, reggae, rap, rockabilly, electronica, rock, and soundtrack music – all filtered through the band’s experimental vision. Signed to the Parlophone Records imprint Regal, the band issued their hugely acclaimed 4-track debut EP Champion Versions (“Dry the Rain,” “I Know,” “B+A” and “Dogs Got a Bone”) in 1997. This was followed by two more critically lauded EP’s – The Patty Patty Sound (1998) and Los Amigos del Beta Bandidos (1998) – later collected together as the compilation The Three EP’s.

File Under: Indie Rock, Electronic
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Beta Band: Los Amigos Del Beta Banditos (Rhino) LP
Formed in 1996, Scottish cult act The Beta Band was renowned for their ability to mix together a truly eclectic range of genres and influences – folk, reggae, rap, rockabilly, electronica, rock, and soundtrack music – all filtered through the band’s experimental vision. Signed to the Parlophone Records imprint Regal, the band issued their hugely acclaimed debut EP Champion Versions in 1997. This was soon followed in 1998 by two more critically lauded EP’s – The Patty Patty Sound and Los Amigos del Beta Bandidos (“Push It Out,” “It’s Over,” “Dr. Baker” and “Needles in My Eyes”) – later collected together as the compilation The Three EP’s.

File Under: Indie Rock, Electronic
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Beta Band: Patty Patty Sound (Rhino) LP
Formed in 1996, Scottish cult act The Beta Band was renowned for their ability to mix together a truly eclectic range of genres and influences – folk, reggae, rap, rockabilly, electronica, rock, and soundtrack music – all filtered through the band’s experimental vision. Signed to the Parlophone Records imprint Regal, the band issued their hugely acclaimed debut EP Champion Versions in 1997. This was soon followed in 1998 by two more critically lauded EP’s – The Patty Patty Sound (“Inner Meet Me,” “The House Song,” “The Monolith” and “She’s the One”) and Los Amigos del Beta Bandidos – later collected together as the compilation The Three EP’s.

File Under: Indie Rock, Electronic
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David Bowie: 1969-1973 Five Years (Warner) Box
This 10 album/13-piece 180g vinyl set is the first in a series of box sets spanning David Bowie’s career and features all of the material officially released during the nascent stage of his career from 1969 to 1973 including: David Bowie AKA Space Oddity, The Man Who Sold The World, Hunky Dory, The Rise and Fall Of Ziggy Stardust And The Spiders From Mars, Aladdin Sane, PinUps, Live Santa Monica ‘72 and Ziggy Stardust: The Motion Picture Soundtrack. Exclusive to the box sets will be Re:Call 1, a new 2-disc compilation of non-album singles, single versions and b-sides. It features a previously unreleased single edit of “All The Madmen,” which was originally set for a U.S. release but was never actually released. Also included is the original version of “Holy Holy,” which was only ever released on the original 1971 Mercury single and hasn’t been available on any release since. Also exclusive to all versions of Five Years 1969–1973 will be a 2003 stereo remix of The Rise and Fall Of Ziggy Stardust And The Spiders From Mars by the album’s original co-producer Ken Scott, previously only available on DVD with the LP/DVD format of the 40th anniversary edition of the album. The box set’s accompanying 84 page book will feature rarely seen photos as well as technical notes about each album from producers Tony Visconti and Ken Scott, an original press review for each album and a short foreword by legendary Kinks front man Ray Davies. An alternate cover has been created for the 2003 mix of Ziggy Stardust by Ken Scott, which features an outtake from the original Heddon Street photo session. There is also newly originated artwork for Re:Call 1 featuring a 1973 in-studio image from renowned photographer Mick Rock.

File Under: Rock
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dead weather

Dead Weather: Dodge & Burn (Third Man) LP
Way back in October 2013, The Dead Weather and Third Man Records announced an incredibly special 7″ featuring “Open Up (That’s Enough)” b/w “Rough Detective” as part of Vault Package #18. These two tracks were a fierce battle cry heralding the announcement of a brand new Dead Weather album that was to be released in a revolutionary fashion. Teased out over the past year and a half via a series of 7″ singles, the physical versions of which were ONLY available via The Vault (Third Man’s one-of-a-kind subscription mail-order service), the band promised this would culminate in a brand new album in 2015. The third Dead Weather LP would be a full length album comprised not only of the previously released 7″ singles, but newly recorded, previously-unheard material. Now The Dead Weather officially present their new album Dodge & Burn. The 12-track set will be released worldwide in September 2015 on Third Man Records and will feature eight brand new songs, along with the four previously released tracks remixed and remastered. Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence spent their rare and sporadic free moments over the past year recording together in Nashville. With the members of the band heavily involved in other projects, The Dead Weather will not be touring in support of the new album. Thankfully the thick and heavy Dodge & Burn will satisfy your urges for the dark magic that is The Dead Weather for a very long time.

File Under: Rock
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Lana Del Rey: Honeymoon (Interscope) LP
Throwback singer/songwriter Lana Del Rey’s new Interscope/Polydor album Honeymoon follows up 2014’s million-seller Ultraviolence and features more signature dreamy pop collaborations with producers like Mark Ronson, Daniel Heath, Rick Nowels, Emile Haynie and Justin Parker. The highly anticipated 14-track set from pop’s newest femme fatale is preceded by the cinematic singles “High by the Beach” and “Terrance Loves You” and is presented here on limited edition colored double 180g vinyl in gatefold packaging complete with a 16 page booklet. Del Rey tells Billboard: “It’s very different from the last one and similar to the first two…I’m kind of enjoying sinking into this more noirish feel for this one…I’m doing a cover of ‘Don’t Let Me Be Misunderstood.’ After doing a cover of ‘The Other Woman’ [the song by R&B writer Jessie Mae Robinson that Del Rey recorded on ‘Ultraviolence’], I like summarizing the record with a jazz song…”

File Under: Pop, Electronic
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empressEmpress Of: Me (Terrible) LP
“Can I make it clear?” Lorely Rodriguez asks within the opening moments of her debut album, Me. If clarity is what she seeks, Lorely has found it: her voice upfront, every word audible and strong. Her singular voice is the centerpiece of Me, her first full-formed vision of an album, following her previously shorter and more abstract releases as Empress Of. “Don’t tell me who I am,” she sings seconds later. Where her previous recordings worked in moody abstractions, layered soundscapes hinting at a voice deep under the surface, Me plays out like diary entries from one female voice musing on the personal, the political, and all the middle ground between. Bringing to life her unique blend of deeply personal yet incredibly celebratory dance music. However, “this record…it’s about me,” Lorely adds. “It’s very much about my experiences. I learned how to let my voice out through this record. I learned how to record, how to produce. I learned how to write way better songs. I didn’t realize this until I was almost done with it, but it was all about growth, and all about kind of being selfish and taking time for myself to really understand what events in my life have shaped me as a person.”

File Under: Synth Pop
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Faith No More: The Real Thing (Rhino) LP
In celebration of the release of Sol Invictus, Faith No More’s first new album in nearly 20 years, Rhino Records is reissuing the back-to-back classic albums that helped establish the band’s vital and visceral musical legacy with Deluxe Editions of The Real Thing and Angel Dust. Each album will be offered as a 2LP-set with the original release accompanied by a second disc filled with rarities related to the album. Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. The group’s commercial breakthrough came in 1989 with the release of The Real Thing. It was the band’s third album, but the first to feature the line-up of Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jim Martin (guitars), and Mike Patton (vocals). The album was incredibly diverse, yet every song was linked by the band’s own developing style. It peaked at #11 on the charts and was certified platinum, spawning the singles, “From Out Of Nowhere” and “Falling To Pieces,” as well as “Epic,” which was ubiquitous on radio and MTV. The bonus disc puts a different spin on many of the album tracks with a remixed version of “Falling To Pieces,” by Matt Wallace as well as live performances of “Surprise! You’re Dead!,” “Underwater Love,” and the Black Sabbath classic “War Pigs.” The cut “Sweet Emotion” from Kerrang! Flexible Fiend is also included.

File Under: Rock
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Faith No More: Angel Dust (Rhino) LP
In celebration of the release of Sol Invictus, Faith No More’s first new album in nearly 20 years, Rhino Records is reissuing the back-to-back classic albums that helped establish the band’s vital and visceral musical legacy with Deluxe Editions of The Real Thing and Angel Dust. Each album will be offered as a 2LP-set with the original release accompanied by a second disc filled with rarities related to the album. Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. The group’s commercial breakthrough came in 1989 with the release of The Real Thing. It was the band’s third album, but the first to feature the line-up of Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jim Martin (guitars), and Mike Patton (vocals). The album was incredibly diverse, yet every song was linked by the band’s own developing style. It peaked at #11 on the charts and was certified platinum, spawning the singles, “From Out Of Nowhere” and “Falling To Pieces,” as well as “Epic,” which was ubiquitous on radio and MTV. After extensive touring, the band returned in 1992 with Angel Dust. It climbed to #10 on the U.S. album charts and would later be recognized as one of the most influential releases of the era. The album swings between extremes-aggressive and disturbing, but also beautiful and soothing-showing off every facet of the band’s quirky eloquence on such diverse tracks as “Midlife Crisis,” “Jizzlobber,” “R.V.” and “Small Victory.” Among the eight tracks featured on the bonus disc is a mix of “Midlife Crisis” by the band’s longtime producer Matt Wallace, a trio of live recordings from a concert in Munich, Germany, as well as a covers of the Dead Kennedys’ “Let’s Lynch The Landlord.”

File Under: Rock
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Fidlar: Too (Mom & Pop) LP
Too is the second full length from Fidlar. Produced by Jay Joyce, Too was recorded in Nashville over the span of just two weeks. The 12-song collection of pop-infused garage rock expands on the band’s 2013 self-titled album that put them at the forefront of modern punk music. The new album showcases a band that continues to fine-tune its sonic approach while also highlighting a more introspective and revelatory approach to songwriting. It also marks the first time the band has worked with a producer. “We could have made record number one again…but instead we decided to challenge ourselves and admit that we don’t know everything,” said guitarist and lead vocalist Zac Carper. “Up until this point we had recorded everything ourselves, so working with a producer taught us so much. I didn’t want to make a standard rock record. The goal for this album was to think outside the box and I think Jay really helped us do that.” The band unveiled the first taste of new music from Too via a music video for the album’s leading track and first single “40oz. On Repeat/” Directed by Ryan Baxley, the must-watch video is a hilarious “Be Kind Rewind” tribute to past music video masterpieces, sure to conjure loving nostalgia for anyone who came of age during the glory years of MTV’s afternoon video countdown show Total Request Live. “In the late 90s and early 2000s, music videos were such a huge deal,” adds Carper. “We decided that instead of making one overly slick music video, we would nod to 15 of our favorite music videos that we grew up with. Everyone in the band threw in their ideas.”

File Under: Indie Rock
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Julia Holter: Have You In My Wilderness (Domino) LP
Have You In My Wilderness is Julia Holter’s most intimate album yet, a collection of radiant ballads. Her follow-up to 2013’s widely celebrated Loud City Song explores love, trust, and power in human relationships. While love songs are familiar fodder in pop music, Holter manages to stay fascinatingly oblique and enigmatic on her new album. Have You in My Wilderness is also Holter’s most sonically intimate album. Here, she and producer Cole Marsden Greif-Neill lift her voice out of the layers of smeared, hazy effects, putting her vocals front and center in the mix. The result is striking—it sounds as if Holter is singing right in your ear. It sounds clear and vivid, but also disarmingly personal. The focused warm sound and instrumentation — dense strings, subtle synth pads — adds to the effect. Like Holter’s previous albums, Have You in My Wilderness is multi-layered and texturally rich, featuring an array of electronic and acoustic instruments played by an ensemble of gifted Los Angeles musicians. Have You In My Wilderness deals with dark themes, but it also features some of the most sublime and transcendent music Holter has ever written. The ten songs on the album are shimmering and dreamlike, wandering the liminal space between the conscious and the subconscious.

File Under: Electronic, Pop
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Khemmis: Absolution (20 Buck Spin) LP
Over the course of the last ten years 20 Buck Spin has worked with the best of the best in the crowded doom genre—bands as diverse as Samothrace, Graves At Sea, Pallbearer, YOB, Mournful Congregation, Lycus, Atlantean Kodex, etc. In that tradition, the label is proud to present Khemmis from Denver, Colorado, who brings together components of many of the aforementioned label alumni to forge a venerable testament to what heavy doom rock is in 2015. The six meticulously crafted songs on Absolution reveal a level of musicianship and writing skill seldom heard on debut albums. Often within the scope of a single song Khemmis veers effortlessly between the crushing heaviness of Southern sludge and the somber melodicism of traditional doom, cohesively weaving the disparate styles into their own immediately recognizable form. The band incorporates dual vocals, sometimes harsh, but mostly via a stunningly smooth classic doom / heavy rock style that even adamant fans of Pete Stahl and Wino will applaud. The powerfully adept rhythm section perfectly anchors the towering riff mastery and colorful dual guitar harmonies, all brought together by Dave Otero’s (Cobalt, Nightbringer) pitch-perfect production work. Khemmis is most certainly a live act and will tour at intervals throughout the remainder of 2015 including a planned West Coast run in Summer 2015.

File Under: Metal
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Metric: Pagans in Vegas (Metric) LP
Pagans in Vegas is the sixth full-length album from Canadian rock band Metric. In an effort to translate the gratifying experience of discovering an artist you love, Metric has packed their new album with reverent references to artists who’ve inspired them, from Depeche Mode to Joy Division and Underworld. Frontwoman Emily Haines explains that it was about finding “the romance of another time without falling into nostalgia.” The concept is also perfectly captured on the album’s cover, which features a shot of Memphis’ Hotel Chisca, the spot where Elvis Presley did his first broadcast interview. But despite a few glances in the rearview, Pagans in Vegas stitches together its acoustic and synthetic foundations with a crisp, unique now-ness that captures the quandaries of life in an age where bad news is unavoidable and great art is a life-saver. “With this record we were making music for the joy of it,” says guitarist and producer James Shaw. “We’re still in the game as musicians and people, although the game has gotten increasingly unrecognizable to us.” Pagans in Vegas will be the first of two new albums from Metric, with the second expected in 2016. Their time spent writing in 2014 – Shaw at his studio in Toronto, delving into the CS80 synth and Haines with acoustic instruments in Nicaragua and Spain – yielded an unprecedented amount of material that revealed itself across at least two major musical veins. Realizing they had composed enough music for two very different albums, they decided to let each collection of songs stand on their own.

File Under: Indie Rock, CanCon
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Micachu & The Shapes: Good Sad Happy Bad (Rough Trade) LP
Three years after the release of their last record, Micachu & The Shapes’ return is almost an accident: the trio of friends decided to rehearse in an East London studio and found themselves immersed into an hours-long jam. Drummer Marc Pell had an Edirol field recorder in hand, and unbeknownst to his bandmates, recorded the whole session; Bell, Mica Levi, and Raisa Khan were so enamored of those off-the-cuff audio experiments that they became the underpinnings of a new record. “For me it’s the most free we have been,” Levi explains. Rather than showing up to the studio with songs written out, the trio started with a collaborative improvisation, from which Levi chose sections to develop into songs, writing lyrics to the entire record “non-stop, in one avalanche.” With one listen, it’s easy to hear why they loved the tracks. Good Sad Happy Bad maintains the experimental-pop sensibility the band has brought to previous efforts, combining the lightness and bounce of their best singles with the sonic textures of field recordings, industrial effects alongside straightforward instrumentation. Levi’s affected vocals eschew easily readable emotional tone, instead relying on quixotic lyricism, repetition, and immersion into the song’s landscape, to evoke warmly – rather than show – the sentiments underpinning the songs. Conversely, because the band worked out the final mixes together over a number of months – rather than in a traditional, multi-track studio over a shorter period – Pell found a new degree of creativity. “I think the best drum part I have ever written is the stick-clicking at the beginning of “Peach” – a moment, he explains, that he wouldn’t have been able to notice without the luxury of seeing the recorded tracks as more than simply songs, but as collections of sonic ideas. In the years since the band’s last work together, Levi’s star in the world of modern composition has risen, due in large part to her work on Jonathan Glazer’s standout 2014 film, Under the Skin, whose eerie depth is due in large part to Levi’s precise, otherworldly score, for which she won a European Film Award and was nominated for a BAFTA.

File Under: Rock
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Miguel: Wildheart (RCA) LP
Grammy Award winning recording artist Miguel first hit the mainstream in 2010 with the infectious first single “All I Want Is You,” from his major label debut album of the same name, a song which blended a stark hip-hop beat with the singer’s creamy vocals to form a sound that was absent from the radio and established Miguel as one of the most unique and soulful voices in modern R&B. The album also featured “Sure Thing,” which hit #1 on Billboard’s Hip-Hop/R&B chart and second US #1 “Quickie.” Miguel’s follow up was his critically-acclaimed, four-time Grammy Award nominated, sophomore album Kaleidoscope Dream, which featured his third US #1 hit single “Adorn,” the intoxicating “How Many Drinks?,” “Do You…” and “The Thrill.” In 2013 Miguel was nominated for a total of 5 Grammy Awards. Lead single “Adorn,” written and produced by Miguel, garnered his first Grammy Award for Best R&B Song and resided at #1 on the R&B/Hip-Hip Airplay chart for more than 23 weeks becoming the longest running #1 in the chart’s history. Miguel makes his welcome return in 2015 with his highly anticipated third studio effort, Wildheart, due out on ByStorm Entertainment/RCA Records and preceded by the lead single “Coffee.” The album also boasts guest appearances by Kurupt and Lenny Kravitz. This 180g 2LP Deluxe Edition includes a handful of bonus tracks including “Gfg,” “Damned” and new mix of the song “Simple Things.”

File Under:
Hip Hop, Soul
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New Order: Music Complete (Mute) LP
Music Complete finds the group revitalized, and where the group has previously pushed toward electronics or guitars, here the two are in balance. Music Complete also marks a return to the studio for Gillian Gilbert; this is her first album with New Order since 2001’s Get Ready. Music Complete is produced by New Order, except ‘Singularity’ and ‘Unlearn This Hatred’, both produced by Tom Rowlands (Chemical Brothers), while ‘Superheated’ features additional production by Stuart Price (Madonna, The Killers, New Order). Long-term collaborator Peter Saville (Factory Records) provides art direction.

File Under: Electronic, Rock
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oughtOught: Sun Coming Down (Constellation) LP
Ought returns with their second full-length album Sun Coming Down, following a break-out year for the Montréal-based rock quartet that saw its 2014 debut More Than Any Other Day make well-deserved waves for its blend of authentic, anxious, controlled and restive energy, with a Best New Music nod from Pitchfork and appearances on a wide range of year-end lists. Having spent most of 2014 on the road vitalizing audiences with no-nonsense post-punk and the feverishly observational testifying of singer/guitarist Tim Darcy (who officially changed his name from Tim Beeler this year), Ought settled into a long harsh Montreal winter hibernation, spending the first few months of 2015 writing, playing the occasional local gig, and eventually heading back to the Hotel2Tango recording studio in the spring to lay down a batch of fresh tunes. Sun Coming Down maintains the band’s tight, twitchy and economical sound, with the unfussy, understated rhythm section of drummer Tim Keen and bassist Ben Stidworthy anchoring Tim Darcy’s electric guitar and Matt May’s fuzzed-out keys (sounding, as often as not, like a second guitar). Ought pursue an artistically apposite austerity in committing these new songs to tape, referencing the arid and unvarnished production of no-wave and early indie rock while balancing carved-out angularity against an evolving comfort with textural coalescences and measured pacing. It makes for an album that’s consistently, insistently propulsive but also feels unhurried and pleasantly unhyped. Songs like “Beautiful Blue Sky” (already a fan favorite from live shows) and “Never Better” unfold with gradual and deliberate ebb and flow, where scratchy guitars play like dappled shards of light on gently roiling waves of bass and organ; “The Combo” and “Celebration” keep things crisp and concise. Darcy’s voice and lyrics continue to distinguish and define the personality of the band: his blend of ironic detachment, declarative insistence, fragmentary stammering poetics, and the occasional direct aside to the listener, finds various ways to weave within or drive through the mixes. Sun Coming Down confirms the distinctive vitality and purposive naturalism of this band; Ought resists facile primitivism and overhyped dynamics in equal measure, keeping things hermetic but never airless, ascetic but never dispassionate, literate but never prolix. The band’s steady and subtle charms don’t make them the cool kids or the iconoclastic freaks – just a satisfyingly unrefined and substantive rock band that eschews indulgence or aesthetic bandwagoneering to seek a humble, thoughtful corner from which to articulate a position within and contribute meaningfully to a 40-year continuum of indie, punk and DIY tradition.

File Under: Punk, Indie, CanCon
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Kurt Vile: B’Lieve I’m Goin’ Down (Matador) 2LP
In tomorrow? Kurt Vile does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why his sixth full-length record and first in two years – the focused, brilliantly clear and seemingly candid B’lieve I’m Goin Down… is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, the album is a handshake across the country, East to West coast, through the dustbowl history of Woody honest straight forward talk Guthrie, and a Cali canyon dead still night floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer songwriter upcycling. Capturing Vile both deeply introspective and briskly self-assured, he explains: “I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it’s on my couch – not in a lo-fi way, just more unguarded and vulnerable.” “It’s a weird, accepting, mature record, acknowledging the inherent immaturity of being a person whether father, husband, partner, adult, musician, not perfect, but compelling for its understanding…that’s life though so sad to say…” – Kim Gordon

File Under: Indie Rock, Stoner Folk
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Action Bronson: Mr. Wonderful (Atlantic) LP
A$AP Rocky: Long. Live. A$AP (RCA) LP
Courtney Barnett: Sometimes I Sit and Think (Mom + Pop) LP
Beirut: No No No (4AD) LP
Bjork: Vespertine (One Little Indian) LP
Black Flag: Jealous Again (SST) LP
Black Flag: Damaged (SST) LP
Bully: Feels Like Home (Columbia) LP
Nick Cave: No More Shall We Part (Mute) LP
Coil: Selvaggina (Threshold) LP
Destroyer: Kaputt (Merge) LP
Nick Drake: Pink Moon (Island) LP
Jimi Hendrix: Are You Experienced (Reprise) LP
Jimi Hendrix: Axis: Bold As Love (Reprise) LP
Jimi Hendrix: Electric Ladyland (Reprise) LP
Billie Holiday: Lady Sings the Blues (Jazz Wax) LP
Husker Du: Metal Circus (SST) LP
Jason Isbell: Something More Than Free (Southeastern) LP
Joy Division: Substance (Rhino) LP
Natural Snow Buildings: Nightly Coercion… (Ba Da Bing) LP
Natural Snow Buildings: Terror’s Horns (Ba Da Bing) LP
Nirvana: Nevermind (Geffen) LP
Pixies: Doolittle (4AD) LP
Red House Painters: Songs for a Blue Guitar (Universal) LP
Tom Waits: Mule Variations (Anti) LP
Weeknd: House of Balloons (Republic) LP
Weeknd: Thursday (Republic) LP
Weeknd: Echoes of Silence (Republic) LP

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…..news letter #708 – 50k…..

What a week of wonderful wax! Some major reissues in this week along with a load of other great releases as well. So much so, that this is coming out rather late, so read on!

Oh, also, next Thursday the 24th we will be hosting a Listening Party for the new DEAD WEATHER album! We’ve got swag to give away and prizes to be won. Party starts at 7pm come on down and hang out!

…..picks of the week…..mlevhu

Keith Mlevhu: The Bad Will Die (Strawberry Rain) LP
Anthology of arguably Zambia’s most prolific artist. Infamous in Zamrock circles, Keith’s name is often mentioned alongside Paul Ngozi and Witch as one of the Zamrock Era greats. A solo artist to a fault, outside of allowing Cosmos Zani to play keyboard occasionally, Keith played all the instruments on his albums, including using a megaphone to manipulate his voice on some songs. He also went against the grain and created his own Mac Bullet imprint as opposed to going with any of the more significant Zambian labels. Winning the Zambian polls for Best Solo Artist in 1977, he finished second to the Ngozi Family’s “Heavy Metal” album for Album Of The Year in 1978, and was also runner up for Best Guitarist, Best Bassist and Best Vocalist in the same polls. This is the first time his finest moments have been collected as a set, and the first release he’s had outside of Zambia since the WEA/France reissue of his second album ‘Love & Freedom’ in 1978. It also includes music never released on LP before, a song from a private press 45 which is by far his rarest offering outside of his unreleased ‘One Man Band’ and ‘Aqualung’ albums. Fans of Zambian Rock (Witch, Amanaz, Salty Dog, The Peace, Harry Mwale & Ricky Illilonga) will love this one!


File Under: Zamrock, Psych, Rad
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library of sound 2Various: Library of Sound Grooves: Obscure Psychedelic Manuscripts from the Italian Cinema 1967-1975 (Semi-Automatic) LP
From the people who brought us the excellent ‘Ecstacy of Gold’ series… A magnificent concoction of freak beat, baroque pop, heavy rock, LSD exotica, and other mind-melting oddities from the Italian soundtrack/library scene of the 1960s/1970s. Featuring legendary composers such as Bruno Nicolai, Luis Bacalov, Piero Piccioni, The Sparrows, The Pawnshop, Gianni Marchetti, Roberto Righini, Riz Ortolani, Romano Rizzati, Lallo Gori, Carlo Pes, Alessandro Alessandroni, Berto Pisano, Jacques Chaumont, Giorgio Gaslini, Guido & Maurizio de Angelis, Florenza Mormile, Franco Micalizzi, Gian Piero & Gian Franco Reverberi, The T and 8, Sandro Brugnolini, Peppino de Luca, Dream Bags, Albert Verrecchia, Mario Migliardi, and Gianni Mazza. Gatefold double LP; edition of 750.


File Under: Library, Italian, Psych


Stars of the Lid: Tired Sounds of… (Kranky) 3LP
Long overdue new release from nocturnal lullabye giants Stars of the Lid finds Brian McBride and Adam Wiltzie expanding their sound palette to include strings, horns and piano in addition to guitars and field recordings. “The Tired Sounds of…” shows a continued trend toward more overt melodic structures seen on their previous Avec Laudenum album. Six suites stretch across two CDs and six sides of vinyl combining atmosphere, texture and melody. Neo-psychedelia, contemporary classical, ambient, minimalist, maximalist, drug enhancer, drug substitute. Stars of the Lid are all these things. Stars of the Lid are none of these things. Stars of the Lid are not about outer space, they are about inner space.


File Under: Ambient, Drone, Essential Grooves
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…..new arrivals…..

against me

Against Me!: 23 Live Sex Acts (Total Treble) LP

Total Treble and INgrooves Music Group are proud to announce the brand new live album from celebrated rock band Against Me! titled 23 Live Sex Acts. Recorded over the band’s year-long, 2014 world tour and helmed by Marc Jacob Hudson (Taking Back Sunday, Saves The Day, Worriers), 23 Live Sex Acts is an immersive 3LP collection of songs that span the band’s entire catalog and provides the most comprehensive look into the powerful Against Me! live experience. 2014 was a pivotal year for the four members of Against Me!, a year that included world touring and the release of its widely acclaimed sixth full-length album, Transgender Dysphoria Blues, that landed on countless year-end lists. It was also an especially successful year for frontwoman Laura Jane Grace who starred in her own AOL Originals series titled True Trans With Laura Jane Grace, a 10-episode docu-series that was nominated for “Outstanding Documentary” at the 2015 GLAAD Media Awards. While continuing to work on her highly-anticipated memoir and performing solo shows around the country that included storytelling and spoken word, the cultural icon also served as Music Director for MTV’s Rebel Music, a series of documentary films about youth, music and global social change, focused on youth protest movements in the most challenging and turbulent parts of the world. Grace is also currently a contributing writer to Noisey where she writes a bi-weekly advice column titled Mandatory Happiness and, alongside the legendary Joan Jett, recently loaned her support for Miley Cyrus’ “Happy Hippie Foundation,” a non-profit whose mission is to rally young people to fight injustice facing homeless youth, LGBT youth and other vulnerable populations.

File Under: Punk


Agitation Free: Shibuya Nights (Made in Germany) LP
“In 2007 three concerts were recorded in Shibuya O’West/Tokyo, finally mixed into this outstanding album. A more than 70-minutes time travel back to the 70’s, filigree and majestic. A matchless mixture of spacy-psychedelic ‘Krautrock’ and Ethno-Music. Agitation Free proves again on this album that they are one of the most important representatives of the so-called ‘Berlin School. Special limited to 1000 copies double-vinyl edition in red/black colored vinyl, numbered consecutively, in complex gatefold!”

File Under: Psych, Prog
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strange color

Blanck Mass: The Strange Colour of Your Body’s Tears (Death Waltz Originals) LP
Death Waltz Originals are proud to present a spectacular new record curated by Blanck Mass & commissioned exclusively by the East End Film Festival, an alternative score to the 2013 film The Strange Colour Of Your Body’s Tears, directed by Bruno Foranzi and Helene Cattet. A full-on homage to the Italian giallo films from Mario Bava and Dario Argento, the original release of the film had no original score and instead used music from existing giallo films. Edinburgh musician Ben Power (Blanck Mass, Fuck Buttons) devised to use this as a stage for experimentation and collaboration with several artists from across the globe. Each artist was given a scene to work with and was given complete free reign to score the scene how they wanted to, without any knowledge of what was planned for the film by the other musicians. Contributions came from Stockholm’s Roll The Dice, London’s Helm, Moon Gangs, and Phil Julian, Glasgow’s Konx-Om-Pax, and New York’s C. Spencer Yeh, as well as Blanck Mass. The end result is a fascinating score that enthrals, seduces, and terrifies in equal measure. Due to be performed live later in 2015, The Strange Colour Of Your Body’s Tears re-score is a testament to the quality of alternative artists working today, as well as evidence of the ongoing inspiration that Italian horror continues to supply to contemporary art.

File Under: OST, Electronic
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Circle – s/t (Krunk) LP
Circe is made up of two-thirds of Sigur Rós, bass player Georg Holm and drummer Orri Páll Dýrason, along with Icelandic composer Hilmar Örn Hilmarsson and Sigur Rós touring guitarist, and Georg’s brother, Kjartan Holm. They have teamed up to create an uninterrupted 72-minute instrumental album inspired by 100 years of archive footage of vaudeville, circuses and carnivals. A pulsating work throughout, the 14 track album, which was made to accompany the BBC documentary film The Show of Shows, was written and recorded at Sigur Ros’ studio space in Reykjavik, and features contributions from the celebrated South Iceland Chamber Choir (who were John Tavener’s favorite). This album is absolutely stunning!

File Under: Ambient, Electronic, OST
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Alice Cohen: Into The Grey (Olde English Spelling Bee) LP
“Into The Grey Salons is the 5th solo release from singer/musician Alice Cohen. The album features cosmic R&B-tinged dance tunes and soulful gospel-flavored ballads, with experimental synth interludes interspersed throughout the LP. Into The Grey Salons was inspired by a historic department store from Cohen’s youth during the glitter rock heyday when David Bowie was recording Young Americans at Sigma Sound Studios in Philadelphia. The ‘Sigma Kids’ – young fans sporting Bowie haircuts – would line up to buy concert tickets at the grand ornate building, while the gothic pipe organ played inside. Out on the streets, the iconic ‘Sound of Philadelphia’ was everywhere. The ‘haunted department store’ is a symbolic space – where desire and commerce intersect, and identities are performed in the reflections of dressing room mirrors. Recorded at home in Brooklyn over the course of two years – all instruments were played by Alice Cohen, with additional drumming by Bryan Ujueta of Mr. Twin Sister, and additional vocals by Autre Ne Veut. Alice Cohen has been active since the late 70s, when her song ‘Save the Best for Last’ was released on Chrysalis Records.”

File Under: Ambient, Ethereal
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Coil: Selvaggina, Go Back into the Woods (Threshold) LP
Selvaggina, Go Back into the Woods was originally released in CD-R format by Coil in a limited edition of 230 copies. The release is a live performance in Jesi, Italy on 11 June 2004. Selvaggina was released in a sleeve identical to that of Coil Presents Time Machines, Megalithomania!, and the original version of Black Antlers. Tracks 1-3 and 5-7 were released as studio versions with slightly augmented titles on Black Antlers. “Bang Bang” has not been given a studio release by Coil. “Tattooed Man” was later remade and released on The Ape of Naples. The live version of “Amethyst Deceivers” on Selvaggina is most similar to the versions released on The Ape of Naples and Live Two. For this performance, Coil were John Balance, Peter Christopherson and Thighpaulsandra.

File Under: Electronic, Ambient, Industrial
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Dam-Funk: Invite the Light (Stones Throw) LP
Deluxe vinyl package includes the album on 3xLP white vinyl, download card and a gorgeous, reflective silver triple gatefold jacket. Damon “Dam-Funk” Riddick is the epitome of funk. Ever since debuting with Stones Throw in 2008, Dam-Funk has become one of the genres most passionate proselytizers. In 2013, he released his celebrated partnership with hip-hop’s Snoop Dogg titled 7 Days Of Funk. Fresh for ’15, Dam returns with a solo project nearly six years in the making: Invite the Light. Dam’s partnership with Stones Throw includes everything from his 2009 LP Toeachizown, to an anthology of early productions, Adolescent Funk (2010), to 2013’s 7 Days of Funk. As always, Dam flexes his multi-instrumentalist talents by handling all the production but still makes time for guests including rapper Q-Tip, the father-son duo of Leon Sylvers III & IV, and funk giant Junie Morrison of the Ohio Players, who opens and closes the album with dire warnings of what could happen in a world without funk. Rest assured, Dam is here to make sure that never comes to pass. As he puts it, “funk is the underdog, the black sheep of black music,” and if that’s true, Dam-Funk is its shepherd.

File Under: Funk, Soul
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dead moonDead Moon: Nervous Sooner Changes (Mississippi) LP
Another all time Dead Moon classic. The band really hit their stride on this one! The best rock band of the 90’s and 2000’s kicks out some of their finest rockers and ballads. Features all time greats like Diamonds in the Rough, Say it isn’t so, Running Out of Time, Somewhere Far Away and Windows Of Time. A must have for any fan of the band and rock music in general.

File Under: Punk
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Destruction Unit: Negative Feedback Resistor (Sacred Bones) LP
For two years now, the psychedelic Destruction Unit has been keeping the world waiting for a new album. And it’s not because they’ve grown up or gotten soft, rather because they’ve been in the streets and in your backyards, pushing the freek agenda and imminentizing the alien-eschaton. They’ve been up and down and all around this globe, battling the greedy club owners, show promoters and control pigs to bring the new American heavy underground through your back door. Now here we are, with the psychedelic Unit’s second album for Sacred Bones, Negative Feedback Resistor. In the spirit of solidarity with the other revolutionary communities of our sisters and brothers, the psychedelic Unit urges you to use this album’s energy, energy your speakers can hardly contain, for its intended purpose: to break the chains which you, at the dawn of your understanding, have fastened around your hands and feet. And to see to it that the thrones of every despot erected within you are destroyed. This is crazed-psychedelic-freek-noise guerrilla warfare and these are our streets. The pigs of the law can use their system to manipulate and censor our messages. The control creeps can keep their airwaves safe and comfortable. But none of them have been able to make us turn our voices or our guitar amps down. Destruction Unit sacrificed their ears to make this album as loud of a statement as possible. Will you lend them yours? Negative Feedback Resistor was produced by The Ascetic House and Joe Cardamon in 2015, with the help of Adult Swim and Sacred Bones Records. It was recorded by Cardamon and Greg Gordon at Valley Recording Company, mixed by Ben Greenberg at The Bunker and mastered by Alex DeTurk at Strange Weather. Destruction Unit is R. Rousseau, J.S. Aurelius, N. Nappa, R. Rousseau, A. Flores with additional accompaniments by A.Z. Hungtai, D. Bolles, L. Rahbek and J. Sanes.

File Under: Punk, Noise Rock
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Brian Ellis Group: Escondido Sessions (El Paraiso) LP
There’s something brewing in Southern California — besides the world’s finest pale ale and crystal-clear surf rolling up the shore along Interstate 5. There’s been an outpouring of mind-blowing prog-, psych- and free-rock in impeccable form from San Diego County, seamlessly merging jazz tendencies and extraordinary jam-abilities with crushing heaviness, electronics, and a general out-there-ness. Bands such as Psicomagia, Earthless, and Joy have earned SoCal its own unique spot on the worldwide map of psychedelia. At the heart of all this is one young Escondido native, Brian Ellis. A guitar virtuoso in Astra, saxophonist in Psicomagia, and keys- and synth-wiz as well, he’s long been cutting his teeth as a grade-A session player in such heavyweight funk outfits as Egyptian Lover, in addition to working as a studio owner and an esteemed recording engineer. It was only a matter of time before Ellis got his own group of local offbeat heroes in the same room to crank out a spectacular piece of prismatic, electric free-form jazz. And here it is. Along with members from Radio Moscow, Corima, and Psicomagia, Ellis has cooked up two vinyl sides of seriously vital jazz-rock, taking up where Miles Davis, Tony Williams, and Donald Byrd left off in the ’70s. This music is a far cry from the self-absorbed European free jazz or academic noodling one is likely to meet at any given jazz festival; this music is earthy, like, say, Hendrix at Woodstock, or Davis’s Live-Evil (1971) — a pinnacle challenge of the past that has never met any really satisfying response from contemporary music. There’s that unique sense of percussive drift that characterized Can’s records in the first half of the ’70s — somehow extravagant, yet also subtle at the same time. The warmth of Ellis’s sun-dried Rhodes and cosmic Moog-lines intertwine with Patrick Shiroishi’s Coltrane-inspired soprano arabesques. Trevor Mast’s thick basslines and a multitude of tribalistic percussion keep it together along with a naturalistic, crisp-sounding recording. It all adds up to a soulful tour de force of everything that’s great about the San Diego scene. To be played loudly. File next to: Miles Davis, Tortoise, Marion Brown, Joe Henderson, Can, Donald Byrd. Brian Ellis: Fender Rhodes piano, Hammond L-122 organ, Wurlitzer electric Piano, Minimoog, Moog Subphatty; David Hurley: congas and percussion; Michael Hams: drums and percussion; Patrick Shiroishi: alto and soprano saxophones; Paul Marrone: drums, percussion, guitar; Trevor Mast: bass.

File Under: Jazz Rock, Psych
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F ingers: Hide Before Dinner (Blackest Ever Black) LP
Hide Before Dinner is an extraordinary LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel, and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics of the highest order; acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers… a relatable surburban gothic… grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbor’s garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark. If you dream you die, you die. Cover art by dal Forno and Manek. Layout assistance by Oliver Smith. Cut by Noel Summerville and pressed at Optimal. Housed in full-color gloss sleeve with printed inner sleeve and download code.

File Under: Electronic, New Wave
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Masayoshi Fujita: Apologues (Erased Tapes) LP
Berlin-based Japanese vibraphonist and composer Masayoshi Fujita, after releasing more ambient-based electronic recordings of the vibraphone under his el fog alias, became more interested in the sound of the vibraphone itself. He started to compose acoustic pieces and released his first solo album under his real name, titled Stories, in early 2013. Apologues sees Fujita use an array of instruments besides his lead instrument for the first time, such as the violin, cello, flute, clarinet, French horn, accordion, piano, and snare drum — played by friends, but arranged by Fujita himself. “My idea was to let those instruments express their own images or atmospheres that each instruments have by nature, or have been given in their history, and not treating them just as accompaniments of the vibraphone. Also, it was new for me to compose a song as a whole. As I wrote the vibraphone part first, I tried to hear other sounds in my head and tried to leave enough room for them and sometimes play only fundamental parts on the vibes.” In addition to the mallets, Fujita often plays the vibraphone with a violin or cello bow, like on “Tears of Unicorn” and “Knight and Spirit of Lake.” He also places bead strings on the vibraphone bars to create an ambient shimmer that can be heard on songs like “Moonlight” and “Swallow Flies High in the May Sky.” The latter was composed to let the clarinet express its characteristics and tell its story, while the vibraphone takes a supporting role. “The clarinet sounds very warm and soft and very ‘spring’ to me,” says Fujita. Inspired by “the silence and deepness of the fog, the mountains and the gravity within,” his music has a unique, evocative atmosphere. He connects the song “Requiem,” which he composed for French horn, to “images of mountains, fields and the far away.” “Tears of Unicorn” was inspired by a painting that features in Hayao Miyazaki’s Studio Ghibli animation Kiki’s Delivery Service (1989), drawn by a woman that lives in the forest. “With this album the main idea was to evoke images, atmospheres, sceneries and stories in the listener, the images that have accumulated in myself. At the same time it was an exploration of the unexplored beauty of the vibraphone, and also a pursuit of the charm of the instrumentation and the music itself.” –Fujita

File Under: Electronic, Ambient, Classical
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Homeshake: Midnight Snack (Omnian) LP
Homeshake is the pseudonym and solo project of Edmonton-born, Montreal-based musician Peter Sagar. Sophomore offering Midnight Snack follows up his 2014 debut In The Shower and was recorded this past winter with Jackson MacIntosh at the Drones club in Montreal. Musically this time around Sagar trades in his guitar for synthesizers and a drum machine, developing vocal arrangements from loops he created for his solo set. He pulled influence from house pioneers like Chip E and Mr. Fingers as well as Japanese pop starlets like Chiemi Manabe, slowing down the tempo with his own homemade drowsiness. The resulting collection is an eclectic tangle of personal anecdotes steeped in an everlasting reverence of D’Angelo and R Kelly. Much of the record was written following Sagar’s dizzying time on the road as touring guitarist with Mac Demarco, reflecting on the loneliness that plagued him towards the end of his run and the longing for life back home in Montreal. Sagar left the band to focus on his own music and to rebuild the infrastructure of his life. While many of the new tracks meander through anxiety and melancholy, it is also a witness to a return to safety. There is a reoccurring theme for Sagar of pulling inward throughout the record. He casts a wide net and fills it with a multitude of musical influences from international tour dates then slows it down a few tempos and builds something humble around it. Throughout the record he peppers in a deep appreciation for the meals prepared by his girlfriend Salina and the simple pleasure of a Midnight Snack before curling up in bed next to the person you love.

File Under: Indie Rock, CanCon
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The Kitchen Cinq: When The Rainbow Disappears (Light in the Attic) LP
Lee Hazlewood’s LHI flagship group, The Kitchen Cinq, had everything but one elusive factor: success. Formed as The Illusions (and briefly The Y’alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-‘60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. “Almost immediately upon arrival, we auditioned for Lee,” says guitarist/vocalist Mark Creamer. “He said, ‘Deal.’” Another of Hazlewood’s coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry. By 1968, The Kitchen Cinq issued a total of five impressive singles and one album, Everything But. They recorded a surprisingly vast amount of material, all of which is collected here. Their version of The Beau Brummels’ “Still In Love With You Baby” was a regional hit in many cities, but they were still chasing a big hit, and the LA dream was wearing thin. In the end, the industry burned them out: the endless gigging, the radio spots, the long journeys–including an ill-fated East Coast tour that required them to drive from LA to Florida in three days. “I think LA ate the Texas boys; I really feel that way,” says guitarist/vocalist Jim Parker. The group split in ’68, and the members spread off into bands including Them, rock outfit Armageddon and, eventually, careers in studios. One–temporary member J.D. Souther–has a recurring role on the popular soap opera Nashville. The Kitchen Cinq was just a springboard for each of them, but listening to these overlooked works of beat-pop brilliance, you can’t help but wonder why it didn’t work out for the Texans at the time. Their songs–all of them–live on in this anthology.

File Under: Psych, Garage
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Master Musicians of Bukkake: Further West Quad Cult (Important) LP
Prefigured by the inclusion of a secret extra pocket in the original packaging of Far West, this painstakingly crafted complimentary LP is intended for synced playback with that release. With two turntables or other playback devices, the listener can experience fully unique quad playback. Further West Quad Cult LP offers deeper journeys into the cave where the self dissolves. It also stands alone as an inverted Far West universe, and the listener is invited to enjoy it by itself as well. Liquid synth journeys into the void. All tracks dubbed and manipulated from Far West source material. All music by Master Musicians of Bukkake. Additional sound design and synths by Randall Dunn and Timm Mason. Produced, recorded, and mixed by Randall Dunn at Avast!, Seattle, WA. Includes fold-out poster by photographer Alison Scarpulla.

File Under: Synth, Psych, Quad
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Miaux: Above the High Rays (Feeding Tube) LP
“Miaux is the operating handle of Belgium’s Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus’ Ultra Eczema label, but after catching her set at 2014’s Bruismelk festival, Feeding Tube had to ‘have’ her new record. Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrack-y nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia’s hands and keys. It’s easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles’ Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own.” –Byron Coley, 2015

File Under: Ambient, Electronic 
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muslimgauzeMuslimgauze: Uzbkistani Bizzare and Souk (Staalplaat) LP
Sonically, Bryn Jones’s work as Muslimgauze often pulled in two directions at the same time. The one, towards what fans of Can might call an “ethnographic” kind of practice, especially with his use of vocal samples and percussion instruments from the Middle East and other regions of the world Jones was so interested in (obsessed by?). The other is toward, for lack of more polite phrasing, harshly fucked-up digital noise and beats. Many interesting Muslimgauze releases tend more toward that ethnographic side or find a middle ground between the two impulses, but few of his records slide so much towards the other end of the spectrum as does 1996’s Uzbekistani Bizzare and Souk. Aside from the vocal loop/Amen break duet of “Rouge Amin Fraction,” the songs here found Jones focusing much more on the electronic music elements always present in his work as Muslimgauze, ranging from the watery, dubby tones that show up on “The Iranian Who Found Allah” and parts of the suite-like “Paper Gulag” through the harsh trebles of “Cafkir Ma Higra” (which bring to mind Aphex Twin’s “Ventolin”) to the dense digital-sleet-storm of closer “Leboneeze.” Elsewhere, tracks like “Cafkir Wa Hig” and “Harijana” serve as master classes in Jones’s expertise at twisting his beats and patterns until they practically shred (both themselves and, if you’re not careful, the speakers). Uzbekistani Bizzare and Souk was originally issued by Staalplaat on DAT in 1996, and was reissued on CD by Important Records in 2002; this is its first vinyl release. A tough, rigorous set of some of Jones’s most beat-focused work as Muslimgauze. Limited edition of 500.

File Under: Electronic, Experimental
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through silver

Neurosis: Through Silver in Blood (Relapse) LP
Severely shorted, more soon. With their fifth album, Through Silver In Blood, Oakland, CA’s seminal hardcore auteurs Neurosis brought forth the ultimate endtime vision, conjuring up contemplative textures and dire, prophetic warnings. Relapse Records is pleased to offer super deluxe vinyl reissues of Neurosis’ Through Silver In Blood (originally released in 1996, first time on vinyl in 10 years), Times Of Grace (originally released in 1999, first time on vinyl in 15+ years) and the Times Of Grace companion piece, Tribes of Neurot’s Grace (originally released in 1999, never before on vinyl). All three records are pressed on 180 gram vinyl and are housed in heavy duty ‘tip-on’ jackets.

File Under: Metal
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times of grace

Neurosis: Times of Grace (Relapse) LP
Times Of Grace is yet another ferocious war cry from Oakland, CA seminal hardcore auteurs Neurosis. Their sixth full-length offering overall is brutally honest, original, and categorically defiant, a bold work which lures with its vivid rhythms, strikes with a siege of emotion, and consumes with abysmal force! Relapse Records is pleased to offer super deluxe vinyl reissues of Neurosis’ Through Silver In Blood (originally released in 1996, first time on vinyl in 10 years), Times Of Grace (originally released in 1999, first time on vinyl in 15+ years) and the Times Of Grace companion piece, Tribes of Neurot’s Grace (originally released in 1999, never before on vinyl). All three records are pressed on 180 gram vinyl and are housed in heavy duty ‘tip-on’ jackets.

File Under: Metal
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OST: Aliens (Mondo) LP
The Academy Award-nominated score for Aliens is an appropriate musical companion to this wildly successful sequel. Much like the film, the soundtrack is a departure from the original, but equally beloved. Composer James Horner took the reigns from Jerry Goldsmith and made something his own: blending the suspense and horror that the franchise is known for, with an element of fun that is unique to this entry.This deluxe edition soundtrack features over a dozen cues that have never before been released on vinyl, including 5 bonus tracks. Commenting on the design, artist Killian Eng said, “I wanted the alien to play a big role but at the same time incorporate its shape into the materials of the space station, almost like it becomes the station itself, keeping the marines in a steady merciless grip.”

File Under: OST, Mondo, SciFi
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OST: I Sell the Dead (Deep Focus) LP
Jeff Grace’s string-¬laden orchestral score to I Sell The Dead perfectly complements the film’s horror-¬comedy tonal duality. The music goes from a playful arrangement to terrifying string dissonance in a matter of seconds. I Sell The Dead stars Dominic Monaghan (The Hobbit, Lost), Ron Perlman (Hellboy, Sons Of Anarchy), Larry Fessenden (You’re Next, We Are Still Here) and Angus Scrimm (Phantasm). I Sell The Dead marked the sixth collaboration between Jeff Grace and Glass Eye Pix. Grace is best known for his musical contributions to the directorial works of Ti West, including House Of The Devil, The Innkeepers, The Roost, and the forthcoming In a Valley of Violence, starring Ethan Hawke and John Travolta.

File Under: OST, Horror
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tp0004c_SP_DPGate_CoverOST: Nightbreed (Wax Works) LP
Waxwork Records and Morgan Creek are proud to present the deluxe LP re-issue of Danny Elfman’s score to Clive Barker’s Nightbreed. Long out of print and prohibitively expensive, the original soundtrack release of Nightbreed has become a sought after collectable LP for horror fans and vinyl soundtrack enthusiasts alike. Waxwork Records and Morgan Creek have partnered to release the Nightbreed soundtrack as a deluxe re-issue vinyl LP package featuring re-mastered audio, incredible full package artwork by Rich Kelly, 180 gram colored vinyl, and high quality packaging. Fans of Clive Barker, horror, soundtracks, and vinyl can now look no further for an overpriced, out of print version of this remarkable, classic score by the legendary Danny Elfman. This is the attainable, super high standard real deal straight from the depths of Midian.

File Under: OST, Horror
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zombieOST: Zombi Holocaust (Death Waltz) LP
The definitive version of this Italian splatter classic spread over 2 LPs and including 13 previously unheard cues. At Death Waltz Recording Company we’re proud to feature the music of some of the weirdest and most insane movies around, and few come crazier than Marino Girolami’s Zombi Holocaust. Melding both Lucio Fulci’s Zombi 2 and Ruggero Deodato’s Cannibal Holocaust (hence the title), Girolami’s film pits an army of flesh-eating cannibals against members of the undead, with a group of nosey Americans caught in-between, to be feasted and experimented upon. Scoring this truly depraved opus is famed Italian composer Nico Fidenco, who finds the perfect balance between jazz-funk, oppressive electronics and soft-core vocals to give Holocaust the soundtrack it needs. Fidenco goes everywhere and anywhere for this score, with thumping bass that wouldn’t sound out of place at a rave and the best jazz-flute this side of Jethro Tull.

File Under: OST, Horror
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pig destroyerPig Destroyer: Prowler In The Yard (Relapse) LP
No true Relapse celebration would be complete without a contribution from Pig Destroyer, the VA-based grindcore monarchs that have been hailed as revolutionaries by publications the world over. The band’s landmark 2001 Relapse debut Prowler in the Yard, which led MetalSucks to call Pig Destroyer “the best grindcore act on the planet” and which Pitchfork deemed “a quantum leap for the whole goddamn genre,” will get the super-deluxe reissue treatment in September 2015 as another portion of Relapse’s 25th anniversary festivities. Fully remixed and remastered by guitarist/engineer Scott Hull, the limited edition vinyl reissue will also include a never-before-heard bonus track from the original Prowler in the Yard sessions, expanded artwork, exclusive photos and new liner notes including the complete Decibel Magazine Hall of Fame piece on the album. Frontman JR Hayes commented on the reissue: “Attention all weirdos, dirtbags, creeps and related scum, I’m excited to bring you the 15th Anniversary edition of our second album Prowler in the Yard. Remixed and remastered in SUPER-MEGA-HATE-SOUND by Mr. Hull himself. Relapse has expanded the packaging with liner notes and a ton of old photos from when I used to dye my hair black and wear button-up shirts…Hail to all PD fans worldwide.”

File Under: Metal
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reinhardtJonas Reinhardt: Palace Savant (Further) LP
On his sixth album, Palace Savant, Brooklyn producer Jonas Reinhardt (aka Jesse Reiner) undergoes a profound solo odyssey. The record may be the most spectacular realization of Jonas Reinhardt’s outward-bound sonic aspirations. These eight tracks draw on 14th-century architect Peter Parler’s breathtaking St. Vitus Cathedral in Prague. “St. Vitus is a statement to the future by the rulers at the time,” Reiner says. “It’s surreal, grandiose, psychedelic — and the sheer scale of human ambition involved is almost beyond comprehension.” Parler reportedly deviated from the cathedral’s initial blueprint and elevated the Gothic style to heretofore-unimagined, bizarre levels. With Palace Savant, Reiner projected Parler’s handiwork into Thomas Edison’s era of electricity. “I envisioned [Parler] retrofitting his cathedral with excesses of incandescent light, preparing for a coming age of electronics. Palace Savant is what a contemporary electronic performance in that space might sound like.” Recorded on tour and in New York over the course of a year and mixed at Transmitter Park Studio in Greenpoint, Palace Savant begins with the instant attention-grabber/pulse-accelerator “Old Kaizen.” At once claustrophobic and spacious, it possesses an urgent, chase-scene synth throb that would make John Carpenter or Bernard Fevre jealous. The turbulent “Shattered Remains of Orr” sounds like Edgar Froese’s kosmische-ambient masterpiece Aqua (1974) tossed into shark-infested waters. On “Androma,” Reiner’s expertly-modulated arpeggios contrast low and high frequencies, revealing his ability to create suspense with a chiaroscuro of whirs and pulsations. Palace Savant achieves two towering peaks. The first is “Go Sceptre Go,” a swiftly-moving, heavenly droner that veers off on a tangent into a much darker, more chaotic direction. The second is “Noctornum,” a burbling and soaring piece that’s at once aquatic and astral, before an emphatic rhythm forms, pushing things into menacing Szajner-esque territory. The album closes with the mid-tempo arpeggios and muted, wailing siren-tones of “Omat Principle Decay,” a moving finale to a record that’s taken you so far and tingled your senses so intensely. A high point in Jonas Reinhardt’s large canon, the dramatic and majestic Palace Savant does exquisite justice to St. Vitus Cathedral’s grandeur. Album artwork by Andy Gilmore. Mastered by Rashad Becker at Dubplates & Mastering.

File Under: Electronic
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Layout 1Shindig #48 Mag
Grateful Dead: The fallout of The Summer Of Love and the birth of a national treasure. The Dead keep on truckin’ through the early ’70s. Jorge Ben: The Brazilian samba-funk alchemists’s most mythical and creative years. Art: Pre-Spooky Tooth psych-rockers’ Supernatural Fairy Tale. Squire: Late ’70s powerpop avatars who became mod figureheads. Mary Wilson: The Supremes sassy lynchpin on 10 Deep Cuts you may have missed. Amon Düül II: Krautrock forefathers or psychedelic warriors? How about both? Joe Boyd: 20 Questions with the blues evangelist, counter-culture business head and record producer supreme. Serpent Power: Ian Skelly (The Coral) and Paul Molly (The Zutons) shake their psychedelic stick. Hidden Charms: London youngsters making their own righteous noise. Rising garage-soul star Curtis Harding talks, US psych enigma Bow Street Runners exposed, Fairport Convention‘s Liege & Lief artwork dissected, rhythm ’n’ beat troubadour Paul Orwell on soundtracking Shindig!‘s

File Under: Magazines, Psych

shin49Shindig #49 Mag
Fleetwood Mac: Exclusive Mick Fleetwood interview explores the overlooked early ’70s era. Chris Robinson Brotherhood: Ex-Black Crowes leader and band tap the California Source. Plus: Church, Dragons, Isleys, Terry Reid, Dudley Moore, news, reviews, and, as always, lots, lots more!Grateful Dead, Jorge Ben, Art, Squire, Mary Wilson, Amon Düül II and Joe Boyd figure among typically eclectic content. recent campaign, and loads more!

File Under: Magazine, Psych

soumaoroIdrissa Soumaoro: Ampsa (Mississippi) LP
“A classic and seldom heard LP from Bamako! Not just your average Malian LP, Ampsa features has to be heard to be believed organ, hypnotic guitar and amazing sweet vocals. A truly great LP and must have for fans of Malian music. A faithful reproduction of the original with the addition of liner notes by Florent Mazzoleni. A co release with Singasongfighter.”

File Under: Mali, World, Folk
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sotl2Stars of the Lid: And Their Refinement of the Decline (Kranky) 3LP
The long awaited new album from Stars of the Lid is finally ready for your sonic immersion. Painstakingly recorded, processed and assembled over the last five years, SOTL once again deliver a massive work filling two compact discs and three vinyl albums, clocking in at over two hours. While most albums of this length would be considered tedious at best, SOTL are arguably the only contemporary composers who can seemingly alter the time-space continuum simply through the playback of their organized sound. They take time itself and stretch, compress and turn it inside out, altering what would otherwise be an arduous test of nerves into an interlude of half awake dreams that ends too soon. In this album, SOTL picks up where The Tired Sounds Of… left off with an emphasis on melodic development, moving their epic soundscapes beyond mere drone and subsequently frustrating all the typical ambient cliches associated with their music. Perhaps the best references for this current work would be found in the score to the film Le Mepris by Georges Delerue, the orchestral works of Zbigniew Preisner, or the 1958 CSO/ Fritz Reiner recording of Hovhaness’ Mysterious Mountain, specifically the third movement. But in the final analysis, such comparisons are superfluous at best, as Stars of the Lid have created a musical universe in which they are the sole inhabitant. Simply put, this album is a masterpiece.

File Under: Ambient, Drone, Essential Grooves
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tagaqTanya Tagaq: Animism (Six Shooter) LP
Tanya Tagaq (born Tanya Tagaq Gillis and sometimes credited as Tagaq) is an Inuk throat singer from Cambridge Bay (Ikaluktuutiak), Nunavut, Canada, on the south coast of Victoria Island.[1] After attending school in Cambridge Bay, at age 15, she went to Yellowknife, Northwest Territories to attend high school where she first began to practice throat singing. She later studied visual arts at the Nova Scotia College of Art and Design and while there developed her own solo form of Inuit throat singing, which is normally done by two women.

File Under: Experimental, CanCon, Polaris
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tamarynTamaryn: Cranekiss (Mexican Summer) LP
Time and changes distance Tamaryn’s Cranekiss from her earlier efforts, and for that matter, from everyone else’s. Time, by way of the long period spent crafting this material, both on her own and with Weekend’s Shaun Durkan, who with producer Jorge Elbrecht (Violens, Lansing-Dreiden), make up the creative team behind Cranekiss. Changes, by relocating across the country from San Francisco to New York City, by expanding the approach taken on her two previous albums (2010’s The Waves and 2012’s Tender New Signs), by making music that pulls you closer to it despite the enormity of the sounds within. Tamaryn’s first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful, gorgeous, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic, trendy, disposable signposts made to be broken). With Cranekiss, Tamaryn emerges from her past in a way that’s inviting, warm-blooded, and shockingly direct. She’s made a big record, loaded with samples, synth triggers and processing that was missing from her previous efforts, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars, but with Cranekiss her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons, recognizing the modes of musical respect and adoration flashing past as the record spins. From there, though, Tamaryn has modeled these elements into simulacra, where despite the nods and glances to the past, play as a totally new sound. Lyrically, this is Tamaryn’s most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record, elevating her presence like never before. Cranekiss explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn’s words. Cranekiss represents a long journey, and a new phase in Tamaryn’s music unfolding before you, a blood-red kaleidoscope of desire and late night abandon, a bold step forward.

File Under: Indie Rock
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thighpaulThighpaulsandra: The Golden Communion (Editions Mego) 3LP
Thighpaulsandra presents his seventh full-length album and his first since 2006’s The Lepore Extrusion. Well over a decade in the making, The Golden Communion is his debut for Editions Mego. It comprises ten songs and runs well over two hours, with individual pieces clocking in between four and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Siôn Orgon, plus the odd guest/ghost from bands with which Thighpaulsandra has worked in the past. Listeners who have heard any of Thighpaulsandra’s previous albums will know that it’s best to approach this work with no fixed set of expectations; once again, Thighpaulsandra changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized, and Julian Cope’s band (in each case arguably at the height of the group’s creative prowess) and his work as producer and sound engineer for an even larger variety of customers, he offers classical passages next to hard rock riffing; krauty experimental work-outs turning into super-catchy, almost radio-friendly songs; and more. Many adjectives have been used to describe Thighpaulsandra’s work — “epic,” “challenging,” “timeless,” “idiosyncratic” — but certainly never “predictable” or “boring.” Possibly his most rewarding album yet and a welcome and unusual entry in the Mego catalog, The Golden Communion will entertain and astonish listeners who are fond of having their minds severely altered by sound.

File Under: Electronic, Jazz, Experimental, Coil
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weaverJane Weaver: Neotantrik Globes (No Label) LP
This recording of Jane Weaver re-scored by Neotantrik (Suzanne Ciani, Andy Votel, and Sean Canty) has been described by Andy Votel as the “incidental music” counterpart to the conceptual soundtrack of The Silver Globe. Invoking and refracting Weaver’s hugely acclaimed The Silver Globe in one engrossing session recorded in Bergen, Norway, as part of an installation at the end of 2014, Neotantrik Globes contains Weaver’s original material dissected, atomized, and diffused into a side of mercurial, open-ended electronics and mechanical process. Weaver’s sylvan melodies, harmonies, and vibes are scrambled, extruded, and smeared so that one hears their morphing aspects in a swirling lightshow strafing from windswept ambience thru nebulous synth-space, garroting string-tension, and siren-like drone-pop to a screw-twisting denouement. The album is also notable for Ciani’s use of some specially commissioned Buchla modules — some of the first pieces produced by Don Buchla in years — plus a Nagoya Harp played through a fuzz pedal and dulcimer fed through a space-echo. It’s totally absorbing and is perhaps one of thee strongest recordings from the trio’s one-of-a-kind setup, given an added dimension by Weaver’s hugely evocative voice. Single-sided LP. Artwork by Andy Votel. Edition of 500.

File Under: Electronic, Experimental
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whitehouseWhitehouse: Halogen (Dirter Promotions) LP
First vinyl release of the classic Whitehouse album Halogen, originally released as a CD on the Susan Lawly label in 1994. Tracks are: “Vulgar” (William Bennett), “Lightning Struck My Dick” (William Bennett/Jim Goodall/Peter Sotos), “Movement 1994” (William Bennett), “Dictator” (William Bennett), “Halogen” (William Bennett/Peter Sotos), and “The Way It Will Be” (William Bennett). Recorded at Electrical Audio in Chicago by Steve Albini and William Bennett, December 1993; remastered and cut by Noel Summerville. Artwork by Trevor Brown. Audiophile 180-gram vinyl in stunning gloss-laminated sleeve. “[Part of] Whitehouse’s most idiosyncratic, and therefore most compelling phase in their 26-plus years of activity… with probably their most musical and understated (in relative terms, of course) works… Once again Bennett is assisted by Peter Sotos lyrically, resulting in some of the more complex vocal themes up to that point, while the synths are just awash in a sort of gauzy reverb that smooths out the cleaner sound, likely due to the Steve Albini production. It is still by no means peaceful, but has a more introspective feel compared to their other work. The almost pleasant synth sounds from Never Forget Death are but gone, replaced by unique analog textures that would reappear splendidly on Quality Time.” –Brainwashed

File Under: Noise, Power Electronics
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library of soundVarious: Library of Sound Grooves: Jazz Expressions from the Italian Cinema 1963-1975 (Semi-Automatic) LP
From the same folks that brought us the brilliant “Ecstasy of Gold” series… Jazz from the 1960s/1970s Italian cinema and library scene. Encompassing a wide scope of styles from hard bop, big band, and vocal choruses to smaller combo experimental and free jazz. Includes tracks by such legendary composers as Ennio Morricone, Piero Piccioni, Piero Umiliani, Riz Ortolani, Mario Nascimbene, Nora Orlandi, Giorgio Gaslini, Armando Trovajoli, Gianni Ferrio, Stelvio Cipriani, Alessandro Alessandroni, Benedetto Ghiglia, Sandro Brugnolini, Vittorio Paltrinieri, Robby Poitevin, Luigi Malatesta, Franco Bixio, Gianni Boncompagni, Franco de Gemini, Stefano Torossi, Romano Rizzati, and Francesco de Masi. Gatefold double LP; edition of 750.

File Under: Italian, Library, Jazz, Psych


Alexisonfire: s/t (Dine Alone) LP
Alexisonfire: Watch Out! (Dine Alone) LP
Aqua Nebula Oscillator: s/t (Rewolfed Gloom) LP
Captain Beefheart: Safe as Milk (Simply Vinyl) LP
City & Colour: Bring Me Your Love (Dine Alone) LP
City & Colour: Little Hell (Dine Alone) LP
Congos: Heart of the Congos (VP) LP
Alessandro Cortini: Forse 1 (Important) LP
Dead Weather: Sea of Cowards (Third Man) LP
Dinosaur Jr.: Where You Been (Rhino) LP
Nick Drake: Pink Moon (Island) LP
Emptyset: s/t (Subtext) LP
Fairport Convention: Unhalfbricking (Simply Vinyl) LP
Flying Lotus: You’re Dead (Warp) LP
Foals: What Went Down (Warner) LP
Tobias Jesso Jr: Goon (Arts & Crafts) LP
Karin Krog: Don’t Just Sing (Light in the Attic) LP
Fela Kuti: Expensive Shit (Knitting Factory) LP
Lumineers: s/t (Dual Tone) LP
Method Man: Meth Lab (Tommy Boy) LP
MF Doom: Operation Doomsday (Metal Fingers) LP
Night Beats: s/t (Trouble In Mind) LP
Oasis: (What’s The Story) Morning Glory? (Big Brother) LP
Joel Plaskett: Scrappy Happiness (Universal) LP
Queens of the Stone Age: Lullabies To Paralyze (Music on Vinyl) LP
Replacements: Twin/Tone Years (Rhino) LP
Sleep: Dopesmoker (Southern Lord) LP
Timber Timbre: Hot Dreams (Arts & Crafts) LP
Venom: Black Metal (BMG) LP
Weeknd: Echoes of Silence (CP) LP
Weeknd: House of Balloons (CP) LP
Weeknd: Thursday (CP) LP
Amy Winehouse: Back in Black (Universal) LP
Witch: Lazy Bones (Now Again) LP
Michael Yonkers: Grimwood (Nero’s Neptune) LP
Various: Native North America Vol 1 (Light in the Attic) 3LP

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…..news letter #707 – torch!…..

Well, it would seem that for back to school the music gods have lightened the load a little bit on us. However! We did receive word this week that one of the most essential slabs of underground rock is being officially reissued hopefully in October! In a matter of weeks, we should have the brilliant, and oh so sought after Sun City Girls’ magnum opus, “Torch of the Mystics” on our shelves! Please let us know if you’ll need a copy of this bad boy so we can order accordingly. We will get lots, but I also expect to get shorted on this one, so don’t snooze!

…..pick of the week…..


Shooting Guns/Hawkeyes: Brothers of the Nod (Prerock) LP
Hailing from Saskatoon, SK, in the heart of the Canadian prairies, JUNO and Polaris Prize award nominees Shooting Guns are hard at work fortifying the heavy end of the psychedelic spectrum, haunting the foggy moor between Sabbath-styled doom riffery and heavy pulse-riding kraut-rock. Shooting Guns scored the soundtrack to Canadian horror-comedy Wolf Cop and released the Official Soundtrack in 2014 in partnership with One Way Static, RidingEasy Records, and Cinecoup. Their sophomore LP, Brotherhood of the Ram, released in 2013 through RidingEasy Records, was nominated for the 2015 JUNO Metal/Hard Album of the Year as well as the Polaris Music Prize. Their debut LP, Born To Deal in Magic: 1952-1976, was also nominated for the Polaris Music Prize in 2012. Awakening from a shared stoned-apocalyptic prophetic hallucination, Hawkeyes formed around a shared philosophy of “Tune Down, Turn Up”. By eschewing traditional song-structure in favour of volume and time-travel, Hawkeyes have created a uniquely monolithic sound, one they self-describe as a “chaotic, psychedelic brand of space-doom” that is greatly indebted to their passion for sound-bending, fuzzpriest-built effects pedals, custom built guitars and basses and hugely over-sized drums and cymbals. With these tools, Hawkeyes are able to simultaneously abuse the ears and massage the psyches of anyone foolish enough to bear witness.

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


The Arcs: Yours, Dreamily (Nonesuch) LP
The Arcs are Dan Auerbach, Richard Swift, Leon Michels, Homer Steinweiss, and Nick Movshon. Their debut album, Yours, Dreamily, will be issued on Nonesuch Records in September 2015. Also appearing on the record are Kenny Vaughan and Mariachi Flor de Toloache. The Arcs collaboratively wrote and recorded 13 tracks for Yours, Dreamily, with the musicians playing a large array of roles both vocally and instrumentally. Co-produced by Auerbach and Michels, the album was recorded in roughly two weeks through spontaneous, informal sessions across the country at the Sound Factory in Los Angeles, the Diamond Mine in Queens, Auerbach’s Easy Eye Sound in Nashville, and in a lounge room at Electric Lady in Manhattan. Tchad Blake mixed the album on his horse farm in Wales. In advance of Yours, Dreamily, The Arcs will release the two 7-inch singles, “Stay in My Corner” b/w “Tomato Can” and “Outta My Mind” b/w “My Mind.” NPR Music’s Stephen Thompson noted that “Stay in My Corner” has “got a slinky, timeless feel, propelled with alluring ease by Auerbach’s falsetto and a lush instrumental backdrop.”

File Under: Rock, Super Groups
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Beirut: No No No (4AD) LP
In  tomorrow??? Zach Condon and his band Beirut will release their fourth album No No No in September 2015 via 4AD. Coming four years after The Rip Tide, and recorded over a two week period during one of the coldest New York winters – with blizzard after blizzard raging outside – No No No is Condon’s most vibrant and spirited record to date. This time around, the songs were constructed live, in the moment, by the band, and are more concert-ready than ever as a result. The band was significantly stripped down: guitar, piano, bass, and drums formed the bulk of the arrangements as opposed to the more obscure instruments for which he was initially known. No No No opens with a sort of tribal drum beat, quickly giving way to a more western/modern snare sound and drum machine – a subtle wink at Beirut’s own musical transformation. There’s a caffeinated exuberance throughout the entirety of the record. The songs are particularly upbeat and awake, reflective of Condon’s newfound clarity, so much so in fact, that the fifth song, the instrumental breather “As Needed” is exactly that – a necessary intermission. The second half picks up where it left off, with effervescent percussion across pop songs, often led by bubbly piano lines that showcase Condon’s development as a pianist. If the darkest hour is right before the dawn, Condon’s dawn is the brightest point in his still young career. He’s found his true artistic identity as a songwriter – one that greatly abandons many of the formulas for which he was first known. The songwriter within Condon has always been there, albeit sonically veiled on past records. It’s never been presented so prominently, and finds Beirut on its most stable and convincing footing yet.

File Under: Indie Rock
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Danava: Unonou (Riding Easy) LP
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. Originally released on Kemado in 2008, Danava’s sophomore album Unonou is now being lovingly reissued on double vinyl courtesy of Riding Easy Records. The album’s title is not only perfectly suited to this uniquely enigmatic, often downright perplexing band, but Unonou probably means something important in the language of their native planet. After all, Danava’s eponymous first album already suggested that they might be visitors from a distant galaxy, located somewhere between Pink Floyd’s Dark Side of the Moon and Rush’s favorite black hole, “Cignus X-1.” As if to corroborate this alien origin conspiracy theory, Unonou’s striking artwork is reminiscent of the golden era of sci-fi novels. “…the majority of Unonou’s seven songs speak to an awakening brought on by the experiences the band has endured thus far, on and off the stage. These songs are about self-discovery,” guitarist/vocalist Dusty Sparkles illustrates. “Stop lying to yourself. Quit being afraid of change. Accept yourself. Stop believing everything you read or see on TV, and ask yourself how you really feel.”

File Under: Rock, Stoner, Prog
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Drinks: Hermits on Holiday (Birth) LP
“Tim, do I like that dog?” A strange question, a queer query, an odd ask. The answer surely already known unless one mind knows the other. Which would appear to be the case with Cate and Tim. With Tim and Cate. Cate Le Bon, born in West Wales, raised under the shadow of a woolen mill, dressed by the field and by the rain. Tim Presley (a.k.a. White Fence), from San Francisco, grew under and over the bridges and streets, combed by corners and by concrete. A more different musical upbringing you couldn’t dream up. He a black thread strung through the eye of American hardcore, she a shard of glass tapped through a solid wall. Loop the thread around the shard and you have pendular device for predicting the sex. Will it be a boy or a girl? They both like to drink, coffee mostly and sometimes each other. And once the drinks are drunk, out it comes. The mud slicks and the plates click. Drinks is a solo project, not a collaboration. It has one mouth, one set of lungs, one mind and four legs. Drinks are the sound of hermits on holiday, having the time of each others lives.

File Under: Indie Rock, White Fence, Cate Le Bon
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Low: Ones & Sixes (Sub Pop) LP
In tomorrow??? Ones and Sixes is the new (and, so far, the best) album from the Duluth-based trio Low comprised of Alan Sparhawk, Mimi Parker and Steve Garrington. The 12-track effort, featuring the standouts “No Comprende,”  “What Part of Me,” “Gentle,” and “No End,” was co-produced by the band and engineer BJ Burton at Justin Vernon’s April Base Studios in Eau Claire, Wisconsin. Low’s Alan Sparhawk on the record: “In our 20+ years of writing songs, I’ve learned that no matter how escapist, divergent, or even transcendent the creative process feels, the result is more beholden to what is going on at the moment. It’s hard to admit that one is so influenced by what is in front of us. Doesn’t it come from something magical and far away? No, it comes from here. It comes from now. I’m not going to tell you what this record is about because I have too much respect for that moment when you come to know it for yourself. “I will, however, tell you about how we made it. BJ contacted us a few years ago and invited us out to the studio where he works with Justin, Lizzo, and other artists. The studio is close to our home in Duluth, so it seemed tempting. Months later, I worked with BJ, producing the recent record by Trampled by Turtles. We got along and seemed to have similar curiosity about the possibilities for Low, so time was booked and songs finished. We tracked under the soft glow of laser discs playing lost classics like Point Break and Speed. “Glenn Kotche from Wilco was there one day working on another record, so we had him in to play hand-percussion on a couple songs. Working 2 or 3 days at a time, leaving it with BJ, then back again for more, we don’t have the time or money to second-guess or pick from a pool of possibilities. This is the whole thought – the untamed truth. This is now. This is everything.” “Ones and Sixes takes everything Low excels at and dips it in a heavy gold plating of industrial-leaning electronics. This somehow catapults to new and extreme heights the innate beauty their music has always had. It’s a series of contrasts: stunning and menacing, gorgeous and frightening, giving and desperate, and ultimately, unbearably heavy and unbearably light. From one to six and back again.” – Dee Dee (Dum Dum Girls)

File Under: Indie Rock
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Red House Painters: Songs for a Blue Guitar (Island) LP
Though Songs For A Blue Guitar is listed as a Red House Painters album, this is, for all intents and purposes, the debut solo record from Mark Kozelek. After a four record run for 4AD, this album was originally released on the Island subsidiary Supreme. Recorded with a new backing band, Songs For A Blue Guitar is the first Red House Painters record on which Kozelek really lets his rock chops loose, a forerunner to his more recent, critically acclaimed, work with Sun Kil Moon. Alongside brilliant originals are three overs, highlighting Kozelek’s interpretive skills including Yes’ “Long Distance Runaround,” the Cars’ “All Mixed Up” and Wings’ “Silly Love Songs.”

File Under: Indie Rock
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Shannon & The Clams: Gone By The Dawn (Hardly Art) LP
In tomorrow??? The American West. America’s America. It was here in three very different worlds that Shannon and the Clams were spawned. From the dark redwood forests of Oregon emerged Cody Blanchard: singer and guitarist. The dusty walnut orchards and vineyards of northern California gave us Shannon Shaw: singer and bassist. Out of the lonely dunes of California’s central coast shambled Nate Mayhem: drummer and keys. These three talented visual artists were drawn separately to Oakland, California and it was there that the Clams began playing house parties and grimy clubs. The band was forged in the anachronistic remote communities of the west, in some strange mixture of computer show and country fair; their music is some odd alloy of The Last Picture Show and The Decline of Western Civilization. The pioneer spirit of western life is all over this band: pushing into the unknown, blazing their own trail, creating their own destiny, with the accompanying canyon-esque loneliness and untamed joy only truly known by those with the courage to pull up stakes and head off into the big empty sunset. Gone by the Dawn, the newest Shannon and the Clams album, is their best work to date. The music is complex, the lyrical content is emotionally raw and honest, and the production is the strangest it’s ever been. The album was written as one member was recovering from a serious breakup and another was deep in one. The lyrics reflect it, and the entire album is dripping with sadness, pain, and introspection. Shannon and Cody have not written generic songs about love or the lack of it. Instead they have written about their very own specific heartbreak, mistreatment, and mental trials. The emotion is palpable. On Gone by the Dawn the Clams have dared to be real. They’ve exposed their true emotions, which is what’s most moving about the album. People are scared to be so real. Society does not encourage it. Folks remain guarded to protect themselves from being mocked, punished, and becoming outcast . The Clams have opted to forgo the potential tongue-clucking finger-waggers, and have instead had the artistic courage and audacity to splay their pain and struggles out for all to hear. We are lucky to hear them get so damn real. For Gone by the Dawn, the Oakland trio hooked up with studio wizard and renaissance man Sonny Smith to record the album at Tiny Telephone Recording in San Francisco. Best known as the driving force behind San Francisco’s beloved Sonny and the Sunsets, Smith uses his refreshing production techniques to create an engaging sonic landscape without compromising the Clams’ signature Lou Christie-meets-The Circle Jerks sound. The Clams have evolved: their skills are sharper, their chops are tighter and weirder and they’ve added new instruments to to the mix. A whole new dimension of the Clams has emerged. In the West everything is big. The mountains are towering, the rivers broad, the deserts vast, the canyons deep, and the emotions huge. The Clams have painted themselves into a massive landscape of sound and desolation. Gone by the Dawn is monumental; immense, magnificent, and unforgettable. Shannon and the Clams have pioneered their way into a lonesome land where the past still lives in the long shadows of a hot afternoon, where whispering spirits follow high along canyon walls, and if you sink your fingers into the dusty hard-packed earth you pull out hands smeared with blood.

File Under: Punk, Surf
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Slayer: Repentless (Nuclear Blast) LP
In tomorrow??? Slayer, the long-reigning titans of thrash, return with Repentless the band’s eleventh studio album and its first album for Nuclear Blast. Produced by Terry Date, Repentless was written and recorded by guitarist Kerry King and singer/bassist Tom Araya at Henson Studios in Los Angeles, along with returning drummer Paul Bostaph and guitarist Gary Holt. Repentless is crushing and brutal, steadfastly refusing to cater to the mainstream. Thirty-four years into its career, Slayer remains the preeminent punk-thrash band that helped establish the genre and that up-and-coming metal heads continue to revere and emulate. Slayer is a five-time nominated, two-time Grammy Award-winning metal juggernaut that writes songs which mirror the turmoil and aberrations of our society. The band’s first new album in six years continues the Slaytanic offensive with a twelve-song, blood-shaking sonic attack. Repentless is dark, fast, aggressive and without mercy. It was also the most challenging record Slayer has ever had to make. In 2013, the world mourned the loss of guitarist Jeff Hanneman who died from complications following a two-year illness. A co-founder of Slayer, losing Jeff was very difficult for the band. During Jeff’s illness, friend of the band, guitarist Holt stepped in to help out on tour with Jeff’s blessing and stayed on. Around that time, drummer Dave Lombardo exited the band for the third time and Paul Bostaph, (who played with the band from 1992 – 2001), returned to take over the throne. Slayer never skipped a beat and since Holt and Bostaph both played in Exodus, it was “all-in-the-thrash-family.” Repentless marks a number of transitions for the band but with their undisputed attitude, Slayer emerges triumphant. Loaded with sensational songs, from the hyper-aggressive metallic blasts of the title track, “Take Control,” “Implode” and “Atrocity Vendor” to the ferocious thrash pounding of “Vices,” “When The Stillness Comes,” and “Pride In Prejudice,” Repentless is Slayer through and through.

File Under: Metal
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Slim Twig: Thanks for Stickin’ With Twig (DFA) LP
Thank You For Stickin’ With Twig is the latest long-playing album from the artist known to the world (or at least to his mother) as Slim Twig. Coming out on DFA, you may be surprised to know that it represents the fifth album by the Toronto based songwriter/producer. Twig has released these previous records among a swath of EP’s, singles and one-offs, displaying in the process a complete disregard for genre or consistency. The evolution from Contempt!, his sample-stained 2009 debut, through to A Hound At The Hem, his symphonic tribute album to Nabokov’s Lolita (reissued by DFA in 2014), is not entirely linear, although intriguing all the same. Like so many surf smoothed stones lining the beach shore, briefly unburied only to be discarded once deemed un-skippable, so Twig has gone about seeking the proper rock to cast at just the right angle. One can see why he extends a gratuity to those listeners who’ve stuck around. Thank You For Stickin’ With Twig is to date the most sonically immersive album in Twig’s discography. Where some records have focused explicitly on sample-based songwriting, while others have been completely live recorded, the new album arrives at a perfectly produced fusion of fidelities. It hovers, glamorously caught between a cloud of obscurant, half-speed tape hiss, and the most stoned Jeff Lynne production you’ve ever heard. Twig flirts here with a variety of vibes, most often opting for a three dimensional approach whereby a warped tape aura is overlaid with colorful, laser-cut keyboard and guitar melodies. A fetishization of analogue texture is married to a digital approach. All the while, we find Twig irreverently raiding classic rock of its symbolism, sexuality, and social ambition for ulterior subversions. In this respect, TYFSWT’s closest cousin may be Royal Trux’s Accelerator.

File Under: Electronic, CanCon
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Yo La Tengo: Stuff Like That There (Matador) LP
Stuff Like That There, is a new 14 song collection of covers (The Cure, Hank Williams, The Lovin’ Spoonful), originals (“Rickety,” “Awhileaway”) and past catalog reworkings (“All Your Secrets,” “The Ballad of Red Buckets,” “Deeper Into Movies”) that happens to coincide with the 25th anniversary of Yo La Tengo’s landmark 1990 album, Fakebook. With Fakebook as template, Stuff Like That There is a record with ties to the past which contribute to the sound they make furthered by an affinity for the sounds they love. Somehow they compose the already composed by return. It’s clear-eyed. It’s clever and concealed. Recorded with Gene Holder (The Feelies), Stuff Like That There has the trio of Ira Kaplan, Georgia Hubley and James McNew augmented by the guitarist and former Yo La Tengo member Dave Schramm, with James negotiating the wonders of the upright bass for the first time. This album has be dreamed about by Yo La Tengo fans for decades and the wait is nearly over. This unprecedented live set-up – Ira on acoustic guitar, Georgia up-front on a small kit, and James on upright bass – marks the first occasion of this particular Yo La Tengo incarnation touring together (and since it took them 31 years to get around to doing so, could very well also be the last).

File Under: Indie Rock, Covers
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Atlas Sound: Parallax (4AD) LP
Cocteau Twins: Heaven or Las Vegas (4AD) LP
Death Grips: No Love Deep Web (Harvest) LP
Deerhunter: Halcyon Digest (4AD) LP
Deerhunter: Monomania (4AD) LP
Destroyer: Rubies (Merge) LP
Destroyer: This Night (Merge) LP
Dzyan: Electric Silence (Long Hair) LP
Jay-Z: Magna Carta… Holy Grail (Thirdman) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 3×10″
Spiritualized: Ladies & Gentlemen We Are Floating In Space (Plain) LP
Swans: The Seer (Young God) LP
Swans: My Father Will Guide Me (Young God) LP
Big Mama Thornton: In Europe (Arhoolie) LP
Tool: Lateralus (Zoo) LP
Tool: Opiate (Zoo) LP
White Stripes: Elephant (Thirdman) LP

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…..news letter #706 – wong leekend…..

Summer must be over because there’s a ton of stuff in this week! And the new releases aren’t going to let up anytime soon either. Lots of big titles are coming out before the end of the year. We’ve also been chippin’ away at all the unpriced used stuff we’ve been sitting on…. All in all, lots to dig though these days.

…..picks of the week…..


Jerusalem in my Heart: If He Dies, If If If If If If (Constellation) LP
Radwan Ghazi Moumneh returns with a second full-length album from his acclaimed Jerusalem In My Heart (JIMH) project, conceived and recorded in his dual homes Montréal and Beirut. Known for his production and engineering work with artists as diverse as Matana Roberts (all three chapters of her Coin Coin recordings to date), Aids Wolf, Ought, Eric Chenaux (with whom he also released a collaborative album for the Grapefruit Records Club) and Suuns (with whom he also released a collaborative album on Secretly Canadian in spring 2015), Moumneh has been firing on all cylinders over the past few years. He has brought JIMH to mesmerized live audiences in Canada, Europe and the Middle East since the release of his first album in 2013, following many years during which the project was a strictly Montréal-based live/theatrical happening. While JIMH continues to expand to include a larger cast of players for select engagements and commissions, the group is currently an immersive and performative audio-visual duo at its core, with Moumneh responsible for all sound/composition and filmmaker Charles-André Coderre creating 16mm visuals and live projections/installations. Moumneh expands his compositional palette on If He Dies, If If If If If If, exploring new deconstructions and juxtapositions of both traditional and popular Arab musical currents, with an album that oscillates between powerfully emotive vocal tunes and instrumental works that primarily make use of Radwan’s expressive acoustic playing on buzuk and zurna as a point of departure. One of Moumneh’s finest melismatic a cappella vocal performances opens the album, followed by the uncharacteristically literal-titled “A Granular Buzuk”, where said instrument is processed, re-sampled and otherwise disrupted through Radwan’s real-time custom signal patches. “7ebr El 3oyoun” follows with languidly plaintive vocals set against a gradually accelerating riff underpinned by hand percussion, and Side One closes with a scabrous white noise intervention wherein the entire audio mix is fed through a contact mic placed in Radwan’s mouth. Moumneh continues to channel his love for Arabic pop and Casio/cassette culture on the silky lo-fi disco of “Lau Ridyou Bil Hijaz?” which opens Side Two, then pays homage to the until-recently exiled Kurdish poet and singer Sivan Perwer on the traditional-minded, unadorned folk tune “Ta3mani; Ta3meitu”. The album closes with a tour-de-force drone piece built from Bansuri flute (performed by guest player Dave Gossage) and a delicate acoustic number set against the sound of waves recorded on a beach in Lebanon. (Song titles employ the transliterative characters used in Arabic phone texting.) If He Dies, If If If If If If is an adventurous, scrupulous, impassioned and highly original work of modern contemporary Arabic music and a gratifying sign that Jerusalem In My Heart is situating itself in recorded works with the same thoughtful and dynamic intensity previously accessible only in live performances. HIGHLY RECOMMENDED!!!

File Under: Ambient, Electronic, Experimental, CanCon
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Natural Snow Buildings: Terror’s Horns (Ba Da Bing) LP
In Tomorrow! After a string of Natural Snow Buildings reissues, each more elaborate then the last, Ba Da Bing! presents their first ever release of new material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was a release that served as the proper entry point for Natural Snow Buildings, Terror s Horns is it. It would be a stretch to call this Mehdi Ameziane and Solange Gularte’s pop record, for Terror’s Horns continues the duo’s tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still unveil themselves slowly, and the album’s progression lends the impression of descending down through the depths, past hidden cavities and chambers never to be unseen once experienced. Terror s Horns features new artwork by Gularte that pays tribute to the backwoods horror of massacres involving chainsaws. HIGHLY RECOMMENDED!!!

File Under: Ambient, Drone, Psych, Folk
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Michael Yonkers: Grimwood (Nero’s Neptune) LP
In Tomorrow! I’ve been after this LP for quite some time, this is a much welcome reissue! Michael Yonkers’s Grimwood finally receives its long-overdue vinyl re-release (with download code included). Yonkers’s first four LPs were released simultaneously in 1973, but it is Grimwood, his first, that regular commands the biggest bucks on the collector-scum market. Recorded in 1969, less than a couple years after the material eventually released as Microminiature Love, Grimwood sounds like it emanates from another universe entirely. Straightforward on the one hand, yet fascinatingly and psychedelically abstruse on the other, Grimwood remains an essential “outsider” document that sits comfortably (and irreplaceably) alongside Spence, Grudzien, Tweddle, and a few select others. “It would seem that Yonkers followed a trail that psychologically parallels the sun life highway, and his private flight took place in a presumably small hut, nestled on a lemonade lake, and from his chimney wafted rainbow smoke, in the fantastical haven of the mystical, mythical grimwood town for which the rec is named, as he attempted to allow light / space into areas of his psyche that hadn’t seen enough of either in some time.” –Karl Ikola, liner notes to 2007 CD reissue HIGHLY RECOMMENDED!!!

File Under: Folk, Acid Folk
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…..new arrivals……


Acid Mother’s Temple & The Melting Paraiso UFO: Benzaiten (Important) LP
Edition of 1000. Another smoker from Acid Mothers Temple & The Melting Paraiso U.F.O., in typically fine form. Benzaiten is an In C-style homage to the classic Osamu Kitajima record Benzaiten (1973). Acid Mothers Temple covers the title-track and reprise using Kitajima’s original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers originals are scattered in between. Benzaiten!

File Under: Japanese, Psych
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Aqua Nebula Oscillator: s/t (Rewolfed Gloom) LP
A song title like “Ready to Fly” actually provides all the information necessary to categorize this album as the kind of psychedelic space rock that will bring you back to the ancient days of the 1970s when Hawkwind ruled and LSD was the hot shit to get up from the ground and trip through open space. “Ready to Fly” is certainly a typical up-tempo space rock song with a straight and hypnotic beat, oscillating synthesizer lines, swishing distorted guitars, and monotone chants buried under layers upon layers of echo effects. What was great in 1972 can still capture your spirit in 2015. But there is more behind this album, originally released in 2008, than meets the ear. It begins with a four-minute-long drone titled “Kâ,” made of sitar sounds coupled with swirling synths and strange voice samples. Next comes “Ready to Fly,” the prototypical space rocker, followed by “Take a Long Walk,” which could not be more different. Here we have folky psychedelic music that flows gently with a haunting, melancholic melody and some fine guitar leads lost in reverie. Early P.F., during their days as the hottest band in the 1967 London underground club scene, come to mind. The album continues with heavily grooving yet utterly washy and simmering power rock with vocals that mill into your mind, before returning to gently floating psychedelic folk with guitar sounds that feel like whale chants, swirling synthesizer noises in the back, and dark and melancholic vocal harmonies. If you like your spaced-out, heavy psychedelic music colorful, these French trippies deliver the goods in a way that will please every acid rock fundamentalist focused on the ’60s and ’70s, as well as all the desert rock aficionados who were born too late for the freak-outs back in the day. This is the key to unlock the gate to a world of color, joy, and passion where love can be felt as a physical force. The 1960s garage psych of bands like The Third Bardo, the acid outbursts of embryonic P.F., and Hawkwind’s straight-ahead space rock drive combined could hardly match with the music of their heirs.

File Under: Psych, Space Rock
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Ataraxia: The Unexplained (Fifth Dimension) LP
Electronic impressions of the occult, reissued for the first time. The late, great Mort Garson (1924-2008) was a hotshot of electronic music’s pioneering days, known for his groundbreaking occult works such as The Zodiac: Cosmic Sounds (1967) and Lucifer: Black Mass (1971). A different side of his creativity emerged in his 1976 Plantasia project, an inspired album of Moog compositions to be played for growing plants. The previous year he released this hypnotizing album, which takes the listener on a weird trip to an even weirder sound-world. Metallic drum loops add a proto-industrial feel to the swirling waves of colorful synthesizer melodies, which draw from jazz and exotica music of the ’50s and ’60s as well as mysterious detective movie soundtracks and pulsating psychedelic rock. There are moments of freeform electronic oscillations with layers of synthetic whistling and buzzing shifted over each other, and passages with hot-blooded grooves let the listener drift away on a gently flowing river of sound. Recommended for all lovers of the more experimental 1970s electronic music, The Unexplained definitely competes with such fine German artists as Cluster, Tangerine Dream, and Klaus Schulze. The album will also appeal to freaks who love progressive soundtracks for Italian horror movies of the same time by Goblin and other masters. A fascinating album that prefigures the pulsating synthesized rhythms that would later appear in many dance productions. Another pioneering work from a true artist who loved the challenge of crossing borders and exploring new territories of sound.

File Under: Early Electronic, Mort Garson
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William Basinski & Richard Chartier: Divertissment (Important) LP
Divertissement is the third collaborative full-length from minimalist composer William Basinski and sound artist Richard Chartier. The duo utilizes electronics, piano, tape loops, and short-wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried, and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts. William Basinski is a classically trained musician and composer who employs obsolete technology and analog tape loops to create haunting, melancholy soundscapes that explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic four-disc masterwork The Disintegration Loops was chosen by Pitchfork Media as one of the top 50 albums of 2004; upon its reissue in 2012, Pitchfork awarded it a score of 10 and the title of best reissue of the year. Installations and films made in collaboration with artist and filmmaker James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold-out crowds around the world. Basinski was chosen by Antony Hegarty to create music for Robert Wilson’s 2011 opera The Life and Death of Marina Abramovic. Maxim Moston’s orchestral transcriptions of The Disintegration Loops have been performed at the Metropolitan Museum of Art, Queen Elizabeth Hall, and the Swiss festival La Bâtie. Richard Chartier (b. 1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art that has been termed both “microsound” and neo-modernist. Chartier’s minimalist digital work explores the interrelationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. Chartier’s work has been presented internationally, including at the 2002 Whitney Biennial, and he has performed his work live across Europe, Japan, Australia, and North America at digital art and electronic music festivals and exhibits. In 2000 he formed the record label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History’s collection of 19th-century acoustic apparatus for scientific demonstration.

File Under: Electronic, Ambient
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bass comm

Bass Communion/Freiband: s/t (Important) LP
This is the third collaborative release by Steven Wilson (Bass Communion) and Frans de Waard (Freiband), following two well-received 3″ CD releases on de Waard’s My Own Little Label. Early in 2014, de Waard extended an invitation to Wilson to take part in his Brombron project, in which one artist works in residence with another musician for one week, on music to be performed in concert at the end of that week. That other musician turned out to be Thomas Köner, the date December 2014, the location Extrapool, Nijmegen, the Netherlands. In the middle of this residency there happened to be a day off when Köner needed to be out of town. Rather than waste the day, Wilson and de Waard decided on an impromptu concert performance, and spent the day preparing the music. The concert took place that evening in the relaxed environment of Extrapool for a small audience of invited friends. This record contains a slightly reworked recording of the performance on 12″ vinyl with a total playing time of 26 minutes. No additional overdubs were made, but parts of the music on the second side were subsequently layered and recycled in the studio. On the A-side, “Courage” is in the tradition of ambient musique concrète, and continues the style and approach of the previous Bass Communion/ Freiband releases. On side B, “Cowardice” shatters expectations with a slab of psychedelic noise assault, complete with exploding rhythm machines and gnarled electric guitar. Presented in a beautiful sleeve designed by Carl Glover. Edition of 500.

File Under: Ambient, Electronic, Porcupine Tree
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Alessandro Cortini: Forse 1 (Important) LP
Super limited 2015 repress! “Deluxe double LP. Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning ‘maybe’ In Italian, is a series of three double LP releases Cortini recorded for Important to release in 2013. ‘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.'” HIGHLY RECOMMENDED!!!

File Under: Electronic, Ambient, NIN
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Chromatics: Drumless (Italians Do It Better) LP
In Tomorrow! An atmospheric drum-free version of Chromatics’ beloved Kill For Love album.

File Under: Indie Rock
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dangerdoomDangerdoom: The Mouse & The Mask (Lex) LP
10th anniversary reissue of the hugely successful collaborative album between super producer Danger Mouse and underground rap legend MF Doom. The album features notable guest spots from Talib Kweli, Ghostface Killah and pre Gnarls Barkley, CeeLo Green. The album also features skits and contributions from Cartoon Network’s Adult Swim characters Aqua Teen Hunger Force, Sea Lab 2010, Space Ghost and more. The album was a critical and commercial success and the iconic UK version of the vinyl designed by longterm Lex collaborator EHQuestionmark has been long sought after. The outer sleeve is made from thick translucent textured plastic with Doom’s mask printed on the cover, and mouse ears on each side of the mask forming a pattern that looks like a Rorschach test (a technique reused in another Danger Mouse project six months later). The inner sleeves, visible through the outer at first glance pattern based on an Ishihara test, but inside the circles in the pattern are tiny icons depicting a different disasters – climate change, acid rain, holy war, nuclear leaks. The reissue is presented in the exact same spec as the original double vinyl including the custom made frosted plastic outersleeve, spot flouro and metallic pantone printed inner sleeves. The album originally debuted at #2 on the Billboard independent albums charts. Subsequent releases from Danger Mouse include Gnarls Barkley, Gorillaz and Broken Bells, as well as production work for Beck, A$AP Rocky and the Black Keys. Doom is, of course, the legendary producer/MC behind the Special Herbs series, Madvillainy (with Madlib) and collaborations with Jneiro Jarel and Bishop Nehru.

File Under: Hip Hop
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Max Eastley /Derek Bailey /Coum/ Feminist Improvising Group: Another Evening at Logos 1974/79/81 (Sub Rosa) LP
Previously-unreleased recordings from live sessions at the Logos Foundation, Ghent, Belgium, recorded in 1974, 1979, and 1981. This double LP, the first release in a vinyl-only series, includes the following recordings: a 1979 performance by Max Eastley and Logos Ensemble (Max Eastley, Godfried-Willem Raes, Moniek Darge, and Rob Keymeulen playing xylophone bars, Aeolian flutes, springboard, sanzas); a 1974 performance by Feminist Improvising Group (Georgie Born: cello, bass guitar; Lindsay Cooper: bassoon, oboe, sax, flute; Maggie Nichols: voice, piano; Sally Potter: voice, sax; Irène Schweizer: piano, drums); a 1974 performance by COUM (Genesis P-Orridge, Paul Woodrow, Cosey Fanni Tutti, Joseph L/R Rose) and Logos Ensemble (Godfried-Willem Raes, Moniek Darge, Luc Houtkamp, and others); and a 1981 performance of guitar improvisations by Derek Bailey. Logos Foundation, founded in 1968 by Godfried-Willem Raes and based in Ghent, Flanders, Belgium, is a unique professional organization for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research, and other activities related to contemporary music.

File Under: Free Improv, Jazz


Emptyset: s/t (Subtext) LP
The 2009 debut self-titled album by Bristol-based project Emptyset (James Ginzburg and Paul Purgas), reissued here, formed the initial departure for the duo’s ongoing exploration of time, structure, and analog technology. The album highlights the project’s development and the foundation of its studio-based production process, forming the first part of a triptych spanning Demiurge and Recur. Emptyset creates the first point within this narrative, initiating a dialogue between full-frequency audio, noise, and the emergent properties of sound, and the starting point for their contained sonic approach.

File Under: Electronic
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Jackson C. Frank: The Complete Recordings 1-3 (Ba Da Bing) LP
In Tomorrow! While Jackson C. Frank’s eponymous 1965 album and other material has enjoyed numerous official and unofficial reissues, Jackson C Frank: The Complete Recordings is the first to compile his entire recording career. Released in conjunction with Jim Abbott’s book, Jackson C. Frank: The Clear Hard Light of Genius, The Complete Recordings contains a total of 67 tracks, 24 of which have never appeared before. Every song has been mastered or remastered, a number of them straight from the original, brittle reel-to-reels on which they were originally laid down. Plagued by tragedy with the most haunting music to show for it, Frank’s life can be heard through his music, which has been covered by the likes of Nick Drake, Simon & Garfunkel, Fairport Convention, Bert Jansch, John Renbourn, Robin Pecknold of Fleet Foxes, Colin Meloy of The Decemberists, John Mayer, South Korean jazz singer Nah Youn Sun, French singer Graeme Allwright, and sampled by Nas for “Undying Love.” While never fully recognized as one of the great musicians of the ’60s, Frank clearly had his fans. The artist’s story is a cautionary tale for the dangerous pitfalls of a life lived. At the age of eleven, he was the victim of the infamous Cleveland Hill School Fire in a New York suburb, leaving him burned and disabled, and killing fifteen of his classmates. He spent an agonizing eight months in the hospital, during which time he picked up a guitar for the first time. Scarred both physically and psychologically, and left a shell of his former self, Frank would never fully recover from the wounds. His never-released second album was to include the song “Marlene,” which honors his childhood girlfriend lost in the fire. After an aborted attempt at college, where he formed a folk trio, Frank, along with a Martin guitar and his then-girlfriend Kathy Henry, caught The Queen Elizabeth in February 1965, on which he apocryphally wrote his first, and now his most famous, song “Blues Run the Game.” He soon found himself making the rounds of the London folk clubs and rubbed shoulders with Jansch, Renbourn, Roy Harper, Dave Van Ronk, Tom Paxton, Mike Seeger and Sandy Denny (who became Jackson’s girlfriend and later wrote the somber song “Next Time Around” about him). Frank’s music caught the interest of another young American songwriter in London named Paul Simon, who offered to record and produce his album Jackson C. Frank in 1965. Simon brought Al Stewart along to play guitar, while Denny, Judith Piepe and Art Garfunkel kept them company (and supposedly even ran out for teas for the performer). After recording his album, however, Frank’s health took a turn for the worse and the following years were unkind. He met future wife Elaine Sedgwick, cousin of Edie Sedgwick, at a London party, and when his money began to run out he left London for Woodstock, where they married. The relationship was marked by a miscarriage and the death of their first-born son to cystic fibrosis, and Frank’s subsequent mental unraveling. He was later diagnosed as a paranoid schizophrenic and battled excessive weight gain from a thyroid problem developed after the fire. Additionally, he went through bouts of intermittent homelessness between stays at various upstate shelters. One day, while Jackson waited in a park to be moved to a new facility, he was shot and blinded in his left eye by neighborhood children with a BB gun. The light from this period of his life came from Jim Abbott, who looked after Frank until his death in 1999. Frank’s recordings span four decades of a hard-lived life, and every experience, every trial, is reflected in his voice. If ever a person’s individual journey could be traced through his music, it’s Frank’s, and The Complete Recordings is nothing less than a representative map of the artist’s high points and deepest, most shadowed valleys. While the 1965 debut album has seen intermittent reissues, an expanded double-CD edition appeared in 2003 from Sanctuary, with 33 songs that had never appeared before. Jackson C Frank: The Complete Recordings contains a total of 67 tracks, including all the Sanctuary material, plus 24 more songs.

File Under: Folk
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Jean Guerin: Tacet (Souffle Continu) LP
Highly surreal and wonderfully futuristic, Tacet, one of the best kept secrets of the Futura catalog, is the 1971 soundtrack work of Jean Guérin for Claude Faraldo’s anarchic 1971 film Bof… Anatomie d’un livreur. This avant-garde psychedelic jazz masterpiece is a blend of abstract vocals, unusual electronics, twisted sound envelopes, and nervous brass instruments. This first-ever officially-licensed vinyl reissue is the fourth in Souffle Continu’s series reissues of Futura reissues, fully licensed by Futura founder Gérard Terronès. Presented in a 350-gram reverse-printed gatefold sleeve with obi strip. Limited to 500 copies.

File Under: Experimental, Jazz, Avant-Garde
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Lum Guffin: s/t (Mississippi) LP
In Tomorrow!  Lum Guffin has been called “The Walking Victrola” a human depository of many musical styles and songs. This LP features great performances recorded in the early 1970’s of Lum playing guitar and singing. His style is distinctive and beautiful. A true great of the blues genre who has been seldom heard. We are proud to present this beautiful limited edition of his material with a silk screened cover (4 different color variations have been made you will get a random selection when ordering). A co-release with the king of blues reissues label, Sutro Park.

File Under: Blues
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P.E. Hewitt Jazz Ensemble: Winter Winds (Now Again) LP
“The three lost albums by the Bay Area vibraphonist/composer/arranger P.E. Hewitt will now be available as stand alone releases for the first time since Richard Nixon was in the White House. Masterpieces in deep/modal/spiritual jazz from a teenaged wunderkind, recorded and released from 1968-1970, P.E. Hewitt was but 16 years old when he recorded and released — in a pressing of 50 copies — his debut album Jawbones. By the time he sold through the 100 copies of this third, Winter Winds, he was approaching the ripe-age of 20. The three albums he and his young compatriots wrote, recorded, pressed, and — if you can call it that — distributed are three of the rarest damn-good ’70s jazz albums you could ever hope to come across. That’s a subtle, but important distinction. There are many rare jazz albums in every imaginable subgenre — funk, free, fusion, but Hewitt’s three albums were so damn-good that neither micro presses nor forty years of silence could suppress their reemergence. We at Now-Again decided against compiling a best of anthology out of respect for Hewitt’s monstrous achievements and because, well, these albums are so damn good. Thus, we offer you this series of reissues designed to be as close to the original pressings as possible down to their hand-painted covers. First in the series, Hewitt’s legendary 1970 release Winter Winds, a mix of modal, Latin-tinged, and ethereal vocal jazz.”

File Under: Jazz, Modal Jazz, Spiritual
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cochin moon

Haruomi Hosonno: Cochin Moon (North Korea) LP
“Originally released in 1978 in Japan, this album is a soundtrack to a fictional Bollywood film. It features a tapestry of weird floating electronic grooves parsed within menacing rants of jungle birds and night sounds. Fans of Ash Ra Tempel guitarist Manuel Göttsching’s E2-E4, Cluster, Achim Reichel & Machines, or even Aphex Twin will be in heaven with this electronic psychedelic trip of sounds and colors. Way ahead of its time, this is a magical treat from beginning to end. Cover artwork is by no other than Tadanori Yokoo (often referred to as the Japanese Andy Warhol). Limited to 500 copies on vinyl.” HIGHLY RECOMMENDED!!!

File Under: Electronic, Psych, OST
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John Hulburt: Opus III (Tompkins Square) LP
In Tomorrow! Guitarist and singer-songwriter Ryley Walker discovered the 1972 private press LP in a Chicago record store, loved what he heard, and teamed with Tompkins Square to produce the reissue. John Hulburt (1947-2012) was a member of legendary mid-60’s Chicago garage rock band The Knaves, whose records were recently reissued by Sundazed. Opus III showcases his exceptional talent on the acoustic guitar, proving somewhat of an anomaly in a city not known for its solo guitar recordings during this era. Walker writes in his liner notes, “Solo acoustic guitar music was adopted by several in the Berkeley school and the ever expansive roots fanatics in the South, but here in the middle of the country with harsh winters and the landlocked prison of corn fields, it was almost destiny that the amplifier assault of electric blues and controlled chaos of dance music came from the South Side.” Opus III has another notable Chicago connection : It’s one of the earliest studio credits for Styx and Ohio Players engineer / producer Barry Mraz. Styx’s debut album would also be released in 1972. Includes liner notes and vintage photographs.

File Under: Folk, SSW

moon gasDick Hyman/Mary Mayo: Moon Gas (Captain High) LP
The jazz genre spawned a couple of quite colorful subspecies that were part of important pop cultural movements to let the ordinary man escape from the daily grind. Two of the most prolific pop jazz spheres were exotica, which accompanied the tiki culture that was omnipresent throughout the ’50s and early ’60s, and space age music, a rather pop-oriented, accessible style with hints of swing and vocal jazz spiced up with quite mind-altering sound effects. Moon Gas, a 1963 collaboration between pianist and organist Dick Hyman and singer Mary Mayo, hits the center of the space age genre directly, with its dreamy tunes; haunting, melancholic vocal melodies; and groovy, swinging compositions that invite the listener to an easy dance. Strange little sounds whistle and sparkle around the rather uncomplicated, easy-listening, jazz-pop compositions. The songs alone would certainly be on par with the best contemporary hit tunes of their age, but what really makes them outstanding is this combination with the sound-world of a space laboratory or starship. 1963 was definitely a year in which the USA found itself in competition with the Soviet Union for dominance in space, so this type of music fit well with the dreams of the average man to explore distant galaxies. About six or seven years later, when psychedelic rock had reached a peak and the music was ready to leave the earth behind, these early sounds were developed into space rock by such groups as Hawkwind. In 1963 we are still far away from this, and what Dick Hyman, Mary Mayo, and their unnamed band members create is a rather smooth and calm affair that still pushes one’s mind towards certain borders of reality. All these funny noises transport the listener into a world of huge computers with flashing lights on board interstellar space ships traveling from one galaxy to the next. At its core, it’s cool vocal jazz music, surrounded by arrangements of bleeping, rattling, and swooshing. The sweet, enchanting melodies evoke a futuristic dream; the musicians are tight and professional; and Mary Mayo sings in a distinctive and harmonic style that soothes the senses. Take a relaxed trip to the stars with this classic album.

File Under: Electronic, Jazz, Space-Age
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Konstrukt/Akira Sakata: Kaishi: Live at Kargart (Holidays) LP
Another chapter in the ongoing series of live recordings of the Turkish quartet Konstrukt, this time teaming up with saxophonist Akira Sakata, a key figure of the Japanese free jazz movement since the 1970s. Recorded at kargART in Istanbul on January 17th, 2015, this 70-minute long jam is one of the band’s most psychedelic to date, with Sakata’s growling shōmyō-like chant finding the perfect setting — like a snake charmer — in a jungle of constantly reinvented sound. Edition of 200.

File Under: Jazz, Free Jazz
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Liquid Liquid: s/t (Superior Viaduct) LP
In Tomorrow! “Liquid Liquid emerged from New York City’s vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato, and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style — a fusion of irresistible basslines, junkyard percussion, and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records, et al.). Their eponymous debut establishes Liquid Liquid’s uncompromising vision, from its startling black-and-white sleeve design to the minimalist grooves found within. While Principato’s striking pitch-shifted shouts on ‘Bell Head’ lead hypnotic circular rhythms, ‘Rubbermiro’ brings in dub-inflected melodica and Richard Edson (Sonic Youth, Konk) on trumpet, closing appropriately in a locked-groove.”

File Under: Rock, Dance, Funk
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Liquid Liquid: Successive Reflexes (Superior Viaduct) LP
In Tomorrow! “Liquid Liquid emerged from New York City’s vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato, and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style — a fusion of irresistible basslines, junkyard percussion, and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records, et al.). Following their debut in 1981, Liquid Liquid wasted no time with their second release the same year. Successive Reflexes picks up where the previous EP leaves off with ‘Lock Groove,’ a slow-paced deconstruction of Fela Kuti and Can that shows how quickly the band was able to capture their stripped-down approach in the studio. ‘Push’ drives forward with unapologetic funk, yet still sounds utterly unique. Like their 99 labelmates ESG, Liquid Liquid created music on their own terms and artfully avoided the trappings of any single genre.”

File Under: Rock, Dance, Funk
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Liquid Liquid: Optimo (Superior Viaduct) LP
In Tomorrow! “Liquid Liquid emerged from New York City’s vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato, and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style — a fusion of irresistible basslines, junkyard percussion, and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records, et al.). Liquid Liquid continued toward dance-floor perfection with their third EP. 1983’s Optimo features the band’s best-known songs and remains a high water mark for post-punk aficionados. The title track positively erupts when the bass enters, forcing even the stiffest person in the room to move. While it would be an understatement to say that ‘Cavern’ may sound familiar (due to its gross sampling in Grandmaster Melle Mel’s ‘White Lines’), Liquid Liquid were indeed the originators of this iconic New York riff.”

File Under: Dance, Rock, Funk
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ll4Liquid Idiot/Idiot Orchestra: s/t (Superior Viaduct) LP
In Tomorrow! “Prior to forming Liquid Liquid in 1981, the band members were in two other groups: Liquid Idiot and Idiot Orchestra. While these ensembles sounded more experimental than groove-oriented, the beginnings of Liquid Liquid’s spatial/conceptual framework can be heard here. Liquid Idiot started at Rutgers University in the late ’70s and soon relocated to NYC where they performed at various lofts and clubs including Tier 3, Mudd Club, and CBGB. The band even encouraged audience members to bring their own instruments to their early shows. Idiot Orchestra was an offshoot that included a dozen or more players (clarinet, sax, trumpet, violin, cello, synth, bass, marimba, and drums) resembling a no wave version of Raymond Scott’s big band. As musician and artist Richard McGuire recalls, ‘We weren’t trying to sound like anyone. We weren’t imitating anyone. We were just playing. I keep using “outsider art” as a reference to what we were doing. None of it was made for a market; it wasn’t made with any intention other than the enjoyment of making it.’ This split archival LP collects two rare 7-inches from 1978 and 1980, both of which were originally pressed in hyper-limited editions and self-released by the bands. The package also features a fanzine of ephemera, rare photos and new interview with McGuire.”

File Under: Art Rock, No Wave
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luxuryLuxury Apartments: s/t (Dead Cert) LP
Germany-born and Derbyshire-raised musician, painter, and mathematician David Tyack began working under his Luxury Apartments moniker in the summer of 2002, exploring potential film and animation synchronization with nods to his growing penchants for neoclassical, free jazz, and minimal music. He had recently finished a self-penned conceptual LP with original Can vocalist Malcolm Mooney, and been writing and recording for then-yet-to-be-mixed LPs by Jane Weaver’s Misty Dixon and his own band D.O.T.; his Luxury Apartments work, a series of experimental recordings made at his compact home studio on Clyde Road in Didsbury, Manchester, counterbalanced his ambitions to record a fully-realized singer-songwriter album. Completed just months before Tyack’s untimely accidental death on the island of Corsica, Luxury Apartments reveals him at his uninhibited best, displaying some of his most adventurous, dedicated, and unapologetic solo excursions into sound-design, improvised composition, and electroacoustic territories — the result is a unique blend of dark ambient, mechanical folk, PINA stylings, and coldwave DIY rhythms. Drawing comparisons to the varied works of Sorgini, Eno, Liska, Stabat Stable, Martin Zero, Luc Mariani, Walter Branchi, and the lost electronic work of Don Cherry, these previously unheard tapes are presented here in unedited form, compiled exactly how Tyack intended the record to be pressed should any independent record label have the foresight to take the plunge into his creative pool. Released with blessing and encouragement from the Tyack family, this is the first unreleased music to come from Tyack’s extensive archive, which was shared with close friends and creative collaborators regularly during his creative years in Manchester between 1997 and 2002. Artwork and liner notes by Andy Votel. Limited edition of 500 copies. HIGHLY RECOMMENDED!!!

File Under: Electronic, Experimental, Ambient
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lyonNorma Lyon: The Music of Norma Lyon (Little Axe) LP
In Tomorrow! A collection of 16 pieces privately released by Norma Lyon in the late 1960s. All are original compositions for piano and organ. Dark, moody and dramatic, each of these ‘sketches’ was inspired by a place Ms. Lyon has lived. The tone of the record is set by its fantastic titles, including “Flight of the Spirit Geese,” “Phantom Cathedral of the Sea” and “Dirge of the Sea Gods.”  The first side, “Dune Sketches,” is based on a period when she lived amidst the dunes in southwest Oregon.  The second side, “Sea Sketches,’ is drawn from the time she spent living with her twin sister overlooking the ocean in Coos Bay. Limited edition of 500 copies.

File Under: Private Press

claraClara Mondshine: Luna Africana (Fifth Dimension) LP
Clara Mondshine was a musical project of the late radio director, journalist, and composer Walter Bachauer, who worked for RIAS Berlin in the ’70s and ’80s. Mr. Bachauer was also involved as musician in projects with electronic artist Peter Michael Hamel and krautrock act Between in the ’70s. With Clara Mondshine he was able to score three albums before his untimely passing in 1989; Luna Africana, originally released in 1981, is the first of these, and it fits exactly into that era, when the sluggish grinding of early cosmic music had vanished and a new peppy drive could be felt in the spacious soundscapes of electronic music. Still rather lo-fi, with primitive machine grooves and swirling waves of analog synthesizers to which some hypnotic drones were tastefully added, this music has learned a lot from the grand masters of the ’70s, especially the motorik style of krautish electronics. Its simple melodic patterns and heavily rhythmic approach, layering pulses and drones upon repetitive structures, induce a trance state in the listener. This music is quite imaginative and picturesque, evoking a trip through a dark galaxy where only starlight guides your vessel. Quite a typical example for later krautish electronics and certainly a must-have for fans of the Eno/Harmonia collaborations, Cluster’s Zuckerzeit, and other similar motorik electronic albums. It also has a Kraftwerk feel, but without the vocals. Now this long-hidden secret gem is reissued for the first time and unveiled for your stellar listening pleasure. But beware; some of you might get lost in the depths of outer space.

File Under: Early Electronic
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jungleNino Nardini/Roger Roger: Jungle Obsession (Fifth Dimension) LP
Though it may look like a sexy piece of exotica from the heyday of tiki culture — the ’50s and early ’60s — Jungle Obsession was originally released in 1971 by the French Neuilly label. Nino Nardini was a master of library music for movies, TV series, and other media back then, and this album is his interpretation of what legends like Martin Denny and Frank Hunter had created a decade before — the ultimate listening experience for people who needed to escape from the struggle of everyday life through dreamy music that combined easy, relaxed jazz with jungle sounds and colorful melodies to create an atmosphere of exotic places. Nardini refreshes those — already ancient by 1971 — musical values with more contemporary elements of hot-blooded funk, particularly its wild percussion patterns, sweet wah-wah guitars, and an ever-present, rocking rhythm section. Blues and psychedelic rock flow gently into the mix to expand the effect on the listener’s imagination. Lush, with great arrangements of grandiose string patterns that evoke an atmosphere of great mysticism and a peaceful world of swirling colors. The earthy rock aspect of the music then comes to the fore, bringing the listener back to smoky urban clubs, where the air is heavy and sweat drips from the ceiling. All in all this is a beautiful soundtrack for fans of both worlds — the urban funk of the early ’70s and the dreamy exotica music of the ’50s and ’60s. Both styles come close to each other and at some points blend together. Jungle Obsession is a fine example of well-executed 1970s library music, conjuring up a movie in the listener’s head with its variety of moods. Sheer excitement if you can catch the flow.

File Under: Exotica, Library, Funk
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omalleyStephen O’Malley: Eternelle Idole (Shelter Press) LP
This double LP documents Stephen O’Malley’s Eternelle Idole, his score for Paris-based choreographer Gisèle Vienne’s artistic ice-skating piece of the same name. Comprising 47 minutes of music spread over three sides and enhanced by an elegant and chilling photoset by Estelle Hanania, the album features familiar O’Malley collaborators Steve Moore, Daniel O’Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog, and Randall Dunn. Recorded between Brest, France; Seattle; and Rotterdam, the Netherlands, the score sees O’Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. Eerie keyboard- and piano-phrases draw a white, monochrome stage for a young girl’s stark and emotive elegy. Clavichord and guitars weave through the darkness, supported by Sykes’s prophetic voice. Mirroring the score, Hanania’s 16 photographs of the choreographic piece display the grace, sustain, geometry, telemetry, distance, and perfection of ice-skating, as well as possible falls and gloomy shadows. Metal against ice; tights and knots; spirals and scratches; shouts and winds — field recordings mold a crispy atmosphere while instruments draw lakes, ice skating rings, cosmic belts, and a terrestrial cloud passage and eventual landing platform for a flying saucer. 180-gram white double LP with 16-page, 30 x 30-cm, saddle-stitched, full-color booklet in 350-gram sleeve with gloss varnish. Edition of 500.

File Under: Electronic, Experimental
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savantSavant: Artificial Dance (ReRVNG) LP
The story of electronic music pioneer K. Leimer continues with a focus on his auteurist studio project Savant. Compiling the standalone album, 1983’s The Neo Realist (At Risk), with Savant’s debut 12” and a grip of compilation and unreleased tracks, Artificial Dance documents Leimer’s complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually – and eternally – committed to tape. Savant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.’s A Period of Review (1975-1983)). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will. Leimer was creatively autonomous to the point of being a persona absentia in Seattle’s 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer Marc Barreca, John Foster (founder of Op Magazine – the experimental music publication), Jim and David Keller of the New Flamingos, and their bandmate Alex Petit. Others, like Roy Finch and Dennis Rea, came from a similar orbit. Even with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their forté. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, he’d capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres. Savant tonally operates in a space between This Heat’s dark primitivism and the found sound collage of Brian Eno & David Byrne’s My Life in the Bush of Ghosts. These analogies are simply stylistic, as the narrative behind The Neo-Realist’s production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collection’s liner notes: “I was looking for flaws, for faults to act as the stand-out features of the music.” Far from a provisional stab at avant-garde sensibilities, Savant represents Leimer’s repudiation of ambient music’s passive side. Artificial Dance embodies a perfectionist’s family portrait of outré musicians conforming to Leimer’s nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention. Double LP packaging features unique reverse flap exterior, full color Eurosleeve, 16 page booklet and download card.

File Under: Electronic, Minimal
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hvalSusanna & Jenny Hval: Meshes of Voice (Susannasonata) LP
“Mythical animals were a big inspiration,” says composer and songwriter Jenny Hval about Meshes of Voice, her collaboration with Susanna. “We looked at Medusa, Athena, and Harpy (a combination of woman and bird) — as examples of depictions of woman — the ugly, the goddess-like, the gruesome,” agrees Susanna. This collaboration — featuring the two strongest Nordic voices around today — started back in 2008 as an exchange of letters, then developed into two live performances, one at the Henie Onstad Art Centre in March 2009, which turned out to be this album, the other at Oslo Jazz Festival. Mixed and mastered by Helge Sten (Deathprod, Supersilent), Meshes of Voice presents a stunning vocal universe of confessions, whispers, and seductions. Tracks like “I Have Walked This Body” seem to rise monstrously and threateningly out of some mythological fog of distorted improvised noise. A key inspiration was film maker Maya Deren’s surrealist, cyclical Meshes of the Afternoon, a milestone of visionary film from 1943. Deren’s famous image of a cloaked figure with a reflective face recurs on “A Mirror in My Mouth,” creating a complex world of musical fictions akin to those of Julia Holter and Joanna Newsom. Meshes of Voice is released on SusannaSonata, which Susanna launched in 2001 as a self-operated outlet for her to curate her own back-catalog and develop new music. Upon its release as a CD in 2014, Meshes of Voice received much acclaim from the music critics and the audience, and won the Norwegian Grammy in Open Category. This double LP edition is limited to 500 copies, with the same gorgeous cover art made from art by Arne Bendik Sjur and designed by Johanna Blom. Jenny Hval: voice, effects, noise, samples, guitar, autoharp, piano; Susanna: voice, grand piano, effects, noise, samples, electric harmonium; Anita Kaasbøll: voice, effects, noise, drums; Jo Berger Myhre: double bass, zither, effects, noise. Recorded at Henie Onstad Arts Centre, Høvikodden, Norway, on March 8, 2009, by David Solheim. Mixed and mastered at Audio Virus Lab.

File Under: ELectronic, Pop, Ballad
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susSusanna & The Magical Orchestra: Melody Mountain (Susannasonata) LP
Melody Mountain was recorded in 2005 at several locations in Norway; in no ordinary recording studios, but in living rooms, in huts, at the Academy of Music, and at Emanuel Vigeland Mausoleum. Songs by AC/DC, Leonard Cohen, Sandy Denny, Kiss, Joy Division, and Depeche Mode were all transformed into Susanna and the Magical Orchestra’s sparse and stark universe. The music critics went overboard with praise when Melody Mountain was released on CD in 2006, particularly for Susanna’s version of “Love Will Tear Us Apart,” which has received much attention and was a part of The Observer’s list of “The Greatest Covers Ever.” The duo Susanna and the Magical Orchestra split up in 2011, after recording three albums together and touring widely in Europe, Asia, and the USA. Both Susanna and Morten Qvenild have remained active since, each with his or her own projects and bands. Susanna records as Susanna, in her regular trio, but also in collaborations with such artists as Ensemble neoN and Jenny Hval. Both these collaborations have been awarded a Norwegian Grammy in Open Category. Melody Mountain was produced by Deathprod, with arrangements by Susanna and the Magical Orchestra. Susanna: vocals; Morten Qvenild: piano, cembalo, autoharp, vibraphone, church organ, and keyboards; Stian Carstensen: pedal steel on “It’s Raining Today.” Recorded by Helge Sten at Dagaliveien14, Østre Nes, Tomba Emanuelle, Lindemansalen, and Audio Virus Lab, Norway, in 2005. This vinyl edition features a new cover design by Magnus Voll Mathiassen. The album was mixed by Helge Sten in Oslo, Norway, mastered by Bob Katz in Florida, cut by Bernie Grundman in Los Angeles, and pressed in the Netherlands by Record Industry. Pressed on 180-gram vinyl; limited to 500 copies.

File Under: Electronic, Pop, Ballads
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billyBilly Synth & The Turn Ups: Off The Deep End (Mind Cure) LP
In Tomorrow! Mind Cure Records is proud to announce the release of two LPs from Pennsylvania Punk legend Billy Synth. Besides being a pre-internet authority on rare Garage Punk records and the mastermind behind the essential Psychedelic Unknowns comps Billy’s personal pedigree is of the highest caliber releasing records and tracks on Sordide Sentimental, Bomp/Voxx and Bona Fide�though the bulk of his recordings have up to this point been self released. This LP is a reissue of the first Billy Synth and The Turn Ups album originally issued in a run of 300 copies in 1980 on Billy’s own Cracked Records label originals of this LP regularly change hands for over $100 so here�s your chance to get it on the cheap. Includes liner notes by Dave Martin and a download.

File Under: Garage, Punk
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billysBilly Synth: We Have Got To Make It On Our Own: Collected Tracks ’78-83 (Mind Cure) LP
In Tomorrow! Mind Cure Records is proud to announce the release of two LPs from Pennsylvania Punk legend Billy Synth. This LP collects tracks from various releases across Billy’s discography both solo and with his bands The Janitors and The Turn Ups. This overview has a little bit for everyone: solo synth paranoia, unhinged Punk Rock and covers from the cannon of Garage Punk Unknowns. Culled from a string of records released between 1978 and 1983, heavily influenced by Billy’s encyclopedic knowledge obscure ’60s garage Psychedelia and his Punk contemporaries these songs are so damaged and demented that in today’s no-stone-left-unturned world of record collecting they almost sound too crazy to be real.  Includes liner notes by Joh Olson and a download.

File Under: Punk, Garage
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vitetBernard Vitet: La Guepe (Souffle Continu) LP
Bernard Vitet was a key figure in the French free jazz and improv scene of the early ’70s. This mythical avant-jazz LP, originally released in 1972, is the result of a truly magical session he put together in December ’71 with Beb Guérin, Jean Guérin, Françoise Achard, Dominique Dalmasso, Jouck Minor, Francois Tusques, and Jean-Paul Rondepierre. Not just free jazz from the ’70s, the music has some 20th-century elements that recall some of the most memorable albums on the Italian label Cramps Records. This first-ever officially-licensed vinyl reissue is the fifth in Souffle Continu’s series reissues of Futura reissues, fully licensed by Futura founder Gérard Terronès. Presented in a 350-gram reverse-printed sleeve with obi strip. Limited to 500 copies.

File Under: Free Jazz, Improv, Avant-Garde
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muddyMuddy Waters Blues Band: Live at Ebbets Field (Klondike) LP
Muddy Waters had only recently completed his Australasia tour, which had begun in late April and finished in Perth on May 11, 1973. He arrived just two days later in Vancouver before performing five dates at the Whiskey-a-Go-Go in Los Angeles. He then made his way into a small downtown Denver nightclub called Ebbet’s Field for five shows. This recording is a milestone in vintage blues: a rare and exclusive performance from Mississippi giants Muddy Waters and B. B. King. Sharing the stage for one night only, this joint appearance from May 30, 1973, is finally available. Long considered to be a classic performance, but lost to time, this inspiring performance is presented in its entirety as originally broadcast on FM radio, with digitally remastered sound and background liners.

File Under: Blues
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cold wavesVarious: Cold Waves of Color (Lion) LP
In Tomorrow! Collection of rare UK cold wave tracks taken from Color Tapes label cassettes released in micro editions between 1981-1985. Color Tapes was the brainchild of future Sun Dial leader Gary Ramon: “Living in East London, it was a very grey and bleak time. Huge imposing tower blocks, gasworks and concrete just about everywhere. You couldn’t walk through some areas without the risk of being shot at by an air rifle, or worse. Luckily, salvation was in the music. The musical landscape was changing. I saw a very early gig by an unknown all-synth band called Depeche Mode at a dingy pub under a flyover called The Bridge House in Canning Town, London. Following this I saw Grandmaster Flash & The Furious Five and started buying records by the likes of Afrika Bambaataa. At the other end of the musical spectrum, we were picking up records by Stockhausen, John Cage, Pierre Henry and Moondog, and combing junk shops for anything else that looked interesting!” The UK cassette scene and DIY ethos were thriving. Color Tapes was born. Home multi-track recorders were luxury items. They had to make do with sound on sound recorders, bouncing between reel-to-reel and cassette machines if they wanted stereo. What you’re about to hear for the first time since those days is a snapshot of Color Tapes: released material and other unissued tracks too. This compilation is the first of a series of Color Tapes/Lion Productions releases of material from the Color Tapes archives.

File Under: Electronic, Cold Wave
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pakistaniVarious: Early Pakistani Dance Music (Ovular) LP
“A wonderful LP of exotic sounds from Pakistan in the ’60s and ’70s. The tracks really deliver on the excellent sleeve packaging and cover design by Bwtchd Grfx. ‘We wanted the world to know what fantastic music these guys played in Pakistan in those days,’ says compiler Florian Pittner, who focused on instrumentals which were released on two-track 45rpm EPs and listed as either ‘Dance Music’ or ‘Title Music.'” Artists: M. Ashraf, Azam Shaik, A. Hamid, Ghulam Ali, Tassaduq Hussain, Mohammed Ilyas, Lal Mohd Iqbal, Kamal Ahmed, and M. A. Shad.

File Under: World, Dance

folksongsVarious: Folksongs of Another America (Dust-to-Digital) 5CD/DVD/Book
Folksongs of Another America is a compilation of field recordings made in Michigan, Minnesota, and Wisconsin between 1937 and 1946. Armed with bulky microphones, blank disks, spare needles, and cumbersome disc-cutting machines, several folklorists had the foresight to document and preserve a significant but overlooked part of the nation’s musical heritage, made by immigrant, Native American, rural, and working-class performers. Almost all of these restored dance tunes, ballads, lyric songs, hymns, laments, versified taunts, political anthems, street cries, and recitations are issued here for the very first time. This five-CD set is filled with African-American, Austrian, Belgian, Cornish, Croatian, Czech, Danish, Dutch, Finnish, French-Canadian, German, Ho-Chunk, Icelandic, Lithuanian, Irish, Italian, Luxembourger, Norwegian, Ojibwe, Oneida, Polish, Scots-Gaelic, Serbian, Swedish, Swiss, and Welsh performers, recorded by Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas. The bonus DVD includes the documentary film The Most Fertile Source: Alan Lomax Goes North, with never-before-seen footage shot in Michigan in 1938. It combines digitally restored silent color film footage, related field recordings, voice-over readings from Lomax’s correspondence and field notes, and onscreen text to create an audiovisual narrative featuring the performers and scenes that captivated Alan Lomax during his 1938 Upper Midwestern foray. The accompanying 456-page hardcover book includes extensive liner notes, lyric transcriptions, and translations by James P. Leary, co-founder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin-Madison. This project is a co-production between Dust-to-Digital and the University of Wisconsin Press in collaboration with the American Folklife Center at the Library of Congress and the Association of Cultural Equity/Alan Lomax Archive.

File Under: Folk, Blues, Books

strange townVarious: I’m In A Strange Town (Mississippi) LP
In Tomorrow! Compilation of top notch Gospel and blues recorded between 1927 and 1967. A mix of very well known artists such as Blind Lemon Jefferson, Gary Davis and Robert Wilkins and more obscure folks like John Lee and Charles White. A record filled with some of Mississippi Records favorite recordings—ripping guitar work outs, soulful ballads, loping drunken jug bands and more. All songs are on the theme of travel, death and transcendence. Got an existential crisis? This may be the record for you.

File Under: Blues

total 15Various: Kompakt Total 15 (Kompakt) LP
Pressed on 180-gram vinyl. Eight tracks from the 24-track double CD: Wassermann’s “Eisen Mein Herz,” Jürgen Paape’s “Manipuri,” Michael Mayer’s “Humm,” Superpitcher’s “Freiherr,” Weval’s “Gimme Some (Hunter/Game Mix),” Patrice Bäumel’s “Fenomeno,” Voigt & Voigt’s “Akira (Reeperbahn Mix)” and The Black Frame’s “Sacrosanct.”

File Under: Exotica, World

sigh ofVarious: The Sigh of Silver Strings From Suvannabhumi (Little Axe) LP
In Tomorrow! During the 1800s, various Western stringed instruments came to Burma by means of traders, explorers, and colonizers. These instruments: the acoustic slide guitar, mandolin, banjo, violin, and zither, were quickly and ingeniously adapted to the intricacies of Burmese music. The music draws from Burma’s rich vocal tradition, and the centuries-old royal repertoire of the Burmese harp and xylophone. Recorded and produced by Rick Heizman. Limited edition of 500 copies.

File Under: World, Burma, Folk

troubledVarious: Troubled Waters (Mississippi) LP
In Tomorrow! Compilation of blues and gospel recordings made by George Mitchell between 1962 and 1976! The deep hill country stomps and blues  of RL Burnside, Rosa Lee Hill and Jesse Mae Hemphill, The hard driving electric guitar and drum music of James Davis, the haunting gospel ballads of Robert Johnson (not the one your thinking of) and James Shorter, the flowing beautiful blues of Joe Callicott, Furry Lewis and Jesse Lee Vortis, the drum and fife music of Napoleon Strickland and much more. This is the third in the Mississippi series of releases of field recordings by George Mitchell. (the first and second are the Been Here All My Day’s and Sticks Over My Shoulder LP’s.) Some of our favorite songs of all time and not to be missed.  Old school “tip on” covers.

File Under: Blues, Gospel


Aphex Twin: Selected Ambient Works II (1972) LP
Bachs: Out of the Bachs (Out-Sider) LP
Brand New: Deja Entendu (Triple Crown) LP
Eric’s Trip: Love Tara (Sub Pop) LP
Follakzoid: III (Sacred Bones) LP
Bridgette Fontaine: Est… Folle (Superior Viaduct) LP
Bridgette Fontaine: Comme A La Radio (Superior Viaduct) LP
Glass Candy: Feeling Without Touching (Italians Do It Better) LP
Glass Candy: Ghetto Boys (Italians Do It Better) LP
Glass Candy: Warm in the Winter (Italians Do It Better) LP
Grouper: Ruins (Kranky) LP
Grouper: The Man Who Died in His Boat (Kranky) LP
Le Tigre: s/t (Wiiiji) LP
Moondog: Viking of Sixth Avenue (Honest Jon’s) LP
Nirvana: In Utero (Geffen) 2LP
Not Waving: Voices (Not Waving) LP
Om: Pilgrimage (Southern Lord) LP
Pantha Du Prince: Black Noise (Rough Trade) LP
Pantha Du Prince: Elements of Light (Rough Trade) LP
Reatards: Grown Up Fucked Up (Goner) LP
Red House Painters: Ocean Beach/Shock Me (4AD) LP
Sigur Ros: Valtari (XL) LP
Sonic Youth: A Thousand Leaves (Goofin) LP
Sonic Youth: Daydream Nation (Goofin) 4LP
Sonic Youth: Destroyed Room (Goofin) LP
Sonic Youth: Dirty (Goofin) LP
Omar Souleyman: Haflat Gharb (Sublime Frequencies) LP
Spiritualized: Ladies & Gentlemen We Are Floating in Space (Plain) LP
Stereolab: Cobra & Night Phases Group (1972) LP
Andy Stott: Luxury Problems (Modern Love) LP
Sunn o))): Black One (Southern Lord) LP
Sunn o))): 00 Void (Southern Lord) LP
Sun Ra: Space is the Place (Sutro Park) LP
Sun Ra: Strange Celestial (Saturn) LP
T Rex: Slider (Fat Possum) LP
Ween: Chocolate & Cheese (Plain) LP
White Birch: Come Up For Air (Rune Grammofon) LP
Wipers: Is This Real? (Jackpot) LP
Wipers: Over the Edge (Jackpot) LP
Various: Diablos Del Ritmo Vol 2 (Analog Africa) LP
Various: International Vicious Society Vol 2 (University of Vice) LP
Various: International Vicious Society Vol 6 (University of Vice) LP

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…..news letter #705 – more boxes…..

It seems to be a running theme around here lately, but it isn’t my fault so many great boxsets are coming out all around the same time! And then of course there’s some seriously big new releases other than said boxsets as well. Another short but sweet list.

…..pick of the week…..


Unwound: Empire (Numero) 4LP Box
The climactic entry in Numero Group’s four-set Unwound exploration, Empire compiles the final pair of albums by the Olympia, WA trio. On 1998’s Challenge For A Civilized Society, the band toyed with conventional verse/chorus form, stacking layers of noise and distraction on top of tightly constructed melodies. They’d abdicate entirely just three years later with 2001’s Leaves Turn Inside You, executing a 14-song masterclass in home recording that observed a crucial band in graceful transition from post-hardcore trio to experimental quintet. The mammoth double album was lost in the chaos of a post-9/11 media, baffling onlookers and exhilarating fans in successive breaths before it fell far out of print. At their reinvention and terminus, Unwound ultimately asked “Who Cares”? The Empire box-set teems with period singles, B-sides, unreleased studio tracks, and demos, alongside a 15,000-word essay exploring the terminal stages of the ’90s, indie rock, Unwound, and civilization as we know it.

File Under: Indie Rock, Punk Rock
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…..new arrivals…..

beach house

Beach House: Depression Cherry (Sub Pop) LP/CD
“Beach House is Victoria Legrand and Alex Scally. We have been a band for over a decade living and working in Baltimore, MD. Depression Cherry is our 5th full-length record and was recorded at Studio in the Country in Bogalusa, Louisiana from November ’14 through January ’15. This time period crossed the anniversaries of both John Lennon’s and Roy Orbison’s death. “In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.” – Beach House Here are a few quotes that Beach House feel relate to the feeling and themes of Depression Cherry: — “I’ll never be able to be here again. As the minutes slide by, I move on. The flow of time is something I cannot stop. I haven’t a choice. I go. One caravan has stopped, another starts up. There are people I have yet to meet, others I’ll never see again. People who are gone before you know it, people who are just passing through. Even as we exchange hellos, they seem to grow transparent. I must keep living with the flowing river before my eyes.” – from Kitchen by Banana Yoshimoto — “We inhabit a world in which the future promises endless possibilities and the past lies irretrievably behind us. The arrow of time… is the medium of creativity in terms of which life can be understood.” – from The Arrow of Time by Peter Coveney and Roger Highfield — “Mostly it is loss which teaches us about the worth of things.” – from Parerga and Paralipomena by Arthur Schopenhauer — “Hark, now hear the sailors cry, feel the air and see the sky, let your soul and spirit fly, into the mystic…when the fog horn blows, I want to hear it, I don’t have to fear it” – from “Into the Mystic” by Van Morrison

File Under: Indie Rock, Dream Pop
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Destroyer: Poison Season (Merge) LP
Destroyer’s new Merge Records release Poison Season opens with Vancouver native Dan Bejar swathed in Hunky Dory strings. He’s a dashboard Bowie surveying four wracked characters – Jesus, Jacob, Judy, Jack – simultaneously Biblical and musical theatre. This bittersweet, Times Square-set fanfare is reprised twice more on the record – first as swaying, saxophone-stoked “street-rock” and then finally as a curtain-closing reverie. “The first and last songs are actually one song tracked live with quintet,” explains their author. “I even sang with the band. That song always swung between super austere and super mid-’70s Springsteen/Bowie street-rock. In the end, I decided I wanted both. Couldn’t really figure out a way to sequence the orchestral version within the record, so I decided to carve it up as a book-ending motif, with the rock version squarely in the middle.” Mr. Bejar has long displayed a chameleonic instinct for change while maintaining a unified aesthetic (rather than just pinballing between reference points). No two records sound the same, but they’re always uniquely Destroyer. His latest incarnation often appears to take sonic cues from a distinctly British (usually Scottish, to be precise) strain of sophisti-pop: you might hear traces of Aztec Camera, Prefab Sprout, Orange Juice, or The Blow Monkeys. These songs merge a casual literary brilliance with intense melodic verve, nimble arrangements, and a certain blue-eyed-soul sadness.

File Under: Indie Rock, CanCon
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Faith No More: Sol Invictus (Ipecac) LP
In tomorrow! 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 – which is preceded by lead single “Superhero” – was produced by Bill Gould and recorded in the band’s Oakland, CA studio. The music of Faith No More has lived through five presidents, endless wars, economic boons and busts, global meltdown and revolutionary rebirths. Throughout the ’80s and ’90s, the hard-edged group’s hybridized sound has scored the soundtrack to a time of change, and now in the 21st century, the legendary band has evolved once more to return with a powerful new album and a new focus. “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 through since we made our last record as Faith No More. I think this kicks things up a notch,” explained Gould to Rolling Stone. “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.”

File Under: Rock, Mike Patton
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frog eyes

Frog Eyes: Pickpocket’s Locket (Paper Bag) LP
“My dad left me his acoustic guitar in his will; it was all he had to give, because he wasn’t a rich man. I wrote ten songs on it, and I think that was the real gift he gave me: a love of music, not just the way you all love it (music lovers), but also a love of creating it, sowing myself, in some small way, into the story of music. I was holding the guitar a lot, kind of savoring it: a Martin D-18. I had been making records for a few years with a computer, piling tracks on tracks, writing words over guitar licks already recorded in a studio. “I came to think of an acoustic guitar as somehow akin to a computer, only in the sense that they are both tools of transmission, both effective in their own way. An acoustic guitar is still, in 2015, a very effective way of transmitting one’s songs. I made a deal with myself: write ten songs, write all the words before anyone gets to hear any of the songs, memorize the songs so that I become the hard-drive that the acoustic guitar accesses. I mostly, if not totally, kept to this deal, which is rare: I’m generally pretty easy on myself. “I wrote about Joseph Beuys, about B. Traven, about God and Abraham and Isaac, about my dad being addicted to speed when he was 17. I needed my crew and I found them. Three women: Melanie Campbell, my life-partner and long-time drummer, returned to the band after a hiatus. And my old friend Shyla Seller, an archivist and book designer who happens to also be a really precise and powerful piano player. And Terri Upton, who plays both stand-up bass, and electric bass. “And then we needed some more crew, and we found them: our old friend and colleague Spencer Krug, who wrote string parts over the songs. And then Jesse Zubot, who played every string part on the record in one 10-hour day. And John Paton, who plays saxophone. And Paul Rigby, who caught a taxi cab over with his pedal steel guitar. I wanted the following: Douglas Sirk strings, a noble spin on Corky’s Debt to His Father, some Darkness on the Edge of Town vibes.” – Carey Mercer “Howling voices, waves of super-fuzz, swirling riffs that are always tantalizingly out of grasp and the wild guttural sound of Tom Waits, Scott Walker or The Natinoal when they still had a pair.” – NME

File Under: Indie Rock, CanCon
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Jay-Z: Magna Carta… Holy Grail (Third Man) LP
Jay-Z’s twelfth studio album, Magna Carta…Holy Grail, is now pressed on two 180 gram LP’s, heavy as the material carved into them, complete with a printed lyric insert, poetic as the gatefold it’s slipped in between. Most exciting about this double LP is certainly the concealed postcard flexi disc hidden within the back cover and only accessible to those willing to take a knife to the iconic packaging. Once freed of its casing, this flexi disc plays a super secret hidden track. You’ll just have to hear it for yourself, because we sure don’t plan to ruin the mystery of it here. Originally issued in July 2013, the double platinum Magna Carta…Holy Grail debuted at No. 1 on the Billboard 200, making it Jay-Z’s thirteenth consecutive studio album to top the chart. Includes guest appearances by Justin Timberlake, Nas, Rick Ross, Frank Ocean and Beyonce Knowles.

File Under: Hip Hop, Rap
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Syl Johnson: Complete Twinight Singles (Numero) 2LP
Syl Johnson began the ’60s a blues singer and session guitarist and concluded it having synthesized his own brand of gritty Chicago soul. Their first signee, Syl Johnson set the tone at Twinight Records, writing and producing fifteen 45s during his four year tenure with the label. This double LP neatly bundles each side of each of Johnson’s Twinight 45s, from the heavily-sampled grunts on “Different Strokes,” to the ghetto-conscious “Concrete Reservation.” “There are many great soul singers, but few has inspired hip hop from its early beginning to now. Syl Johnson is a unsung pioneer of musical fusion.” – RZA

File Under: Soul
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Replacements: Twin/Tone Years (Rhino) Box
In tomorrow… Along with Prince and Hüsker Dü, The Replacements put Minneapolis on the rock map in the 1980s. Among America’s greatest alternative acts of the last two decades, the ’Mats rose from chaotic noise-makers to polished craftsmen, leaving at least three unqualified masterpieces in their wake. In a perfect world, Let It Be, Tim, and Pleased To Meet Me would have all gone platinum – but then again, endearing imperfection was always a hallmark of this band’s music. The Replacements formed in the wake of the punk explosion of the late 1970s. Their anarchic stage shows had earned them considerable notoriety in local clubs (in fact, they had to change their name from The Impediments after a particularly disruptive performance in one such nightspot). Indie label Twin/Tone took note and signed the quartet, and their first album, Sorry Ma, Forgot To Take Out The Trash was issued in 1981. That record and the Stink EP that followed in the next year were both pretty much standard-issue hardcore thrash. With 1983’s Hootenanny, however, audiences began to take notice of the songs beneath all the sound and fury; “Color Me Impressed” had exactly that effect on discerning rock listeners. By 1984’s Let It Be, The Replacements’ exponential growth as musicians – and most particularly, Paul Westerberg’s growth as a writer – was undeniable. The album topped critic’s polls across the country and earned The Replacements a place on the roster at Sire Records. If you’re a ‘Mats purist who believes that the band was never the same after they signed to Sire, then you’ll dig this! The Twin/Tone Years box set, which includes the aforementioned Sorry Ma, Forgot to Take Out the Trash (1981), the Stink EP (1982), Hootenanny (1983) and Let It Be (1984), will be limited to only 8,000 numbered copies, so if you’re looking to enjoy the band’s earlier, more rambunctious material in the best way possible, then you’ll want to hop to it!

File Under: Punk, Indie Rock
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Scientists: s/t (Numero) LP
The Scientists’ 1981 wild debut bewildered Perth, Australia’s punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled “Pink Album” deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth’s swelling pool of musical talent, and to the promise of Salmon’s unwavering vision that would become one of the most celebrated acts of the Aussie underground.

File Under: Aussie, Punk
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Scientists: Blood Red River (Numero) LP
After trekking east from the suburbs of Perth to take new root in Sydney, in 1983 the Scientists hooked up with producer Chris Logan, who’s credited with the album’s imposing sonic girth and rumbling low end, and premier Aussie punk label Au Go Go for an album that would define their unmistakably swampy, psychotic aura. These six songs revisited band leader Kim Salmon’s interest in the Cramps and the Stooges, while adding in the repetitive dementia of Suicide and elements of cow punk twang, with Salmon’s distinctly unrefined Australian accent snarling tales of lust, confusion and angst.

File Under: Aussie, Punk
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Frank Turner: Positive Songs For Negative People (Interscope) LP
In tomorrow… British singer-songwriter Frank Turner will release his new album, Positive Songs For Negative People, in August 2015 via Xtra Mile Recordings/Polydor UK /Interscope. The record is the London-based Turner’s sixth full-length effort and serves as the follow-up to his critically acclaimed 2013 release Tape Deck Heart. Turner recorded the 12-track set with his trusted backing band The Sleeping Souls and it was produced by Butch Walker in Nashville. “I feel like this record is my definitive statement, a summation of the first five records,” Turner says. “When a band makes a debut record, there’s a freshness and excitement to it that bands often lose as time goes by. I wanted to make a record with that young, exciting feel.” After a period of writing and perfecting the songs at a rehearsal studio in England, they headed to the US to work with Walker for an intense nine-day recording session. “Pretty much all of it is live,” Turner adds. “The end result is everything I wanted it to be.”

File Under: Folk, Punk
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13th Floor Elevators: Psychedelic Sounds of…. (Snapper) LP
A Tribe Called Quest: Low End Theory (Jive) LP
A Tribe Called Quest: Midnight Marauders (Jive) LP
Badbadnot: III (Arts & Crafts) LP
Black Keys: El Camino (Nonesuch) LP
Boards of Canada: Music Has The Right To Children (Warp) LP
Leon Bridges: Coming Home (Columbia) LP
Broadcast: Haha Sound (Warp) LP
Broadcast & Focus Group: Investigate Witch Cults (Warp) LP
Nick Cave: First Born is Dead (Mute) LP
Nick Cave: Henry’s Dream (Mute) LP
Nick Cave: Let Love In (Mute) LP
Cream: Disraeli Gears (Universal) LP
Lana Del Rey: Born To Die (Interscope) LP
Lana Del Rey: Ultraviolence (Interscope) LP
Nick Drake: Bryter Layter (Island) LP
Marvin Gaye: Let’s Get It On (Tamala) LP
High On Fire: Luminiferous (Eone) LP
Jay-Z: Vol 3 – Life & Time of S. Carter (Rush) LP
Cate Le Bon: Me Oh My (Control Group) LP
M83: Before the Dawn Heals Us All (Mute) LP
Portishead: Third (Mercury) LP
Portishead: PNYC (Polydor) LP
Pink Floyd: Dark Side of the Moon (EMI) LP
Dusty Springfield: Dusty in Memphis (4 Men With Beards) LP
Tame Impala: Currents (Modular) LP
Wilco: A Ghost is Born (Nonesuch) LP
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Witch: Lukombo Vibes (Now Again) LP
Witch: s/t (Tee Pee) LP

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…..news letter #704 – handled…..

Well these summer weeks of short lists are going to soon be coming to an end. Lots of big releases coming up in the next few months so you might want to start logging some overtime at work. I know I’m pretty much back in the saddle permanently from now on. Some nice stuff this week, including a small repress of one of the best boxsets ever… get on it.

…..pick of the week…..


Sperm/Samsa Trio/Pekka Airaksinen: Works 1968-1976 (Vinyl on Demand) 5LP Box
Pekka Airaksinen is a Finnish composer of electronic music. Airaksinen formed his first band, The Sperm, in late 1967. The Sperm mixed elements of avant-garde music with free jazz and psychedelic pop. Throughout its existence, the group’s members included Antero Helander, Ilkka Lehtinen, J.O. Mallander, Markus Heikkerö, Mattijuhani Koponen, Nikke Nikamo, and Peter Widén. By 1970 Airaksinen had started his own label, O Records, to produce and distribute his solo LPs, including One Point Music (1972); The Sperm’s Shh! Heinäsirkat (1970); and a 1972 LP by his free-jazz-dominated project Samsa Trio (together with Helander and Koponen) — all included here. Live performances by Airaksinen and The Sperm often took the form of confrontational performance art; two of The Sperm’s members were arrested for simulating sexual intercourse and screening pornographic films. Following The Sperm’s breakup in the mid-1970s, Airaksinen turned to Buddhism, but kept producing music in the years to come, integrating Roland 808 drum machines into his music and releasing classic LPs like 1984’s Buddhas of Golden Light. Works 1968-1976 contains The Sperm’s 3rd Erection EP (1968) with three bonus tracks, Shh! Heinäsirkat (1970), and Suite 71 (originally included on the 1998 CD reissue of Shh! Heinäsirkat on Dharmakustannus); Samsa Trio’s 1972 self-titled album; Airaksinen’s One Point Music (1972) and his Pagoda EP (1973) with Omar Williams and Donald Bane; and Golden Age (1976) by Mytologinen Duo (Airaksinen and Helander).

File Under: Experimental, Electronic, NWW List
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…..new arrivals…..


John Bender: Memories of Mindless Mechanical Monologues 1976-1986 (Vinyl on Demand) 7LP+7″
AVAILABLE AGAIN!!! John Bender is without a doubt the protagonist, if not the inventor, of the musical genre known as minimal wave. His synthesizer sounds carried elements of techno and acid a decade before the invention of techno. His voice and his somewhat sentimental, mournful lyrics made his music outstanding and extraordinary, an unprecedented mixture of elements. His three self-released LPs — I Don’t Remember Now (1980), Plaster Falling (1981), and Pop Surgery (1983) — are must-haves for every serious collector and anyone interested in coldwave, minimal synth, and techno sounds. This seven-LP box set (with bonus 7″) includes I Don’t Remember Now, Plaster Falling (with selections from several tape releases known as Plaster: The Prototypes (1981)), Pop Surgery (also with selections from Plaster: The Prototypes), Packing List (1982), At the 4th St. Cage 1/83 (1983), Do the Cage (1983), and tracks from The Cassette (1986), originally released under Bender’s Johnny Vortex moniker. HIGHEST RECOMMENDATION!!!

File Under: Minimal Wave, Electronic, Essential Grooves
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Bitchin’ Bajas & Natural Information Society: Automaginary (Drag City) LP
Wrapped up in a screen-printed jacket from visual artist Lisa Alvarado, whose aesthetic sense is a touchstone for the vision of Natural Information Society, Automaginary is psychedelic and ambient and jazz — yet none of it either, the whole being more than the sum of former parts. This is music of unique variance, a remarkably perfect congregation of the two tribes that are Natural Information Society & Bitchin Bajas. Natural Information Society, like their partners in time Bitchin Bajas, live their days in flow motion. Rhythms come and go, instruments sound as a means to a greater end. Music is the way of their life. Their debut convergence, Automaginary, feels as natural as it does inevitable. Both groups were first heard in 2010, both emerging from solo endeavors that accessed a vastness, more room than a single player might ultimately fill — a place then for fellow travelers! Joshua Abrams, a questing bassist and improviser by trade, with an extensive discography of solo recordings and collaborations with a wide variety of artists, formed Natural Information Society as a conduit for the live presentation of his guimbri music. Abrams had delved into the sound of the three-stringed Gnawan lute on his own, intrigued by the instrument’s ability to provide melodic and rhythmic direction with a minimal, hypnotic palette. Over several years, many shows and three albums, Natural Information Society has featured some of Chicago’s most remarkable musicians while developing a sound situating Abrams’ compositions and playing in diverse sonic settings, amid ultimately consonant sounds from electric guitar, percussion, harmonium, reed instruments, bells, vibes and synthesizer. Over this time, a core lineup has emerged, featuring Frank Rosaly, Emmett Kelly, Ben Boye, Mikel Avery and Lisa Alvarado.

File Under: Reggae, Calypso
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C418: Minecraft Volume Alpha (Ghostly) LP
Minecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus “Notch” Persson, this cultural phenomenon speaks volumes of our current zeitgeist’s love for virtual spaces, but its unprecedented success couldn’t be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft’s singular experience, not the least of which is its transportive soundtrack. And now for the first time since releasing digitally in 2011, the music of Minecraft will be issued on vinyl by Ghostly International. Minecraft Volume Alpha, the first installment of a two-part OST, is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft’s voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music “remarkably soothing,” and The Guardian has compared Rosenfeld’s delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: “It’s not bound by the retro aesthetic of Minecraft’s graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime.” But for all of the critical praise, C418’s crowning achievement has to be his insatiable fan base, the seemingly endless swath of players and listeners who treat his music like gospel. They are exactly who this physical release of the Minecraft soundtrack was conceived for, though Ghostly hopes to bring Rosenfeld’s music to a whole new audience as well. As any cursory listen of the touching sounds will reveal, this isn’t a record meant solely for lifelong gamers and MineCon diehards; anyone in love with ambient, neo-classical, or minimal music needs to hear Volume Alpha.

File Under: OST, Video Games, Ambient, Endermen
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Clock DVA: Horology 2: The Future & Radiophonic Dvations (Vinyl on Demand) 5LP Box
This five-LP box contains material that predates the contents of the 2012 Horology box set. Horology 2 is a companion collection of experimental recordings made in late 1977 and 1978 by Adi Newton before and during the formative period of development of Clock DVA. The first LP in the box includes recordings made by The Future, the trio of Newton, Martyn Ware, and Ian Craig Marsh, before the group developed into The Human League and Clock DVA. The Future pioneered an electronically synthesized sound that would later dominate the 1980s and synthpop. The remaining four LPs, titled Radiophonic Dvations, include previously unreleased experimental analog tape and synthesis works inspired by early acousmatics, radiophonics, psychotronics, the occult, and avant-garde electronics. These recordings are from the earliest period of Adi Newton’s research and development, pioneering experimental work made at the outset of what became industrial and minimal electronic music in the late 1970s. Horology 2 includes a 40-page booklet that examines infrasound, psychoacoustics, psychotronics, and the development of tape music and radical experimental electronics, illustrated throughout with archival photos and artwork.

File Under: Experimental, Industrial
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John Fahey: Dance of Death and Other (4 Men With Beards) LP
John Fahey is widely recognized as one of the most influential acoustic guitarists of his generation. His early-60’s Takoma records have inspired countless disciples and imitators, but Fahey’s uniquely original imagination and his mastery of traditional styles put him in a class by himself. The Dance Of Death And Other Plantation Favorites was Fahey’s third Takoma record and one of his best. The flights of fancy of the original pieces are contrasted with traditional tunes from country blues and old-time Appalachian sources, and the two strains come together on tracks like “Variations on Coocoo” among others. Fahey’s dark sound, quirky humor, and moody slide work are all in evidence on this historic release!

File Under: Folk, Guitar Guru, Guitar Soli
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golden rules

Golden Rules: Golden Ticket (Lex) LP
South London producer Paul White and Florida vocalist/rapper Eric Biddines are Golden Rules. The languid yet life-affirming previously released single “Never Die,” featuring Yasiin Bey (formerly Mos Def) is lifted from their debut album, Golden Ticket, a collection of soulful, psychedelic hip-hop due for release via Lex Records. A Some context: Paul White counts Madlib and Diplo among his fans and is best known for his production for the likes of Danny Brown and Charli XCX. Described as “a 21st Century DJ Shadow” (The Independent), he’s released several hip hop-related albums, an EP on Stones Throw with Homeboy Sandman, and an experimental album on cult electronic label R&S. This is his first full-length collaboration with a single artist. Eric Biddines has an unusual background for a rapper: brought up in a Jehovah’s Witness household on a Florida farm, he spent his childhood listening to Al Green and Motown before falling heavily for Southern rap in his teens. With no local music industry, he built his own label and released several albums independently. His 2013 album Planetcoffeebean 2 was a breakthrough, garnering support from Complex and 2DopeBoyz and regular video rotation on MTV Jams. After discovering Planetcoffeebean 2 online, Paul White sent some beats over email on the off-chance Eric would listen to them and a few days later was surprised to find several finished tracks in his inbox. The chemistry was obvious: Eric’s molasses-thick harmonies and laid-back storytelling rap verses were a perfect match for Paul’s offbeat and addictively catchy tracks. Before long Eric was on a plane to London to plan an album and form their group.

File Under: Hip Hop, Rap
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Pierre Henry: Choix d’oeuvres de 1950 a 1985 (Vinyl on Demand) 10LP Box
Limited to 400 copies. This ten-LP box set, presented in a deluxe book-like folder in an outer box, covers half a lifetime in musical history. It is more than a regular retrospective; it shares Pierre Henry’s personal listening, organized by theme and technology. The box set emphasizes previously unpublished works, and highlights comparisons and contrasts between them. This ultimate anthology covers the first 35 years in the career of the French mastermind of electronic and electroacoustic music, the avant-garde, and musique concrète, enhanced by careful remastering and restoration in correspondence with the artist’s intention and approach to the recordings. Transparency, detail, and logical history are the substance of this release.

File Under: Experimental, Early Electronic
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pigeon breeders

Pigeon Breeders: Concrescence (Shaking Box) CS
“Concrescence” is the fourth album by Edmonton-based experimental trio Pigeon Breeders. Released on Calgary’s Shaking Box Music label (Bitter Fictions, Ashley Soft), this will be their first cassette. While previous releases have been formed through paring down one or two full improvisations, this is the first to compile various material over a two year period. The recording captures the band playing in a variety of local spaces (including the old Mile Zero Dance Studio above The Artery). The resulting sonic journey is their most challenging to date, and the most accurate in presentation of the group’s scope: introspective ambience, tense and spastic electroacoustic interplay, scrappy free jazz, apocalyptic free-form drone rock, and beyond in short, complete and blissful abandon into sound. Concrescence  urges the listener to pick their poison, light some incense, and turn off the lights.

File Under:
Experimental, Drone, Improv
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reatardJay Reatard: Better Than Something (Factory 25) LP+DVD+Book
For Jimmy Lee Lindsay, known to his fans and detractors as Jay Reatard, life was a race against time. After growing up fast among Memphis crack addicts, he managed to blaze a path through the rough-and-tumble underground rock scene of the early aughts, releasing over 100 singles, EPs and full-length records in fourteen years. Then on January 13, 2010, not yet 30, he died. With their feature documentary Better Than Something, filmmakers Alex Hammond and Ian Markiewicz let Jay tell his own story: a poverty-stricken childhood, teen years spent as a two-fisted tunesmith battling fans and band mates alike, and a short-lived adulthood of focused and relentless productivity. Jay said “I just try to make as much as I can with the time that I have.” By any measure, that is exactly what he did. Better Than Something is both a testament to Jay Reatard’s indisputable legacy and a tribute to his vital, thrilling, and all-too-brief life.

File Under: Punk
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down colorful

Red House Painters: Down Colorful Hill (4AD) LP
In 2015, each of Red House Painters’ original studio albums released on 4AD will be reissued on individual vinyl after being out of print for years. Originally released between 1992 and 1995, titles include Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” LP to also include the Shock Me EP). Singer Mark Kozelek wrote songs that defied conventional structure. His lyrics were poetic and plainspoken. He wrote about what he knew. The band played along. Drummer Anthony Koutsos ignored the standard time-keeper temptation to speed things up. He understood the value of playing against such instincts. Bassist Jerry Vessel locked into place, sustaining notes until the setting was nearly ambient. Guitarist Gorden Mack added subtle flourishes, tonal colorings that aided the songs‚ sombre hues. Anyone who persevered, who accepted the fact that these songs took time, was amply rewarded. 4AD chief Ivo Watts-Russell sensed this and after minimal remixing, the label released six songs in 1992 – all taken from the band’s original demo tape – as Down Colorful Hill, the first introduction to the world of Kozelek and the Red House Painters. Out of print since its original release, it remains one of the 4AD’s strongest offerings.

File Under: Indie Rock, Slowcore
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rollercoasterRed House Painters: s/t (Rollercoaster) (4AD) LP
In 2015, each of Red House Painters’ original studio albums released on 4AD will be reissued on individual vinyl after being out of print for years. Originally released between 1992 and 1995, titles include Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” LP to also include the Shock Me EP). Singer Mark Kozelek wrote songs that defied conventional structure. His lyrics were poetic and plainspoken. He wrote about what he knew. The band played along. Drummer Anthony Koutsos ignored the standard time-keeper temptation to speed things up. He understood the value of playing against such instincts. Bassist Jerry Vessel locked into place, sustaining notes until the setting was nearly ambient. Guitarist Gorden Mack added subtle flourishes, tonal colorings that aided the songs‚ sombre hues. Just one year on from their brilliant 1992 debut, Red House Painters were back with not one, but two albums. Both eponymously titled and released just months apart in 1993, the first of which was this ambitious double album. With a rollercoaster on the cover to give it its unofficial title, it’s now seen as one of Kozelek’s most fully realized collections, containing such career highlights as “Grace Cathedral Park,” “Katy Song” and “Mistress.”

File Under: Indie Rock, Slowcore
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red house painter

Red House Painters: s/t (Bridge) (4AD) LP
In 2015, each of Red House Painters’ original studio albums released on 4AD will be reissued on individual vinyl after being out of print for years. Originally released between 1992 and 1995, titles include Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” LP to also include the Shock Me EP). Singer Mark Kozelek wrote songs that defied conventional structure. His lyrics were poetic and plainspoken. He wrote about what he knew. The band played along. Drummer Anthony Koutsos ignored the standard time-keeper temptation to speed things up. He understood the value of playing against such instincts. Bassist Jerry Vessel locked into place, sustaining notes until the setting was nearly ambient. Guitarist Gorden Mack added subtle flourishes, tonal colorings that aided the songs‚ sombre hues. The second of the band’s eponymous albums of 1993 and with a bridge on the cover to give it its unofficial title, this set was shorter, collecting eight more tracks from the studio sessions the band embarked on upon signing to 4AD. Holding back signature classics like “Evil,” “Uncle Joe” and “Blindfold” for this record, it’s arguably the most experimental and darkest of their 4AD releases, reflecting the winter month it was issued in. It’s also notable for containing the first “Kozeleked” cover versions, with “I Am A Rock” and the “Star Spangled Banner” both getting the Red House Painter treatment.

File Under: Indie Rock, Slowcore
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Sons of Huns: While Sleeping Stay Awake (Riding Easy) LP
“The sophomore slump is for suckers, and the mamas behind Sons of Huns didn’t raise no fools. The Portland heavy rock power trio have hauled out the big guns for their stoned-to-the-bone new record (and second full-length for RidingEasy Records), “While Sleeping Stay Awake”. Melvins drummer Dale Crover brings the thunder on “Philosopher’s Stone,” and doom veteran Wino lends his grizzled pipes to a duet with vocalist/guitarist Pete Hughes (also of Danava) on “An Evil Unseen.” – VICE.

File Under: Metal
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The Sword: High Country (Razor & Tie) LP
There’s an unspoken edict handed down through the ages when it comes to rock bands: there are no rules. Nobody picks up a guitar to be constricted or oppressed. It’s all about feeling free artistically. Now, The Sword – John Cronise (vocals, guitar), Kyle Shutt (guitar), Bryan Richie (bass), and Santiago Vela III (drums) – cut out boundaries since day one. Their style never stood predicated on a trend or a template. They always create what feels right and let the results speak for themselves. When it came time to record the group’s fifth full-length album, High Country, Cronise landed at something of a spiritual crossroads. Following the final tour for their critically acclaimed Apocryphon, he holed up in his North Carolina home and eventually began writing new songs. The material began to veer into a different space that at the time Cronise felt was somewhat outside of The Sword’s sphere. “I didn’t even intend for the demos to be Sword songs,” he explains. “But then I realized that I had taken on a sort of limiting view of what The Sword was, and that wasn’t actually what I wanted it to be. I think the new album is more reflective of the music I listen to and where our heads are at collectively. With each of our albums, it’s become less about fury and bombast and more about trying to write good songs. We realized that our music can go wherever we want it to go. There’s no pre-determined course here now, and there never was.” High Country became new territory for The Sword, and they began doing things differently. That approach included more attention to backing vocals and harmonies, implementing more synthesizers and percussion elements, and tuning to E-flat instead of all the way down to C. As a result, the guitars stand out as more vital and vibrant than ever. Inspired, the boys headed to Church House Recording Studio in Austin, TX to cut High Country with Adrian Quesada of Brownout and Grupo Fantasma producing, Stuart Sykes (The White Stripes) engineering, and J. Robbins mixing. Over the course of four weeks, they hammered out the album’s 15 tracks in the old converted church.

File Under: Metal, Stoner
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Alabama Shakes: Boys & Girls (Ato) LP
Alabama Shakes: Sound & Color (Ato) LP
Animal Collective: Sung Tongs (Fat Cat) LP
Badbadnot: III (Arts & Crafts) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Charles Bradley: No Time For Dreaming (Daptone) LP
James Brown: Papa’s Got A Brand New Bag (Polydor) LP
Brand New: Deja Entendu (Triple Crown) LP
Budos Band: Burnt Offering (Daptone) LP
Can: Ege Bamyasi (Spoon) LP
Lana Del Rey: Ultraviolence (Interscope) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Dinosaur Jr.: Where You Been (Rhino) LP
Father John Misty: Fear Fun (Sub Pop) LP
Gorillaz: s/t (EMI) LP
Grizzly Bear: Yellow House (Warp) LP
Jesus & The Mary Chain: Darklands (Demon) LP
Joy Division: Substance (Rhino) LP
Kid Koala: 12 Bit Blues (Ninja Tune) LP
Ministry: Psalm 69 (Rhino) LP
OST: Whiplash (Varese) LP
Pearl Jam: Ten (Sony) LP
Pink Floyd: Dark Side of the Moon (EMI) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 2×10″
Otis Redding: Blue (Sundazed) LP
Steve Reich: Music For 18 Musicians (Nonesuch) LP
Rolling Stones: Sticky Fingers (Universal) LP
Omar Souleyman: Wenu Wenu (Domino) LP
Titus Andronicus: The Most Lamentable (Merge) 3LP
TV on the Radio: Return to Cookie Mountain (Beggars) LP
Women: s/t (Flemish Eye) LP
Women: Public Strain (Flemish Eye) LP

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…..news letter #703 – marching gone…..

Well friends, another week another stack of killer wax in from around the globe. Of course everyone is away holidaying. That’s alright, I’ll be camping this weekend too. Anyway, cool stuff in, both new and used. Come dig.

…..pick of the week…..


Alessandro Alessandroni: s/t (Cometa Edizioni Musicali) LP
Multifaceted Maestro Alessandro Alessandroni: composer, conductor, and arranger. Among the various activities that he still performs to this day, he is also a mandolinist, guitarist, fisarmonicist, sitarist, whistler, and pianist. Most of all, he is a musician, highly renowned in international TV and cinema. The Maestro has composed and conducted over 50 film scores and documentaries, and has collaborated in the production of many songs, achieving great success. The activity of the Maestro seems restless, especially during the period in which director Sergio Leone was shooting one after the other his most famous movies, including A Fistful of Dollars, The Good, the Bad and the Ugly, For a Few Dollars More, Once Upon a Time in the West, and A Fistful of Dynamite. The director gave Maestro Ennio Morricone the opportunity to compose the scores for these movies, and in the recording sessions, a very special trio was formed that soon after became very famous: Alessandro Alessandroni as whistler and guitarist, Franco De Gemini on harmonica, and Edda Dell’Orso’s vocals, the three alternating their performances as soloists and members of the orchestra. Very successful in the pop music field, Maestro Alessandroni is the founder of the Cantori Moderni choir. He still performs publicly as well as on radio and TV throughout Europe, and has been commended for his professionalism and originality all over the world. On this CD, which features previously-unreleased tracks in addition to the contents of the “Alessandro Alessandroni” LP that was released by SerMi in the 70s, the instruments are played in a very peculiar way, like solo instruments, and contribute to create a sound typical of that which earned the composer a great degree of success. The arrangements, the harmonic language, and the instrumental dialogue of the various cues combine to create in the listener romantic sensations both lovely and contemporary.  LP “Alessandro Alessandroni” is one of the most sought after Italian libraries, because it includes some fantastic vocal and psycho beat, bossa beat . The song “Giovane Flirt” is on the soundtrack of the movie “The Opening of Misty Beethoven.” HIGHLY RECOMMENDED!!!

File Under: Library, Italian, Raers
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…..new arrivals…..


William Basinski: The Deluge (Temporary Residence) LP
Cascade and The Deluge are variations on the latest tape-loop and delay composition from the inimitable William Basinski. Cascade is the CD/Digital variant, and The Deluge is the vinyl LP companion – pressed on exquisite 180 gram white colored vinyl. In Cascade, a single ancient lilting piano tape loop repeats endlessly carrying one along in its tessellating current. In The Deluge, the same loop is processed through a series of feedback loops of different lengths, creating a spiraling crescendo of overtones that eventually fades away to silence. In the denouement, a series of limpid piano loops leads to an urgent orchestral theme that builds and gradually dies. Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was one of Pitchfork’s Top Albums of the Decade. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold-out crowds around the world. Basinski was chosen by Music Director, Antony Hegarty to create music for the Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of his latest works, Cascade and The Deluge.

File Under: Ambient, Modern Classical
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Brother Resistance: Rapso Take Over (Left Ear) LP
Originally released in 1986, Brother Resistance’s Rapso Take Over blends calypso, reggae, disco, funk and poetry to create the artist’s signature Rapso sound. A progressive form of poetry from Trinidad and Tobago, Rapso emerged as a means by which to articulate the daily suffering symptomatic of the social unrest afflicting the nation throughout the 1970s and 80s. Brother Resistance played a significant role in the Rapso movement, deploying his music to spread messages of hope and liberation. The authorities took Brother Resistance’s rising status seriously, destroying what they could of his studios and in the process leaving only a small amount of his music in circulation. Now for the first time we can hear Brother Resistance’s finest work remastered and repressed by Left Ear Records. The music and the message live on through Rapso Take Over’s stripped back rhythms infused with steel and strings, all carried by the voice of resistance.

File Under: Reggae, Calypso
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Lizzy Mercier Descloux: Press Color (Light in the Attic) LP
Lizzy Mercier Descloux may have come of age in Paris, but was in New York’s Lower East Side that she really came alive. The French punk pioneer, a friend of Patti Smith and Richard Hell, moved to New York in 1977 and soon immersed herself in avant-garde poetry, performance art, and punk music. Closely associated with the founders of ZE Records (home to Was (Not Was) and Kid Creole & The Coconuts), Descloux released her debut album, Press Color, in 1979, revealing a punk-funk sound that positioned her as the French answer to the UK group The Slits or New York’s own ESG. Just as The Slits gave “I Heard It Through The Grapevine” a makeover fit for warehouse parties on their celebrated Cut LP, Descloux’s album revealed a penchant for the unexpected cover version too. It kicks off with a brilliantly rhythmic take on The Crazy World Of Arthur Brown’s Fire–a hit, like Marvin Gaye’s in 1968. There’s also a version of Lalo Schifrin’s theme from Mission Impossible that appears to predate the breakbeat scene by a good twenty years. Elsewhere, we hear echoes of Serge Gainsbourg’s Afrobeat-influenced work, Blondie’s disco-inflected punk, and Talking Heads’ world music-inspired art pop. Backed by guitarists/bassists D.J. Barnes and Erik Elliasson plus drummer Jimmy Young, Descloux creates a naïve musical world in which rhythm is everything—not a byproduct of the song but the reason for its existence. It’s neither played nor sung with any great skill, but it has feel and character in spades and a looseness that’s all too rarely achieved. Of course, an artist with song titles including “Tumor” (a cover of “Fever” with amended lyrics) and “Herpes Simplex” is never a shoo-in for mainstream acceptance, and like many a No Wave classic, the album sold little. Now regarded as a cult classic, this Light In The Attic reissue is presented in an extended 18-track edition, collecting much of Descloux’s work, including “Morning High,” recorded with Patti Smith. Descloux returned to Paris upon scoring a contract with CBS and soon found herself travelling to Africa to research the Afrobeat sound experimented with–from afar–on Press Color. The hit single “Mais où Sont Passées les Gazelles?” and album Zulu Rock followed. By the 1990s, Descloux had turned her back on music in favor of painting and writing, which she continued until her death in 2004. Her playful spirit lives on in this LP.

File Under: No Wave, New Wave
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Gam: Eisziet (Dirty Knob) LP
Underground German kosmic rock band GAM recorded their sole record, Eisziet, in 1978 and then shelved it after the master tape disappeared. Comprised of echo-guitar pioneer Günter Schickert, guitarist Axel Struck, and drummer Michael Leske, GAM’s record sat undiscovered and thought lost until The Crack in the Cosmic Egg authors Alan and Steven Freeman tracked down Günter, found out that he had a copy of the recording, and released it on CD on their label, Cosmic Egg, in 2004. Championed by Julian Cope, GAM wove echoed guitars and tripped-out vocals together over a tight rhythmic groove that still sounds current thirty odd years after their recording date. Günter, a veteran of the Berlin experimental and free jazz music scene, was a frequent visitor to the legendary German club/art space, Zodiac Free Arts Lab (founded by Conrad Schnitzler and Hans-Joachim Roedelius), where he encountered fellow German music pioneers and witnessed seminal live performances by now-lauded German bands. In 1974, prior to GAM, Günter self-released his first solo record, Samtvogel, which the Brain label reissued in 1975. Following work with Klaus Schulze, Günter recorded a second solo record, Uberfallig, on Sky Records in 1979. Eiszeit will appeal to fans of early Ash Ra Tempel, Cosmic Jokers, and Achim Reichel and the Machines.

File Under: Synth, Kosmische
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Goldberg: Misty Flats (Future Days) LP
Barry Thomas Goldberg was 23 in 1974, the year his Minneapolis power pop group, The Batch, split up. Rudderless, he set about recording solo album Misty Flats, and though few would hear it in its day, he hit on something very special indeed. “In 1974, the world was weary, the Vietnam War was ending, America was at this place where it didn’t know where it was heading, it was the fumes of Watergate days,” says Goldberg now. “I’d just left my band, and I didn’t know where I was heading either. And that’s what Misty Flats represents: neither high road nor low, but somewhere in between.” Where The Batch were a harmony-drenched power pop band in the mold of Big Star and The Rubinoos, Misty Flats was an album of ecstatic desolation, an unhinged loner-folk gem that came from a unique place: “I wanted to make the first punk rock album, and if I’d recorded those songs with a band, maybe that’s what it would’ve been,” Goldberg says. The album was, instead, recorded in mono in a two-day recording binge on a two-track Ampex tape machine. It features just Goldberg and his friend Michael Yonkers, author of the cult 1968 LP Microminiature Love, playing guitar, bass, harmonica, and vocals between them. In it, we hear echoes of Goldberg’s childhood in Las Vegas, where trips to the movies were surrogate babysitters for his single mother. “Hollywood” and “Stars In The Sand” dream of LA life, where “Pop And Ice” has a narrative straight from hard-edged ’70s cinema about a drummer who’s drafted into the army. Back in ’74, Yonkers had crushed several vertebrae at work and used his payoff to fund five albums: four of his own and Goldberg’s Misty Flats, which was pressed in a run of just 500. “We were into art, not commerce,” notes Goldberg now, but at the time he was frustrated his album was allowed to drift off into obscurity. Goldberg forged ahead to record a 24-track rock album called Winter Summer which languishes in the vault to this day; Misty Flats, however, is finally widely available in this deluxe LP, CD, and download.

File Under: Folk, Psych
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no joy

No Joy: More Faithful (Arts & Crafts) LP
More Faithful is No Joy’s third full-length for Mexican Summer. Throughout the album, singer/guitarist Jasamine White-Gluz, guitarist Laura Lloyd, drummer Garland Hastings, and bassist Michael Farsky (formerly of Dirty Beaches’ live band) push themselves to new peaks of intensity. The album bears the fruits of a band that has refined its work ethic in the gulf of time between recording sessions. The outcome – a juxtaposition of unrest and calm, beauty and chaos, truth and fantasy, in the throes of maxed-out amps and hair-whipping guitar goddess rock music – is as unwavering as ever. Where No Joy’s last album, Wait To Pleasure balanced textural differences with the freewheeling novelty of the studio environment, More Faithful documents a much more rigorous creative process and performance. For More Faithful No Joy worked with musician and producer Jorge Elbrecht (Ariel Pink’s Haunted Graffiti, Chairlift, Lansing-Dreiden). Recording was split between tracking at Brooklyn studio Gary’s Electric and an old farmhouse in Costa Rica. In this rural Costa Rican setting, Elbrecht created a makeshift but nurturing studio environment where he and No Joy did the mixing, overdubs and cut vocals for 12 hours a day. Repairing themselves to an isolated environment strengthened No Joy’s regimented approach to making a record that satisfied their vision. There is no question that More Faithful is the most forward, throttling record No Joy has made, taking their sound to the wall in a brazen display of beauty-laced power. At times More Faithful is heavier than anything they’ve done yet, while also their fastest – riffs shooting upward in discord and drifting down in angelic harmonies.

File Under: Indie Rock
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OST: Low Down (Cinewax) LP
This soundtrack is not only an aural companion to Low Down–the acclaimed biopic of jazz pianist Joe Albany, based on the memoirs of his daughter Amy-Jo Albany–but also the perfect primer for Albany’s lifework. Comprised of Albany’s own compositions alongside those of Coleman Hawkins, Max Roach, Thelonious Monk, and selections from Ohad Talmor’s score, this album conjures both a feel for Albany’s own avant-garde, quick-tempo, bebop jazz and a mood that evokes the life of Hollywood’s notorious jazz hustler. The album meets with the deep approval of Flea, who took the role of executive producer and co-star of the film. “This is the music that makes me think that human beings aren’t so bad,” writes the bassist in the liner notes. “This is the sound that gives me the energy to go out into the world and try to shine a light. As a child, this is the music I listened to that blew my mind; it let me know that all things were possible. If human beings were capable of doing this, then anything could happen.” “This soundtrack is a beautiful homage to Joe Albany’s extraordinary talent and life,” says Amy-Jo Albany. “It takes me back in time and breaks my heart. It reminds me why music is as essential as air. And if my dad’s spirit is still out there dancing in the high blue, I know he is–as he used to say–’digging it the most.’”

File Under: OST, Jazz
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GD30OBH5.pdfOST: Mad Max Fury Road (Mondo) LP
Mad Max: Fury Road is a modern action masterpiece. Returning to the franchise after almost 30 years Writer / Director George Miller has crafted a new vision of the future, and of his Post Apocalyptic hero Max Rockatansky, this time teaming him up with a group of female refugees in a cross country, relentless chase to escape the evil Warlord who has been imprisoning them all. The soundtrack’s composer Junkie XL utilized the movie’s vast landscape to explore a diverse range of musical territory, from beating drums to sweeping strings and electric guitar-driven operatic themes, utilizing nearly 200 instruments. “The score includes almost everything in a composer’s arsenal. The instrumentation ranges from big, brutal percussion and an 80-voice choir, with string sections and musical sound design, and everything in between. I used anything I could get my hands on.”

File Under: OST, BEST MOVIE!
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OST: Shaun of the Dead (Mondo) LP
We are proud to be releasing Shaun of the Dead – never before released in ANY format – on gorgeous 180 Gram Vinyl. While aware that they were working on a comedy, composers Daniel Mudford & Pete Woodhead wanted to make a score that was deadly serious and let the comedy do its own thing. “We wanted to “play a straight bat,” as the English say, and treat the film as though it was a sincere and genuinely terrifying scenario.” says Mudford. In doing so, they crafted a score that fits in perfectly alongside the great horror scores that inspired it. Pete & Dan’s band, ‘The Sons Of Silence,’ was previously featured in Edgar Wright’s television show Spaced before it became part of the behind the scenes soundtrack to the writing, and casting portions of production of the film. “Indeed, many of the doomier, dubbier tracks of from The Sons of Silence would blend in perfectly with my playlist, made up of John Carpenter scores, Goblin rock outs and library tracks from Dawn of The Dead. So even before Dan and Pete were definitely scoring the movie, they were already scoring the movie.” Says Edgar.

File Under: OST, Mondo
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OST: Wicked City (Tiger Lab) LP
Tiger Lab Vinyl proudly announces their first release ‘Wicked City’ (Original Anime Soundtrack) by Osamu Shoji. Wicked City is an electronic score filled with goth-esque pads, lounge piano lines, 80s bass grooves, and classic drum samples composed, performed, arranged, and written by Osamu Shoji. The Tiger Lab Vinyl release is the original 1987 video animation soundtrack restored and remastered by Heba Kadry at Timeless Mastering. It will be available on 180 gram Classic Black and Wicked Green vinyl with gatefold packaging and artwork created by Clint Carney, co-founder of Tiger Lab Vinyl, including an art print of the cover image. Osamu Shoji is a well known synthesizer performer and programmer. He released numerous records in the late 70s and 80s filled with electronic and synth-driven disco/funk themes.

File Under: OST, Anime
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Pavement: Secret History Vol. 1 (Matador) LP
The strangest thing about Pavement? Not that there were ever many non-strange things about Pavement? Even though they made their era’s finest rock albums, the albums only told half their story. Pavement also made some of the nineties’ best albums that never happened. Until now! Pavement made five proper album-as-albums: Slanted and Enchanted (1992), Crooked Rain, Crooked Rain (1994), Wowee Zowee (1995), Brighten The Corners (1997) and Terror Twilight (1999). Each has its own sound. Each has its own legend. But each of their official albums has a shadow album – and it’s usually as strong as the album that actually did come out. It’s time for the world to hear the albums Pavement could have made, if they’d been a little less ambitious about music and a little more ambitious about the music business. If they’d been the kind of band to sweat the legacy. But if they were that kind of band, would they have written so many great songs? Much less these great songs? No. Matador is finally releasing a series of these shadow albums. The first, naturally, is The Secret History Vol. 1, collecting the songs that got away during the era of Slanted and Enchanted, which Stephen Malkmus, Scott Kannberg and Gary Young recorded on the cheaper-than-cheap in January 1991. Secret Slanted History collects gems from Peel Sessions (“Kentucky Cocktail,” “Circa 1762”) and seven-inches (“Baptist Blacktick”) as well as live slop from the first European tours, with Mark Ibold and Bob Nastanovich in the fold. Some are outtakes from Slanted – imagine leaving these tunes off your first album, when as far as you know or imagine, it’s your only album. These tracks (some of which had never been rumored among Pavement freaks) came out on the 2002 Slanted and Enchanted reissue. But they’ve never been separately available as an album in their own right, and many of them have never been on vinyl before. The rarities collected here could have been – or maybe even should have been – cobbled together into a quickie stopgap album, a Slanted sequel.

File Under: Indie Rock


Prurient: Frozen Niagara Falls (Profound Lore) 3LP
Known as America’s most prominent noise figurehead, for nearly 20 years under the moniker of Prurient (AKA Vatican Shadow / Rainforest Spiritual Enslavement / Christian Cosmos / Etc.), Dominick Fernow has created a sonic entity unlike any other in the realm of experimental, ambient, and noise music respectively. Throughout a massive repertoire that consists of full-lengths, EPs, splits, singles, limited cassette runs and 7” releases etc. Prurient is one of the most important artists to define and reinvent the genre of noise music which in turn has made Fernow one of the premiere visionaries in the entire genre of experimental music. Throughout the years Prurient has been known to constantly shape shift its sound into many mutations and incarnations within the noise genre through massive layered walls of sound consisting of harsh feedback, tortured vocals, meticulous sampling, machine-like industrial pounding, entrancing synth work, enticing beats, and waves of electronica to create an aura that treads the fine line of harsh noise extremity and atmospheric beauty. Prurient’s first full-length album since the 2011 game changer “Bermuda Drain” sees Fernow deliver the most ambitious and massive Prurient album to date. A double-album clocking in at a near 90-minutes entitled “Frozen Niagara Falls”, the new Prurient album is set to define Fernow even more as a master within all the genres Prurient tends to crossover into. In what encompasses moments familiar from the entire Prurient catalog along with creating something entirely new and different from what Prurient has previously done, “Frozen Niagara Falls” (in which its journey began to manifest in late 2013 and was finally completed on Valentine’s Day 2015) could very well be recognized as the Prurient magnum opus.

File Under: Noise, Doom, Metal
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Shooting Guns: Wolf Cop (One Way Static) LP
BACK IN STOCK!!! One Way Static Records is proud to present the soundtrack to ‘Wolfcop’ an hilarious modern classic about a cop turned werewolf. Equally remarkable is the killer soundtrack provided by Shooting Guns. A unique blend of heavy carpenter electronics mixed with Black Sabbath-esque riffs and even a hint of country. Upon hearing it, we just knew we had to release this! The first pressing sold out so quickly that we did a repress on Amethyst Colored vinyl limited to #450 copies worldwide. Vinyl packaged in a deluxe gatefold old school tip-on jacket with original artworks by Randy Ortiz (Marvel Comics, Mondo,…). Also included is a free digital download card and a bonus 7″ containing 3 promo tracks by Shooting Guns on randomly inserted black or white vinyl with a picture sleeve.

File Under: OST, Metal, Stoner
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Chelsea Wolfe: Abyss (Sargent House) LP
Chelsea Wolfe has returned with her fourth full length album, Abyss, out August 7th 2015 on Sargent House, and you can hear / download the first single “Iron Moon” now. Originally premiered via Rolling Stone, who called it a, “haunting, doomy exercise in loud-quiet-loud dynamics” and her “darkest, heaviest and most personal album yet.” “Abyss is meant to have the feeling of when you’re dreaming, and you briefly wake up, but then fall back asleep into the same dream, diving quickly into your own subconscious,” says Wolfe.To conjure this in-between world, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas, TX to record with producer John Congleton (Swans, St. Vincent). In the back of her mind burned the words of designer Yohji Yamamoto: “Perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion.” The resulting eleven songs reflect that philosophy as they smolder with human frailty, intimacy, quiet passion, anxiety, and deep longing.

File Under: Goth, Indie Rock
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tower of power

Various: Tower of Power (Cometa Edizioni Musicali) LP
“Freedom Power” (released in 1976 on label Cometa Edizioni Musicali CMT 4 ) is one of the most popular albums of the ’70s and Italian library collects compositions of Maestro Gabriele Ducros with the contributions of other  composers and musicians like Sandro Brugnolini , Enrico Pieranunzi and Silvano Chimenti . ” Tower Of Power ” is the sequel to that lucky LP and includes unreleased material recorded during the same session of 1976 , songs that as in the case of those of the first volume push the accelerator on the jazz – funk soundtrack that was in Italy in those years fertile ground thanks to the great success of the movie cop.

File Under: Jazz, Funk, Library, Italian
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13th Floor Elevators: Easter Everywhere (Snapper) LP
Alt-J: An Awesome Wave (Infectious) LP
Animal Collective: Strawberry Jam (Domino) LP
The Band: Islands (Universal) LP
The Band: Moondog Matinee (Universal) LP
The Band: Northern Lights (Universal) LP
The Band: Rock of Ages (Universal) LP
Beach House: Bloom (Sub Pop) LP
Beach House: Teen Dream (Sub Pop) LP
Black Keys: Big Come UP (Alive) LP
Boards of Canada: Campfire Headphase (Warp) LP
Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
Bombino: Nomad (Nonesuch) LP
Boris: Heavy Rocks (Sargent House) LP
Charles Bradley: No Time For Dreaming (Daptone) LP
Broadcast: Haha Sound (Warp) LP
Broadcast: Tender Buttons (Warp) LP
Budos Band: 3 (Daptone) LP
Don Cherry: Organic Music Society (Caprice) LP
City & Colour: Bring Me Your Love (Dine Alone) LP
City & Colour: Hurry & The Harm (Dine Alone) LP
Loren Connors: Departing of a Dream (Family Vineyard) LP
Dead Meadow: Warble Womb (Xemu) LP
Dinosaur Jr: Bug (Jagjaguwar) LP
Dinosaur Jr: s/t (Jagjaguwar) LP
Nick Drake: Pink Moon (Island) LP
Earth: 2 (Sub Pop) LP
Earth: Pentastar in the Style of Demons (Sub Pop) LP
Brian Eno: Small Craft on a Milk Sea (Warp) LP
Faith Healer: Cosmic Troubles (Mint) LP
Father John Misty: I Love You Honeybear (Sub Pop) LP
Fleet Foxes: s/t (Sub Pop) LP
Jamie XX: In Colour (Young Turk) DLX LP
Joy Division: Substance (Rhino) LP
The Knife: Silent Shout (Mute) LP
Mutoid Man: Bleeder (Sargent House) LP
Nine Inch Nails: Downward Spiral (Interscope) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Postal Service: Give Up (Sub Pop) LP
Real Estate: Atlas (Domino) LP
Arthur Russell: World of Arthur Russell (Soul Jazz) LP
Elliott Smith: Either/Or (Kill Rock Stars) LP
Elliott Smith: Roman Candle (Kill Rock Stars) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Sufjan Stevens: Illinois (Asthmatic Kitty) LP
Sufjan Stevens: Michigan (Asthmatic Kitty) LP
Viet Cong: s/t (Flemish Eye) LP
Various: Can You Dig It 1 (Soul Jazz) LP
Various: Can You Dig It 2 (Soul Jazz) LP
Various: New Orleans Soul (Soul Jazz) LP
Various: Punk 45: Extermination Nights in Sixth City (Soul Jazz) LP

Tagged , , , , , ,

…..news letter #702 – kitchen!…..

Finally! I’ve finished my reno’s just in time for Festival season! Which makes the traffic in the store a little bit light, but for those of you who do come in, we’ve got lots of great new and used stuff hitting the shelves every day.

Also, next Wednesday, if you are bored and like to drink, I’ll be spinning records at Daravara from 9-12. Come have a drink or four and let me play some records for ya.

…..picks of the week…..

not waving

Not Waving: Voices (Not Waving) LP
Alessio Natalizia’s limited three-volume Voices cassette series (2014) is reworked and extended for this limited double vinyl release, marking a point of transition for Natalizia’s Not Waving project in advance of a crushing dancefloor album for Diagonal, forthcoming at the time of this release. These 18 reshaped mixes of the tapes’ original 23 tracks are shuffled up like a deck of tarot cards to form a new narrative. Drawing inspiration from Ivan Pavlov, Oliver Sacks, B. F. Skinner, and “the relationship between perception, memory, attention and comprehension,” they render a quietly burning mind full of ideas and synæsthetic sensation, from the lush drone harmonics of “A Part of Thought” to pulsing EBM lab golems like “The Behaviourist Approach,” with a really special touch for beautifully wistful, Eldritch/Italian analog electronics in the likes of “No Kill” or lump-in-throat closer “Voices.” Perhaps the best comparison would be with Pye Corner Audio’s Black Mill volumes, but Not Waving’s varied yet coherent aesthetic feels more like a lost compilation of library music or early industrial music than the work of one super-talented guy. Mastered and cut by Matt Colton. HIGHLY RECOMMENDED!!!

File Under: Ambient, Electronic, Retro
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Omar Souleyman: Bahdeni Nami (Monkeytown) LP/CD
Perhaps Syria’s most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7″ planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album’s heartrending ballads by The Black Lips’ Cole Alexander. Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits “Kaset Hanzel,” “Khattaba,” and “Shift -al Mani”), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa’id’s keyboards improvise devotedly to every tune and turn of Souleyman’s choice. The lyrics are familiar territory for the singer — declarations of eternal love, consolation of one’s aching heart, pleas to his lover to sleep in his arms forever — realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region — be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world’s insistence in associating him with his home country’s unending war, Omar Souleyman gives back nothing but love.

File Under: Syrian, Dabke, Wedding Singers
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…..new arrivals…..

abAlvarius B: Chin Spirits (Durga) (Unrock) 10″
Unrock’s Saraswati series continues with a trip into the spiritual wonderland of Alvarius B. aka Alan Bishop (Sun City Girls, Invisible Hands). Deep down, heavy, Sun-City-Girls-flavored Dada deluxe. Crackling midgets, purist psychedelia. A cocoon of seven colorful, shiny monoliths of essential nonsense, each dirty pearl standing by itself. Limited edition one-time pressing.

File Under: Sun City Girls, Weirdness, Guitars


Daniel Bachman: Miscellaneous Ephemera & Other Bullshit (Feeding Tube) LP
“First off, the cover. Let’s make it clear — this was totally Daniel’s idea and is based on the original art for Tony Rice’s California Album (Rebel SLP-1549, 1975). Why? We cannot say exactly. The album is considered to be in Rice’s all-time top five. But so what? Who amongst us can claim to have fully plumbed the depths of Bachman’s mind? The guy is a genius and those types just have ‘their ways.’ So shut up about the cover already. This album itself was released under the title Daniel Bachman by an English label — Lancashire and Somerset — in 2014. But copies evaporated like mom’s milk, so here’s a sonic jug from which we can all suckle with warm ease. Miscellaneous Ephemera is an amazing record — filled to the brim with music that extends the concept of acoustic guitar manipulation beyond the range of mere vaseline machine guns. The pieces range from disruptive scrambles and neo-Tuvan throat aktion worthy of late-period Fahey to Kabra-style ragas and the more easily-anticipated particles of primitive guitar brilliance. There is also some adult content on the second side, so radio programmers — be alert! Bachman has been a growing force in the acoustic underground for a few years now, and this new one really rips a new hole in the side of the style’s star-cluster. Join forces with it today. Or else” –Byron Coley, 2015. Edition of 500.

File Under: Guitar Soli, Folk


The Bachs: Out of the Bachs (Out-sider) LP
’60s garage-psych moody monster! Out of The Bachs was originally released in 1968 as a private pressing of 150 copies; it’s one of the rarest USA ’60s garage/teenbeat albums ever. The band consisted of five young kids from Chicago, regulars at local teen dances, who decided to release an album for their fans before splitting up. Recorded and mixed in just ten hours at a makeshift studio, Out of The Bachs offers 12 amazing self-penned songs with a sound ahead of its time. Pure teenage-angst vocals, crashing Rickenbackers, fuzz outbursts, killer moody tracks… Sadly, all previous reissues of the album failed to capture the true sound of the original, until the Time-Lag label reissued it in 2011 with remastered sound from a pristine original vinyl copy. This reissue uses the same audio master as the out-of-print Time-Lag edition. File next to The Rising Storm, The Fantastic Dee-Jays, The Savages. Includes insert with detailed liner notes and rare photos.

File Under: Garage, Psych, Raers
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Alessandro Cortini: Risveglio (Hospital Productions) LP
Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno (HOS 412CD). For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini’s words, “The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space… it’s such a living instrument.” The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm’s releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.

File Under: Synth, Drone, Nine Inch Nails
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deaf wish

Deaf Wish: Pain (Sub Pop) LP
When Deaf Wish found themselves in a room together for the very first time, they agreed on a guiding philosophy: “Let’s not make anything that’s going to last. If we’re together for just two shows, then that’s what it is.” They’ve deviated some. Over the course of eight years, the Melbourne foursome – bassist Nick Pratt, drummer Daniel Twomey and guitarists Sarah Hardiman and Jensen Tjhung, with each member contributing vocals – have instead amassed one of rock’s most exhilarating bodies of work, a concise run of wooly seven-inches and white-knuckle LPs whose legendary live translation has been most accurately described as “unhinged.” All this despite their being scattered across multiple continents, with no way of getting to know one another outside of intermittent touring. “We didn’t really know what this band was,” Tjhung says. “We had something, but it wasn’t clear – we had to figure out what that was.” This year marks the arrival of Pain, the first they’ve written since coming together again semi-permanently in Melbourne, and their appropriately titled first full-length for Sub Pop. The St. Vincent EP was their proper Sub Pop debut. It is a miraculously dissonant, wonderfully immediate display of Deaf Wish at their mightiest, alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they’ve ever had before, they’ve found themselves confronted with ideal (yet foreign) conditions. Two-minute freakouts like “Eyes Closed” share airspace with the meditate squall of “On” and the guitar-born majesty of “Calypso.” Everything was captured in three takes or less, in a bleak, nondescript studio on the lifeless outskirts of Melbourne. Pain was mastered by Mikey Young (Eddy Current Suppression Ring, Total Control). “It’s a simple thing,” Tjhung says of their approach. “Simple takes the worry out of it. If we try to step it up and go sideways, it just doesn’t seem to work. But we’ve grown up and been through some shit. To get to this point you have to bust through a few walls. It’s easy to be new, and I think, in the end, this is what it is. When you put these people in the room, it’s Deaf Wish.”

File Under: Indie Rock
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Mac Demarco: Another One (Captured Tracks) LP/CS
Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco’s Another One, a mini-LP announced almost one year to the date of the meteorically successful Salad Days. Conceived and recorded entirely by himself in a short period between a relentless tour schedule at his new place in Far Rockaway, Queens, Another One is eight, freshly written songs, expanding the arsenal of Mac’s already impressive catalog. There’s a bittersweet, romantic sensibility present. The overall feeling is lost love, or perhaps love never found, yet Mac embraces this without making it an overly somber experience for the listener. It’s at times haunting and warm, and a bit more refined and sophisticated, but still plenty playful, retaining the guts and soul of classic Mac. With two full-length albums and two EPs released and hundreds of sold out shows performed in the last several years, it seems as Mac DeMarco nears his 25th birthday, he’s outgrowing any sort of slacker stigma.

File Under: Indie Rock
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Ducktails: St. Catherine (Domino) LP
Unfurling out of Los Angeles comes St. Catherine, Matt Mondanile’s fifth outing as Ducktails. St. Catherine is a finely-honed collection of baroque pop songs that take the blissful, cascading melodic fretwork that Mondanile has made his signature with both Ducktails and his other band, Real Estate, and applies it to songs of considerable new emotional heft and dynamic range. Mondanile partially wrote and recorded St. Catherine over the course of 2014 and then finished off recording at the start of 2015. The longest time he has ever spent working on a record, it took place in bedrooms and studios predominantly in east LA and Glendale, but venturing as far as Berlin and New York as Mondanile worked on tracks around heavy periods of Real Estate touring. When Mondanile finally settled back in LA at the start of 2015, it was Rob Schnapf, co-producer of Elliott Smith’s classic albums XO and Either/Or, that he turned to in order to help put the finishing touches to St. Catherine. Together, the pair added a new crispness and punch to the record’s more upbeat, psychedelic pop tracks (such as James Ferraro featuring, lolloping lead single “Headbanging In The Mirror,” and the soaring “Into The Sky”), that recalls the artful muscularity of Smith’s later work, whilst title track, the heavenly “St. Catherine” boasts one of Mondanile’s greatest ever lead guitar lines and benefits greatly from Schnapf’s warm, rich feel. Where St. Catherine impresses even more so, however, is when Mondanile steps out of his comfort zone, as he does frequently and with great success. The Julia Holter-featuring “Church” and “Heaven’s Room,” tracks which see Mondanile flex his muscles as a composer and arranger, introducing complex, interlocking vocal harmonies, gorgeously sweeping string parts and a host of off-kilter electronic elements into his sonic palate – channelling the likes of Broadcast, and Stereolab but with a younger, wide-eyed sensibility.

File Under: Indie Rock
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enhetEnhet For Fri Musik: Dokument 1 (Holidays) LP
Arisen from the always-surprising Swedish underground (or undergrowth), Enhet för Fri Musik — featuring members of Sewer Election, Ättestupa, Neutral, Makthaverskan, and Blod — gathered in the woods and recorded this music to make all wild souls dance. A real gem. Folk unit mixed with tape music. Loose thin line between composed and improvised, or, as member Dan Johansson defines it, “quite sparse outsider anti-music.” The Enhet starts where Ättestupa left off. Strictly limited to 150 copies, then on to Dokument 2.

File Under: Electronic, Jazz, Improv
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Virginia Genta/Dag Stiberg/Jon Wesseltoft/David Vanzan: Det Kritiske Punkt (Feeding Tube) LP
“Spine-tingling free improv fire-blast from an international quartet with deep underground roots. Italian reeds player Genta and drummer Vanzan form the basis for all Jooklo aktion (Duo, Golden, Stellar, et al.). Norwegian reeds dude Stiberg and guitar/electronics manager Jon Wesseltoft also collaborate in Maranata. Together in Olso in 2012, the quartet laid down this very hard-blown and stylish session. There are let-ups in the attack, but there aren’t many. Broken into five parts, ‘Det Kritiske Punkt’ (‘The Critical Point’) surges along like an unbroken chain of climaxes. Even when one or two of the instruments start to move laterally, as though things are preparing to wind down, the other two almost invariably get more sput in their gutteral sails and start to howl like their brain stalks are under attack. The only real break comes on ‘Pt. III’ where it starts to sound like one of the AACM’s little instrument jamborees. But that is a feint. Soon enough you’ll feel your scalp begin to raise again. And it’s off to the races we go. One does not generally think of the Italians and the Norwegians forming an affinity group. But they do share a love of fish. And perhaps sometimes that’s enough.” –Byron Coley, 2015

File Under: Free Improv


Gianni Giublena Rosacroce: Musica da Camera Oscura (Holidays) LP
Gianni Giublena Rosacroce is the solo project of Stefano Isaia (Movie Star Junkies, La Piramide di Sangue), created with the intention of sonically exploring the Middle-Eastern shores of the Mediterranean. After two tape releases and a split 12″, here’s the debut long-player, recorded between home and the mountains with the help of Galilea Mallol between 2013 and 2014 and featuring companions Reverend F. Murphy and Mai Mai Mai on the side-long track “Compendium Maleficarum.” A caravan of percussion — lead by the haunting sound of the clarinet — wandering and dancing between the stands of a crowded market. Edition of 250.

File Under: Experimental, Jazz, Folk, Psych


Alan Jefferson: Galactic Nightmare (Trunk) LP
A homemade 86-minute epic space adventure, conceived, written, played, sung, and illustrated by an amateur musician in his bedroom in Hull, England, from 1979 to 1985, and reissued here for the first time. When Alan Jefferson heard The War of the Worlds, he thought he could make something similar, maybe better. This was in 1979. So, he set about it, with limited equipment — a Moog, a reel-to-reel, a guitar, and some pedals. Six years later, in 1985, Galactic Nightmare was finished, and made available to readers of the magazines Future Music and CU Amiga. Via Jefferson’s advertisement, one could buy a 90-minute chrome cassette of the album, complete with poster and storyfile for £7.99 plus £1 postage. Very few people bought it, but one of the writers for Future Music, Dave Robinson, liked the preview copy that he received. He started playing it for a few people. One of those was a guy called Dave Green, who eventually played it for Stewart Lee in the 1990s. All of them found Galactic Nightmare an addictive, unforgettable musical experience. In 2014, Stewart Lee sent a small snippet of Galactic Nightmare to Jonny Trunk, who, a few months later, wrote to the address in the 1986 advertisement. Two days later Alan Jefferson got in touch, and this double LP reissue of Galactic Nightmare is the result. Jefferson wrote the story, narrated the story, wrote and played the music, sang the songs, and made the artwork, poster, storyfile, et cetera, sometimes fighting against faulty instruments and a dodgy tape machine. Galactic Nightmare is a totally unique recording, joyous in its attempt to create something absolutely epic with very few resources and charming in its attention to detail and almost folk-like naiveté. A great example of an amateur being inspired to make something, getting on with it, sticking with it, and ultimately creating an album that few people will forget once they have heard it. Presented in gatefold matte varnished sleeve bearing the original Galactic Nightmare poster; includes original Galactic Nightmare graphics, plans, musical notation, early sketches, advertisements, et cetera inside the gatefold; notes by Alan Jefferson, Jonny Trunk, Stewart Lee, and Dave Green; and complete storyfile with original illustrations across all four sides of the printed inner sleeves.

File Under: Electronic, Space Rock, Synth Pop, Weird Shit

la luz

La Luz: Weirdo Shrine (Hardly Art) LP
For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It’s Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music’s ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland’s guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves. When it came time to record Weirdo Shrine, their second album, the goal was to capture the band’s restless  live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland’s newly fuzzed-up guitar solos – which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country – were juxtaposed against the group’s most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on “You Disappear” and “Oranges,” and sought inspiration from Charles Burns’ Seattle-set graphic novel Black Hole. The resulting album is a natural evolution of the band’s self-styled “surf noir” sound – a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of “Sleep Till They Die” to the widescreen, receding-skyline send-off of “Oranges” and its bittersweet epilogue, “True Love Knows.” In describing Weirdo Shrine, Segall remarked that it gave him a vision of a “world…burning with colors [he’d] never seen, like mauve that is living.” In “Oranges,” the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal “orange wind / that glows from your footsteps.” These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.

File Under: Indie Rock, Ty Segall
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El Mahdy Jr.: Ghost Tapes (Discrepant) LP
With the haunting collages of Ghost Tapes, El Mahdy Jr goes deeper into his own personal sonic space. “Ghost Tapes is a composition of everyday fragments based on found tapes, field recordings, beats, and radio frequencies. A ruff attempt of interpreting the cultural ghost that surrounds the field and makes the difference between place and space” –El Mahdy Jr, 2015. Mastered and cut by Rashad Becker at Dubplates & Mastering. Pressed at Optimal.

File Under: Experimental, Field Recordings
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M.e.s.h.: Piteous Gate (Pan) LP
Following his acclaimed 2014 Scythians EP, M.E.S.H. returns to PAN with his debut album, the opulent and dystopian Piteous Gate. Alongside fellow members of Berlin’s Janus collective, behind nights at Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club dynamics and production. On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut-and-paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo-feudal moods offset by the recurrence of hydraulic hiss and flanger. A synthetic fuel injector revs opener “Piteous Gate” to life. Drawing from action-scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into “Optimate” — stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. “Thorium” sends a slow-motion camera through a melting test reactor; all burnt VSTs and synthetic theorbo and loose drums. “The Black Pill” smears high-end renaissance sample libraries through arcs of static. In “Epithet,” temple sewer atmospheres are ruptured by “Scythians”-style cut-up drums. “Jester’s Visage” indulges a minute-long baroque guitar improv, and territorial youths air their beef in “Kritikal & X.” Closing out the album, “Methy Imbiß” is a machinic rhythm track, and “Azov Seepage” mingles birdlike granular noises with rusted steel clanging. Recorded in Berlin in winter 2015. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Electronic, Ambient, Experimental
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Metabolismus Und Fifty-Fifty: A Square Inside a Circle Inside… (Black Sweat) LP
This LP is a documentation of the very first meeting of Stuttgart-based minimalist jazz duo Fifty-Fifty and Swabian sound exploration society Metabolismus. All players draw from decades of experience with different forms of improvisation, using instrumental and electronic sounds known and unknown to spontaneously create an aural environment of complex simplicity. A wide spectrum of group mind expressions can be heard, from the purely abstract to moments of calm reflection. The title is a meditation on the idea of the impossible, beautifully represented by these words from Alexander Pope: “Mad Mathesis alone was unconfined, Too mad for mere material chains to bind, Now to pure space lifts her ecstatic stare, Now, running round the circle, finds it square.” The session was recorded during one afternoon in the summer of 2012 at Sumsilobatem Sound Studio on magnetic tape; any technical imperfections due to the spontaneous nature of the situation were kept in as part of the document. No digital technology was used in the making of this album. Cover art is hand-silkscreened; originally designed by Estuardo Maldonando. “Metabolic music saves you from a life of grey.” –KF

File Under: Electronic, Jazz, Ambient


MV & EE: Alpine Frequency (Feeding Tube) 2LP
“Matt Valentine and Erika Elder have been cutting new synaptic pathways through brainic underbrush since before most people became capable of breathing air. That said, their albums (many of which are CDR-only issues on their own Child of Microtones imprint) often have a specific delirious blueprint, designed to shift only a certain batch of molecules and/or air into forms that translate into music. Such is not the case with Alpine Frequency. This lazily explorative 2LP set was sewn into a whole from various tattered swathes of sound, pieced together like the jeans Neil Young wore on the cover of After the Gold Rush (1970). A Spectrasound production, AF includes appearances by a vast array of MVEE enablers of all known periods — PG Six, Mick Flower, Rafi Bookstaber, Jeremy Earl, Doc Dunn, Spanish Wolfman, and many others emerge from time to time, making sure the water is just right. And it is. Like a very good Dead set, the music here moves from overt abstraction to melodic focus and back like the tracking shots Monte Hellman used in the 1974 film version of Charles Willeford’s Cockfighter (1962). But unlike the Allman Bros. (who were extras in the crowd scenes at Hellman’s staged cock fights), MV&EE don’t do anything to placate the squares. Their trip is as deep, dark, and flowing as a bushel of burning VT weed. Their music sucks you into its vortex (if it allows you in, of course) and then just carries your ass right through to the finish line. All you have to do is get up now and then to change the records. This here outfit (in all its many guises) has put out a lot of great music, but Alpine Frequency feels like a real achievement — a shorthand essay about all that has gone before it. A beautiful capsulization, ready to float onto your ear’s tongue, to melt once and for all. Dig it” –Byron Coley, 2015. Edition of 500.

File Under: Blues, Folk, Cosmic

omallyStephen O’Malley: Gruides (Demdike Stare) LP
The dark interpreter Stephen O’Malley ov Sunn O))) presents his towering orchestral composition Gruidés, commissioned by French 35-piece improv orchestra ONCEIM — l’Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales — and released thru Demdike Stare’s DDS label. In early 2014 O’Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, which is made up of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation, and classical. Understandably intimidated by the prospect, but encouraged to “just be punk rock about it,” the preternaturally gifted composer has conceived a technically demanding — for the players, at least — and richly rewarding long-form drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion to that used in Sunn O)))’s 2014 collaboration with Scott Walker. It makes great use of the acoustic qualities of Saint Merry church in central Paris, as captured in the recording of IRCAM’s Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in Jean-Luc Verna’s cover art. It’s an incredibly immersive piece that comes highly recommended if you’re into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber, and, indeed, Sunn O))).

File Under: Classical, Drone


Sleaford Mods: Key Markets (Harbinger) LP/CD
Nottingham duo Sleaford Mods present third “proper” album, Key Markets. “Key Markets was a large supermarket bang in the centre of Grantham from the early 1970’s up until around 1980,” explains Jason Williamson. “My mum would take me there and I’d always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. It’s the continuation of the day to day and how we see it, the un-incredible landscape.” “The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It’s a classic. Fuck em.” Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.

File Under: Hip Hop, Thug
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Ghedalia Tazartes:  La bar Mitzvah du Chien (Bisou) LP
Another shamanic journey in Tazartès’s universe. He sings and plays all the instruments and samples, recorded in the very same room as all his other solo records since 1974. Performed, produced, and recorded by Ghédalia Tazartès for Bisou in 2012. Tazartès’s son, Lalo, can be heard on “Don’t Cry for Me, Mamma.” The front cover is a picture of Quentin Rollet, shot by Yannick Ressigeac. The back features a drawing by Lalo Tazartès. Mastered by F/Lor.

File Under: Experimental


Michael Vallera: Distance (Opal Tapes) LP
An Opal Tapes debut from Michael Vallera of the group Cleared, Distance makes a clear case for just how easily industrial and dark ambience swing between beauty and fear, with more than a wink of the gothic that brings to mind a host of classic cvlt missives by Lycia, Vidna Obmana, or Maeror Tri. As with the best of those, these works mark the transition between dream and nightmare. Something chilling, perhaps borne of the subconscious’s twisted ability to fuck you up, but remaining just out of reach. Subtle perfumes linger in the air and a kind of romantic melancholy spreads, but the overwhelming sensation is of a patient and growing dread.

File Under: Ambient, Industrial
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my heart

Various: My Heart’s In My Hand…. (Shady Lane) 2LP
This double LP, released by NERO magazine and Shady Lane Productions, gathers selected materials, both texts and audio recordings, from Phil Collins’s project of the same name, for which Collins collaborated with guests of Gulliver, a self-described “survival station for the homeless” in Cologne, Germany. There, Collins installed a phone booth for free and unlimited local and international calls, on the condition that the conversations would be recorded and anonymized. Collins sent selected material to an international group of musicians, to serve as the starting point for original songs that he then presented as 7″s in specially-designed listening booths overlooking Cologne’s central train station. Collins produced the work for his 2013 solo exhibition In every dream home a heartache (curated by Anna Brohm), at Museum Ludwig in Cologne, where he first presented it. The work is a headfirst dive into a city, tuning in to its many unheard stories. Having worked for a homeless magazine in the 1990s, Collins has a long-standing interest in issues relating to these communities. Bringing to the fore the lyrical and narrative potential of the human voice when it stands in for those subjects of city life who are purposefully ignored and routinely overlooked, he dramatizes the moment of communication as an emotional and ambivalent exchange. On January 5, 2001, Gulliver opened in a railway arch under the Hohenzollern Bridge, in the immediate vicinity of Cologne’s main train station, the banks of the Rhine, and the old town. Gulliver is the first institution of its kind in Germany, offering a wide range of services with unusually long hours of operation. Collins’s project includes contributions by legendary figures Scritti Politti, David Sylvian, Lætitia Sadier, and Damon & Naomi; trailblazing experimental and indie acts Demdike Stare, Planningtorock, Maria Minerva, Heroin in Tahiti, Pye Corner Audio, and Peaking Lights; and local heroes Elektronische Musk aus: Köln, Pluramon, and Cologne Tape; as well as a special guest turn from the original German superstar, Julia Hummer. The double LP is pressed on 140-gram colored vinyl and includes all of the original tracks and music by those who partook in the project. It’s presented with a 29 x 29 cm, 24-page, 400-gram booklet containing critical texts by Mark Fisher and Florian Schneider, an extract from the original telephone conversations, images of the 7″s, and photographs of the Gulliver center. The LPs and booklet are housed in a glossy four-color gatefold sleeve.

File Under: Electronic, Experimental, Comps

primitiveVarious: Primitive Paradise: Early Exotica (University of Vice) LP
The genre known as “exotica” reached worldwide success during the 1950s thanks to artists such as Yma Sumac, Martin Denny, and Arthur Lyman, but its origin can be found almost 50 years earlier. The seed was planted by Hawaiian musicians who performed, representing their country, at the first Universal Exhibitions that took place in the United States in 1901. Their paradisiacal melodies, percussion, and tribal rhythms; the strange timbre of instruments such as the ukulele and the steel guitar; and the scantily clad female dancers sparked the interest of American society. The eccentric vaudeville shows, especially their risqué numbers, incorporated sounds from Asia, the Middle East, and Africa to create the right atmosphere for an exotic stage on which sensual dancers tried to satisfy the audience’s escapist needs. It was then that the traditional folklore of the islands began to merge with Western rhythms such as foxtrot and swing. The first recordings by Hawaiian artists were marketed widely in the 1910s on the 78 rpm format, and as a result the steel guitar, the genre’s characteristic instrument, became so popular that it was integrated into other genres such as country, country blues, Western swing, and novelty music. At the same time, Cuban and Puerto Rican music arrived in the United States thanks to pioneers such as Trío Matamoros, Don Azpiazú, and Los Jardineros, who paved the way for such enormously popular stars as Desi Arnaz and Xavier Cugat. On the other side of the pond, in the early ’30s, rumba, conga, and beguine were creating a frenzy in Europe thanks to orchestras from Cuba, Guadeloupe, and Martinique performing at Parisian clubs. Later on, after World War II, more commercial rhythms such as cha-cha-cha and mambo would be easily assimilated by an audience already used to Latin sounds that would eventually conquer all of Europe and the rest of the world. The music featured on this compilation is a sample of that musical expansion, exemplified by 14 tracks of early exotica originally released on 78 rpm records between 1920 and 1947 in countries such as France, Spain, England, Holland, Japan, and the USA. Most have never been reissued on any format until now. Includes tracks by Orquesta Serramont, Lecuona Cuban Boys, Mercedes Mariño, Pedro Berrios, All Star Trio, The Honolulu Queens, South Sea Islanders, Anglo-Persians, Jay Whidden, Elsie Bayron, The Kidoodlers, Wailana Grass Shack Boys, The Tune Wranglers, and Gino Bordin.

File Under: Exotica, World


Belle & Sebastian: Boy With The Arab Strap (Matador) LP
Philip Cohran: On The Beach (Kelan Zulu) LP
Helm: Olympic Mess (Pan) LP
Jamie XX: In Colour (Young Turk) LP
Blind Willie McTell: 1927-1935 (Yazoo) LP
Ol’ Dirty Bastard: Return to 36 Chambers (Get On Down) LP
Pavement: Slanted & Enchanted (Matador) LP
Pixies: Surfer Rosa (4AD) LP
Pixies: Come On Pilgrim (4AD) LP
Sigur Ros: Valtari (XL) LP
Sigur Ros: Meo Suo I Eyrum Vio Spilum En (XL) LP
Sun Ra: Lanquidity (Philly Jazz) LP
Sun Ra: Monorails & Satellites (Saturn) LP
Big Mama Thornton: In Europe (Arhoolie) LP
Big Mama Thornton: Queen at Monterey (Arhoolie) LP
Tycho: Dive (Ghostly) LP
Vampire Weekend: s/t (XL) LP

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