…..news letter #635 – Rejoice, Spend, Dig…..

Hot damn! Record Store Day is here! Saturday morning you will line up and we will open the doors and you will flood the store with vinyl love. We open at 10, so plan your morning accordingly. Below is a list of confirmed WILL BE ON THE SHELF records, limited quantities of course. We will be giving stuff away, sales on everything, it’s Record Store Day!!!! Good times await you on Saturday at Listen!

And if you haven’t heard this year we’ve drummed up something extra special this year… on RSD, April 19th, someone will be going home with a FREE REGA RP1! To enter the contest, you have to come down on RSD, you will receive one entry for every $25 that you spend, the more you buy the more chance you have of winning, OR you also can receive one entry by purchasing any RSD exclusive item. That’s right, come down, buy some swag and have a chance to win a $500 turntable. Not a bad deal right?

…..Confirmed RSD Arrivals…..

A Minor Forest: Flemish Altruism/Inindependence 4LP
AC/DC: Ballbreaker LP
AC/DC: Stiff Upper Lip LP
Allman Bros: Sold Out Tonight 1992 2 LP
Alvarius, B /Sir Richard Bishop: If You Don’t Like It, Don’t LP
Bardo Pond: Looking For Another Place LP
Bayside: Time Has Come 7″
Black Angels: Cleak Lake Forest 10″
Blue Rodeo: Diamond Mine LP
Bok Bok: Come Back To Me 7″
Bombino: Agam Gam LP
Bored Games: Who Killed Col. Mustard LP
Botch: Unified Themes Redux LP
David Bowie: 1984 (pIc disc) 7″
Breadwinner: Burner 12″
Brian Jonestown Massacre/Magic Castles: Split 12″
Broken Bells: Holding On For life 12″
Built To Spill: Ultimate Alternative Wavers LP
Camera Obscura: Session EP 12″
Case, Neko And Friends 7″
Cave In: Jupiter LP
CCR: 69 Singles 10″
Michael Chapman: Playing Guitar The Easy Way LP
The Chills/Sneaky Feelings/The Stones/Verlaines: Dunedin Double LP
Chvrches: Recover 12″
Chocolate Milk: Action Speaks Louder Than Words LP
The Civil Wars: Live at Eddies Attic LP
Coldplay: Midnight 7″
College: Norther Council LP
Sam Cooke: Ain’t That Good News LP
Cosmetics: Olympia …Plus LP
Cults: Upstairs At United 12″
Cure/Dinosaur Jr.: Just Like Heaven 7″
Death Cab For Cutie: Live 2012 2LP
Deep Purple: Shades Of Deep Purple LP
Deerhoof: Who Sleeps 7″
Deer Tick: Eel Bowel 7″
Devo Butch And The Sundance: Gig Pic Disc
Devo: Live at Max’s Kansas City LP
Devo/Flaming Lips: Gates of Steel 7″
Dodos & Magik Magik Orchestra: Substance 7″
Doors: Weird Scenes Inside the Goldmine LP
Drive-By Truckers: Dragon Pants 10″
Jack Elliott: s/t LP
Emperor: IX Equilibrium LP
Everly Brothers: Roots LP
Fairhorns: Doki Doki Run LP
Field: From Here We Go Sublime LP
Fix: Vengeance/Jan’s Rooms 2×7″
Flaming Lips: Seven Skies H3 LP
Fleetwood Mac: Dragonfly/Purple Dancer 7″
Foals: Live At Royal Albert Hall LP
Frightened Rabbit: Live From Criminal Records LP
Fun: Point and Light 10″
Michael Feuerstack: Singer Songer LP
Grateful Dead: Hampton 79 LP
Green Day: Demolicious LP
Haim: Forever 12 inch
Half Japanese: Volume 1 LP box
Grant Hart: Every Everything LP+DVD
Hollis Brown: Gets Loaded LP
Julia Holter: Julia Don’t Make Me Over 7″
Howlin’ Rain/Donkeys: Split 7″
Husker Du: Candy Apple Grey LP
Idle Race: Birthday Party LP
Inspiral Carpets: Dung 4 + The Cow EP LP+7″
Jay Z /Linken Park: Collison Course 12″
Joy Division: An Ideal For Living 12″
Julie Ruin: Brightside 7″
July: s/t LP
Stephen John Kalinich: World Of Peace Must Come LP
Kings of Leon: Wait For Me 7″
Kode9 & Space Ape: Memories of the Future LP
Ray Lamontagne: Supernova 7″
LCD Soundsystem: The Long Goodbye Box
Let’s Talk About Space (ft. Silver Apples) 7″
Life Without Buildings: Any Other City LP+7″
Lightfoot, Gordon Sundown LP
The Litter: Action Woman 7″
David Lynch: The Air Is On Fire LP
Mastadon: Live At Brixton LP
Mazzy Star: I’m Less Here 7″
MGMT: Oracular Spectacular LP
MGMT: Congratulations LP
Milk & Cookies: Not Enough Girls in the World 7″
Jenks ‘Horseback’ Miller/James ‘Wooden Wand’ Toth: Roads to Ruin LP
Motorhead: What’s Words Worth LP
Mudhoney: Live LP
Nirvana: Pennyroyal Tea 7″
Notorious BIG: Life After Death LP
Notwist: Run Run Run 12″
Oasis: Supersonic 12″
Connor Oberst: Hundreds of Ways 7″
Of Montreal: Jigsaw Puzzle 7″
One Direction: Midnight Memories 7″
Oneohtrix Point Never: Commissions 1 12 inch
William Onyeabor: William What Remixes LP
OST: The Muppet Movie LP
OST: 1990 The Bronx Warriors LP
OST: The Perfume Of The Lady In Black LP
OST: Degradation Of Emanuelle LP
OST: In The Wall LP
OST: Paranoman LP
OST: The  Pink Panther LP
OST: Scott Pilgrim vs The World: The Game LP
OST: Wizard Of Oz LP
Outkast: Southernplayalisticcadillacmuzik LP
Pagans: Whats This Shit? LP
Doug Paisley: Growing Souls 7″
Ray Parker Jr.: Ghostbusters OST 10″
Katy Perry: Prism Pic Disc
Phosphorescent: Song For Zula 12″
Pinback: S/T LP
Pissed Jeans: Live At the BBC 12″
Pixes: Indie Cindy LP
Placebo: Ball Of Eyes LP
Placebo S/T LP
Pogues & Joe Strummer Live In London LP
Powerglove: Far Cry 3 Blood Dragon LP
Pussy Galore: Pussy Gold 5000 LP
Ramones: Meltdown 10″
Otis Redding: Pain In My Heart LP
Red Temple Spirits: Dancing to Restore an Eclipsed Moon LP
Red Temple Spirits: If Tomorrow I Were Leaving… LP
Ringo Deathstarr: Gods Dream LP
Alexander Robotnick: Vintage Robotnicks LP
Rockabye Baby: David Bowie LP
Rodion GA: Misiunea Spatiala Delta 12″
Gil Scott-Heron: Nothing New LP
Screaming Trees: Last Words LP
Shooting Guns: Brotherhood of the Ram LP
Side By Side Mystery 7″
Skylon: s/t 7″
The Snow: Memory Loss 7″
Songs: Ohia: Journey On 7″
Sonic Rendezvous Band: City Slang 7″
Omar Souleyman: Jazeera Nights LP
Soundgarden: Superunknown Singles Box Set LP BOX
J Spaceman/Kid Millions: Live At The Poisson Rouge LP
The Specials: Sock It To Him 7″
Regina Spektor: You’ve Got Time 7″
Spirit of the West: Home for Arrest 7″
Spoon: Love Ways 12″
Springsteen, Bruce American Beauty 12 inch
Harry Dean Stanton: Partly Fiction 7″
Stranglers: Peaches 7″
Sun Ra: Outer Spaceways Inc LP
Tame Impala: Live Versions 12″
Teeth Of The Sea: A Field In England LP
Sebastien Tellier: L’Incroyable Verite LP
Big Mama Thornton: Sassy Mama! LP
Various: Bob Dylan & The Basement Tapes Influences LP
Various: Faux Real LP
Various: If 2.0 LP
Various: Rough Guide To African Blues LP
Various: Rough Guide To Mali LP
Various: Rough Guide To Psychedelic Bollywood LP
Various: Rough Guide To Voodoo LP
Various: RPM Football 7″
Various: Sun Records Vol 1 LP
Various: Live From High Fidelity LP
Various: Monster Skies LP
Various: Pop Yeh Yeh LP
Various: Rough Guide To Latin Rare Groove LP
Various: Sacred Bones: Todo Muere Vol 4 LP
Chad Van Gaalen: I Want You Back 7″
Don Van Vilet: Son of Dustsucker LP
Velvet Underground Loaded LP
Veruca Salt: Seether 10″
Vitamin String Quartet: Performs Weezer’s Pinkerton LP
Doc Watson: Southbound LP
Mike Watt & Il Sogno Del Marinalo: Mud Puddle 7″
Whirlwind Heat: Do Rabbits Wonder LP
Link Wray: Slinky 7″
Xiu Xiu: Unclouded Sky LP
Yardbirds: Little Games LP
Frank Zappa: Don’t Eat the Yellow Snow 7″


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…..news letter #634 – 9 days…..

If you are unaware, Record Store Day is just a couple days more than a week away! Exclusive releases are starting to show up and things are looking awesome! Remember, we will be opening at 10am on the 19th. There will be a line (I believe it started forming around 9 last year). Dress for the weather! We will do our best to expedite people into and out of the store, but you should expect to spend some time waiting outside.

And if you haven’t heard this year we’ve drummed up something extra special this year… on RSD, April 19th, someone will be going home with a FREE REGA RP1! To enter the contest, you have to come down on RSD, you will receive one entry for every $25 that you spend, the more you buy the more chance you have of winning, OR you also can receive one entry by purchasing any RSD exclusive item. That’s right, come down, buy some swag and have a chance to win a $500 turntable. Not a bad deal right? We also have some other items to give away as other prizes as well, we’ll announce some of those as we confirm them.

…..picks of the week…..


Coil/Nine Inch Nails: Recoiled (Cold Sweat) LP
Recoiled is a rambunctious alchemy of magikal Coil sensibilities and hi-tech home circa ’90s mixing technique, all fused in the cave-like early studios of Danny Hyde/Peter Christopherson. These were the unrestrained PRE-BIG studio-mix-downs of four songs which long-time Coil admirer/collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde/Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. Recoiled includes a fuller, more opulent version of the track “Closer,” which eventually made it onto the opening credits of the movie SE7EN. These five lengthy compositions (just under 40 minutes) are pre-Ableton/laptop generation-type priest-song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumored to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Four of the tracks were released on the download-only Uncoiled. A bonus, previously-unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation. Beautifully remastered.

File Under: Ambient, Electronic, Remix, NIN, Coil
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slatesSlates: Taiga (New Damage) LP/CD
Full disclosure, the singer of this band has worked here forever, but you already knew that, and this truly is their best outing yet and you totally should buy this record. “Edmonton’s Slates are perhaps one of the hardest working punk outfits in Canada, seemingly always on the go, recording, taking care of their Jamz Club and touring. They’re indefatigable and that’s reflected in their unflinching, honest post-hardcore. With raw throats, open hearts and cranked amps, Slates release their third full-length, Taiga, on their new label, New Damage Records. Taiga was recorded in Chicago, at Electrical Audio Studios with Steve Albini. Albini, of course, renowned for his work in the studio since the ‘90s, proves to be a perfect match for Slates: the Edmonton quartet have never sounded clearer nor rawer on tape (analog, natch). Albini’s use of space, not only in the physical studio, but between the notes and instruments, coupled with his delicate handling of sheer volume elevates Slates to new heights. Thankfully, the foursome are more than match for this pressure and, on Taiga, they perform better than ever, taking their Hüsker Dü-inspired, bittersweet songwriting to a new level. The album’s emotional centrepiece is the delicate “Minarets.” Starting with a hushed, finger-picked melody and pained vocals, Slates frontman, James Stewart, takes the lead, making a noisy, distorted mess of his demons before the release — empty and incompatible, Slates have to fight for their voice. At their core, Slates are a way of dealing with an inherently unfair world, finding your own place in a crowd with no room. There’s a reason they’ve been accepted with open arms across Canada: there’s real emotion behind the performance and legions of disaffected kids are flocking to these underground oases that provide a respite from a plastic world. Do yourself a favour: pick up Taiga and join your new tribe.” – Beat Route

File Under: Punk, Local, CanCon
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…..new arrivals…..

56785,6,7,8′s: Bomb the Rocks: Early Days Singles (Sweet Nothing) LP
Finally back in print!! “The′s are an all-female Japanese rock trio, whose music is reminiscent of American surf music, rockabilly and garage rock. They frequently cover songs from American rock and roll. All members are from Tokyo, Japan. The′s first started performing as a quartet in Tokyo, and recruited guest performers during their Australian tour, once even utilizing a male member, “Eddie”. They first officially became a trio in 1992, before touring Australia. The′s made a brief appearance in the 2003 Quentin Tarantino film Kill Bill Volume 1, where they were shown playing in an izakaya.” – Wikipedia

File Under: Garage, Punk, Girl Bands
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EMA: Future’s Void (Matador) LP/CD
Erika M. Anderson first graced the limelight under the guise of EMA in May 2011, when the brilliantly scuffed debut album “Past Life Martyred Saints” was released to a multitude of acclaim. After fronting the genre-defying cult duo Gowns, Past Life Martyred Saints offered a deeper glimpse into the world of EMA. The highly anticipated follow-up release, The Future’s Void is available through Matador Records as a limited edition lilac coloured vinyl release with poster. If “Past Life Martyred Saints” was an inward exploration of human relationships and their toll, “The Future’s Void” catapults them out into space, both thematically and musically. Drawing from references as diverse as The Neuromancer, NIN & riot grrl, the album meditates on universal themes of how we interact with the wider world and how that interaction is increasingly modified by technology.

File Under: Indie Rock, Lo-Fi
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M83: You and the Night (Mute) LP
M83 is excited to announce their latest collaboration: the soundtrack to Yann Gonzalez’s first feature film, You And The Night. Mute will be releasing You And The Night via digital download on November 19th, 2013. Anthony warns that You And The Night is not a typical M83 release. “People who only like ‘Midnight City’ are going to be disappointed. Mellow and romantic, this soundtrack pays tribute to French soundtracks from the 70′s and is much more intimate than Hurry Up, We’re Dreaming and the Oblivion Soundtrack. This score is really for lovers and ghosts.” In creating this sultry and luminous soundtrack Anthony reunited with several of his previous collaborators. Joe Trapanese (Oblivion, Hurry Up, We’re Dreaming) returned to assist with the orchestral arrangements, whilst long-term M83 collaborator Morgan Kibby (M83, White Sea) and Susanne Sundfør (Oblivion) performed vocals on several tracks on the album.

File Under: M83, OST, Electronic
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schoolboy qwScHoolboy Q: Oxymoron (Interscope) LP
For the first time in a long time, hip hop can genuinely say that a new generation of MC’s has arrived. Sure, there are those who helped birth the culture and music and people who can say they grew up with it. But now, you are witnessing perhaps the first generation that can say they were raised on hip hop almost exclusively. If you don’t agree, you’re probably not listening to enough Schoolboy Q. Although the artist born Quincy Matthew Hanley has only been rapping since 2007, his bluntly charismatic presence on wax should’ve already put him on your radar as one of rap’s emerging voices. Born in Germany to a pair of military parents, Q spent the first three years of his life in Texas before his family eventually settled in Los Angeles. Like so many before him, Schoolboy’s L.A. experience provided a lifeshaping balance of sports, school, drugs and gangs. Growing up on the corner of 51st and Figueroa, Schoolboy Q lived just 8 minutes away from the Staples Center where Kobe Bryant and the Lakers hoisted trophies every other year. For a while, Q looked to be on his way to a similar path as he played football, baseball, basketball and even joined the swimming team in high school. Unable to resist the lure of his surroundings, he soon found himself drowning in an abyss of slanging crack, shootouts and jail time. SBQ got a chance to overcome his circumstances and bad decisions with his music in 2007 when he debuted his first mixtape, ScHoolboy Turned Hustla. Oxymoron features production from the likes of The Alchemist, Pharrell, Sounwave, Nez & Rio and Digi+Phonics along with famous guest spots by Kendrick Lamar, Raekwon, 2 Chainz, ASAP Rocky, Jay Rock, Tyler The Creator and Kurupt.

File Under: Hip Hop, Rap
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Robbie Basho: The Seal of the Lotus (4 Men With Beards) LP
Darkside: Psychic (Matador) LP
Death: For The Whole World to See (Drag City) LP
Django Django: s/t (Because) LP
Future Islands: Singles (4AD) LP/CD
Francoise Hardy: Tous Les Garcons… (Vinyl Passion) LP
Nicolas Jaar: Space is Only Noise (Circus Company) LP
Stephen Malkmus & The Jicks: Wig Out At Jagbags (Matador) LP/CD
Stephen Malkmus & The Jicks: Mirror Traffic (Matador) LP
The Meters: Zony Mash (Sundazed) LP
The Meters: Fire on the Bayou (Music on Vinyl) 2LP
Ministry: Mind is a Terrible Thing to Taste (Music on Vinyl) LP
Night Beats: s/t (Trouble in Mind) LP
Wayne Shorter: Speak No Evil (Blue Note) LP
Townes Van Zandt: High, Low, and In Between (Omni) LP
Kurt Vile & Sore Eros:
Tom Waits: Franks Wild Years (Music on Vinyl) LP
White Stripes: Elephant (Thirdman) LP
White Stripes: White Blood Cells (Thirdman) LP
Lucinda Williams: s/t (Thirty Tigers) LP
Various: Bombay Disco (Cultures of Soul) LP
Various: Champion DJs from Studio One (Studio One) LP
Various: Cosmic Machine (Because) LP


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…..news letter #633 – vinyl countdown…..

If you are unaware, Record Store Day is just a couple days more than 2 weeks away! Orders have been placed, some stuff has even started to arrive already and we are working away to make this year’s RSD the best one yet. And to make it awesome we’ve drummed up something extra special this year… while we are still working out the final details of the draw, I can tell you that on RSD, April 19th, someone will be going home with a FREE REGA RP1! That’s right, come down, buy some swag and have a chance to win a $500 turntable. Not a bad deal right?

…..pick of the week…..


Eric Holm: Andøya (Subtext) LP
Subtext presents the debut album from the London-based American electronic musician Eric Holm. The release brings together a collection of recordings produced on the Arctic island of Andøya, an outpost 300 kilometers north of the Arctic Circle. Developed entirely from a single contact mic recording from a remote telegraph pole that connects the island’s array of military listening stations, Holm crafts a detailed expansion of this solitary sonic moment, shaping the sound into an immersive meditation on man, nature and isolation. The telegraph pole connected to a seemingly endless network of traversing lines harnesses the dense ambiance of the landscape, both absorbing and distilling the essence of Andøya’s harsh beatific character, and considers the position of microphone as witness within a vast cycle of physical transition and terrestrial flux. The release sonically frames Holm’s adept technical crafting of his source material, bringing to mind both the glacial recordings of Chris Watson and the expansive mechanized textures of classic Chain Reaction.

File Under: Ambient, Electronic, Field Recordings, Chain Reaction
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…..new arrivals…..

avey tareAvey Tare’s Slasher Flicks: Enter the Slasher House (Domino) LP
Slasher Flicks by name alone is not what it appears to be. Scrambled horror film soundtracks? Not even remotely. A bunch of East Coasters making their quintessential LA album? No, more like escape from LA, say guitar-wielding lead singer Avey Tare (of Animal Collective), keyboard player and singer Angel Deradoorian (of Dirty Projectors, Deradoorian), and drummer Jeremy Hyman (of Ponytail, Dan Deacon). If LA is an environment to get lost in, as they claim, this group sewing roots in SoCal have become lost in the best way: relocating and reinventing sounds they’re already skilled in making, sounds that as Avey Tare says, are not only regionally unrestricted but that “come from a place that’s not human.” Having composed the bones of these eight songs on acoustic guitar, Avey Tare invited Deradoorian to create melodic lines to flesh them out. Then, enter Hyman, whose backgrounds in painting and music proved his rare combo of flexibility and acuity, “free but structured.” Uniquely its own “jazz power trio,” Slasher Flicks produced and recorded the songs live at the Lair studio using only minimal overdubs; the live sound being key to Enter The Slasher Flicks’ spooky dynamism.

File Under: Indie, Animal Collective
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Brothers & Sisters: Dylan’s Gospel (Light in the Attic) LP
Of all the great back catalogs in the history of rock, Bob Dylan’s is among the most covered, his acolytes ranging from The Byrds to Adele via Manfred Mann and Guns N’ Roses. But something tells us you haven’t heard anything quite like Dylan’s Gospel by The Brothers and Sisters, a choir of Los Angeles session singers brought gloriously to the fore for a very special, one-off record. Originally released in 1969 on Ode Records, this rare and sought-after album finds the California collective covering a clutch of Dylan classics in the era’s revolutionary gospel style. Produced by Lou Adler, soon to work his magic on Carole King’s mega-successful Tapestry, and arranged by Gene Page, noted for his work for Motown, the performers were largely unknown, but many went on to find great acclaim. Merry Clayton, the powerhouse singer best known for sparring with Mick Jagger on Rolling Stones’ “Gimme Shelter” (and star of the recent documentary 20 Feet from Stardom), appears here, as does Edna Wright of The Honeycones and Gloria Jones who recorded the original version of “Tainted Love” in 1965. The cast of 27 singers also includes Ruby Johnson, Shirley Matthews, Clydie King, Patrice Holloway, Julia Tillman and more. The tracklist includes some of the best-loved Dylan songs from the singer songwriter’s most productive decade, including “Lay Lady Lay”, “All Along The Watchtower”, “My Back Pages” and “Just Like A Woman”. The genesis of the project was Lou Adler, the music business visionary who staged the legendary Monterey International Pop Festival. He imagined a project that combined the songs of Dylan with L.A.‘s most sought after session singers, most of which began their singing in the Baptist churches of South Los Angeles. “Listening to Dylan’s songs, I felt there was a gospel-like feel to them, both spiritually and lyrically,” Adler says in the liner notes. “So those two ideas, to work with these singers and to explore that side of Dylan – came together.” Recording sessions at Sound Recorders Studios in Hollywood were a four-day party, with food, drink and far more musicians than were ordered, many of the singers bringing along cousins, mothers, partners and more. Carole King came to hear, as did Peggy Lipton and Papa John Phillips. It was a rock ‘n’ roll version of a gospel church. “Lou just put on a big, crazy party,” remembers Edna Wright. “He had all these people together, all this raw talent. And we were there for nothing but the love of singing.” Presented in this long-overdue reissue is an often-overlooked album and a must for Dylan fans. The word of Dylan has rarely sounded so stirring.

File Under: Folk, Gospel, Dylan
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Peter Brotzmann: For Adolphe Sax (Cien Fuegos) LP
“This is the one that started it all — German tenor saxophonist Peter Brötzmann’s first album in a long career that would spawn many, many more recordings in the years to come. Recorded with the rhythm section of bassist Peter Kowald and drummer Sven-Åke Johansson, this is intense, unrelenting free-jazz with little in the way of clear structure or melody… this is music that gets by on force and pure energy, rather than polite tunes or other musical decorum. Apart from a few brief moments of quiet during ‘Sanity,’ the second track, this stuff just doesn’t quit, with Brötzmann’s consistently abrasive, high-pitched wailing leading the charge and the other two members stirring up a pretty good ruckus themselves (Kowald, especially, gets in a good sting-sawing bass solo on ‘Morning Glory’).” –All Music Guide; pressed on 180 gram vinyl. Recorded by Günter Schütte, 1967, in Wuppertal. Peter Brötzmann (tenor & baritone saxophone); Peter Kowald (double bass); Sven-Åke Johansson (drums).

 File Under: Free Jazz
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cageJohn Cage: Early Electronic and Tape Music (Sub Rosa) LP
“I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.” –John Cage, 1937. “Although John Cage occasionally worked in large, sophisticated studios — for example, when he composed ‘Fontana Mix’ in 1958 — his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan’s ‘global village.’ The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century. Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realization of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realization of ‘Fontana Mix’ includes the individual mono tracks from Cage’s original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited.” –Robert Worby, Langham Research Centre

File Under: Early Electronic, Avant Garde
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cloudCloud Nothings: Here & Nowhere Else (Carpark) LP/CD
On their third full-length, Cleveland-bred outfit Cloud Nothings give joy a hard, sharp edge. “I was feeling pretty good about everything so I just made stuff that made me happy,” says founding member and mild-mannered chief songwriter Dylan Baldi of Here and Nowhere Else. “I had nothing to be angry about really so the approach was more positive and less ‘fuck everything.’ I just sat down and played until I found something that I like, because I was finally in a position to do that.”Utilizing every possible opportunity to write while on the road for 18 consecutive months following the release of 2012′s Attack on Memory, Baldi presented an album’s worth of new material to his bandmates with just days before they’d enter the studio with esteemed producer John Congleton. “I’m pretty sure every song was written in a different country,” he says. “It’s the product of only having a couple of minutes here and there.” But Cloud Nothings would enjoy a full week with Congleton at Water Music in Hoboken, New Jersey, followed by three days of mixing at his own studio in Dallas shortly thereafter. The result is Cloud Nothings, refined: impossibly melodic, white-knuckle noise-rock that shimmers with sumptuous detail, from Baldi’s lone, corkscrewing guitar to his dramatically improved singing to bassist TJ Duke’s piledriving bass lines and drummer Jayson Gerycz’s volcanic fills.

File Under: Indie Rock
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cohenCharles Cohen: A Retrospective (Morphine) 2CD
Double CD compilation of those enchanting Charles Cohen vinyl releases + two unreleased recordings. Packaged in a rigid double CD box with booklet. Philadelphia’s Charles Cohen, free-jazz improviser and synth composer, has managed to remain almost unknown outside of his local improv scene for decades. This retrospective of his early works, all recorded between 1976-1989, testify to the understated genius of his work. Fleeting between polyrhythmic cosmic patterns, gravity-tarred bleeps and noise, outer-worldly melodies, all executed with unfathomable astuteness and grace, this collection showcases the breadth of this idiosyncratic electronic musician. One of the few people to master the rare Buchla Music Easel, his work since the 1970s has focused almost exclusively on this instrument. With his first solo European tour hypnotizing audiences in early 2014, his work is finally reaching a wider audience, enchanted by his mesmerizing yet deeply focused approach. His roaming, raw synths, rhythmic intensity and immersive drones have resonated with uncanny familiarity for a younger generation of electronic experimentalists. This double CD release combines all three LPs released on Morphosis’ Morphine Records in 2013, excavated from Cohen’s archives; “The Middle Distance” featuring his early works from the Philadelphia’s “No Man’s Land” art installment, the University Of Texas in El Paso and The Painted Bride Art Center performances as well as “Dance of the Spiritcatchers,” originally issued in 1980 on Zero Records; “Group Motion,” a live recording from a dance theater piece in Philadelphia of the same name and “Generator,” a live recording from Generator Sound Art Gallery in NYC (featuring the Music Easel and the even rarer Buchla 700 series, apparently the only two known recordings of this instrument ever formally released); and Music for Dance and Theater, a further collection containing some of Cohen’s collaborations and performances in theater pieces and art installations by Jeff Cain and Tonio Guerra, amongst others. This selection includes two previously-unreleased tracks “Conundrums” and “Slow Blue and Horizontal.” Each track has Cohen’s immediately captivating hallmark, equal parts playful and mysterious. A stunning retrospective, unearthing a wealth of truly beautiful material.

File Under: Early Electronic, “Dance” Music
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dead fader

Dead Fader: Blood Forest (Robotic Elephant) LP
Heavyweight pressing with digital download code. Limited to 300 copies. In the wake of 2012′s Work It, No, Dead Fader returns with not one, but two full-length releases. The dual release format celebrates the two distinct strains of Cohen’s output. Most recognized for his sonic extremity, previous Dead Fader work has focused on heavy distortion, melding noise with infectious dancefloor sensibility. Blood Forest redresses the balance, introducing bittersweet textures and lush, detuned synth melodies. Neoclassical influences are fragmented and reinvented, sprinkled with elements of electronic classics such as Boards Of Canada. Cohen’s masterful battle between chaos and control, tension and release provokes all the right emotional responses, without giving it away too easily.

File Under: Electronic, Techno
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Drones: Miller’s Daughter (Bang) LP
The Drones’ The Miller’s Daughter original vinyl edition, released in 2005, reached insane prices on the internet due to the existence of only 500 hand-numbered copies. In order to celebrate the 10th anniversary of this record release, and since this was originally released in a very limited edition on vinyl back in the day, Bang! Records are more than happy to announce the reissue of this Drones gem which included a cover of John Lennon’s “Well Well Well,” which was only available on the original vinyl pressing. Previously-unseen pics and revised artwork make it a dream-come-true for fans of The Drones. Make sure you don’t miss it this time. Housed in a gatefold sleeve.

File Under: Indie Rock, Killer Jamz
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Geinoh Yamashirogumi

Geinoh Yamashirogumi: Ecophony Rinne (Victor) LP
“Published in 1986, Ecophony Rinne is the band’s ninth album and the first work in a mysterious trilogy. Split into four parts dealing with the different life cycles, this masterpiece will take you on a journey through space and time. The sound, unique and timeless, depicts the band itself.”

File Under: Prog, Neoclassical, Percussion
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Philip Glass: Solo Piano (Music on Vinyl) LP
180 Gram audiophile vinyl. With Solo Piano, Glass presents himself ‘unplugged’ – no electronic keyboards or synthesizers, and no overdubs, either – just solo piano. ‘Metamorphosis’ was written in 1988 and takes its name from a play based on Kafka’s short story. Its second track, ‘Metamorphosis Two’, formed the basis of one of the main musical themes in the film ‘The Hours’. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts. ‘Mad Rush’ was written for the occasion of the Dalai Lama’s first visit in New York City. ‘Wichita Vortex Sutra’ is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. ‘We decided on the spot to do something together, reached for one of Allen’s books, and chose the poem ‘Wichita Vortex Sutra’.

 File Under: Classical, Minimalism, Piano
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Jerry Goldsmith: The Omen OST (Mondo) LP
Mondo Records is pleased to present Jerry Goldsmith’s Oscar award winning original motion picture soundtrack to the 1976 Richard Donner horror film The Omen. Remastered by James Plotkin, this one time vinyl pressing features the most comprehensive version of the soundtrack ever released on the format with all new artwork by Phantom City Creative focusing on the cemetery sequence and the reveal of the contents of the two graves. Limited edition 180g LP in deluxe gatefold jacket.

File Under: OST, Horror OST
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Ross Ellis 12" 3mm 11073

Horseback: Piedmont Apocrypha (3 Lobed) LP
“I was born to lose; I won’t have this form forever.” so begins Horseback’s fifth full-length studio record, with an incantation that could very well serve as the shapeshifting band’s raison d’être. Since before 2007, Horseback has served as a musical vehicle for multi-instrumentalist Jenks Miller (also of Mount Moriah and various solo outfits), chronicling his prolific, exuberant, and at times altogether whimsical investigation of heavy music(s) and their relationship with western mysticism. Thus far, horseback has embodied (and shed) many forms, from the serene, fuzzed-out, near neo-classical bliss of Impale Golden Horn, to the caustic, poisoned noisescapes of Forbidden Planet, to the crushing psych-rock (black metal? you tell us!) found on the Invisible Mountain and Half Blood. While genre tags are difficult with shape-shifting bands like Horseback, some common threads are readily apparent across each of these records: regardless of the style, there’s some otherworldly, hypnotic quality in the music, conjured by ritualistic repetition and a layered depth in the instrumental arrangements. And each record demonstrates an unmistakable internal logic, its own a self-contained universe of sound. Some have referred to horseback records as riddles to be solved: once you crack the code, that sonic universe is yours to explore. Musically, Piedmont Apocrypha gestures to the pastoral hues of Impale Golden Horn, but there’s a structured quality to the tracks here that fits in line with Horseback’s “rock” records. Make no mistake: this is a heavy record, but in the way Comus’ First Utterance is heavy, or in the way Amon Düül’s Phallus Dei is heavy. It is that patient, smoke-clogged, ritualistic vibe, solemn with the noticeable presence of layered organ and harmonium tones (perhaps a subtle nod to Terry Riley or even Olivier Messiaen). Indeed, for all its far-reaching strangeness, Piedmont Apocrypha may be the most approachable Horseback record yet: harsh vocals are used sparingly, sung (and otherwise intelligible) vocals are relatively prominent, and paint-peeling, high-frequency noise is almost entirely absent. As one might expect from its title, this record is also heavy with a sense of place. Thematically, it takes on the skin-shedding revisionist history of North Carolina’s Piedmont region, a place of conflict, proud culture(s), and intertwined mythologies. The fact that both Three Lobed (Jamestown, NC) and Phil Blank (Chapel Hill, NC) are involved further emphasizes this record’s ties to the tar heel state.

File Under: Metal, Drone, Doom
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icecrossIcecross: s/t (Lion) LP
Rippers Alert: Legendary and essential shreddage on board! Seriously great raw proto-metal with a punk spirit – this is a MUST GRIP. Icecross possess a unique and dark sound, which reveals influences ranging from Black Sabbath to King Crimson to Blue Oyster Cult, all melded together to form a distinct style. Considered proto-metal by many, though they don’t achieve this with a typical smash your face approach. Icecross unleash some killer inventive guitar sounds by way of Leslie speakers combined with wild ominous bass lines, frantic drumming, spooky effects on vocals and splendid use of bow to create a perfect dark heavy guitar album. Carefully re-mastered for pristine sound that lays waste to all the bootlegs that have come before. Includes insert with liner notes, clippings and photographs and a poster featuring cover art and band photos celebrating the 40th anniversary of this classic heavy rock cult favorite. For fans of Leaf Hound, Blue Cheer, Elias Hulk, Jerusalem, Necronomicon, Incredible Hog, Dust, Pentagram, Uriah Heep, Flower Travellin’ Band and the like.

File Under: Rock, Hard Rock, Metal, Awesome
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Leaders of the New School: A Future Without a Past (Traffic) LP
“Leaders of the New School began recording their debut album late in 1989 under the watchful eye of Chuck D and the Bomb Squad. The end result was their masterful 1991 release A Future without a Past. The group’s members, Charlie Brown, Dinco D, Cut Monitor Milo, and Busta Rhymes each complement one another, mixing classic Cold Crush Brothers style routines with a ‘new school’ edge. Leaders of the New School made an impact that had them literally living up to their name. Often slept on, A Future without a Past stands as a trail blazing release due to its mix of jazz samples with fun creative story telling on top of pounding hip hop drums. The first thing that grabs you while listening to A Future without a Past is the unique delivery of the three rappers (Dinco D, Charlie Brown, and Busta Rhymes) in both lyrical content and flow. Stand out tracks such as ‘Transformers,’ ‘Sound of the Zeekers,’ ‘International Zone Coaster,’ ‘Sobb Story’ and the lead single ‘Case of the P.T.A’ all display the multi-talents of each MC and how they bounced off each other’s style. ‘Feminine Fatt’ and ‘My Ding a Ling’ showed the groups more playful edge, while ‘Show Me a Hero’ and ‘Teachers Don’t Teach Us Nonsense’ had the group trading rhymes in their rapid fire deliveries. With a sound so fresh and new, the production on the album rivaled what Public Enemy started and the Native Tongues finished. Often underappreciated, A Future without a Past is ’90s rap at its best and a must for any Busta Rhymes fan.”

File Under: Rap, Hip Hop
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Andrew Liles: Fast Forward Through Time (United Dairies) LP
This is the first vinyl release on Steven Stapleton’s legendary label, United Dairies, in over 20 years! Andrew Liles’ “Through Time” series is based on ideas around the concept of time, the passage of time, time-travel and also in part on the writings of John von Neumann, specifically his ideas on the self-reproducing universal constructor and his lecture “The General and Logical Theory of Automata.” This is the fourth and final part of the “Through Time” series. This LP is strictly limited to 500 copies and no Nurse With Wound/United Dairies collection is complete without it. The record is pressed on audiophile virgin 180 gram vinyl and the sleeve features beautiful front cover art by Babs Santini (aka Steven Stapleton).

File Under: Experimental, Nurse With Wound
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Millie & Andrea: Drop the Vowels (Modern Love) CD
Millie & Andrea are Miles Whittaker and Andy Stott, fellow label-mates at Modern Love who collaborated on an occasional series of 12″ releases between 2008 and 2010. They now return with Drop the Vowels, their debut album. Produced fast and loose through late 2013/early 2014, it’s an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila’s incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral. It’s an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as an emotional response. Opener “GIF RIFF” brings to life a gamelan edit stripped bare before the over-compressed “Stay Ugly” breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. “Temper Tantrum” and “Spectral Source” follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake’s mighty “Madmen.” “Corrosive” flits between a fibrillating, arpeggiated steppers’ rhythm and a brutal jungle breakdown, while “Drop the Vowels” further explores and strips bare bass & drums before the slow but jacking warehouse killer “Back Down” provides pure percussive abandon. “Quay” ends the set with something quieter, a sublime coda made entirely from field recordings. Mastered and cut by Matt Colton. CD edition housed in a deluxe oversized 6-panel digifile. Vinyl soon!

File Under: Electronic, Jungle, Dance, Andy Stott, Demdike Stare
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Mount Carmel: Get Pure (Alive) LP
Amid the current industry of cool, Mount Carmel’s lack of gimmick is a welcome anachronism. Described once as “thee only non-bullshit hard rock band in goddamn America,” Mount Carmel was formed in 2010 by brothers Matthew Reed (vocals/guitar) and Patrick Reed (bass), with James McCain (drums), and hails from Columbus, OH. The power-trio already has two albums and a lot of road under its belt, and has earned a reputation as a stellar live act. Get Pure, their new album for Alive Naturalsound, is a new beast. It was recorded in Cleveland at Suma Recordings by Paul Hamann, where albums by Pere Ubu and the Black Keys were made, and mixed in Detroit at Ghetto Recorders by Jim Diamond, and captures the power and intensity of the band’s straight-up and sans revisionist blues rock sound. Full of swagger, packed with great songs and inspired performances, Mount Carmel’s Get Pure is true rock music like you haven’t heard in years. Crank it up!

File Under: Rock, Blues Rock, Garage
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Nurse With Wound: Bar Maldoror (Jnana) 2CD
Disc one is a remastered version of Live At Bar Maldoror 1984-86 (Mastered by Andrew Liles). Disc two is a previously unreleased live show from Ghent in 2007. “In our very short spell as a ‘live band’ Nurse With Wound performed 8 times, 5 in public, between the years of 1984-86. These events were shambolic, chaotic and uneven affairs, sometimes as boring for the performers as the non-plussed audiences but at other times reaching an amazing intensity. Some were quite amusing – I remember one in particular, a christmas event in Amsterdam. We had decided no electric lights, just hundreds of candles arund the stage and, in amongst the audience (whe were busy arranging them in circles) we began. I had a vast array of little noise making objects – toys and things – and I started inviting members of the audience to help us wind the clockwork stuff when suddenly about fifty people descended upon us, all very eager to help. Soon there was no room and we discreetly left the stage to watch the show from the comfort of the bar. Nobody seemed to notice. The audience played well and some of that gig made it onto this CD, which contains the hight points of our Bar Maldoror happenings (sic).” – Steven Stapleton Feb 3rd 1994.

File Under: NWW, Experimental, Industrial
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Prurient: Cocaine Death (Hospital) LP
Cocaine Death is a compilation of three of Prurient’s most sought-after cassette releases: 2007′s’ Cocaine Death, Caribbean Overdose and Tylenol Murders, eventually compiled as Cocaine Death for a CD release in 2008. This is the first time this collection has ever been available on vinyl, now fully remastered for the format. Cocaine Death brings together several strands and signifiers from the Prurient catalog, containing some of its most visceral and experimental works, alongside some of its most evocative. From the arpeggiated/submerged noise of opener “Pretext (Bahamian Burial)” to the padded, pulsating closer “Postscript (Coke Cunts)” the material here explores the relationship between futile pleasure, substance and escape; escape being a myth. Cocaine Death (originally C-10 packaged in an envelope, limited to 46 copies) is one of the most sought-after Prurient cassettes. The content is based on the glamour and destruction of toxic nightlife. Caribbean Overdose (originally a C-10, packaged in a standard shell package and limited to 100 copies) explores a different but strangely direct topic of the sexual reproductive life of plants. Further examination into the life of scientific advancement and education. Tylenol Murders (originally a C-10, packaged in an oversized envelope and limited to 10 copies) takes the sounds and concepts of the aforementioned releases and expands the sounds to further limits of cracked static, strained vocals and strange melodic loops.

File Under: Electronic, Experimental, Noise
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Rob: Maniac OST (Death Waltz) LP
Repressed! Death Waltz give the deluxe treatment for Rob’s future-classic soundtrack to a 2013 remake of ‘Maniac’ starring Elijah Wood. The mono-monikered French composer, Rob closely follows the film’s psychopathic themes by turns with a terrifying, mournful and poignant score heavily reminiscent of Cliff Martinez’s synth-heavy ‘Drive’ soundtrack and almost certainly inspired by total classics from Tangerine Dream, John Carpenter or Wendy Carlos. It’s a real peach, quite unmissable for fan of synthesised horror soundtracks and, obviously, exquisite packaging.

 File Under: OST, Horror, Carpenter, Synths
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spikeSpike: Orange Cloud Nine (Gold Channel) LP
Long awaited retrospective “Best Of” the enigmatic Dutch musician Spike, whose four privately pressed LPs from the 80s are the stuff of legend. Officially certified by the Dutch government as a “fool”, and a conscientious objector to nearly everything, Spike Wolters refused to work, and after a few court cases, won the right to be able to claim unemployment benefit for life. Fiercely political, he dropped out of society and during the 80s and produced a string of LPs which he pressed and sold himself. These sank without trace but were happened upon a few years ago by an ardent digger. Orange Cloud Nine presents 16 amazing tracks from the 4 LPs – shimmering, lo-fi oddball stoner pop played with a deft musicality. Clean concise pop songs, filtered through a heavy haze of marijuana, produced on cheap equipment, and almost entirely in isolation that have finally come of age. It’s meditative music that will uplift and mesmerize the listener. Sequenced to perfection, it has been lovingly remastered so well from the original tapes that it sounds better than the originals – and that’s according to Spike himself.

File Under: Lo-fi, Stoner Pop, Psychedelic
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Morton Subotnick: Silver Apples of the Moon (Karlrecords) LP
As composer, musician and initiator of the San Francisco Tape Music Center which he cofounded with Pauline Oliveros and Ramon Sender in 1961, Morton Subotnick (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with Don Buchla on the development of the early synthesizer Buchla Series 100 before moving to New York where the artist-in-residence at the newly established Tisch School of the Arts of New York University was enabled to set up his own studio. That’s where Subotnick’s most popular work Silver Apples of the Moon was commissioned by DECCA as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Until the current day, this seminal album has not lost its visionary power and has long been considered one of the essential milestones in electronic music with a great impact on later generations of artists, starting from the cult formation Silver Apples to Laika, who titled their debut Silver Apples of the Moon, too. Now for the first time since its original 1967 release, Subotnick’s masterpiece (which was selected for the Library of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180 gram LP that was carefully remastered for vinyl. Limited to 500 copies worldwide.

File Under: Early Electronic, Buchla
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Ken Vandermark/Nilssen-Love Duo: Lightning Over Water (Laurence Family) LP+7″
This double LP + 7″ is a result of two nights of live performance at the Dragon Club in Poznań, Poland in October 2011. The recording captures the duo at the peak of their tour and the result is mindblowing. Ninety-five minutes of playing-time spread out onto 2 LPs and a 7″ single. Total running time of the concerts was 200 minutes, so this is only a snippet of the two evenings. The LPs and 7″ come in a specially-designed cardboard box. Paal Nilssen-Love (drums) and Ken Vandermark (reeds) started their collaboration in 2000 when the group School Days was formed. Since that time, they have worked together in many other groups, including FME, the Peter Brötzmann Chicago Tentet, Lean Left (with Terrie Ex and Andy Moor), iTi (with Thomas Lehn and Johannes Bauer), Fire Room (with Lasse Marhaug) and with Vandermark as a guest in The Thing (which includes Mats Gustafsson and Ingebrigt Håker Flaten). Despite all of this activity, from early on it seemed like a natural idea for them to also pursue a duo format as a vehicle for performance. This work began during the summer of 2002, when they recorded the album, Dual Pleasure for the label Smalltown Supersound. Since then, the duo has toured the USA, Canada, Europe and Japan several times. Their musical approach to playing in the duo context is ferocious in its intensity, a stylistic maelstrom that combines extreme rhythmic velocity with formal deconstruction and re-assembly. In many ways, Nilssen-Love and Vandermark are more unleashed in this setting than any of their other playing situations, creating an environment for improvised music that is riveting for both its ideas and execution.

File Under: Free Jazz
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anthologyVarious: Anthology of American Folk Music Vol 1-4 (Mississippi) 4x 2LP
Mississippi Records have truly outdone themselves this time! They’ve managed to pull off EXACT reproductions of the original pressings of Harry Smith’s alchemical and endlessly wonderful Anthology of American Folk Music. Each volume is 2 LPs – all 8 LPs sleeved in beautiful cloth-bound volumes with exact reproductions of the original booklets! Unavailable on vinyl for years, and never reissued in this painstaking way, this is a rare chance to get up close and personal with the REAL Old Weird America. An essential purchase for every home. Seriously.

File Under: Folk, Blues, Essential
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Various: Kontroversial Kovers (Reprieve) LP
Kontroversial Kovers Kollekts for the first time in one place, 32 tracks from around the world, recorded during the golden era of garage between the years of 1964-1969. All tracks were written by Ray Davies and released by the Kinks, but here they are recorded by bands who at the time had varying levels of success. These often fuzzed out, sometimes quirky, and always inspired, rarely heard takes on Kinks Klassiks, when put together in this collection, demand a second look and in many cases a first. This record is a Kinks or Garage Konnoiseur’s dream come true. The track list speaks for itself!

File Under: Mod, Garage, Kinks
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walking dead

Various: The Walking Dead (Spacelab 9) LP
The Walking Dead is an American television drama series developed by Frank Darabont and is based on the comic book series of the same name. The series stars Andrew Lincoln as sheriff’s deputy Rick Grimes who awakens from a coma to end the world dominated by flesh-eating ‘walkers’ resembling the zombies of George A. Romeroís horror movies. The story unfolds as he sets out to find his family and encounters many other survivors along the way. The Walking Dead premiered in October of 2010 in the United States and based on the immediate strong response from viewers, AMC quickly renewed the series for a second season of 13 episodes. Two episodes into the second season, AMC announced that the show would return for a third and fourth season. The series has been very well received by both fans and critics, having been nominated for countless awards including a Writers Guild of America Award and a Golden Globe Award for Best Television Series Drama. The series has also attained strong Nielsen ratings, beating various records for a cable series, including receiving 10.9 million viewers for it’s season three premiere to become the most watched basic cable telecast in history.

File Under: OST, Horror


Arcade Fire: Funeral (Merge) LP
Black Flag: Damaged (SST) LP
Burnt Ones: Gift (Castle Face) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Efdemin: Decay (Dial) LP
Fleet Foxes: Helplessness Blues (Sub Pop) LP
Ben Frost/Daniel Bjarnason: Solaris (Bedroom Community) LP
Ben Frost: By The Throat (Bedroom Community) LP
Fugazi: End Hits (Dischord) LP
Fugazi: In On The Killtaker (Dischord) LP
Fugazi: Red Medicine (Dischord) LP
Fugazi: Repeater (Dischord) LP
Ghostface Killah: Ironman (Get on Down) LP
Head & The Heart: Let’s Be Still (Sub Pop) LP
Arve Henriksen: Places of Worship (Rune Grammofon) LP
The Notwist: Close to the Glass (Sub Pop) LP
Rhythm & Sound: With Artists (Burial Mix) LP
Souls of Mischief: 93 Til Infinity (Traffic) LP
Tobias.: Series of Shocks (OstGut) LP
Washed Out: Life of Leisure (Mexican Summer) LP
Various: A Fistful of Fuzz (Particles) LP
Various: World Psychedelic Classics 3: Love’s a Real Thing (Luaka Bop) LP

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…..news letter #632 – addiction 101…..

Well, if acquiring a 1500 piece collection on Friday wasn’t enough, Saturday night I went out digging and pulled a few sweet boxes of used gems for your listening pleasure. It has been brought to my attention that I perhaps have a record problem, I like to think I’m just dedicated to providing you guys with sweet wax! Anyway it seems like this was the perfect week for it since there wasn’t a whole lot new, and probably won’t be from now until Record Store Day, which is rapidly approaching! So, on with the records….

…..pick of the week…..


Jon Porras: Light Divide (Thrill Jockey) LP
Jon Porras (Barn Owl) creates drone music with a refined sense of atmosphere and remarkable forward motion. Regardless of the tools he uses, be it guitars and stacks of amplifiers or modular synthesizers, Porras creates cavernous sound-worlds that are as inviting as they are alien. Light Divide, his second solo release for Thrill Jockey, shows Porras shifting his focus entirely to electronic synthesis, using a wide array of analog and digital systems to exponentially expand his sonic palate. The resulting sounds are silhouettes of distant rhythms, abstracted traces of techno wastelands that come in and out of focus like an urban, post-industrial sprawl being overtaken by fog. Porras constructed and arranged the tracks on Light Divide as an architect would design a building, thinking of the sub-bass as a foundation, percussion as walls and support beams, and white noise and oblique melodies as the light filling the open spaces. Rather than writing passages or song structures, he focused on designing sounds from the ground up, building gestural movements with these sculpted slabs. Through this technique, patterns and musical phrases emerge in subtle and surprising ways. This theme of architecture and design is also reflected in the album cover, which was taken at Maison La Roche, a villa designed and built by Le Corbusier. Light Divide reveals Porras as a restless explorer, constantly finding new means by which to create expansive, impressionistic music. It demands close listening, and stands apart in Porras’ solo and Barn Owl discography for its intense attention to detail.

File Under: Ambient, Electronic, Experimental, Barn Owl
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…..new arrivals…..

bardo1Bardo Pond: Refulgo (3Lobed) LP
In 2000 a deep love for Bardo Pond provided the inspiration to establish Three Lobed Recordings. Fourteen years later, Bardo Pond and Three Lobed are proud to celebrate the twentieth anniversary of the band’s initial releases with Refulgo, an epic double LP collection of the band’s earliest 7” singles, split 7” tracks, and compilation appearances. This collection, the first of a series, compiles these essential Bardo Pond tracks in a manner to augment their enjoyment by longtime fans while also introducing this material to those who do not yet possess an encyclopedic knowledge of these modern psych rock pioneers. The material presented on Refulgo all comes from long out-of-print releases (which have also been largely unavailable digitally) and the entire content has been remastered. It has never sounded better. Bardo Pond has stood alongside psych rock peers yet unmistakably alone over the course of the twenty-plus years as a band. While their catalog is vast and spans a virtual wheelbarrow-load of albums, singles, splits and compilations, what is perhaps most remarkable is just how quickly as a band they developed their unique sound and voice. Refulgo presents as compelling an argument for that thesis as its two LPs worth of music present a band whose collective vision emerged effectively fully formed. Their first 7”, “Die Easy” / “Apple Eye” (first released on Compulsiv in January of 1994) is a primordial ooze of swampy, sludgey psych blues that clearly demonstrated the essential DNA that has become Bardo Pond’s multi-decade calling card. Track those building blocks through the subsequent releases and the sound is there in full bloom quickly, really by “New Drunks,” but really stretches out in full within the twenty-minute triumphant, genre-defining victory lap which is “Sangh Seriatim” (first released on Drunken Fish’s “Harmony of the Spheres” compilation in November of 1996). The temporal gap between the tracks from that first single, the first two presented on Refulgo, and “Sangh Seriatim,” the compilation’s concluding track, is shockingly small at less than three years. Most bands never fully realize their potential; this compilation demonstrates that Bardo Pond did it with remarkable speed as well as a high degree of maturity. Refulgo is released in a limited edition of 1,000 copies and is pressed on two pieces of 140 gram Dutch vinyl by Record Industry. The album is housed within an old style Stoughton tip-on gatefold bearing new artwork from Bardo Pond’s Clint Takeda. The album is accompanied by a download coupon for DRM-free digital files of the downloader’s choice.

File Under: Psych, Indie Rock
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Bardo Pond: Shone Like A Ton (3Lobed) LP
This is the first ever formal release of Bardo Pond’s 1992 self-released cassette Shone Like A Ton. The 6-track set has been remastered by Patrick Klem and Michael Gibbons and is released in a limited edition of 650 copies and is pressed on 140 gram Dutch vinyl by Record Industry. The album is housed within a traditional LP sleeve bearing new artwork by Bardo Pond’s Michael Gibbons. The album is accompanied by a download coupon for DRM-free digital files of the downloader’s choice. Bardo Pond were more than happy to do it themselves in their earliest days as a band. They recorded and self-released a handful of cassette-only albums to serve as merch table offerings as well as booking demos. Each of these cassettes offered a real-time snapshot of where Bardo Pond started sonically, each containing a primordial ooze of swampy, sludgey psych blues, demonstrating the essential DNA that has become Bardo Pond’s multi-decade calling card. Over the years a few of these cassettes have surfaced as band-issued CDRs and the like. However, 1992’s Shone Like A Ton has never been re-issued apart from those old, original cassette copies. This vinyl edition of this album marks the material’s first wide release, first vinyl release, and first digital release. Three Lobed Recordings is proud to release Shone Like A Ton in conjunction with Refulgo, a 2LP collection of Bardo Pond’s earliest singles and compilations tracks.

 File Under: Psych, Indie Rock
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black lipsBlack Lips: Underneath The Rainbow (Vice) LP/CD
In tomorrow! Atlanta’s favorite sons the Black Lips are back with their first full-length in three years, Underneath the Rainbow. The Vice Records release was recorded at a variety of locations over the course of 2013 and its twelve songs boast a stable of studio collaborators whose pedigree speaks to how much the band has grown and sonically matured over the course of their 15 year long career. After letters to incarcerated studio legend Phil Spector to produce went unanswered the band convened at Dunham Studios in New York to record initial tracks with Dap Kings music director Tommy Brenneck (Cee Lo, Charles Bradley). The group then decamped to Nashville to record several songs with Patrick Carney of The Black Keys producing, finally rounding out the album with a couple of songs co-produced with lifetime Lips recording collaborator, Ed Rawls. The resultant collection was mixed by Grammy winner Jimmy Douglass (Justin Timberlake, Snoop Dogg, Björk) and features artwork shot by legendary photographer Mick Rock (David Bowie, Queen, Lou Reed). Underneath the Rainbow blends southern rock with throwback C&W and blues on lead single “Boys in the Wood,” while “Funny” stands as the first Black Lips’ song with a prominent synth, however, the album owes just as much to the kiwi pop of New Zealand’s South Island and the Chicago South Side’s Crucial Conflict as it does the standard American South. It never strays far from the traditional roots music that has always found a comfortable home with the Black Lips, but invites enough curiosity with its approach to attract even the most unlikely listener. Since the release of 2011’s Arabia Mountain, which landed the Black Lips on the cover of SPIN among many other distinctions, the band have been a live fixture worldwide, including festival appearances at Coachella, Bonnaroo, Lollapalooza, Primavera, All Tomorrows Parties, Austin City Limits, as well as positioning themselves as international music diplomats via tours in Thailand, Turkey, Australia, and a highly ambitious, ground-breaking tour of the Middle East (which was the subject of an NPR All Things Considered piece as well as a feature length documentary Kids Like You & Me). “Does what all great psych rock ought to: It freaks you out, but in the best possible way.” – Rolling Stone

File Under: Punk, Indie Rock
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cashJohnny Cash: Out Among the Stars (Legacy) LP
In tomorrow! Legacy Recordings is proud to announce the release of Out Among The Stars (Columbia/Legacy), a remarkable new album comprised of 12 recently discovered Johnny Cash studio recordings. The tracks on Out Among The Stars were originally recorded in Nashville, Tennessee at Columbia Studios in 1981 and 1111 Sound Studios in 1984 and produced by Billy Sherrill, the architect of the “countrypolitan” sound who was heading A&R at CBS Records Nashville at the time. On these songs – which include duets with June Carter Cash and Waylon Jennings – Johnny worked with an expanded ensemble featuring a young Marty Stuart on guitar and mandolin and Nashville A-Team members Jerry Kennedy (guitar), Pete Drake (steel guitar), Hargus “Pig” Robbins (piano) and Henry Strzelecki (bass). The recordings, which have never been released in any form, are not demos, outtakes or alternate versions. They remained in the vaults during the years Columbia Records released Johnny Cash’s last albums for the label and were subsequently forgotten. The recordings on Out Among The Stars first surfaced in 2012, when John Carter Cash, along with the Cash experts at Legacy, was cataloging his father’s and mother’s exhaustive archives in Hendersonville, Tennessee, and at the Sony Music Archives. “When my parents passed away, it became necessary to go through this material,” he says. “We found these recordings that were produced by Billy Sherrill in the early 1980s…they were beautiful.” John Carter Cash, along with co-producer and archivist Steve Berkowitz, enlisted Marty Stuart, Buddy Miller and Carlene Carter, as well as other master musicians, to collaborate in restoring the album at the Cash Cabin Studios in Hendersonville, TN. The result, Out Among The Stars, is a great lost Johnny Cash album connecting the revolutionary rockabilly of his Sun Records years to the epochal final albums he made for American Recordings. Across five decades of making music, Cash was not only one of the most prolific artists to ever cut records, he was also an American music archetype, the Man in Black who crossed over into pop culture and never sold out. Thirty years in the making, Out Among The Stars is a classic Johnny Cash album, about to be heard for the very first time!

File Under: Country, Folk
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mac demarcoMac Demarco: Salad Days (Captured Tracks) LP/CD
“As I’m getting older, chip up on my shoulder…” is the opening line from Mac DeMarco’s second full-length LP Salad Days, the follow up to 2012’s lauded Mac DeMarco 2. Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule, Salad Days gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, “Passing Out Pieces,” set to huge overdriven organ chords, contains lines like “…never been reluctant to share, passing out pieces of me…” Clearly, this isn’t the same record that breezily gave us “Dreamin,” and “Ode to Viceroy” but the result of what comes from their success. “Chamber of Reflection,” a track featuring icy synth stabs and soulful crooning, wouldn’t be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac’s widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon/Phil Spector era homegrown lush production that could have walked out of Geoff Emerick’s mixing board in 1972, but with that peculiar Mac touch that’s completely of right now. “Brother,” a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. “Treat Her Better” is rife with “Mac-isms,” heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity.

File Under: Indie Rock, CanCon
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Kevin Drew: Darlings (Arts & Crafts) LP
Broken Social Scene’s founder, songwriter, and front man Kevin Drew will be releasing his newest solo album, Darlings, on Arts & Crafts. Darlings shows Drew growing from his role in indie vanguard Broken Social Scene to create a breakthrough statement of personal artistry. Darlings is also his first solo album that is truly, to put it bluntly, solo. If Drew’s 2007 effort Spirit If… was his inaugural step beyond the decade-long shadow of his former band, Darlings spotlights Drew with seven years more experience and maturity. Darlings reveals a more focused and refined sound; more honest, revelatory songwriting, with Drew’s craft concentrated on lyrical and emotional connections, less so than guitar pedals and studio jams. This isn’t to say these aren’t classic Kevin Drew songs. His unorthodox lyrical explorations of family, hope and disappointment, skin and spit, intercourse, cultural infection and the death of communication, figure clearer than ever into the hallmark of his infectious melodic phrasing. Darlings is a fist-pumping fight for the euphoria of the after-party and the crush of pre-dawn passions. It’s a best friend’s zealous pep talk to not give up, and bring youth back into the fresh focus of life. On Darlings, Drew casts reflective inspiration forward into the brightness of the future with a soundtrack to kick everything into high gear. Darlings features longtime collaborators Charles Spearin and Ohad Benchetrit (Do Make Say Think, Broken Social Scene) along with Dean Stone (Apostle of Hustle) and Dave Hamelin (The Stills). Darlings was co-produced by Dave Hamelin, Kevin Drew and Graham Lessard. “I made this record surrounded by mountains and lakes with the greatest people. Charlie and Ohad have been with me since I began making records. I call their style “river and canoe.” They have been playing together since high school and move around each other with an original melodic grace and ease. There is no one out there like them. Working with Dean Stone was something I’ve wanted to do ever since watching his old funk band on speed during my late teens. “I met Graham Lessard in Banff and he is a wonderful engineer who inspired great sessions from us. We spent a couple of weeks at the Banff Centre. We hung out and did additional recording and mixing at the Bathouse Studio, then put the recording on hold so I could finish up the album I was making with Andy Kim. Andy became a big inspiration for me. He reminded me about the magic of making records. Without working with Andy Kim I am not sure Darlings would have happened. “One of the real golden moments was introducing Dave Hamelin to the project. Turning him into a mixer/producer was amazing to witness. He brought such incredible energy into it and really helped me find my songs. This record is a celebration of memories. It’s about the rise and fall of love and sex, in my own life and in today’s society. This topic has been with me for years. I approached it focused purely on the songwriting, leaving all the tricks and explosions behind. I hope you like it… and if you don’t, give to someone who will.” – Kevin Drew

File Under: Indie Rock, CanCon, Broken Social Scene
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Liars: Mess (Mute) LP/CD
In tomorrow! Mess is the follow up to 2012’s WIXIW, the sound of a band in an ambiguous, fragile in-between state. Mess, on the other hand, is Liars with their balls out – an angry, ecstatic, primal burst of ritualistic electronics that sacrifices self persecution for potent, purposeful abandon. Explains Angus Andrew, “We are a reactionary, or maybe a better word is schizophrenic band. We go from one extreme to the other. Working on the last record was really doubtful and paranoid, and that’s fine, but it just meant that when work started on this one, it was the exact opposite. It was way more instinctual, fun and confident.” Produced by Angus Andrew and mixed by Timothy ‘Q’ Wiles (whose previous production credits include label-mates VCMG), the new album is less concerned with place as on previous albums, but sees the band back in their own studio in LA. Liars’ career has seen the band rattle through pigeonholes in an attempt to avoid them all together: brittle yet taught punk funk; liminal no-wave; ecstatic noise-pop; 21st-century garage rock; post-millennial post-rock; delicate electronics; reaching here, where Angus Andrew, Aaron Hemphill and Julian Gross now find themselves.

File Under: Experimental, Indie Rock
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Omar Souleyman: Wenu Wenu (Domino) LP
If you missed this last time around, don’t sleep on it this time!!! Omar Souleyman – the Syrian artist who not only changed the vibe of weddings throughout the Middle East with his Shaabi street sound but also brought it to the West through his notorious late night festival slots – has finally recorded an album. After three compilations and a live release, Wenu Wenu is his first album to be recorded in a studio. Produced by Kieran Hebden (Four Tet), Wenu Wenu combines aspects of Middle Eastern dabke dance music and traditional songs with his own contemporary style. Often described as “Syrian techno,” Souleyman records and performs live with long-time collaborator Rizan Sa’id. Citing Hebden and Bjork as fans, Souleyman’s audience has expanded, no longer just appealing to those interested in Middle Eastern music and tradition. His festival performances including at this year’s Primavera Sound in Spain has seen appreciation for his well-crafted, hectic and – at times – intense music grow and transcend not only language, but cultural barriers. Recorded primarily live in the studio, Wenu Wenu distills Omar’s enthralling live performances into laser blasts of recorded techno scales ascending and descending around his iconic voice. The LP is pressed on 180g heavyweight vinyl and includes a MP3 download card. The album cover was painted by acclaimed New York City based artist Spencer Sweeney.

File Under: Dabke, Syria, Electro, Wedding Music
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T. Rex: s/t (Universal) LP
Following on from the critical and commercial success of 2012’s 40th anniversary edition of “Electric Warrior’ and 2013’s ‘Marc Bolan At The BBC’ box set, comes this staggering new edition of ‘T.Rex’ – the first album Bolan released under his new T.Rex incarnation. ‘A Beard Of Stars’, the last record released as ‘Tyrannosaurus Rex’ will be released in the same formats on the same day. Available on 2LP format complete with new sleeve notes from Mark Paytress, ‘T.Rex’, along with its follow-up ‘A Beard Of Stars’ captures the fascinating transitional moment between Marc’s star child and boppin’ elf periods.

 File Under: Rock, Glam, Classics
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Tycho: Awake (Ghostly) LP
For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake – his second LP for Ghostly International – the solo project has evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. “This is, in many ways, the first true Tycho record.” Following 2011’s Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O’Connor’s live drumming that ultimately sent Hansen back to the studio with a more precise vision. “After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album,” Hansen recalls. Bringing musicians into Tycho’s creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn’t until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. “It crystallized the vision of how the drums would come to the forefront on this record,” says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like “Montana” and “Awake” are a departure from Tycho’s previous material – unique to the group effort poured into the songs on the new record – while “See” and “Dye” echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen’s visual and sonic efforts have dovetailed throughout the course of his career. “This is the first time in my life I’ve dropped everything to focus on one artistic pursuit,” notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

File Under: Electronic, Ambient
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Various: Bombay Disco (Cultures of Soul) LP/CD
“The sound of Disco rose out of Philadelphia in the ’70′s before being nurtured in New York and later rising to the top of the pops. By 1979 it made its way to India, where it was blended with sitars, tablas and huge orchestras in a wildly inventive, and often boldly surreal, fusion of Purab aur Pachhim (East and West). When a film producer told Bollywood composer Bappi Lahiri, ‘I want to have music like ‘Saturday Night Fever’, Bombay Disco was born. Soon nearly every South Asian film, it seemed, had a disco track blaring from cinema screens. Although disco’s popularity waned in the west, it soared in the east throughout the ’80′s. Disco songs appeared in every type of film, from family dramas and historical epics to curry westerns and horror movies. Cultures Of Soul Records presents Bombay Disco, 13 selections excavated from the dusty bazaars of India by DJ Brother Cleve. The hunt even brought him to Bappi Lahiri’s home, where India’s ‘Disco King’ regaled him with music and stories. Bombay Disco showcases the unique musical hybrid that is Bollywood film music. Don your leisure suit, puff a chillum, and get on the dancefloor.”

File Under: Disco, Bollywood
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…..used goodies…..

Cannonball Adderly & John Coltrane: s/t (Mercury) LP
Blue Cheer: Vincebus Eruptum (Philips) LP
David Bowie: Ziggy Stardust (RCA) LP
David Bowie: Space Oddity (RCA) LP
David Bowie: Aladdin Sane (RCA) LP
David Bowie: Diamond Dogs (RCA) LP
David Bowie: Low (RCA) LP
Dave Brubeck: Greatest Hits (Columbia) LP
Dave Brubeck: A Place in Time (Columbia) LP
Dave Brubeck: Jazz Goes to Junior College (Columbia) Mono LP
Dave Brubeck: Art of Dave Brubeck (Atlantic) LP
Dave Brubeck: Jazz Impressions of Eurasia (Columbia) LP
Dave Brubeck: Plays Cole Porter (Columbia) LP
Dave Brubeck: Tonight Only (Columbia) LP
Dave Brubeck: Gone With the Wind & Time Out (Columbia) 2LP
Dave Brubeck: Time Out (Columbia) Mono LP
Dave Brubeck: Jazz Impressions of Japan (Columbia) LP
Dave Brubeck & Stan Getz: Jazz Summit (Disques Vogue) LP
Dave Brubeck And Jay & Kai: At Newport (Columbia) Mono LP
Dave Brubeck: Jazz Impressions of New York (Columbia) LP
New Brubect Quartet: Live at Montreaux (Tomato) LP
Ray Bryant: Solo Flight (Pablo) LP
Tim Buckley: Greetings from LA (Warner) LP
Captain Beefheart: Safe as Milk (Buddha) LP
Carter Family: s/t (RCA) LP
Johnny Cash: At San Quentin (Columbia) LP
Johnny Cash: Ring of Fire (Columbia) LP
CCR: Cosmo’s Factory (Fantasy) LP
Ray Charles: Love Country Style (ABC/Dunhill) LP
Ray Charles: Live (Atlantic) LP
The Clash: Combat Rock (Epic) LP
Leonard Cohen: Songs of (Columbia) LP
John Coltrane: Afro Blue Impressions (Pablo) LP
The Cycle: s/t (Tamarac) LP
Miles Davis/Tadd Dameron Quintet: In Paris Festival… (Columbia) LP
Miles Davis: Birth of Cool (Capitol) LP
Miles Davis: Bitches Brew (Columbia) LP
Miles Davis: Kind of Blue (Columbia) LP
Miles Davis: Plays for Lovers (Prestige) LP
Miles Davis: ESP (Columbia) Mono LP
Miles Davis: The Complete Birth of Cool (Capitol) LP
Jack DeJohnette: Pictures (ECM) LP
Donovan: Greatest Hits (Epic) LP
Donovan: Wear Your Love Like Heaven (Epic) LP
The Doors: Morrison Hotel (Elektra) LP
The Doors: LA Woman (Elektra) LP
Bob Dylan: Another Side of (Columbia) LP
Bob Dylan: Basement Tapes (Columbia) LP
Bob Dylan: The Times They Are A-Changin’ (Columbia) LP
Bob Dylan: s/t (Columbia) LP
Sleepy John Estes: The Legend Of (Delmark) LP
The Fugs: Tenderness Junction (Reprise) LP
The Fugs: Golden Filth (Reprise) LP
The Glitterhouse: Color Blind (Dynovoice) LP
Goblin: Roller (Attic) LP
Goblin: Suspiria (Attic) LP
Robert Gordon & Link Wray: Fresh Fish Special (Private Stock) LP
Grease Band: s/t (Capitol) LP
Nancy Sinatra & Lee Hazlewood: Nancy & Lee (Reprise) LP
Hunters & Collectors: Jaws of Life (Epic) LP
The Impressions: s/t (Sparton) LP
The Impressions: People Get Ready (Sparton) LP
The Impressions: Keep on Pushing (Sparton) LP
King Crimson: In The Court of the Crimson King (Atlantic) LP
King Crimson: In The Wake of Poseidon (Atlantic) LP
Jean Knight: Mr. Big Stuff (Stax) LP
Kraftwerk: Autobahn (Philips) LP
Led Zeppelin: II (Atlanic) LP
Led Zeppelin: III (Atlantic) UK 1st Press LP
Led Zeppelin: III (Atlantic) LP
Led Zeppelin: IV (Atlantic) LP
Led Zeppelin: In Through The Out Door (Swan Song) LP
Byron Lee & The Dragonaires: Reggay Splashdown (Dynamic) LP
Life: s/t (Polydor) LP
Charles Mingus: Wonderland (United Artists) LP
Charles Mingus: Blues & Roots (Atlantic) LP
Modern Jazz Quartet: A Quartet is a Quartet is a Quartet (Atlantic) LP
Thelonious Monk: Monk’s Greatest Hits (Columbia) LP
Turk Murphy & Wally Rose: Music of Jelly Roll Morton (Columbia) LP
New Order: Substance (Factory) LP
Harry Nilsson: A Little Touch of Schmilsson in the Night (RCA) LP
Harry Nilsson: … That’s The Way It Is (RCA) LP
Harry Nilsson: Sandman (RCA) LP
Charlie Parker: Bird at the Roost (Savoy) LP
Charlie Parker: Yardbird (Pickwick) LP
Charlie Parker: Bird on 52 Street (Fantasy) LP
Wilson Pickett: The Sound of (Atlantic) LP
Pink Floyd: The Wall (Columbia) LP
Pink Floyd: Dark Side of the Moon (Mobile Fidelity) LP
Pink Floyd: Dark Side of the Moon (Harvest) LP
Redlorry Yellowlorry: Nothing Wrong (Beggars Banquet) LP
Lou Reed: Rock n Roll Animal (RCA) LP
Django Reinhardt: s/t (Harmonie) LP
Django Reinhardt & Stephane Grappelly: s/t (Capitol) LP
Django Reinhardt: Django ’35-’39 (GNP Crescendo) LP
Django Reinhardt: Djangology (Camden) LP
Rolling Stones: Sticky Fingers (Rolling Stones) UK LP
Rolling Stones: Sticky Fingers (Rolling Stones) LP
Rolling Stones: Hot Rocks (London) LP
Rolling Stones: Their Satanic Majesty’s Request UK (Decca) LP
Rolling Stones: Exile on Main Street (Rolling Stones) LP
Rolling Stones: Beggars Banquet (London) LP
Rolling Stones: Let It Bleed (London) LP
Sonny Rollins: The Cutting Edge (Milestones) LP
Ravi Shankar: Improvisations (World Pacific) LP
Dusty Springfield: Dusty in Memphis (Philips) LP
Bruce Springsteen: Nebraska (Columbia) LP
Yma Sumac: Voice of the Xtabay (Capitol) LP
Phil Sunkil’s Jazz Band: Every Morning I Listen To… (Sparton) LP
Temptations: A Song for You (Motown) LP
Sonny Terry: Whoopin’ (Alligator) LP
Thin Lizzy: Jail Break (Mercury) LP
Ike & Tina Turner: What You Here is What You Get (United Artists) 2LP
Tyrannosaurus Rex: Unicorn (Blue Thumb) LP
Walker Brothers: The Sun Ain’t Gonna Shine Any More (Smash) LP
Bobby Whitlock: s/t (Dunhill) LP
Stevie Wonder: Down to Earth (Motown) LP
Neil Young: After the Gold Rush (Reprise) LP
Neil Young: Harvest (Reprise) LP
Neil Young: Harvest (Reprise) German LP
Neil Young: Decade (Reprise) 3LP
Various: A Decade of Jazz Volume One (Blue Note) 2LP
Various: Kent Stop Dancing (Kent) LP
Various: Tighten Up Volume 2 (Trojan) LP

and more!


Beatles: Revolver (Apple) LP
Beatles: Rubber Soul (Apple) LP
Beatles: Abbey Road (Apple) LP
Beatles: Let It Be (Apple) LP
Dead Rider: Chills on Glass (Drag City) LP
Flaming Lips: Oh My Gawd! (Plain) LP
Flaming Lips: Telepathic Surgery (Plain) LP
Fugazi: The Argument (Dischord) LP
Funkadelic: s/t (4 Men With Beards) LP
Kid Koala: Some of My Best Friends are DJ’s (Ninja Tune) LP
LCD Soundsystem: London Sessions (DFA) LP
Nirvana: Unplugged in New York (Geffen) LP
Sons of Huns: Banishment Ritual (Easy Rider) LP
Amon Tobin: Supermodified (Ninja Tune) LP
Ween: The Mollusk (Plain) LP

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…..news letter #631 – second winter….

Arg! A big list and a few family commitments today, so this is running way late. Anywho… here you go.. come buy some hot new wax yo!

…..pick of the week…..


Arthur Russell: World of Echo (Audika) LP
Ok, if for some daft reason you still don’t own this record, this is your chance to rectify your complete failure at record collecting. The fine folks at Audika have repressed this masterpiece again, so don’t sleep this time, BUY IT! “Arthur Russell’s most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics ‘Let’s Go Swimming,’ ‘Tree House,’ and ‘Wax The Van’ along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur’s aim was to achieve what he calls ‘the most vivid rhythmic reality,’ with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear.”

File Under: Ambient, Electronic, Experimental, Essential
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…..new arrivals…..

asoAi Aso: Lone (Ideologic Organ) LP
Tokyo’s Ai Aso is a Japanese psychedelic pop singer-songwriter whose work has a whisper-thin acid-folk quality to it. She started performing as a solo singer around 2000. Her solo work, infrequent collaborations with White Heaven members You Ishihara and Michio Kurihara, Yurayura Teikoku, and Boris bring a level of fragility and hypnotism to the stage, recalling lost memories, small flavors of Coil, and serial playing on the verge of evaporation. As for her recent activities, she has performed on bills together with Sunn O))), Boris, Masaki Batoh (Ghost), Touri Kudoh, Kim Doo Soo, Mark Fry, Simon Finn, etc. Cut by CGB at Dubplates & Mastering.

File Under: Psych, Pop, Ghost, Japanese
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jealous 4

Broken English Club: Jealous God #4 (Jealous God) LP+CD
Includes postcard & mix CD by Taylor Burch of DVA Damas** Oliver Ho aka Broken English Club is the latest consort to Jealous God, the beautifully curated label administered by James Ruskin, Juan Mendez and Karl O’Connor. Miles away from Ho’s best known output as Raudive and under his own name, his ‘Jealous God 04′ dices with depressive and awkward post-punk, new wave and industrial memes over five icy cuts laced with speed-tweak noise and his own, blunted vocals. From the primordial no wave dub beginnings of ‘A Square Shaped Room’ the session takes shape with the drugged, sluggish electro-wave ace ‘Boxes’ and the dry, rasping delivery of knowing vocals and dissonant drones in ‘Birth Control’. B-side, ‘Casual Sex’ is the record’s most obvious dancefloor tune, mustering a muggy but lucid chug hypnotised with adder-charming whistle and Genesis-aping vocal beside the suffocating, skin-crawling atmosphere and malformed wriggle of ‘Plastic Bag’. Best Jealous God yet? It’s a toss up with the Powell remix…

File Under: Electronic
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butlerJohn Butler Trio: April Uprising (Because) LP
2014 repress; 2010 release. Limited French edition, includes two bonus tracks not available elsewhere. John Butler began his career as a musician in the streets of his country, Australia. Independent since his beginnings, his career was built from his own label Jarrah Records. With April Uprising, a brand-new chapter opens for the group: “The preparation for the recording and the repetitions were a true pleasure. I would say that the sounds, the general spirit and the energy of this album are summarized in these words: free, melodic, funky, powerful and rock. There is unquestionably more aggressiveness in this album than in the precedents. It is probably because of our superior engagement and conviction in term of writing and production. With Nicky and Byron, I found a degree of complicity which really serves the songs in all their aspects.”

File Under: Indie Rock
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celerCeler: Voyeur (Humming Conch) LP
*Edition of 300* A few years ago I was commissioned by a film company in California to create a musical score for a film inspired by the Hitchcock 1954 film Rear Window, but with a more surrealist, two-sided viewer plot. As filming hadn’t begun, I was given the screenplay and timeline, and asked to make specific music that might fit with the themes in those pages, which also included an overture, intermission, and exit music. I recorded the music at home and in a studio provided by the film company in Silverlake, California, and finished a week before the first draft deadline was to be submitted. Surprisingly, before I even delivered any of the music, I was informed that the entire project was cancelled. Several years later, the score for the film of the same title is finally seeing the light of day. It is available on vinyl in an edition of 300 copies by the label Humming Conch from Berlin, with cover art by Peter Lograsso.

File Under: Ambient
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cuthands4 cuthands3Cut Hands: Afro Noise Volume 3 & 4 (Dirter) LP
Dirter Promotions presents two more volumes of Cut Hands material, containing reworked and remastered versions of some tracks from his Afro-noise project. Comes in a two beautiful special edition on 180 gram vinyl mastered by Noel Summerville and featuring the magical vévé artwork of Mimsy DeBlois, in a one-off pressing of 750 copies. The entire 750-limited pressings of Volume 1 and Volume 2 sold out on release day, so don’t miss these! A reclamation of the conscious through 16 pieces (split between vols. 3 + 4), from the opening ceremonial burning rush of the brand-new “Vaudou Take Me High” to the final entrancing morbid spell of “Nine-Night.” Reworked or remastered versions of “Madwoman” and “Immersion” are included along with all the vinyl-unreleased tracks from 2011′s Black Mamba CD.

File Under: Industrial, African, Experimental, Whitehouse
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Deadbeat & Paul St. Hilair: Infinity Dub Sessions (BLKRTZ) LP/CD
Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded-out persuasion. Indeed, when the great book of dub music is written, the names Scott Monteith and Paul St. Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St. Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate. Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman’s occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album-length venture is a tour de force of dub music of the highest order. Nearly a year in the making, the genetic code of Deadbeat’s Infinity Dubs series gets shot through with a dreader-than-dread Kingstonian logic, hi-hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bear witness shall escape their fiery judgment. If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here’s hoping they choose to do it frequently. Dub without end. Ad infinitum.

File Under: Electronic, Dub, Tikiman
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Bryce Dessner & Jonny Greenwood: St. Carolyn/There Will Be Blood (Deutsche Grammaphon) LP
Deutsche Grammophon is proud to announce the release of orchestral works composed by Bryce Dessner, known to many from acclaimed rock band The National, as well as a complete Suite from the soundtrack of Paul Thomas Anderson’s 2007 masterpiece There Will Be Blood, composed by Jonny Greenwood from Radiohead. Never before have classical and rock converged in such an organic, compelling and sensual way as they do here in these orchestral performances by conductor Andre de Ridder and the Copenhagen Phil. Dessner is known to many as one of the guitarists with American indie rockers The National, a band who are famed for their full guitar sound and their lead singer’s distinctively seasoned baritone voice, who sell out the largest venues in the US and have long since conquered Europe as well. But what many of their fans may not know is that guitarist Dessner originally studied classical music (earning a master’s degree from Yale University), and absorbed the influences of composers such as Morton Feldman and Steve Reich when he came to New York. These days, as well as playing with The National, he regularly collaborates with contemporary artists such as Bang on a Can and the Kronos Quartet. Dessner presents three pieces of modern classical music, written from the perspective of a rock musician who is keenly aware of the raw emotional impact music – any music – can have on an audience. He draws on elements from Baroque and folk music, late Romanticism and modernism, minimalist music and the blues, among others, as well as referencing the work of such legendary figures as John Fahey, La Monte Young, Bela Bartok, Glenn Branca, Benjamin Britten, Morton Feldman, Philip Glass and Steve Reich. Despite this broad spectrum of influences, his voice remains individual and distinct. The works performed here with Andre de Ridder show Dessner to be a composer of surprising independence of mind. The same is true of Jonny Greenwood, the composer of a suite of six miniatures for the soundtrack of There Will Be Blood which rounds out the album. The pairing of Dessner and Greenwood on the album didn’t come about by chance, but because André de Ridder likes programming their music together, for live concerts too. The defining strand of the collaboration is not so much the similar musical backgrounds of Dessner and Greenwood, but more their mutual preoccupation with quintessentially American themes such as the vast expanses of the country’s landscape, or a sense of nostalgic longing; themes which, previously, were largely the domain of other musical genres. With this album Dessner and Greenwood open up a new frontier for symphonic music. “For any classical musician who’s been born since 1960, the music of the era around them is popular music,” says Dessner. “You find that in many variations: former rock musicians who end up going the classical route, or very academic composers who are perhaps re-setting a text by Bob Dylan. You find all kinds of various strands of this. Someone like myself or Jonny Greenwood, we’re actually part of a new generation of composers where our education, our background, our interests are so diverse that you can’t really say ‘oh, that’s a guy from a rock band who writes classical music’. You should say the opposite: Jonny Greenwood was a classical violist who became a guitarist with Radiohead. But the music he’s interested in is still Penderecki and Ligeti.” “Bryce Dessner is without doubt one of the most exciting contemporary composers working anywhere in the world today. We welcome his daring, his passion and his unique creative vision to the Yellow Label, and look forward to working with him.” – Mark Wilkinson, President Deutsche Grammophon

File Under: Modern Classical, OST, National, Radiohead
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Donato Dozzy & Nuel: Aquapiano Sessions (Spectrum Spools) LP/CD
When the Aquaplano records were first released in 2008 and 2009, emerging out of Hardwax with little fanfare, they were distinctly out of step with the way techno appeared to be heading. The minimal detour was reaching its logical endpoint, and producers were returning to the 1990s for inspiration, with Berghain and Sandwell District at the vanguard of a new techno movement. What the Aquaplano sessions shared in common were slower BPMs and finding inspiration in the 1990s, but there they parted ways. The influences these Italians were drawing on were rather different, returning to tribal rhythms and ambient textures to sketch out a much more heady, psychedelic form of techno. The results were a perfect balance of hypnotic beats and swirling atmosphere geared for a broken-in dancefloor or the hazy afterhours. Across these two records Donato Dozzy and Nuel would go a long way towards creating the template for a brand of deep, atmospheric techno that has become much more prominent in the years since. And while many have sought to imitate this sound, few — if any — have matched what first emerged from the Aquaplano sessions. After only being available in a very limited run, it is fitting that the sonic blueprints provided by Dozzy and Nuel are now available again — and much more widely — at a time when their influence is as strong as it has ever been. All music produced and mixed by Donato Scaramuzzi and Manuel Fogliata at Nautical One Studio in San Felice Cireco, Italy, between 2007 and 2008. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, December 2013.

File Under: Electronic, Techno, Voices from the Lake
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Efdemin: Decay (Dial) LP
Efdemin is back on Dial Records with his third full-length album, Decay, following his self-titled debut in 2007 and Chicago in 2010. Once again he offers a stunningly seductive stream of music written in his very own hand. After three years of extensive touring as a DJ, Phillip Sollmann took the chance to compose his third album under his Efdemin moniker while spending three months in an artist residency in Kyoto, Japan. Living next to the Kamo River, surrounded by temples, shrines and the ever-present blue mountains, he started working in the late summer, facing typhoons and intensive heat, and finished the album in the early mild days of winter. Thus mainly assembled in autumn, his favorite season of year, the 10 tracks on Decay express the paradoxical relationship between beauty and decay. The production procedure was a dichotomous one. Recording was done in his recently finished new Berlin-Wedding studio, “The Meadow,” mostly on analog equipment, while the final production took place in Japan. The result is an album of intriguing rigor and a certain beauty hidden within. It marks a big step towards the deeper side of techno and lets many of his early influences in ’90s techno shine through (from early Cologne minimalism, M-plant and Axis to Terrence Dixon) as well as his love for drone music. Although at a first glance it might seem that this album is a somehow more distant and less melodic than the previous output, it provides the full unique range of Efdemin’s vocabulary, which he is known and loved for. Decay sounds in certain parts like a process of correction, revaluation, and re-alignment, making room for new things to come. There is beauty within decay.

File Under: Electronic, Techno
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Ensemble Dissonanzen: Dissonanzen (Die Schachtel) 5CD
When the Ensemble Dissonanzen asked Die Schachtel in 2013 to publish a massive retrospective edition of some of their most representative works to celebrate their 20th anniversary, the label knew it would be a challenge. They were — and still are — quite conscious of the fact that the work of an all-acoustic New Music ensemble with a heavy dose of improvisation may appear out of place within the more electronic/experimental Die Schachtel catalog, but then they listened to the music — and all of a sudden they were glad to embark on the operation. Dissonanzen, born in Naples in 1993, is one of the most reputed and internationally-acclaimed Italian New Music ensembles. They have always carried out important work on the modern and contemporary repertoire, performing pieces by composers such as Berio, Cage, Crumb, Dallapiccola, Feldman, Henze, Ives, Kagel, Maderna, Petrassi, Rzewski, Scelsi and Stockhausen, to name a few. They regularly collaborate with many musicians, composers and artists within the framework of the concert series of the Associazione Dissonanzen. The recordings contained in this 5CD box set, curated by Ciro Longobardi and Tommaso Rossi, present the most important steps in their life, covering a period of about six years (from 2003 to 2009) and shedding a significant light on their relationship with improvisation, which spans over a wide variety of productions, from repertoire to sheer improvisation to multimedia projects (as in the case of the “post-scoring” of the Man Ray movies). The close working relationship between the players, and the emphasis placed on extremely subtle investigations of their instruments, makes these recordings an invaluable document of the life of one of the most creative musical experiences emerging from Italy, as well as an immersive and rewarding listening experience. From the liner notes: “The aesthetical key of our work consists in the meeting of different personalities, coming from diverse musical trajectories. The Ensemble Dissonanzen has always carried out very serious work on the modern and contemporary written repertoire, while engaging with various possibilities in the area of improvisation. We have always experimented in new directions, also through our collaboration with outstanding guest artists belonging to different musical areas (Cristina Zavalloni, Marc Ribot, Michel Godard, Markus Stockhausen, Adam Rudolph, Alvin Curran, Stefano Scodanibbio, etc.).”

 File Under: Experimental, Improv, Italian, Avant-Garde
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future islands

Future Islands: Singles (4AD) LP/CD
Future Islands are set to release Singles, their 4AD debut and their boldest and most immediate work to date. Despite the kind-of-just-a-little-bit-confusing title, it is not a collection of singles but is, in fact, a completely new full-length record. The Baltimore trio known for their “cathartic” (NPR) energy consists of enigmatic frontman Samuel T. Herring, bassist/guitarist William Cashion, and keyboardist/guitarist/ programmer Gerrit Welmers. Herring’s deeply poetic tales of heartbreak, love, and loss are finally up front and in high fidelity, thanks in part to a newfound creative partnership with producer Chris Coady (Beach House, Yeah Yeah Yeahs, Grizzly Bear). Singles follows 2011’s On The Water (Thrill Jockey) which earned a Best New Track nod from Pitchfork for the song ‘Balance’ and 2010’s In Evening Air (Thrill Jockey) which the LA Times praised for its “icy synth-pop melodies [and] lo-fi soul.” The band played an NPR Tiny Desk Concert, the main stage at 2013’s Hopscotch Music Fest. 

File Under: Electronic, Pop, Synth Pop
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grahamKenneth Graham: Small World of Sammy Lee (Trunk) LP
This is the beautiful unreleased British jazz score to the classic Anthony Newley ’60s Soho underworld thriller. Recorded in 1963 and never issued, the master tape was discovered in the loft of Kenny Graham’s daughter’s home by Jonny Trunk. Don’t ask what he was doing up there, but he found the tape. Little is known about this jazz score, apart from the fact that it comes from one of the great early ’60s London movies, and was written and performed by one of the more important jazz mavericks of modern times. Kenny Graham was a jazz musician like no other. He’d formed an Afro Cuban band in the early 1950s, made an album of Moondog covers in 1957 (Moondog and Suncat Suites), been commissioned for advertising music, library music, jazz compositions and film scores, too. But he got little in return, so he’d turned his back on music by the late ’60s, never to write or perform again. A true maverick and simply too far ahead of the jazz crowd to get noticed, this charming little score demonstrates just what a great composer he really was. The opening theme alone is one of the more sublime, early morning jazz numbers you could ever wish to hear. The vinyl will probably sell out really fast and get stuck back on the market by those horrid record flippers for about four times the price.

File Under: Jazz, OST, Trunk
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Charles Hayward: Smell Metal (Kemal) LP
Berceuse Heroique’ Kemaa sublabel swiftly follow that excellent side of Greek fire-walking music with this deluxe reissue of percussive tributes to Mark Rothko by This Heat’s Charles Hayward, backed with JD Twitch and Maxmillion Dunbar remixes. ‘Smell of Metal’ gives a first vinyl issue of the title track and ‘Lopside’ from Hayward’s 1990 CD for Sub Rosa, unleashing two tense, minimalist pieces of rolling drums and etheric drones that sound like the missing link between 1980s post punk and ’90s electronic experimentation. ‘Lopside’ steps to a skinny, prickling groove rent with panned electronics and icy keys, awash with the clang of metal objects and helmed by Hayward’s tight, shuffling hi-hat and kick syncopation. ‘Smell Of Metal’ is slower, with spectral vibes reminding of Basquiat’s Gray unit, while JD Twitch’s take on ‘Lopside’ is squashed to a late night bump and fleshed out with shimmering chords, and Beautiful Swimmers’ Maxmillion Dunbar rolls ‘Smell Of Metal’ into a more fluid, dizzied disco-no-disco groove. Featuring artwork by Will Bankhead, it’s another excellent package from this promising label.

File Under: Percussion, Drumming, Post-Punk/Electronic, This Heat, Disco-No-Disco
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Hellvete: Ode (Deep Distance) LP
Also up for February release on Deep Distance is the new LP from Glen Steenkiste’s Hellvete project. Arguably best known as one of the founding members of Belgian collective; the incredible Sylvester Anfang and it’s SAII recent incarnation. “Ode” is his third LP following previous, always amazing, sold out cassettes, cdrs and wax on labels as diverse as Kraak, Sloow Tapes, Funeral Folk, Blackest Rainbow and SicSic tapes to name but a few. “Ode” continues Glen’s recent slant towards longer compositional pieces with 2 sidelong drones, which in his own words “document the ongoing search for sustained notes, flickering overtones and blissful environments”. Recorded prior to his last LP ” Sint-Denijs” in 2011 and is “in praise to all things that bring and inspire great joy. A quest for focus in an impulse overloaded age. Like a weaver combining all the yarns into one delicate woven lace”. A beautiful LP on both the ear and the eye- wonderful sleeve art and an edition of 300 only on ultra clear vinyl. Expected to move fast, as per previous output for label and artist.

File Under: Drone, Ambient, Sylvester Anfang


Kassel Jaeger: Toxic Cosmopolitanism (Editions Mego) LP
Kassel Jaeger is a Swiss-French artist based in Paris, France, and is a member of the GRM (Groupe de Recherches Musicales). Toxic Cosmopolitanism is his second full-length release for Editions Mego — a release which explores and questions the very nature of the material experiments contained within. Each side consists of two clearly-defined sections based on the same material. Side A comprises of “Toxic Cosmopolitanism,” a large-scale work based on distinct sounds of different cultures, instruments such as the balafon, tremolo, gnbri, gee, Tibetan gongs, pan flutes and the like are all deployed but rendered of the sonic properties identifying them to a specific region. The question that lies at the heart of this experiment: is such a swirl a creative process or a destructive one — this is the ambiguity of toxic cosmopolitanism. “Exposure Scales 1-4″ use sounds exclusively derived from the “Toxic Cosmopolitanism” material. Whereas “TC” is more about subjecting sounds to structure, “Exposure Scales” builds almost static textures. The results are an honest exploration of both culture and form. At once cerebral, enlightening and immensely rich in scope and sonic vision.

File Under: Experimental, Avant-Garde, GRM
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Kangding Ray: Solens Arc (Raster-Noton) LP
A stone thrown, just to watch it fly. A projectile launched for the sole purpose of drawing a ballistic trajectory in the sky. The Solens Arc is what remains after the subtraction of the goal; a simple parabolic curve defined by gravity, impulse and starting angle. No target to hit, no catharsis to wait for, just the beauty of the flight. Solens Arc is Kangding Ray’s fourth album on Raster-Noton and the follow-up to The Pentaki Slopes EP. The twelve tracks of this record are assembled in the form of four “arcs.” The different sequences are arranged seamlessly into dense, evolving compositions, while keeping their autonomy, and their role in the global dramaturgy. Pointillist serial loops and disintegrated melodic textures morph into abrasive rave anthems, broken club rhythms are refitted into uneven patterns, like deconstructivist sound architectures. Industrial techno stompers dissolve into granular sound waves and filtered space pads, before being overtaken by cinematic drums and rising arpeggios.

File Under: Electronic, Raster-Noton
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Martoc: Music for Alien Ears (EM) LP
“RECORD OF THE YEAR: Martin O’Cuthbert: B.E.M.S (Esoteric Records) ‘Seriously, when I played this record, an object on the wall started to vibrate very quickly, and I have witnesses to prove it. Martin O’Cuthbert is either a very evil person (just listen to the record) or a total fool (just listen to the record). Probably be big in Japan, and at a guess I’d say the whole thing comes off a Yamaha organ cos no synthesizer could sound that bad, could it?’” –John Lydon (PiL), New Musical Express, July 22, 1978. Martoc aka Martin O’Cuthbert, has been making alien and alienated synth-pop in the UK since the post-punk period. This compilation gathers six songs released on 7″ EPs during the years 1978-1980, plus four songs released during the first decade of this century. The tracks show a distinctive stylistic unity, inspired by fellow spirits like Fad Gadget, The Normal, John Foxx, and Kraftwerk. Across the decades Martoc has maintained both his close relationship with his synthesizers and an arms-length relationship with society, resulting in an appealingly quirky and individualistic iciness, informed also by his love of science fiction writers such as J. G. Ballard and Iain Banks. One of the songs included here, “B.E.M.S.,” was chosen as record of the year by John Lydon in New Musical Express in 1978; John Peel was also a supporter. Despite these and other accolades, Martoc and his simultaneously catchy yet disturbing music has hovered resolutely under the radar, an alien craft avoiding detection by an unaware and perhaps unprepared world. Gathered together here, this collection of tracks offers an excellent opportunity to investigate an alien explorer. Compiled by Tamotsu Mochida, the author of Industrial Music for Industrial People (2013). Newly mastered.

File Under: Experimental, Synth, PIL
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Joe McPhee Quartet: Underground Railroad (Bo Weavil) LP
First time vinyl reissue of Joe McPhee’s classic CJR LP from 1969. Exact repress of the original artwork. Trumpeter and saxophonist Joe McPhee’s first album, Underground Railroad, has been virtually impossible to find on vinyl, issued in an edition of 500 copies on Craig Johnson’s CJR label — it was recorded next to Johnson’s house at the Holy Cross Monastery in West Park, New York. It sold out and was never reprinted on vinyl until now. Underground Railroad is comprised of three pieces, the title-track, “Harriett,” and “Message from Denmark.” The band features McPhee on cornet, pocket trumpet, and tenor, Reggie Marks on tenor, soprano, and flute, bassist Tyrone Crabb, and Ernest Bostic on drums, and is a scathing fire music release. There are wild, ecstatic interactions between McPhee and Marks, while the rhythm section harness the moaning, screaming, crying, and wailing done by the front men. On “Harriett” and “Message from Denmark,” the music takes on a decidedly more spatial feel. This is McPhee at the height of his powers of improvisation and composition. As far as vintage ecstatic free jazz goes, it doesn’t get much more nail-biting than this. Limited to 500 copies. Joe McPhee (trumpet, pocket cornet, tenor saxophone); Reggie Marks (tenor and soprano saxophone, flute); Tyrone Crabb (bass); Ernest Bostic (drums, percussion, vibes). Recorded on April 13, 1969, West Park, NY.

 File Under: Free Jazz


Joe McPhee: Nation Time (Bo Weavil) LP
First time vinyl reissue of Joe McPhee’s classic CJR LP from 1970. Exact repress of the original artwork, limited to 500 copies. “What time is it?” Joe McPhee shouts at the opening of this classic LP. Time at last for a vinyl reissue of the highly sought-after, ultra-rare Nation Time. Why this wasn’t done years ago is anyone’s guess. Nation Time catches the exuberance of the master in his youth, playing a glorious to-the-wall mixture of R ‘n’ B and free jazz motifs, with a great deal more thrown into the mix. Two of these three long tracks were recorded at a concert at Vassar College on December 12, 1970: “Nation Time” and “Scorpio’s Dance.” Featuring the electric piano of Mike Kull and the relentless percussion of Bruce Thompson and Ernest Bostic, there is a definite hint of rock. On Nation Time McPhee also plays with a burred R ‘n’ B tenor tone elastic enough to blend with the searching, spaced-out solos from Kull and McPhee himself. “Shakey Jake,” recorded in a studio the next day, adds an alto saxophonist, an organist, and an electric guitarist, and is far and away the full-on dancefloor cut of the LP. Free at the fringes, booty-moving at the core. Call it what you want; free jazz, free-funk, fire music, or simply great music.

File Under: Free Jazz
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Joe McPhee/Harold E. Smith/Mike Kull: Trinity (Bo Weavil) LP
First time vinyl reissue of Joe McPhee’s classic CJR LP from 1972. Recorded on November 28, 1971 in the Parish Hall, West Park, New York. Exact repress of the original artwork. This excellent trio recording of blues-inflected out-jazz from ’72 follows up on the hugely successful Nation Time, which was actually recorded a year Later. McPhee says it was not only a turning point in his music, but a turning point with his tenor sax as well: “With Trinity, I began to feel more comfortable with the instrument. Not having a bassist also removed me from a normal ‘jazz’ context, let the music just be what it was… The larger space provided by the trio gave me more time to explore the instrument, the colors became more clear, the area I wanted to work became more defined.” Even for Joe McPhee, Trinity is a far-reaching record, as broad as you can possibly imagine. McPhee delivers animalistic howls, plaintive melodies, and bluesy ramble. The group sound spans from free-range “space” music with vocals to high-intensity energy laid down over kicking drums. Each duo combination is explored at length, winding in and out of trio improvisation. Group improvisations guide this record, a simple conversation between three strong musicians with strong ideas. Joe McPhee (tenor and soprano saxophones, trumpet, pocket cornet); Mike Kull (piano and electric piano); Harold E. Smith (percussion).

File Under: Free Jazz


Joe McPhee & John Snyder: Piece of Light (Bo Weavil) LP
First time vinyl reissue of Joe McPhee’s classic CJR LP from 1974. Repress of the original artwork. Another reissue of ultra-rare, ’70s McPhee vinyl. In 1974, Pieces of Light was recorded and released by the CJR label. McPhee had picked up on the growing electronic music movement, and recorded a set of duos on saxophone, trumpet, E-flat alto horn, flute, modified Nagoya harp, chimes and voice with John Snyder, who played an ARP analog synthesizer. The result is a stunning six-part meditation on how best to combine acoustically and electrically-driven sounds. McPhee at times anticipates and complements the limited wave forms of his playing partner, but the two don’t try to mimic or play on top of each other. They shift, meld, and counter each other. McPhee at times plays extremely jazz-tinted phrases, in alien vistas created by Snyder’s synth, without ever coming off as quaint. Definitely something a little different from the fire music of the time. Joe McPhee (tenor saxophone, trumpet, cornet, flugelhorn, alto horn, flute, chimes, harp, voice); John Snyder (synthesizer).

File Under: Free Jazz
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melodienMelodien: Participation Mystique (Deep Distance) LP
Next up for Deep Distance following killer full lengths from Expo 70 and NWW’s Colin Potter, comes the amazing debut full length from MELODIEN. The solo project for Liverpool based moog and synth head Harry Sumnall. Offering up a teaser to the full length on the labels’ 2013 Record Store Day “Grasshopper Mind” 10″, the full length is just stunning and more than exceeds expectations. Nine amazing tracks that veer from kosmische slow burners a la Schulze, Froese and co. via the minimal approach of Terry Riley with passing nods to Giallo Soundtracks and latter day heroes like Umberto, Bitchin’ Bajas and The Emperor Machine etc. A stunning array of styles and moods- that knit perfectly over the course of a full length…. Harry himself confesses to key influences being as much from filmic and literary backgrounds as any musical heroes; Jan Nemec and Hermann Ungar amongst them and the LP has a definite cinematic feel in parts. Pressing of 300 on vinyl only, dressed in total killer Ivan Liechti sleeve art, this is an extraordinary record. get on it!

File Under: Kosmische, Minimalism, Synth
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Metronomy: Love Letters (Because) LP+CD
Limited edition deluxe vinyl version of Metronomy’s highly-anticipated fourth album. On Love Letters, Joseph Mount has tried to do fresh things in an old-fashioned way, using richer methods of recording and injecting them with tight electronics and experiments in sound. Instead of constructing his music on computers, he used classic, slower techniques that forced him to take his time in the best possible sense. By recording onto tape, he was also forced to think about his music more purely, constructing it with more finesse. Melancholy still lurks in these hooks; loneliness still gleams along their edges. These are songs that carry you up and down in tides of feeling, in waves of pure sound. They also inject modern situations with timeless sentiments. “The Upsetter” is about having no reception when you want to send a message to someone special, for instance, and about the memory of listening to music when you were young. “Monstrous” is about holding on tight to everything you love, in a world you don’t understand. “Reservoir” is about a place near where Mount’s parents live, where glittering keyboards mimic “heartbeats drifting together.” “Month of Sundays” shimmers its emotions through bright, shining guitars. All show the warmth, richness and depth being added to the Metronomy sound. New musical spirits inhabit this album, too. “I’m Aquarius” was inspired by Diana Ross and The Supremes’ 1969 album, Let the Sunshine In, full of psychedelic atmospheres and gorgeous backing vocal shoop-shoops. Mount nearly left the song behind because he thought it didn’t sound like him, before he realized his style was naturally growing and changing. This was also the time to start having new adventures, he quickly realized. “Boy Racers” came next, the spoken-word song he’d always wanted to write (but then ditched the spoken-word part because “it didn’t sound very good”). Then came “Call Me,” driven by glittering organ lines, and the exhilarating title-track, with a four-to-the-floor beat, skipping between Motown and Northern Soul. These songs go places Metronomy have never been before, and they do so spectacularly, all on a record where old friends take our hands, and lead us somewhere new. Love Letters is a classic electronic pop album which sends its message straight to your heart. Deluxe gatefold with hot colors & multi level embossing (front & back). 180 gram audiophile pressing; includes the album on CD. 50 cm x 35 cm poster-insert and printed innersleeve.

File Under: Synth Pop, Electronic
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Ti Paris: Ti Paris et sa Guitare (Little Axe) LP
“A true masterpiece by one of the legends of Haitian music. The debut album by Haiti’s favorite troubadour reissued for the first time on vinyl. Beautiful guitar playing with the minimal rhythmic accompaniment of maracas. Haitian blues music at its best. Tip-on cover. Limited edition of 500 copies.”

File Under: Haiti, Guitar, Blues, World
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bo anders

Bo Anders Persson: Love Is Here to Stay (Subliminal Sounds) CD
The early works by Bo Anders Persson presented on this record were written between 1965 and 1967, before he started the experimental rock band Pärson Sound. The CD version is housed in a digipack sleeve including a booklet with in-depth, informative liner-notes and pictures. All but one track is previously-unreleased. What is the origin of this strange, un-place-able music? What is its place in history, in the unfolding of important conceptual ideas, turning musical modernism into something wider, more mysterious and blurred? From where comes the lightness of touch, and how does the transient nature of the sounds correspond to the sense of mourning hidden within the music? What makes the music so exciting and loaded is the feeling of change, both in the actual performances and in the atmosphere of the rooms where the pieces are played. The sounds move freely within the minimal, repetitive structures. There are spaces for breathing and dreaming, turning inside and outside, and a sense of being in between positions. Suddenly, the doors are wide open and radical experiments can take place.

File Under: Drone, Avant-Garde, Experimental
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Colin Potter: Two Nights (Deep Distance) LP
Next up on Deep Distance following the quick fire sell out of the recent Karen Novotny X and Samantha Glass releases, comes what some might term something of an underground classic. The first in a series of vinyl reissues to Colin Potter’s revered body of home recorded, cassette only releases between 1980 and 1982, presented by Deep Distance and Sacred Summits over the coming months. Colin has worked within the fields of electronic and experimental music for over 30 years, collaborating with the likes of Current 93, Ora, Organum, Andrew Chalk and most notably as a key part to Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Recordings) label in 1981 releasing the incredibly rare minimal synth comp “We Couldn’t Agree on a Title” LP before releasing a clutch of wonderful home recordings of his own over half a dozen small run cassette only releases. The vinyl reissue project kicks off here with the incredible “Two Nights”. Recorded as the title would hint at, over 2 evenings at home in Sutton-On-The-Forest, North Yorkshire. Two epic side long pieces recorded as a first time, live experiment, albeit in the studio, which as Colin describes in the sleeve notes, consisted of; “some synths, a sequencer, a drum machine and some basic effects then, with a vague plan in mind, I picked up a guitar and pressed ‘record’. I did this on 2 consecutive nights (hence the clever title) and what you hear is exactly what happened, no editing, which explains the bum notes here and there”. Bum notes or not, the results sound remarkably fresh and relevant today. A fabulous album finally seeing a vinyl release after 30 odd years. Packaged with the usual Deep Distance / Great Pop Supplement eye for detail, in this case a diecut sleeve revealing a half red / half green LP beneath! Looks just stunning…. 2014 sees ace releases from Umberto, Jonas Reinhardt, Eat Lights Become Lights and more from Colin Potter of course, amongst others, following an entirely sold out back catalogue featuring the likes of JD Emmanuel and Expo 70. This one’s a beauty and ready 2nd week of December. Expected to sell out quick so get on it!

File Under: NWW, Synth, Experimental, Kosmische

reign ghost

Reign Ghost: s/t
(Out-Sider) LP

Propulsed by Bob Bryden’s fuzzed-out guitar and Lynda Squires’ powerful vocals, Reign Ghost were the leading ’60s underground psychedelic band from Canada. This is their rare and sought-after debut album from 1969, originally released on the collectable Allied label (Plastic Cloud, Folklords). An absolute psych classic with all the right ingredients: fuzz guitar, swirling organ, male-female vocals, studio effects, weird lyrics, etc. Tracks like “Travels of Blue Paradox” or “Reaching” are a must for any psychedelic rock fan. First-ever legit vinyl reissue. Remastered from the original master tapes. Includes a fold-out insert with rare photos, memorabilia and detailed liner notes by band member Bob Bryden.

File Under: Psych, CanCon


Reign Ghost: Featuring Lynda Squires (Out-Sider) LP
In late 1969, legendary Canadian psych band Reign Ghost recorded their second album, released the following year just when the band had ceased to exist and some of their members had formed prog/psych band, Christmas. This is a fine example of West Coast-styled psych-rock with reverberating/fuzz-wah guitar and male/female vocal harmonies, including absolute psych classics like the monster 9-minute long “Enola Gay.” One of the rarest and most expensive Canadian psych albums ever, officially reissued on vinyl for the first time. Newly remastered sound from the original tapes. Includes a fold-out insert with rare photos, memorabilia and detailed liner notes by band member Bob Bryden.

File Under: Psych, CanCon
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Jean-Claude Risset: Music from Computer (Recollection GRM) LP
Recollection GRM presents computer works from French composer Jean-Claude Risset. “Sud” (1985): This work was commissioned by the French Ministry of Culture, from a project initiated by the GRM, where it was produced circa 1984-1985. The piece mainly uses sounds recorded in the Massif des Calanques, south of Marseille, as well as sounds synthesized via a computer (again in Marseille). These sounds were then treated via another computer at the GRM. The natural and synthetic sounds are first presented separately. Along the piece, they increasingly merge, through mixing and processing. Thus real bird songs, as well as synthetic bird-like or insect-like sounds, have been spatialized. In the third movement, the filtering of birds’ caws first appears as a colored echo, later as a genuine bird’s “raga” using the defective scale. The origin of the many sounds deduced from the germinal material can be ascribed to a “family tree” displaying the sonic proliferation and resembling a rhizome. (J-C. R.) “Mutations” (1977): Piece for a two-track tape, computer-synthesized in 1968 at the Bell Laboratories. Commissioned by the GRM and premiered at the Moderna Museet in Stockholm in 1970. This work attempts to explore (particularly within the harmonic order) some of the possibilities offered by the computer to compose at the very level of sound — to compose sound itself, so to speak. The title refers to the gradual changes that occur throughout the piece, including the shift from a range of discontinuous heights to continuous frequency variations. (J-C. R.) “Computer Suite from Little Boy” (1968): This piece, composed in 1968, is one of the first significant works entirely produced via a computer: all sounds were synthesized using the MUSIC V program. The piece features several experiments on Sounds Synthesis I produced between 1964 and 1968, while working with Max Mathews at the Bell Laboratories. (J-C. R.) Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2013.

File Under: GRM, Early Electronic, Avant-Garde
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Silent Servant: Jealous God #3 (Jealous God) LP+CD
*Clear vinyl, mix CD, postcard, Button, and newsprint zine.* Silent Servant’s ‘Lust Abandon’ is a rework from a cassette-only release from early 2013; backed with a fantastic remix from Powell. “Following his recent production assistance with the Vatican Shadow project and a handful of remixes in 2013, Juan Mendez aka Silent Servant plays ice cool with the low key swagger and noirish minimal wave atmosphere and voices of ‘Lust Abandon’ sounding like a prime offcut from his stunning ‘Negative Fascination’ LP. In contrast, Powell’s reconstruction incorporates slivers of the original into a completely new piece bearing only trace resemblance to the original, coming off like a modded-out muscle car groove welded together from some psychobilly’s scrapyard in a Mad Max future – all pollutant bass revs, cranking drums and shuddering electronics angled with shark-eyed swerve.

File Under: Electronic, Sandwell District
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Sleepy Sun: Maui Tears (Dine Alone) LP
Northern California’s Sleepy Sun has announced their fourth LP, Maui Tears. Along with seven brand new songs, the album features both tracks from Sleepy Sun’s recent 7″, “11:32″ and “The Lane”. Known for their incessant touring, Sleepy Sun has toured with the likes of Arctic Monkeys, the Black Angels, and most recently, City and Colour in The States.

File Under: Indie Rock
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Imarhan Timbuktu: Akal Warled (Clermont) CD
At dance clubs and private parties in Northern Mali, Imarhan Timbuktu had provided much of the grooving soundtrack to life there over the past 10 years. Local favorite and featured artist at the legendary Festival au Desert along with their sister group, Tartit, Imarhan Timbuktu have toured Europe and North America, bringing the contemporary music of their culture to world audiences. Grounded in traditional Saharan repertoire, Imarhan Timbuktu developed their unique sound to clearly represent an authentic Tuareg contemporary expression in music influenced by the sounds of the world. This is a connected generation. You’ll find them on Facebook, Twitter and YouTube. You will find them engaged with local issues as those issues have become world issues. As witnesses to the incredible political forces shattering their world, Imarhan Timbuktu create riveting music. Their electric instruments mix with traditional hand drums. The chorus breathes notes of nostalgia, loss, celebration and pride. The many experiments and collaborations with which the group members have been involved over the years have moved this Tuareg desert blues to fresh coordinates. The group’s leader, Mohamed Issa Ag Oumar El Ansari, with his searing guitar and clear voice, takes Imarhan Timbuktu into a swirl of rhythmic variations. Backing him is younger brother, Ousmane Ag Oumar El Ansari, who solidly slashes rhythm lines across the entire aural universe of their music while underneath, the insistent tinde hand-drumming of their sisters, Fadimata Walet Oumar and Zeinabou Walet, establish the foundation under it all. Their contrapuntal propulsion and vocal shouts drive the cadence forward. Add bass and calabash, and the group brings everyone to their feet. This is dance music. It is protest music. It is music that affirms a culture under siege. Imarhan Timbuktu represent a new wave of Tuareg music, proud of their heritage and bravely looking forward to the future. Imarhan Timbuktu is Mohamed Issa Ag Oumar (lead vocal, lead guitar); Ousmane Ag Oumar (rhythm guitar, backup vocal); Fadimata Walet Oumar (tende hand-drum, backup vocal); Zeinabou Walet Oumar (tende hand drum, backup vocal); Baba Traore (bass); Alpha Ousmane Sankare dit Hama (calabash).

File Under: Desert Blues

 tobaisTobias.: A Series of Shocks (Ostgut Ton) LP
A Series of Shocks is the second solo album from accomplished Berlin-based producer Tobias Freund. Continuing his exploration into “non-standard” electronic music, and expanding on the rich sound palette charted in his first LP, Leaning Over Backwards, this new chapter presents 10 versatile tracks taking us ever further into the purist, evolving sonic world of Tobias. A warm wash of synthetics begins it all with opener “Entire,” a lush synthesizer sequence with additional contributions from NSI.’s Max Loderbauer, the track casually flaunts the sheer depth of sound and sense of space awaiting the listener. Varied, playfully contrasting moods then follow, with great finesse and an ever-present attention to detail. Freund’s live shows, where the use of either the Roland TR-808 or TR-909 has become an integral part, have clearly played a role in the development of the Tobias. sound manifesto, and a large proportion of A Series of Shocks has the 4/4 structure at its heartbeat — indeed, track two takes this as its namesake, in a submerged and tense exercise. Exceptions to that steady throb are also a joy to be found, with the frenetic techno syncopations of “Testcard” offering an early moment of broken-beat hypnosis, and the brash dub of “If” proving there are indeed complex systems at work. Reaching for more energetic zones, fans of classic Tobias. jams like “Street Knowledge” or “Dial” will be pleased to find several well-honed and on-target club tracks, like the textural “Instant,” “He Said,” or the more meditative, but no less visceral “Ya Po.” Snaking, arpeggiated synth patterns are Freund’s go-to tool to build paranoid, yet at once funky and complex moments of mystery. Repeat listening will reward the listener by unearthing even more subtleties beneath these undulating elements. For an album produced largely with machines, the end result is in fact anything but rigid; a multitude of dynamics breathe life into every track. Synth elements swim in tension, build and recede with grace, and intertwine themselves into oblivion. Warm, natural drums state their presence, but do not overpower, letting the sum of the parts create the power, rather than merely the kick alone. The resonant sting of “The Scheme of Things,” matched with its smooth undertones, illustrates this perfectly. With clarity of sound and a conscious mind to allow each element its place, Tobias. has found a maturity and a true art in controlling the lively dance of the constituent parts. A master at the mix-down, everything gels; nothing is left in-concluded. This sense of togetherness continues until the very final bars of “Fast Null” leaving us in a suspended moment of wonder, and appreciation. What becomes apparent is that this album carries not only 61 and a half minutes of inventive contemporary electronic music, but also decades of experience, knowledge and passion for an artform that can only grow through the work of activists such as Tobias Freund.

File Under: Electronic
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Unwound: Rat Conspiracy (Numero Group) 3LP
Rat Conspiracy, its name a one-time working title for Unwound’s 1993 debut – the earliest Kill Rock Stars LP – brings the roiling, watershed Fake Train into natural integration with its sibling record, 1994’s New Plastic Ideas, on which the band “branch[ed] out into propulsive odd meters…and traumatic contrasts between loud and soft, pulling the arty riffage into much tighter focus.” [Trouser Press]. Both get exacting remasters and replica sleeve treatment, while the set’s third LP tracks Unwound’s restless work toward synthesis with the Mkultra and Negated 7″ material, previously unissued radio sessions, indie comp rarities, and the spidery Minutemen cover ‘Plight’. This chapter intros the Olympia, Washington, noise-punk trio anew, kicking off with hi-hat thwaks on ‘Dragnalus’ from drummer Sara Lund, whose lockstep partnership with Justin Trosper and Vern Rumsey marked the forging of a 1990s indie-rock legend. The band’s advancing threat is captured in 32 tracks, a trove of house-show b&w period photographs, and a vivid 10,000-word narrative by latter-day Unwound diarist David Wilcox.

File Under: Punk, Archive, Numero
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Voices From the Lake: Velo di Maya (The Bunker) 12″
Voices From The Lake are Donato Dozzy and Neel. In July of 2012, Voices From The Lake came from Rome to Brooklyn to present a special night of music at The Bunker in the back room of Public Assembly. Their tremendous six-hour set consisted of two separate live sets, and back-to-back DJ sets. None of the music from the either of the hour-long live sets had been released, so The Bunker immediately got on them about their plans for the tracks. They agreed on their favorite segments, and they produced live studio tracks based on those excerpts.

File Under: Techno, Electronic
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Weekend: The ’81 Demos (Blackest Ever Black) 12″
Blackest Ever Black is pleased to present the first vinyl edition of the legendary demos recorded in 1981 by Weekend — the trio of Alison Statton, Spike Williams and Simon Booth. The four demos were released as a stand-alone CD by Vinyl Japan in 1995, and included as bonus tracks on Cherry Red’s CD reissue of La Varieté; however, until now they have never appeared on vinyl. Licensed from Cherry Red, The ’81 Demos is a 12″ limited to 1,000 pieces, mastered by Matt Colton at Alchemy and housed in an LP sleeve printed on reverse board stock, with printed inner featuring liner notes by Spike Williams, Alison Statton and Simon Booth.

File Under: Indie Rock, Cherry Red
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beat from badsville

Various: Beat from Badsville Vol 3 (Stag-o-Lee) 2×10″
Brought up on the radio shows of the legendary rock ‘n’ roll DJs, the moondogging Alan Freed, Mad Daddy and, later, the ghostly Ghoulardi, it was hardly surprising that The Cramps’ Lux Interior and Poison Ivy began trawling the thrift stores for juvenile delinquent tunes, lip-curling bad boy rock ‘n’ roll, strange exotica, bizarre novelty 45s, dysfunctional doo-wop, psychedelic weirdness and instrumentals made by madmen. In America in the 1950s and 1960s, there seemed to be small town versions of such vinyl madness everywhere that, by the 1970s, were remaindered and to the majority of people, unwanted. To the fledgling Cramps, this was nothing short of heaven. The duo filled their house with novelty memorabilia, schlock horror furniture and a record collection to die for. Lux eventually gravitated to his own Purple Knif Radio Show and the Cramps delivered their versions of some of the stuff they’d found. The duo name-checked many a 45 along the way and seeking them out and sampling their eccentricities is nothing short of mind-blowing. This 24-track collection positively effervesces with eccentricity. Again, the vinyl only double-10″ is divided into four themes: “Life’s a Scream,” “Crazy Guys, Food, Prison and a Guide to the Female Persuasion,” “Welcome to the Jungle,” and “Wild and Wilder Boppin’ Girls.” Every track pirouettes dangerously, and at times, haphazardly, around the expected. These are songs for strange times by what can definitely be considered strange people. Gems and nuggets that sparkle even more bright in today’s manufactured music maelstrom. The population of Badsville welcomes you aboard. Artists include: Bunker Hill, Ralph Nielsen, Ron Thompson His Rowdy Guitar And The Brougham’s, Vince Taylor & Ses Play-Boys, Screamin’ Jay Hawkins, Lord Luther And The King’s Men, Teddy Rich And The Rockets, Fabian, The Moroccos, Richard Berry And Group, Jimmy Witter And The Shadows, Charlie Baker, Buddy Bow, Glenn Reeves, The Playboys, Jape Richards And The Echoes, The Loafers, The Charts, The Bobbettes, Wanda Jackson, Annette, Sparkle Moore, Stormy Gayle, and The Storey Sisters. Housed in a gatefold sleeve.

File Under: Punk, Cramps, Exotica, Etc


Various: Bush Taxi Mali (Sublime Frequencies) LP
Bush Taxi Mali: Field Recordings from Mali is an aural tour through the heart of Mali. These field recordings were made by Tucker Martine in 1998 while traveling throughout the West African country. This blend of bluesy ngonis, clamoring street sounds, the stunning voice of Jalimusa Amanita Diabaté (of the famous Diabaté family), passing radios, Fulani flutes, runaway sound systems, and chants from the Dogon country creates a unique portrait of Mali’s rich musical heritage. Eventually Martine found himself in the backseat of a beat-up Peugeot on his way to the village of Kela, a Jeli village, where the songs and traditions of the Mande people have been scrupulously preserved. Some of the musical performances heard on this LP were made during that visit. Bush Taxi Mali is a strikingly original tapestry of the ancient traditions of Mali in the modern era. Limited edition LP reissue of the original 2005 CD in a heavy-duty tip-on jacket with gorgeous, redesigned front and back cover photos, including a two-sided insert featuring liner notes by producer Tucker Martine and his photographs of the musicians.

File Under: Field Recordings, Mali, World

Heavenly Sweetness 2

Various: Heavenly Ethiopiques (Heavenly Sweetness) LP
The first “Best of” LP release from the Ethiopiques series. Francis Falcetto, founder of the 28-edition CD series, and THE specialist of Ethiopian music, has selected all tracks. Francis opened his large collection of photos, LPs, and memorabilia to make the artwork of this double LP gatefold. The perfect introduction to the world of Ethiopian music.

File Under: Ethiopiques, Ethio-Jazz, World
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innercity beat

Various: Inner City Beat! (Soul Jazz) CD
Soul Jazz Records new release Inner City Beat: Detective Themes, Spy Music and Imaginary Thrillers 1967-1975 is a unique 2LP release that comes with an exclusive limited-edition, specially created 60-page graphic novel (by the mysterious cult 1960’s pulp-fiction writer Mark ‘Badly’ Antringham). The music on the album is a killer selection of funky, deep, rare, exciting and dance floor heavyweight spy themes, detective music and thrillers from the 1960s and 1970s. The music spans heavyweight break-beat funk, deep and heavy jazz, super-catchy mod themes, imaginary super-charged orchestral soundtracks and more. These tracks are put together from British library music companies (DeWolfe, KPM, Conroy, Amphonic) all of whom supplied music regularly to television and film around the world during this period, often for use in detective and spy programmers, series and films. To accompany this unique album, Soul Jazz has commissioned the creation of a special 60-page graphic novel which features the stunning artwork of the elusive illustrator John C. Pattereson in partnership with the celebrated 1960’s pulp fiction cult novelist Mark ‘Badly” Antringham. The graphioc novel is set in the imaginary seedy streets of East London in the 1960’s, in a world full of corrupt police, political intrigue and violent sadistic criminals. This unique limited-edition graphic novel comes free with the initial run of the album Inner City Beat.

File Under: OST, Library
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Various: The Jerk! Boom! Bam! Greasy Rhythm & Soul Vol 2 (Jerk! Boom! Bam) LP
Volumes One and Two are all Male Groups/Artists belting out dance-floor fillers and wild party winners – Killer sound, killer packaging, killer Hits: Billy Lamont ‘So-Called Friends’/ Bobby & Expressions ‘Sloopytime’/ Albert Collins ‘I Don’t Know’/ The Rivals ‘Make Yer Mind Up’/ Jimmy Raye ‘Hey Let’s Dance’/ Sam Baker ‘The Bump’/ Gene Burke ‘Monkey Man’/ McKinley Mitchell ‘You’re Not Gonna Break My Heart’/ Danny White ‘The Twitch/ The Pyramids ‘What Is Love’/ Marv Johnson ‘Come On & Stop’/ Tony & Tyrone ‘Turn It On’/ The Isley Brothers I Say Love’/ Allen Wayne ‘Chills & Fever’/ The Ideals ‘Go-Go Gorilla’/ Wilbur Reynolds ‘Tenderiser’. Prepare to swing baby!.

File Under: Soul, Funk, RnB


Various: Jim Jam Gems Vol 3 (Stag-o-Lee) 10″
Like Vol. 1 and 2, volume 3 of Jim Jam Gems is compiled by Stuttgart-based DJ (Club Miaow), record collector and illustrator Duke Jens-O-Matic. All tracks from vintage vinyl selected from his own archive. If you up fo’ shooting craps or bustin’ at Black Jack, that’s all in the back, but in this living room you gotta get social man, drink, smoke, bounce to the snappy sounds or smooch to them blues. Artists include: Cootie Williams, Bonita, Willie Mabon, Jesse Allen, Sonny Boy Williamson, Tony Middleton, Pete Johnson, Babs Gonzales, Big John Greer, and Bea Foote.

jimjam4Various: Jim Jam Gems Vol 4 (Stag-o-Lee) 10″
Stag-O-Lee presents volume 4 in their Jim Jam Gems series, again compiled by Stuttgart-based DJ (Club Miaow), record collector and illustrator Duke Jens-O-Matic. All tracks from vintage vinyl selected from his own archive. This one leads us deep into the field of ’50s exotica — visions of the far and fantastic put a spell on us and feed our longing for that unfulfilled exotic dream. Be it the half-naked flower of the islands, winding her body in sultry gyrations, or the tribal call of the drums, reminding us of our most primitive needs — each of these songs is an exciting invitation to dance under the stars to haunting rhythms. Artists include: Lecuona Cuban Boys, Cab Calloway, Sugar Boy Crawford, Jimmy Van Eaton, Kishore Kurma, Dinah Washington, Wilmoth Houdini, Sondi Sodsai, Latin Allstars, and Julie London.

File Under: Exotica, RnB, Blues


Various: Luke Vibert’s Nuggets Volume 3 (Lo) LP
With releases to his credit on labels such as Warp Records, Rephlex, Planet-Mu and Ninja Tune, it’s fair to say that Luke Vibert knows a thing or two about electronic music. Now he returns to Lo Recordings for the third installment of his acclaimed ‘Nuggets’ series, this time delving into the archive of the Bruton Music Library to unearth some of the production music studios’ choice moments. Founded by KPM’s Robin Phillips in 1977, Bruton Music represented a significant break from the till now established mores of the library music industry. Moving away from the generic sleeves of much ‘library music’, Bruton presented its catalogue in a series of beautifully designed, colour coded sleeves and eschewing neo-classical compositions for synthesizer heavy sonic miniatures, it had exotic, vibrant music to match. Featuring the work of some of the industry’s leading composrs, such as Alan Hawkshaw, Brian Bennett and Francis Monkman, ‘Nuggets Vol. 3’ brings together 26 gems with titles such as ‘Bass Drive’, ‘Macrochip’ and ‘Galaxy (I’m The Ruler)’. Packed full of Sci-fi funk jams, truly cosmic disco and robot rock this was music designed to soundtrack the future, or at least a bright and optimistic early eighties vision of what the future might be. Almost impossible to find in their original formats, ‘Nuggets Vol. 3’ is an invaluable resource for sample spotters, beat diggers and anyone who thinks that it’s 2013 and we really should be driving hover cars and disco dancing in orbit round the moon by now.

File Under: Library, OST, Rare Groove
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Various: Rajasthan Street Music (Sublime Frequencies) LP
Swathed in hundreds of miles of snaking hinterland, the northwestern Indian state of Rajasthan is a giant canvas for the imagination of the wanderers it gives home to. Through the stark reaches of the vast Thar Desert, Rajasthan shares borders as well as bloodlines with the Pakistani provinces of Sindh and Punjab to the west and the Indian state of Gujarat to the south. The state’s rough history and harsh environment is heavily reflected in the Rajasthani people and Marwari tribal culture; centuries of continuous invasions, epic battles, brutal slaughterings and various rulings by Scythians, Mauryans, Satraps, Gurjars, Mughals, Rajputs and the British have left their traces in local folklore in the shape of storytelling, songs and plays. In Rajasthan’s modern-day avatar, daily life is controlled by power failures, lasting droughts, dried-out or diverted rivers and an ever-advancing desertification. These hardships of the past and present have equipped the Rajasthani people with their notoriously resilient and proud character and are clearly voiced in the music of the region. This compilation has been recorded in various cities, villages and remote regions of Rajasthan as part of a two-month road trip seeking found folklore, of which one month was spent in the holy town of Pushkar, where we experienced different aspects of Rajasthani cultural and Hindu religious life. Flexible improvisation, good chance and often pure luck allowed these recordings to happen when musicians of different ages and castes crossed our path along the way. This collection does not focus on the contextual technicalities of musical lineage, castes or styles, and is neither an exhaustive folkloric research project nor an ethnomusicology study; rather, it presents the musical landscape of contemporary Rajasthan on the street level as it was found in 2007-2008, a cross-section of aural environment outside of the academic approach to Rajasthani music that many Western and Indian scholars have already covered in intricate detail. The most important criteria for recording these musicians in their homes (or on the streets) was the personal beauty of raw power in their music.” –Seb Bassleer; Limited edition 2LP in a full-color heavy gatefold jacket with images of the musicians and detailed liner-notes by compiler and producer Seb Bassleer.

File Under: Field Recordings, Ethinic, World
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Various: Schnitzelbeat Vol 1: I Love You, Baby! (Digatone) LP
Subtitled: Twisted Rock-N-Roll, Exotica & Proto-Beat Unknowns from Austria 1957-1965. Genre collectors (rock-n-roll, exotica, beat, garage punk) and friends of incredibly strange music will find an awesome collection here, restored to best possible sound quality and accompanied by an extensive booklet full of great stories and pictures. Comes with a 12-page LP-sized booklet, photos, and liner notes. Features artists Werner Gavac, Frank Roberts Und Die Bongo Band, Die 4 Bambis, Uzzi & Bill Grah’s Olympia Band, The Hubbubs, Johnny & The Shamrocks, Franco Runa, Ferry Graf, The Austrian Evergreens, Dolf Kauer & The Charly-Combo, Errol Ribeiro & The Vienna Beatles, The Tramps, Jerry & The Cannons, Hannes Patek, and Rockie Jackson.

File Under: Exotica, RnR, Beat, Garage
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Acid Mothers Temple: La Novia (Prophase) LP
James Blake: s/t (Atlas) LP
Glenn Branca: Lesson No 1 (Superior Viaduct) LP
Chrome: Half Machine From the Sun (King of Spades) LP
Luciano Cilio: Dell Universo… (Die Schachtel) LP/CD
Deafheaven: Sunbather (Deathwish) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Deltron 3030: s/t (Deltron) LP
Drive Like Jehu: s/t (Hedhunter) LP
Fennez: Endless Summer (Editions Mego) LP
Fleet Foxes: s/t (Sub Pop) LP
Fleet Foxes: Helplessness Blues (Sub Pop) LP
Gorillaz: s/t (EMI) LP
Grimes: Visions (Arbutus) LP
Scorched Earth Policy: Going Thru A Hole (Siltbreeze) LP
Shellac: At Action Park (Touch & Go) LP
Shellac: Terraform (Touch & Go) LP
Silent Servant: Negative Fascination (Hospital) LP
Omar Souleyman: Dabke 2020 (Sublime Frequencies) LP
Timecrimes OST (Mondo) LP
Vox Populi!: Funk Off (A Stable Sound) LP/CD
War On Drugs: Lost in the Dream (Secretly Canadian) LP
White Stripes: Elephant (Third Man) LP
Women: s/t (Flemish Eye) LP



Tagged , , , , , ,

…..news letter #630 – wax stacks….

As promised last week, this week is a killer! While not the longest list I’ve put together recently, it packs massive bang for your buck! It was really hard to just limit myself to only two picks this week. I even left out a shipment that’s arriving tomorrow and held off on one other shipment so there’d be some killer stuff next week instead of so much this week. Anywho, so much for you to peruse. See you soon!

…..picks of the week….. coil

Coil: Musick to Play in the Dark 1 & 2 (Alkah Hellna) 3LP
The best and most desirable Coil albums of all time, also two of the most expensive on vinyl, now packaged together as a triple LP set! Volume 1…  “The fourth ‘official’ Coil album. Vol 1 replaced Backwards (scheduled for Trent Reznor’s Nothing label) as the follow up to 1991′s Love’s Secret Domain. The speed and spontaneity of the recordings might have resulted in a leaner, more sparing production, but Musick is still hallmarked by the special care Coil take in minting new, idiosyncratic sounds. Working through sleep-deprived states, in which body and mind simultaneously register every slight, shuddering change caused by the mixing desk’s variations in timbre, tone colour and tempo, Coil have come up with a particularly unstable molecule as the base unit of Musick. The way these are strung together in loose silvery ribbons gives the album its special, weirdly ectoplasmic feel.” -Biba Kopf/The Wire Volume 2… “Jon Balance, Peter Christopherson and Thighpaulsandra release the follow up to the classic Musick To Play In The Dark Volume 1. This release sees Rose McDowall from Sorrow adding her pixie vocals to some of the proceedings. “Coil return with their second record that seems to be devoted to all things lunar, hot on the heels of their excellent Astral Disaster. Like the last volume, the songs, seeming structured more by some startlingly good intuition more than anything else, sonically unfold like a great story; the surprises genuine, subtle instead of affected. The attention to detail is exquisite, and I imagine the care put into the way their records sound would make most of their contemporaries question their ear or work ethic or both. Especially fine: the opener ‘Something,’ which seems to mutate its mood so completely by the end that I was wondering where it started, and the second to last track ‘Where Are You?’ (the first time on the record Jon Balance’s vocals are untreated; listen closely and he’s inside your head). Though one could sort through the landscapes here and come up with a short speculative list of what they’ve been listening to (AE, perhaps INA-GRM stuff), ultimately Coil sound like nothing but themselves.” – Billy Kiely

File Under: Electronic, Experimental, Industrial, Classics
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Ruth White: 7 Trumps From The Tarot Cards (Black Mass Rising) LP
Originally issued in 1969 on Limelight and now available in an edition of 500 copies once again thanks to the good people at French label Black Mass Rising. If you were fortunate enough to score a copy of ‘Flowers of Evil’, then make some space on the shelf for its evil twin. This is proper holy grail stuff for historic electronic music connoisseurs. Its importance highlighted by a CD edition on Creel Pone a few years ago. In the current climate of darker strains of electronic music and fetish for horror soundtracks, this really illustrated how it should be done – Some 45 years ago. One notable difference between ‘7 Trumps’ and ‘Flowers of Evil’ is the absence of vocals; her electronically treated readings of Charles Baudelaire’s poetry. In this sense I think ‘Flowers of Evil’ probably has the edge as being my personal favourite LP of the two. However this leaves plenty of space for all kinds of wild and discordant magick modular synthesizer work and truly discomforting atonal clavinet stabs that send chills. This isn’t just some trendy new wannabe darkside psychedelic effort. This is pure authentic late 60’s stuff that genuinely feels like it could be a gateway to the other side. As powerful and Mystical as H.P Lovecraft’s ‘Necronomicon’ or the sound of some occult/ magick ritual/ ceremony all drenched in lovely warm analogue tape echo. A totally essential and classic record than no serious electronic music collection should be without.

File Under: Early Electronic, Experimental, Raers
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…..new arrivals…..

acklesDavid Ackles: s/t (1972) LP
David Ackles’s eponymous 1968 debut is a rich emotional experience rife with poignant balladry and evocative lyricism. The era’s market was unprepared for such a singular songwriter, but the cult of Ackles is a potent force and this reissue obliges its demands. Elton John, Bernie Taupin and Elvis Costello are Ackles acolytes—the latter even championed him as “perhaps the greatest unheralded songwriter of the late ’60s.” As a staff songwriter for Elektra and avid composer for theatre and film, Ackles developed a maverick style. Indeed, David Ackles materialized when Elektra couldn’t imagine a singer more suitable for the material than its composer. David Ackles boasts wonderfully restrained arrangements that only enhance its power. The widely covered opening track “The Road to Cairo” features Ackles at the pinnacle of his emotive ability. With marvelous dramatic grace, he evokes the weary traveler’s wisdom and turmoil as it devolves to a devastating breaking point. It’s a gut-wrenching moment, though one quickly tempered by the melancholy “When Love Is Gone” and beatific “What a Happy Day.” Perhaps akin to Randy Newman, Scott Walker or the darkest Van Dyke Parks (at least for their inimitability), Ackles’s debut sounds peerless today. As critic and archivist Richie Unterberger writes in the liner notes, “About 45 years later, the record is more durable than many a high-charting singer-songwriter statement of the time, precisely for the idiosyncratic qualities that kept it shrouded in obscurity at the time of its release.” This record is an extraordinary achievement—it belongs to a universe bordering on Tim Buckley and Leonard Cohen, not to mention Scott Walker and Randy Newman, but with a starkness all its own.

File Under: SSW
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Actress: Ghettoville (Ninja Tune) LP
Finally available as a standard triple-LP release. Ghettoville follows 2012′s R.I.P., but is really the sequel to Actress’ 2008 debut, Hazyville, “sharing a similar rugged style.” Ghettoville is the bleached out and black tinted conclusion of the Actress image. Where the demands of writing caught the artist slumped and reclined, devoid of any soul, acutely aware of the simulated prism that required breakout. Four albums in and the notes and compositions no longer contain decipherable language. The scripts now carry tears, the world has returned to a flattened state, and out through that window, the birds look back into the cage they once inhabited. Spitting flames behind a white wall of silence. The machines have turned to stone, data reads like an obituary to its user. A fix is no longer a release, it’s a brittle curse. Zero satisfaction, no teeth, pseudo artists running rampant, but the path continues.

 File Under: Electronic
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afghan whigsAfghan Whigs: Black Love (Music on Vinyl) LP
Where some artists write from the head and others from the heart, Whigs’ songwriter/front man Greg Dulli writes from the groin. His lyrics are filled with dark images of romantic obsession. Perhaps no other band can play with such restraint, letting musical tension build until it can do nothing other than explode. Dulli in his finest voice can move from desperate screams to a quiet sinister crooning at the turn of a chord. Black Love was released in 1996 and further built on their trademark mix of Grunge, Indie Rock, Soul and Blues. The band lay out dark, raw Grungy grooves for Dulli to sing his twisted lyrics to; a perfect match. Now available on vinyl for the first time since 1996!

File Under: Indie Rock
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axemenAxemen: Derry Legend (Luxury) LP
A long overdue reissue of the AXEMEN’s cracked pop classic and Flying Nun rarity. “An album simmering with background chaos worthy of prime-era Buttholes or Royal Trux. The real surprise is how Derry Legend clears room for pop chops, making it possible to see the Axemen’s relation to bands like the Clean and the Gordons.  A wonderful testament to the power and limits of form-bloat. Ahoy!”–Byron Coley. Remastered from the original tapes. Packaged with two newprint poster inserts.

File Under: Punk, Flying Nun, Noise Pop
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banningMark Banning: Journey to the Light (Students of Decay) LP
Recorded in Northern California in 1984 and released in a micro edition by the Creative Sound imprint in January of the following year, Mark Banning’s Journey to the Light is a true lost gem of private issue New Age music, an album that is more spoken about than heard and deserves to be recognized alongside established classics of the genre. For too long it has languished out of print and nearly impossible to come by, occasionally popping up in private auctions only to be snatched up by savvy collectors. Incorporating processed electric guitar, zither, voice and field recordings, it is unabashedly beautiful music—two side-long pieces that feel as though they may have always existed, hanging in the air like a morning fog over the Pacific. As archetypal to the genre as Banning’s compositions might appear to be, it would be remiss not to comment on their singular nature. Indeed, Banning’s music has a seriousness and intensity that was absent from much of the New Age scene as it existed in the early ’80s. The album’s first piece, “Everlasting Moments,” charts a course somewhere between the weblike guitar cycles of Manuel Gottsching and the buoyant minimalism of Terry Riley. “A Sea of Glass” constructs itself similarly but navigates even calmer waters, providing the listener with a sensuous tapestry of ever-evolving guitar drones and radiant zither filigree. These heady, oddly prescient recordings were uncovered by New Age historian / figurehead Douglas Mcgowan (Yoga Records) and will appeal as much to fans of drone and ambient music as to those enamored with labyrinthine annals of American private press records, New Age as such, or with the recent renaissance of synthesizer-based experimental music. Remastered for presence and clarity by James Plotkin, this special reissue is the definitive edition of Banning’s transportive masterwork.

File Under: New Age, Ambient, Minimalism
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baronessBaroness: Blue Record (Relapse) LP
Blue Record announces the re-awakening of Savannah’s rock giants Baroness. Blue Record is an instant classic, with all the peaks and valleys, textures, and nuances that timeless records yield over repeated listens. Deep and dark; Blue Record overflows with gossamer melodies and striking, earnest riffs that have become the band’s signature. Blue Record is the most poignant moment in the Barones canon to date.”
Baroness: Red Album (Relapse) LP
Savannah, Georgia’s Baroness blow the lid off their cauldron of hall of fame riffs on their first record for Relapse and debut full-length titled Red Album. With a sound built upon a resolute sense of purpose and shaped by hundreds of explosive live shows, Baroness position themselves at the forefront of heavy music with an epic album that is at once powerful, expressive, confident, and commanding. Red Album sees the band expand its sonic vision; colossal riffs and haunting vocals roll like thunder across epic songs spanning both the intense and the sublime. As the Red Album proves, Baroness’ formidable reputation proceeds them for a reason.”

File Under: Metal
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Bl’ast: The Expression of Power (Southern Lord) 3LP
Santa Cruz, CA hardcore legend: Bl’ast! recorded their debut several times before finally emerging from the studio with their cult classic masterpiece: ‘The Power of Expression’. . For the first time ever an alternate version (the Track sessions) of this album is officially available. Also included is a 28 page booklet with amazing Bl’ast! photos from the mid-80s. All tracks (re)mastered by Brad Boatright. Lp version contains a exclusive unreleased demo. TRIPLE LP SET!

File Under: Punk, Hardcore
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Glenn Branca: Lesson No. 1 (Superior Viaduct) LP
After cutting his teeth in the late ’70s no wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveiled Branca’s visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC’s downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans. The title track is easily Branca’s most accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. “Dissonance” is the A-side’s polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process. Soon after the release of Lesson No. 1, Branca began to work on ambitious, long-form symphonies. “Bad Smells,” included here as a single-sided bonus 12-inch, was commissioned in 1982 as a dance piece for choreographer Twyla Tharp and originally released on a split LP with John Giorno. Featuring Sonic Youth guitarists Lee Ranaldo and Thurston Moore, “Bad Smells” is a thrilling multi-section guitar assault that foretells much of Branca, Ranaldo and Moore’s work for the next decade.

File Under: Experimental, Minimalism, No Wave
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burnt onesBurnt Ones: Gift (Castle Face) LP
Burnt Ones have been Castle Face favorites for years, and last year’s You’ll Never Walk Alone on Burger was the one for which they kicked themelves repeatedly for not getting to first. The label is very honored to present their third record, Gift. Far more psychedelic than their previous work, the album may be a bit of a surprise to fans on first listen. A potent blend of wide-eyed strummers on shifting sands is punctuated by blinking oscillators, left turns into wispy sound collage and tape manipulations, drug-rug-wrapped lushness and telephone whispers from a supremely stoned sounding Mark Tester, the guide through this cultish and vaguely sinister headphone-scape. It’s a woozy and a woolly one.  Packaged with original artwork by William Keihn.

File Under: Garage, Glam, Psych
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Current 93: I am the Last of All the Field That Fell (The Spheres) LP/CD
I Am the Last of All the Field That Fell: A Channel is the hallucinatory new album from PickNickMagick Skipsters CURRENT 93. Clocking in at 68 minutes in length, the disc is packaged in a full-color digipack designed by David Tibet with a 24-page booklet containing all lyrics, credits and photographs of the band. Channelling C93 for this River are: Jack Barnett (These New Puritans), James Blackshaw, Ossian Brown (Cyclobe), Nick Cave, Antony Hegarty, Reiner Van Houdt, Norbert Kox, Andrew Liles, Tony (TS) McPhee (The Groundhogs), Jon Seagroatt (Comus), Carl Stokes (The Groundhogs), David Tibet, Bobbie Watson (Comus) and John Zorn.

File Under: Experimental, Goth
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damaged bug

Damaged Bug: Hubba Bubba (Castle Face) LP
Recorded at home in the fall of 2013 with a variety of synthesizers, drum machines and assorted handmade electronics, Damaged Bug is Thee Oh Sees mastermind John Dwyer’s latest bit of cracked pop alchemy. The project is the cure to the ailment of too much guitar for too long. Fizzing and sputtering like a glowing, temperamental cockpit control panel, Dwyer bunkered deep in a blinking laboratory, penning songs about the long arc of our travels across space and time. Propulsive beats and synthetic veneers coat laser-guided melodies reflecting off shiny metal surfaces while instrumental interludes pop in and out like breaks in the asteroid belt. A far-out side of our main man–nocturnal, hard-wired, and chrome-plated. Hubba Bubba features original artwork by Deirdre White.

File Under: Electronic, Pop, Thee Oh Sees
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dead rider

Dead Rider: Chills on Glass (Drag City) LP
Chills On Glass, Dead Rider’s third ride, is as distinct from the second time around as The Raw Dents was from their debut, Mother of Curses. There’s no point in venturing out unless you intend to see something new–and so Dead Rider do, making new known again. Meanwhile, the search for the perfect teenage love-affair continues, the guessing game that will tell them (and by proxy, us) who the new favorite bedroom wall poster-idol might be. This way ecstasy lies…. The goal for Dead Rider, always: super-heavy, super-driving, more “up” moments than ever before. An album experience; listening, you’re put through some changes. Illusions radiating out from the real. You’re rocked into submission, but asked to participate on the listening level. Rebuilt, regrooved, with favorable upgrades. Chills On Glass moves forward in this tradition, juxtaposing high and low values–serious playing, danceablity, controlled-outcomes experimentation, don’t-give-a-fuck rad-itude. Seeking the rock, Dead Rider leave no stylistic stone unturned in their restless path and no knob on the board untwisted in their search for the mixe parfait. Synths that tickle the top of one’s spine, and the brain-pan balanced atop it. Guitars piercing like a neural system. The fullness of real drums. Passion and soul that echo shoutingly from within the (very aLIVE) rhythm machine. Vocal layers and masks of all kinds, space, with digital code threaded around the edges. This is composition that uses improvisation as an element within a larger structure–the ultimate streamlining of production, where songs are processed on several levels, mirroring and flashing their meanings through tactics and layers, backgrounded by a panaroma of yawning, silent, benevolent and black velvet.

File Under: Rock-ish, Horror Soul, US Maple
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Finn,Simon: Pass the distance (UK/70 Mushroom 100 MR 2) Cover by David Toop

Simon Finn: Pass the Distance (Little Big Chief) LP Honorary Pick of the Week (if there wasn’t already two others). Recorded in Chalk Farm Studios in London by Vic Keary for his Mushroom imprint (also home to Chillum and Second Hand), Pass the Distance sees landless folkie Simon Finn chase, tumble down and ultimately ravage his beasties and neuroses in a myriad of gripping and frequently terrifying ways. Callin’ it acid folk or psych folk or freaked out Xtian primal scream just ain’t gonna do the business. Finn ain’t finna get buttoned in. Though you can hear the stoned lilt of contempo bonnet-wearers like Donovan on “The Courtyard,” the lyrics come off more like Jerry Moore on a Leonard Cohen bender. Things do get pastoral, too, but Finn’s spokes are so clotted with mud and hay, he winds up collapsin’ and gaspin’ down a dry well (“What A Day”). But just when ya think ya boy is outta breath, on comes the tottering monolith that is “Jerusalem,” in which Finn croaks til hoarse and foamin’ about the state of contemporary believers. A swollen organ drone keens like an Irish wake in the background. Finn sounds like he’s playin’ guitar with those gauntlets people use to handle razor wire. The percussion struggles to escape in one piece. Of course, all the religious horse hockey is really just a red herring for the paralyzing anger and alienation consuming dude, but if’n you’s a sturdy enough chap to have hung thru the first side, you musta figgered that out. Side B calms it down a touch but the wonders still abound. Leads smother themselves, beauty is lost, folks get betrayed, menacing jokes are cracked. I spose I oughta emphasize the word “cracked” huh? Ya get the notion Finn is on a tough journey, but it’s almost better just to wonder what great personal wilderness landed him on the road in the first place. First time and long-overdue Stateside pressing. File awkwardly between Leonard Cohen’s Songs from A Room and Kenneth Higney. Seems like Finn could use some company. -Sebastian Morris-White, Buffet of Loathsome

File Under: Folk, Psych, Acid Folk
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nils frahm

Nils Frahm: Spaces (Erased Tapes) LP
Finally available on vinyl!!! Berlin-based contemporary composer Nils Frahm has built a steady reputation for his intimate, poignant piano recordings, yet they only reveal a fragment of what to expect from a Frahm concert. The artist’s heart lies in improvisation, in the magic of a moment where, inspired by the space and the audience, his fingers create new compositions loosely based around his familiar melodies. Spaces is an ode to the joy of live performance. It expresses Frahm’s love for experimentation and answers the call from his fans for a record that truly reflects what they witness during his concerts. Breaking the convention of a traditional live release, the album was recorded over the course of two years in different locations and on various media, including old portable reel-to-reel recorders and cassette decks. These moments were later pieced together in his Durton Studio for what Frahm refers to as a collage of field recordings rather than a live album. Spaces includes surprises such as the sound of a toilet brush banging on piano strings to create a dub-sounding track. The decision to select takes that include the sounds of people coughing and cell phones ringing make clear that his audience is an integral part of every performance. In his own words: “What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ, too. Every space I performed in has its own magic and spirit.” Packaged in die-cut jackets. US edition features exclusive song for download.

File Under: Electronic, Classical, Piano
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Bob Frank: s/t (Light in the Attic) LP
Now available on vinyl!!! Light In The Attic and legendary folk/blues/roots label Vanguard Records are proud to begin a series of collaborations under the umbrella Vanguard Vault. The series will explore the vaults of Vanguard and see the reissuing of obscure nuggets, psychedelic weirdness and just some good old-fashioned seminal music. Originally released in 1972 on Vanguard Records, Bob Frank’s self titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it through a pot-smoked haze infused with Frank’s long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson’s own 1972 debut album Dixie Fried he recorded one of Bob’s songs, “Wild Bill Jones.” Despite the Dickinson/Memphis connection, Frank’s only LP for Vanguard has remained a forgotten, hard to find vinyl relic. Until now. As Dickinson once deadpanned, “Bob went to Vietnam and Nashville. I don’t know which was worse.” It was also an itinerant period, when Frank spent many a stoned evening staggering alone through the mid-south urban gothic landscape of church steps and sleaze bars, with his guitar glued to his arm, if not an actual extension of it. Songs would emerge from dreams or drunken visions. But this was not artless acid folk, but a series of picaresque, well-sketched vignettes delivered in a clearly-enunciated vernacular, and all very much in Frank’s own style.

File Under: Folk
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Talib Kweli: Gravitas (Javotti Media) LP
Talib Kweli’s 6th solo album independently released on his imprint Javotti Media. The new songs reflect a continued determination and drive in Talib Kweli, impressive because of the fact that “Prisoner of Conscious” was released less than six months ago. Considered one of the top tier lyricist of all time and name dropped in songs by everyone from Jay-Z to 2 Chainz, Talib Kweli has defied the odds and remained relevant while never compromising his art, quite a feat in today’s music business. The respect he is given is evident when Raekwon from the Wu Tang Clan drops by to spit on “Violations”. Talib Kweli has also showcased new artists throughout his storied career, giving breaks to people like Kanye West, Kendrick Lamar and J. Cole long before they were embraced by the mainstream. This streak continues with Brooklyn’s own UnderAchievers, who pop up on the Statik Selektah produced New Leaders. The OhNo produced Art Imitates Life features classic lyricism from Kweli, Rah Digga and Black Thought from the legendary Roots, and Austin’s guitar prodigy Gary Clark Jr. shows up for “Demonology”. All of this leads up to Gravitas’ final track, “Colors of You”, featuring Mike Posner and produced by the late, great J Dilla of Slum Village fame.

File Under: Hip Hop
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missing monumentsMissing Monuments: s/t (Dirtnap) LP
If you still think of Missing Monuments as a King Louie project, you’re a few years behind the times! The band began in New Orleans in 2009 when Louie (Royal Pendletons, Pursuaders, Kajun SS, etc.) and his guitar slinging pal Julien Friend recruited drummer Aaron Hill and bassist Bennett Bartley. A 7″ on Douchemaster Records and tours of the Midwest, the West Coast, and Europe followed soon after. Benny Divine (Wizzard Sleeve) replaced Bartley on bass shortly after the release of the band’s debut album Painted White in June 2011. With its lineup solidified and a rougher sound cultivated, the band was just starting to hit its stride. Last year’s superb “(I’m Gonna) Love You Back To Life” EP on HoZac was a brief taste of what Missing Monuments were capable of, and now the band truly delivers the goods on its sizzling second LP. The words “power pop” always seem to come up whenever Louie Bankston is involved, and not without good reason. But that’s just one element of many in what proves to be a righteous mix of sounds. Missing Monuments play gritty rock n’ roll with a distinctly Southern flavor–blending in hints of pop, garage, soul, oldies, and even hard rock. Missing Monuments have the chops and the songs that cannot be beat. And lyrically and vocally, this is some of the most passionate and personal material Louie has turned out in years. If “I Don’t Share” and “Heart and Soul” fail to leave you stunned, you might want to check yourself for a pulse. LP has 11 songs, CD and download come with the entire first album on Douchemaster and 7″ on Hozac as bonus tracks, for a total of 23 songs!

File Under: Garage, Rock n Roll
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Pow!: Hi-Tech Boom (Castleface) LP
Deep in the graveyard of San Francisco, a young hand with black and cracked nails is pushing up through a broken pile of e-slag. Bitter teeth tear through server cables and motherboards, desperate to be free from the ever-deepening sludge of tech waste… the iPhone is the new styrofoam cup. Stepping over them—eyes glazed, feet dragging, blank face aglow in the eerie luminescence of smart phones—is the inspiration for these songs. San Francisco has long attracted newcomers… but now the city faces the most dangerous, the most egregious and blandest of them all—people with lots of money. In the vacuum that is now expanding, there is a ragged, determined sound vibrating out of the dirty underground. This is POW! Deep ’80s synth bass percolates under the circuit-swamp-fried-egg guitar. The drums, a teenage tiger’s heartbeat, underpin vocals delivered like a deadpan face-slap from a kid half your age. The recording is simple and dense, and it has a natural Doppler effect on headphones. It’s perfectly poppy and rough at the same time, and it has a message, so dig in, ear-wise. Heed the warning bells echoing down the streets of San Francisco clogged with the cholesterol of normals. Next they could be knocking at your door…

File Under: Electronic, Garage Rock
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spitsThe Spits: Kill the Kool (In The Red) LP
The space-age mutant punk rockers known as The Spits have been at it for more than a decade now and are showing no signs of slowing down. Their demented, out-of-control stage act has inspired many a mosh pit and near-riot. The band’s five albums (all self-titled) and countless singles are brief blasts of hyperactive aggression with a weirdo, mongoloid electro twist that makes them completely unique. The Spits and In The Red are happy to announce the proper release of Kill the Kool. Previously pressed in an edition of 500 and sold on tour only, this collection has been re-mastered, expanded to a double LP (which spins at 45 RPM) with extra material, and housed in a beautiful gatefold sleeve featuring artwork by comic book artist Keenan Keller. The 22 tracks are pulled from singles sides, outtakes and demos, yet Kill the Kool plays like one of the most cohesive Spits releases rather than an odds ‘n’ sods patchwork. To anyone who has yet to investigate The Spits, Kill the Kool is a perfect introduction. It encapsulates everything the band does best–from creepy, weirdo synth tracks to full-on Killed By Death punk rockers.

File Under: Punk, Garage Rock
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Trust: Joyland (Arts & Crafts) LP
Trust is the alter ego of Toronto artist Robert Alfons. Formed in 2009 along with collaborator Maya Postepski, Trust released its first singles, “Candy Walls” and “Bulbform,” on Brooklyn-based Sacred Bones Records in 2011 before signing with Arts & Crafts for the 2012 release of the Juno Award-nominated debut full length, TRST. Its follow-up Joyland will be issued on the label in March 2014. Joyland’s 11-tracks are an eruption of guts, eels, and joy. “Trust, is another one of those breaking Canadian acts that seems to have appeared fully-formed with a heap of brilliant, deviant, eletronically infused tracks.” – Noisey

File Under: CanCon, Indie Pop
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Peter Walker: Second Poem to Karmela (Light in the Attic) LP
Originally released in 1968 on Vanguard Records, Peter Walker’s album Second Poem To Karmela Or Gypsies Are Important was a ground breaking blend of folk, raga, psychedelia, Eastern and Modal sounds that has remained unsung for decades. While his debut album for Vanguard, Rainy Day Raga, has been reissued several times on LP and CD, this album (his sophomore effort), remains an obscure and hard to find vinyl relic. Until now. Carefully remastered from the original tapes, guitar scholar Glenn Jones recently interviewed Peter Walker for hours and has written a book-deep essay for the CD and LP liner notes that detail Walker’s association with an incredible cross-section of 1960s counter-culture icons including LSD guru Timothy Leary (Walker personally provided ‘the soundtrack’ to many a trip), he studied raga music with Ali Akbar Khan, and like his close friend Sandy Bull, Walker worked on a fusion of Western and Eastern sounds. Jim Pepper plays flute on Second Poem (he also recorded with The Fugs and Don Cherry), other accompaniment to Walker’s guitar, Sarod and Sitar playing includes violin, organ, tablas, and tamboura. This is true “acid folk” as interesting, progressive, and memorable as fellow 1960s world travelers Robbie Basho, Davy Graham, and the Incredible String Band.

File Under: Blues, Folk, Guitar, Psych, Ragas
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war on drugs

War On Drugs: Lost in the Dream (Secretly Canadian) LP/CD
Lost In The Dream is the third album by Philadelphia, PA band The War on Drugs, but in many ways, it feels like the first. Around the release of their 2011 breakthrough Slave Ambient, Adam Granduciel spent the bulk of two years on the road, touring through progressively larger rock clubs, festival stages and late-night television slots. As these dozen songs shifted and grew beyond what they’d been in the studio, The War on Drugs became a bona fide rock ‘n’ roll band. That essence drives Lost In The Dream, a 10-song set produced by Granduciel and longtime engineer Jeff Zeigler. In the past, Granduciel built the core of songs largely by himself. But these tunes were played and recorded by the group that had solidified so much on the road: Dave Hartley, (his favorite bassist in the world), who had played a bit on The War on Drugs’ 2008 debut Wagonwheel Blues, and pianist Robbie Bennett, a multi-instrumentalist who contributed to Slave Ambient. This unit spent eight months bouncing between a half-dozen different studios that stretched from the mountains of North Carolina to the boroughs of New York City. Only then did Granduciel – the proudly self-professed gearhead, and unrepentant perfectionist – add and subtract, invite guests and retrofit pieces. He sculpted these songs into a musical rescue mission, through and then beyond personal despair and anxiety. Lost In The Dream represents the trials of the trip and the triumphs of its destination. “I wanted there to be a singular voice, but I wanted it to be a project of great friends. Everyone in the band cares about it so much,” he says. “That is the crux of it – growing up, dealing with life, having close friends, helping each other get by. That is what the record’s all about.” As such, these tunes reveal a careful and thrilling reinvention of the sound that’s become The War on Drugs’ trademark. The signature meld of long tones and scattershot layers still stands, with phantom drum machines and organ lines dotting the musical middle distance all across Lost In The Dream. Note the way the keys whisper against the guitar’s growl as the tempestuous “An Ocean in Between the Waves” approaches pentecostal heat. Hear how, when a sharp and hard riff cuts into the inescapable chorus of “Red Eyes,” synthetic strings and baritone saxophone shape a soft, infinite bed beneath it. But there’s a newfound directness to these tunes, too. Granduciel’s voice steps out from behind its typical web of effects – louder now, with more experiences to share and more steel from having survived them. He sounds less like a prismatic reflection of a rock bandleader, more like the emboldened actualization of that idea. With its crisp, unencumbered delivery, “Eyes to the Wind” becomes the album’s centerpiece and the group’s new anthem. This is Granduciel’s to-date triumph and the exact moment where Lost In The Dream moves from a tale of confusion to one of resolve. Throughout most of the record, grips loosen and senses fail, memories are mourned and expectations are abandoned. But after the Rolling Thunder lift of “Eyes to the Wind,” Granduciel finds new contentment and direction. Anguish sublimates into deliverance. Backed by his bros, Granduciel becomes a preacher in a new pulpit.

File Under: Indie Rock
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Woo: When the Past Arrives (Drag City) LP
Woo is brothers Mark and Clive Ives. Emboldened by the success of the recent reissue of It’s Cosy Inside, Mark and Clive had a listen to hundreds of previously unreleased tracks recorded in the ’70s and ’80s to assemble their first new record in two decades, When The Past Arrives, out in March from Drag City / Yoga Records. With comparisons to Penguin Cafe Orchestra, Animal Collective, Cluster, and Brian Eno, Woo’s profile in the world of atemporal music has been growing for years. For the lucky few who know, like Fela, or Neu!, Woo has their own instantly recognizable vibrantly pulsing sound, a quiet sound of comfort and contentment. When The Past Arrives is a collection of deceptively airy jams, addictive, crystalline. Uncut called It’s Cosy Inside “the epitome of domestic bliss,” and Pitchfork observed the album “stakes itself on the premise that the most cosmic and revelatory experiences you’ll ever have will all happen between your house and the backyard.”

File Under: Ambient
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Various: Punk 45 (Soul Jazz) LP
Soul Jazz Records’ new Punk 45 album charts the rise of underground punk across the United States of America in the years 1973-1980. The album coincides with the release of Soul Jazz Records’ massive new deluxe 400-page Punk 45s cover art book edited and compiled by Jon Savage (author of the seminal book on punk, England’s Dreaming) and Stuart Baker (founder of Soul Jazz Records). The Punk 45 album features a collection of seminal, classic, obscure and rare punk and proto-punk 45 singles from the likes of Pere Ubu, The Zeros, The Randoms, Electric Eels, The Pagans, The Deadbeats, The Lewd and many more – a  lightning rod journey across the states of America – Cleveland, Detroit, Los Angeles, Akron, New Orleans, Philadelphia – tracing the rise of punk music in these various towns and cities. The album comes complete with extensive text, biographies on each of the bands, exclusive photos and original record artwork. The album is released on CD with outsize large booklet and thick slipcase and is also available as a limited-edition super-loud, super-heavy double gatefold-sleeve vinyl editions with full sleevenotes. This is also the first release that Soul Jazz Records are making available as a worldwide digital release. Punk 45: Kill The Hippies! Kill Yourself! The American Nation Destroys Its Young – Underground Punk in the United States 1973-80 is the first in Soul Jazz Records’ Punk 45 series of album releases coinciding with the new book and will be followed at the start of next year by Punk 45 Vol. 2 Underground Punk in the UK.

File Under: Punk


Acid Mothers Temple: La Novia (Prophase) LP
Alabama Shakes: Boy & Girls (ATO) LP
Avengers: s/t (4 Men With Beards) LP
Bad Sports: Bras (Dirtnap) LP
Robbie Basho: Seal of the Blue Lotus (4 Men With Beards) LP
Bent Wind: Sussex (Ugly Pop) LP
Dean Blunt: Redeemer (Hippos in Tanks) LP
Broken Bells: After the Disco (Columbia) LP
Captain Beefheart: Trout Mask Replica (Reprise) LP
Nick Cave: Henry’s Dream (Mute) LP
Nick Cave: Murder Ballads (Mute) LP
Nick Cave: The Boatman’s Call (Mute) LP
Ornette Coleman: Art of the Improvisers (Atlantic) LP
Ornette Coleman: Free Jazz (Atlantic) LP
Ornette Coleman: This is Our Music (Atlantic) LP
Robert Crumb & Jerry Zolten: Chimpin’ The Blues (East River) LP
Daft Punk: Random Access Memories (Columbia) LP
Einsturzende Neubauten: Grundstueck (Fan Club) LP
Einsturzende Neubauten: Haus der Leuge (Fan Club) LP
Factrix: Scheintot (Superior Viaduct) LP
Flaming Lips: Soft Bulletin (Warner) LP
Flaming Lips: Yoshimi Battles The Pink Robot (Warner) LP
Fugazi: Steady Diet of Nothing (Dischord) LP
Full Moon Ensemble: Crowded with Loneliness (Superfly) LP
Funkadelic: s/t (4 Men With Beards) LP
Peter Gutteridge: Pure (540) LP
Tim Hecker: Virgins (Kranky) LP
Lightning Hopkins: Texas Blues Man (Arhoolie) LP
Joy Division: Still (Factory) 2LP
Kinks: We Are the Village Green (Pye) LP
Kendrick Lamar: Good Kid… (Aftermath) LP
LCD Soundsystem: London Sessions (DFA) LP
Charles Mingus: Black Saint and the Sinner Lady (Speakers Corner) LP
Charles Mingus: Mingus Ah Um (Music On Vinyl) LP
My Bloody Valentine: Isn’t Anything (Creation) LP
My Bloody Valentine: Loveless (Creation) LP
Nine Inch Nails: Broken/Fixed (Fanclub) LP
Thee Oh Sees: Castlemania (In The Red) LP
Thee Oh Sees: Dog Poison (Castle Face) LP
Thee Oh Sees: Floating Coffin (Castle Face) LP
Pack AD: Do Not Engage (Nettwerk) LP
Pink Floyd: Wish You Were Here (EMI) LP
Iggy Pop: The Idiot (4 Men With Beards) LP
Iggy Pop: Lust for Life (4 Men With Beards) LP
Portishead: s/t (Polydor) LP
Radioactivity: s/t (Dirtnap) LP
Slits: Cut (4 Men With Beards) LP
Space Lady: Space Lady’s Greatest Hits (Night School) LP
St. Vincent: s/t (Loma Vista) LP
Survival: Simmer Down (Strawberry Rain) LP
Tame Impala: Innerspeaker (Modular) LP
Tame Impala: Lonerism (Modular) LP
Throbbing Gristle: DOA: Third & Final (Industrial) LP
Throbbing Gristle: 2nd Annual Report (Industrial) LP
Throbbing Gristle: 20 Jazz Funk Greats (Industrial) LP
Thor’s Hammer: 1965-1967: If You Knew (Ugly Pop) LP
Frank Zappa: Roxy & Elsewhere (Zappa) LP
Frank Zappa: Uncle Meat (Zappa) LP


…..news letter #629 – slimmer…..

Another light week around here for new arrivals, but that will be balanced out next week I promise. Loads of good stuff en route. But don’t let that stop you! Some top notch stuff in this week. Bent Wind is a hands down must have classic! This pressing was sold out before it even shipped, so don’t be left without!

…..pick of the week…..

bent wind

Bent Wind: Sussex (Ugly Pop) LP
“The Holy Grail of Canadian rock, this raw, murky slab of heavy psych was released by local indie label Trend in autumn 1970 and immediately sank without a trace. Over the decades, however, obsessive fans and collectors of the era’s unsung greats gradually came to recognize the obscure Toronto band’s genius, the now impossible-to-find original LP eventually trading hands for $5000+ plus in the rare vinyl market. After years of bootlegs, compact discs and pricey European pressings, this mythical Canadian LP is finally available at home in its intended format for the first time in 44 years.”

File Under: Garage, Psych, Fuzz, CanCon, Mega Raer
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…..new arrivals…..

ashleyGreg Ashley: Another Generation of Slaves (Trouble in Mind) LP
Greg Ashley (lysergic psych band The Mirrors, & highly influential quartet The Gris Gris) is no stranger to recording. If his group output wasn’t enough, Ashley has peppered multiple solo albums in between all of these releases tracing along apath that veers to & fro from heady psychedelic freakouts to sensitive, folky tune-smithing. ‘Another Generation of Slaves’ is a bold step off that acid-soaked artery, the nine tunes herein are Ashley’s most directly poetic suite of songs both melodically & lyrically. Recorded in 2013 with a cadre of jazz musicians, the malleability of his players belies dizzying results, allowing Ashley to focus on communicating the feeling of the tunes in addition to playing them. Lyrically, Ashley has never been one to mince words, but the songs are almost joyously direct. The 1st vinyl edition is pressed on randomly mixed 150-gm vinyl, includes a printed inner sleeve with lyrics & a download code. All other pressings will be on basic black vinyl.

File Under: SSW, Gris Gris
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Philip Glass: The Photographer (Music on Vinyl) LP
The Photographer is a chamber opera by world renowned composer Philip Glass, first performed in 1982 at the Royal Palace in Amsterdam. The story revolves around the life and work of photographer Eadweard Muybridge, the 19th century pioneer in photographic studies of motion and motion-picture projection. The centerpiece of the story is the trial for Muybridge’s murder of the alleged real father of his child, an accusation Muybridge was indeed found guilty of. Remarkable outcome of the trial was that Muybridge received no punishment on the grounds of ‘justifiable homicide’. The Photographer is one of the works bridging the gap between Philip Glass’ earlier compositions up through Einstein on the Beach and his later pieces for more traditional instrumentation. The lyrics for the vocal parts were written by David Byrne (Talking Heads). Solo Violin: Paul Zukofsky. Conductor: Michael Riesman.

File Under: Classical, Minimalism
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stvincentSt. Vincent: s/t (Universal) LP/CD
It starts with the creation myth: St. Vincent, naked and alone in the wilderness, startled as the ominous rattle of a snake breaks the silence of her Eden. She realizes she’s not alone in the world and breaks into a run, headed towards the uncertainty of the future. It’s a lovely and appropriate metaphor to open St. Vincent’s self-titled fourth album, except that it literally happened. “It’s not a metaphor at all,” St. Vincent, aka Annie Clark, says of the album’s lead track, “Rattlesnake.” While visiting a friend’s west Texas ranch, she decided to strip away her clothes and fully enjoy the solitude that city life so rarely affords. “I went walking around this great expanse of land. There was no one around so I decided to take my clothes off and immerse myself in nature. I saw holes in the path, but did not put two-and-two together until I heard the rattle and caught a glimpse of the snake.” Clark’s been moving at a breakneck speed for the past two years, barely stopping to catch her breath amidst a whirlwind of recording and touring. In 2011 she released her third album, Strange Mercy, called “one of the year’s best” by the New York Times and “something to behold” by Pitchfork. The record cemented her status as one of her generation’s most fearsome and inventive guitarists, earned her the covers of SPIN, Paper, and Under the Radar, performances everywhere from the Metropolitan Museum of Art and Fallon to Letterman and Conan, and a year-long sold-out tour of her biggest venues to date around the world. She appeared on the hit IFC series Portlandia and graced the pages of Vogue’s coveted September issue. It was during this already monumentally busy time that she completed work with David Byrne on their collaborative album Love This Giant, another critical smash that was dubbed “marvelous” by the New Yorker and “magical” by NPR. Clark’s most gripping work to date, “Bring Me Your Loves” is a frenzied freakout, but even less frantic tracks like “Severed Crossed Fingers” still deliver her trademark blend of the beautiful and surreal. At the heart of all her music, though, lie larger questions about what it means to be human and the ways in which we seek to create meaning in our lives. Such is the music on St. Vincent: charming and alarming, gorgeous and morbid, comforting and uncanny. Four albums into one of music’s most compelling careers, Annie Clark is as “ambi-valent” as ever, and she’s not slowing down any time soon.

File Under: Pop, Indie Rock
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sunarawSun Araw: B e l o m a n c i e (Sun Ark) LP
“Cameron Stallones aka Sun Araw has evolved as a singular purveyor of low-end psychedelia, melted afrobeat and warped dub.” – Qu Junktions. B E L O M A N C I E is the 7th full length album from Sun Araw, available on 2xLP or CD. B E L O M A N C I E is a series of corridors that lead to specific chambers. B E L O M A N C I E is designed to be an active listening experience. B E L O M A N C I E is not designed to accompany existing environments, B E L O M A N C I E is designed as a transportation system. It is recommended to give B E L O M A N C I E your full attention, and to listen at the highest volume that is comfortable on high quality speakers with a pronounced stereo field or on an excellent pair of headphones. Interference is physicality. When faced squarely, each chamber produces a particular physical

File Under: Psych
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SAMO_12Jacket_Standard_RJCThor’s Hammer: If You Knew (Ugly Pop) LP
“Best known to garage enthusiasts for ‘My Life’, their stellar contribution to the second Nuggets box, Thor’s Hammer was also responsible for an incredibly scarce 1966 EP that is easily among the toughest records of the era. Ugly Pop now presents this long-overdue LP, compiling 14 mid ’60s nuggets– the above mentioned monsters included– from these Icelandic garage legends, who seasoned their northern beat with some of the rawest, wildest fuzz-punk heard anywhere. Fully authorized high quality pressing licensed from SENA (Iceland).”

File Under: Garage, Nuggets, Iceland, Fuzz
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Alt-J: An Awesome Wave (Atlantic) LP
Black Flag: Damaged (SST) LP
Broken Bells: After the Disco (Columbia) LP
Burial: Untrue (Hyperdub) LP
Bill Callahan: Dream River (Drag City) LP
Captain Beefheart: Safe as Milk (Sundazed) LP
Daft Punk: Random Access Memories (Columbia) LP
Death: For the Whole World to See (Drag City) LP
Morgan Delt: s/t (Trouble in Mind) LP
Descendents: Somery (SST) LP
Flaming Lips: Dark Side of the Moon (Warner) LP
Flaming Lips: Hear it is (Plain) LP
Flaming Lips: In A Priest Driven Ambulance (Plain) LP
Grinderman: s/t (Anti) LP
Etta James: Argo Singles (Not Now) LP
Tim Hecker & Daniel Lopatin: Instrumental Tourist (Software) LP
Husker Du: Land Speed Record (SST) LP
Kyuss: …And the Circus Leaves Town (Elektra) LP
Kendrick Lamar: Good Kid… (Aftermath) LP
Mastodon: Call of the Mastodon (Relapse) LP
Morrissey: Your Arsenal (Sire) LP
Nine Inch Nails: Ghosts I-IV (Null) LP
Portishead: PNYC (Polydor) LP
White Fence: Cyclops Reap (Castle Face) LP

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…..news letter #628 – colder…..

Well, not a whole lot in this week, but I did just acquire a nice stack of used doom LPs. Someone decided that they just weren’t that angry anymore and wanted to pass that darkness on to you! Some pretty great LPs in this stack, check the list below….

…..pick of the week…..

bo anders

Bo Anders Persson: Love Is Here to Stay (Subliminal Sounds) LP
This came in a couple weeks ago, but this week I’m really in love with it and you could be too! 2LP version housed in a gatefold sleeve including booklet with in-depth informative liner notes and pictures. The early works by Bo Anders Persson presented on this record were written between 1965 and 1967, before he started the experimental rock band Pärson Sound. All but one track is previously-unreleased. What is the origin of this strange, un-place-able music? What is its place in history, in the unfolding of important conceptual ideas, turning musical modernism into something wider, more mysterious and blurred? From where comes the lightness of touch, and how does the transient nature of the sounds correspond to the sense of mourning hidden within the music? What makes the music so exciting and loaded is the feeling of change, both in the actual performances and in the atmosphere of the rooms where the pieces are played. The sounds move freely within the minimal, repetitive structures. There are spaces for breathing and dreaming, turning inside and outside, and a sense of being in between positions. Suddenly, the doors are wide open and radical experiments can take place.

File Under: Drone, Psych, Prog, Avant-Garde
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…..new arrivals…..

tonyallenTony Allen: N.E.P.A. (Kindred Spirits) LP
Huge Tony Allen album originally released in 1984! This officially licensed reissue boasts an extra track previously unreleased on vinyl, called “Olokun”! Never Expect Power Always (aka N.E.P.A.) is largely a biting criticism and mocking of the Nigerian Electrical Power Authority, rife with corruption and poor service. It starts out with the title track, with a definite Afro-beat punch and a tighter arrangement than would normally be expected from Fela. Electro-claps stand as part of the percussion line, adding a more modern look at what Afro-beat was becoming. This is followed by an even further modernized piece, as the title track is given a dub mix. “When One Road Close” has a similar pace, and is similarly followed by a dub remix, complete with the necessary space-effects reverb. This is the peak of electronic Afro-beat!

File Under: Afrobeat, Dub
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Beck: Morning Phase (Capitol) LP/CD
Morning Phase is the highly anticipated twelfth studio album by musical chameleon Beck and the long awaited follow-up to 2008′s Modern Guilt. Described as a companion piece of sorts to his benchmark, largely-acoustic 2002 album Sea Change, the Capitol Records release is true to its title and stands as the beginning of yet another amazing chapter in Beck’s peerless career and catalog. Featuring musicians who have backed him on many of his most acclaimed albums including Sea Change, as well as the current live shows widely hailed as the best of his career (Justin Meldal-Johnsen, Joey Waronker, Smokey Hormel, Roger Joseph Manning Jr., and Jason Falkner), Morning Phase harkens back to the stunning harmonies, song craft and staggering emotional impact of Beck’s most classic ballads, all the while surging forward with undeniable optimism. The sonically lush 13-song set is preceded by the impassioned lead single “Blue Moon,” which serves as a fine introduction and embodiment of the album’s many influences which range from Scott Walker and Love to The Byrds, Crosby Stills & Nash, Gram Parsons and Neil Young.  

 File Under: Rock, Pop, Folk
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forbiddenForbidden World OST (Death Waltz) LP
Death Waltz Recording Company are proud to be unleashing one of the great unheralded electronic scores. Unavailable since the film’s release in 1982, Susan Justin’s music for Forbidden World – produced by the legendary Roger Corman – mixes the electronic influences of the time with splashes of new wave, creating a score that fuses the eerie tonalities and avant-garde sensibility of Alien with the straight-up funk of Assault On Precinct 13. Birthed from this is a cult classic score that deserves to be held up alongside the works of Richard Band and Alan Howarth. What immediately stands out from the score is the amazing main theme, a melodic groove firmly embedded in the 80s synth movement, complete with creepy vocal effects overlaying its driving keyboard line. Originally a parody that Corman turned into a straight horror, the score is used typically to create tension with isolated piano and harsh electronic tones, acting as a stereotypical precursor to the horror moments. Amidst all this is also the “Blaster Beam,” a unique instrument famous for its use in Jerry Goldsmith’s Star Trek – The Motion Picture. A fantastic voyage amongst the stars full of offbeat melodies and alien tones, this is a musical world that demands multiple visits.

File Under: Electronic, OST, Horror, Death Waltz
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BobFrank_OutsideBob Frank: s/t (Light in the Attic) CD
LP in soon. Light In The Attic and legendary folk/blues/roots label Vanguard Records are proud to begin a series of collaborations under the umbrella Vanguard Vault. The series will explore the vaults of Vanguard and see the reissuing of obscure nuggets, psychedelic weirdness and just some good old-fashioned seminal music. Originally released in 1972 on Vanguard Records, Bob Frank’s self titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it through a pot-smoked haze infused with Frank’s long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson’s own 1972 debut album Dixie Fried he recorded one of Bob’s songs, “Wild Bill Jones.” Despite the Dickinson/Memphis connection, Frank’s only LP for Vanguard has remained a forgotten, hard to find vinyl relic. Until now. As Dickinson once deadpanned, “Bob went to Vietnam and Nashville. I don’t know which was worse.” It was also an itinerant period, when Frank spent many a stoned evening staggering alone through the mid-south urban gothic landscape of church steps and sleaze bars, with his guitar glued to his arm, if not an actual extension of it. Songs would emerge from dreams or drunken visions. But this was not artless acid folk, but a series of picaresque, well-sketched vignettes delivered in a clearly-enunciated vernacular, and all very much in Frank’s own style.

File Under: Folk
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khanateKhanate: Capture & Release (Hydrahead) LP
Back on vinyl again eight years after its original release, Khanate’s Capture & Release is hereby presented for mass consumption once again. After introductory releases on Southern Lord and Load, Khanate delivered this sprawling two track, 40 minute monster as their debut for Hydra Head Records.

File Under: Metal, Doom
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Lasry-Baschet: Instruments Non-Electronique (Cacophonic) LP
A collection of the earliest recordings of the French sound sculpture musicians and Cristalists known as Structures Sonores Lasry-Baschet. Featuring the first fruits of one of the greatest unisons in experimental French music combining the beguiling haunting sounds of Jacques and Yvonne Lasry and the development of the musical inventions of Bemard and Francois Baschet. Exploring a similar route to that of early Michel Magne recordings (and often likened to “a French Harry Partch”) the emotive music made with these organic, municipal, revolutionary instruments between 1957 and 1962 rode a narrow path between post-Second World War experimental music and anti-electronica before providing the world with the sound of the Granada Television Picture Box theme and one of Magma’s deepest foundations. The instruments known as Structures Sonores were designed and made in the late 1940s by Paris born engineer and sculptor siblings Bemard and Francois Baschet with the original aim to create portable, collapsible and municipal instruments based on inflatable components. Eventually incorporating metal bars, steel rods, air-filled plastic spheres (balloons), crystal stems and steel bars the instruments were totally independent of electrical or electronic components or equipment sidestepping the celebrated trends in tape manipulation and musique concrete, standing at the journalistic forefront of French experimental music in the 1950s. Played using horsehair bows and wet glass rods which resonated the tubes and metal surfaces the amplification was produced by the movement of vibrating rods embedded in fixed plates and the timbre could be modified by altering the sizes of the resonators. By the early fifties the brothers had invented a series of large visually striking sculpture-like instruments that could be used by participants of any age regardless of any formal musical training mainly combining crystal, water and steel to create a specific delicate and very unique haunting sound. A chance meeting with two enthusiastic piano based musicians called Jacques and Yvonne Lasry in 1954 lead to the formation of the Structures Sonores Lasry-Baschet (Lasry-Baschet Sound Structures) ensemble who spent the next decade touring the world while performing and composing for film, exhibitions and ballet performances. This compilation highlights the very earliest vinyl appearances of the collective that would become known as the Lasry-Baschet Sound Structures. Vive les Cristalists!

File Under: Avant-Garde, Experimental, French
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Otto Luenig & Vladimir Ussachevsky: Tape Recorder Music (Cacophonic) LP
One of the very earliest and most important examples of electronic tape music to be pressed on to vinyl (alongside the Radiodiffusion-Télévision Française musique concrète compilations in France and Jim Fassett’s comedic Strange To Your Ears novelty record) this privately pressed 1955 LP was released on a one-off label owned by businessman Gene Bruck to document a custom made performance at the New York Museum Of Modern Art back in 1952.  This facsimile edition of this important LP archives remastered versions of the first recorded unison of Otto Luening and Vladimir Ussachevsky and a partnership that founded the Columbia-Princeton Electronic Music Center at Columbia University in 1959, which would later count Ilhan Mimaroglu, Wendy Carlos, Dariush Dolat Shahi and Alice Shields as its graduates. The October 28th 1952 performance showcased the debut of the seminal Fantasy In Space based on resampled flute recordings which were manipulated on magnetic tape to create an otherworldly melodic composition, stylistically begging comparison with the early recording of Kraftwerk (made some twenty years later) and bringing a palatable and tuneful alternative to the stark avant garde experiments of their French counterparts.  The mechanical construction of the track was even “performed” on prime time American television to celebrate this groundbreaking approach to modern music.  Alongside four other tracks the full programme comprises further experiments with manipulated recordings of bells and woodwind instruments subjected to mechanical “augmentation, diminution and retrograding” to create pieces that “cannot be played with conventional instruments.”  In the following years labels like Folkways and Desto would also plunder this important session as a milestone in electronic music. For the purpose of this release Cacophonic have also included the seldom heard 14 minute track A Poem In Cycles And Bells For Tape Recorder And Orchestra which was recorded using the same techniques with the Royal Danish Radio Orchestra in 1956 and released via the Composers Recordings Inc. label founded by Otto himself in 1954 (employing Vladimir in an advisory capacity) and operated for forty-nine years – releasing records by Harry Partch, Alwin Nikolais, John Cage and Alice Shields.  Also included on this edition is an expansion of the rare 10″ original artwork by legendary graphic designer Ronald Clyne, an early example of his work made before he became in-house designer for Folkways Records rivaling the likes of Blue Note’s Reid Miles for some of America’s most iconic record sleeves.

 File Under: Avante Garde, Early Electronic 
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The Men: Tomorrow’s Hits (Sacred Bones) LP
After spending much of 2011 and 2012 on the road, including a trip upstate to write and record New Moon, their fourth full-length in as many years, The Men needed a break. They decided to take the winter of 2012 off to work on new material in Brooklyn. All that time spent on tour meant the band had no practice space, so founding member Mark Perro offered to turn his bedroom into one. All the furniture except the bed was moved out, and the band’s gear was moved in — drums, pianos, a dozen or so guitars, and amplifiers. They practiced in that bedroom in Bushwick nearly every day for three months, writing new songs and cutting more than 40 demos. By the end of that winter, the Men had pared that crop of songs down to 13. With their plans to take a break foiled by their own work ethic, they decided to record those songs before New Moon came out. They booked two days at Brooklyn’s Strange Weather studios, clocked in, and tracked all 13 songs entirely live. A horn section stopped by as well, contributing to two songs and playing live right along with the band. Eight songs from those sessions made the final cut for The Men’s new LP for Sacred Bones, the tongue-in-cheek-but-still-auspiciously-titled Tomorrow’s Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their highest fidelity album to date. That being said, it is still an incredibly straightforward and concise record that nonetheless is full of genre-bending risks. The end result reinforces the overarching theme that has come to define its makers: The Men are a great rock band plain and simple.

File Under: Rock, Post-Punk
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ms 45Ms. 45 OST (Death Waltz) LP
Like Abel Ferrara, Death Waltz Recording Company are not prone to shying away from the more extreme corners of culture, and are delighted to be presenting a true underground classic for the first time ever. Ferrara’s pictures often tread the line between grindhouse trash and art films with insightful social commentary – and unflinching realism – and Ms. 45 is his most notorious film, with much of its power coming from Joe Delia’s grimy yet haunting music. A sparse piano motif initially creates a lonely voice for the (mute) heroine but it’s overshadowed by wailing trumpet, electric guitar, and menacing synths that paint a disturbing musical picture of the world she inhabits. Delia’s music is so great at creating a vivid image in your head and you begin to imagine the grubby streets, the sleazy sex shops, the leering onlookers, with it building and building until it reaches sensory assault. The instruments sound as violent as the acts on screen, as loud synth stings ring out like gunshots, edgy jazz beats unnerve you, and a repeating brass motif becomes a theme for violence and vengeance – even during the awesome “Dance Party”. You may need a shower after listening, but you’ll be right back to play it again and again. Incredibly this soundtrack has NEVER been released in any format. We went back to the original master tapes and worked with composer Joe Delia to clean up the original elements.

File Under: OST, Crime, Drama
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The Notwist: Close to the Glass (Sub Pop) LP
The Notwist’s Close to the Glass, their eighth album, is a catchy and unpredictable marriage of playing your heart out on an instrument and the magnetic pulse of precise programming. We now find The Notwist defining their edges with no shortage of bravery or beat. As romantic as it is robotic, Close to the Glass is a bottomless collage: part pop song, part science, part band, part storytelling and all Notwist. Brothers Markus and Micha Archer, alongside Martin Gretchmann, Max Punktezahl and Andi Haberl, have finally found their human form and, at last, become The Notwist. The Notwist began as a metallic hardcore band in 1989. Markus and Micha have always been at the core of the band; Gretchman joined in 1997, and the band has been through countless collaborations and side projects (Lali Puna, Console, Ms. John Soda, to name a few), constantly pushing themselves both in those projects and as The Notwist. Their sound has transformed hugely over the years, becoming progressively catchier and incorporating the members’ love of folk, classical, rap, rock and electronic music. Now, in 2014, we find The Notwist following up 2007’s The Devil, You + Me with their most adventurous record yet. The strong connection and trust between band members allowed them to blur the lines between their roles more than ever. With everyone playing anything, the band could take their music anywhere, from sheer noise to kraut-rock beat pocket to arena rock ride out. Close to the Glass is also full of vocal leaps for Markus Acher, experimenting not only with effects but also with his range, leaving the comforts of his signature style to take the music somewhere new. Close to the Glass reflects and reveals the truth about The Notwist more than ever, in its collage nature, pop-music moments and unpredictable structures. It feels as good in expensive headphones as it does in the trunk, a seamless soundtrack for that movie always going on inside you.

File Under: Indie Rock, Electronic, Pop
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Linda Perhacs: The Soul of All Natural Things (Asthmatic Kitty) LP
Linda Perhacs’ Parallelograms was created in the heart of hippy country, LA’s Topanga Canyon, by a dental hygienist who was inspired by nature and by the cultural revolution going on around her. When Parallelogramswas finished, it sounded like a masterpiece, but the label had pressed it so poorly, sales were non-existent. Obscurity beckoned. But in the internet age obscurity can be discreetly transformed into a kind of niche immortality. By 2003, Parallelograms had become a cult album. Slowly, Perhacs began making music again. In 2010, she connected with a new generation of LA musicians attuned to her vision, including Fernando Perdomo and Chris Price, both accomplished musicians and producers in their own right. The trio began recording the eclipse song, “River Of God”, and what became a new album’s title track, The Soul Of All Natural Things. The Soul Of All Natural Things, for all its apparent serenity, is also a subtly polemical album, full of exhortations to take a step out of our frantic everyday lives. “We get too far out of balance and we must find a way to get back to our polestar,” Perhacs says. “I have a deeper purpose. My soul is giving itself to the people; I want them to be helped, I want them to be lifted.”

File Under: Folk
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Real Estate: Atlas (Domino) LP/CD
Let’s get down to brass tacks: Ridgewood, NJ’s Real Estate took a mighty leap forward on their last go-around…more record sales…bigger shows…and, more importantly, a timeless classic of an album, Days. It’s been two years since the release of Days, and it’s an album that still sounds as fresh today as it did on its release date.  Atlas, the new album from Real Estate, was recorded over the summer and fall of 2013 with producer Tom Schick (Rufus Wainwright, Mavis Staples, Low), and the ten-song album will be preceded by the release of the single “Talking Backwards.” To commence the follow-up to their sophomore breakout, founding members Martin Courtney (guitar/vocals), Matt Mondanile (guitar) and Alex Bleeker (bass/vocals) were joined by new full-time members, Jackson Pollis (drums) and Matt Kallman (keyboard) and producer Schick this past summer at Wilco’s Chicago studio, The Loft. 19-songs were recorded in all over a two-week period and the result is the band’s most collaborative, richly detailed album to date. The cover art of Atlas features a detail taken from Alexander’s Mural, an iconic North Jersey landmark created by artist Stefan Knapp that once hung on the side of Alexander¹s department store for over twenty years, not far from the band’s hometown of Ridgewood, NJ.

File Under: Indie Rock
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Super Djata de Bamako: Volume 2 (Kindred Spirits) LP
Super Djata may be indeed one of the boldest and most exciting orchestras in the history of African modern music, if not one of Africa’s greatest and most unsung ensembles. This album was released circa 1982 on the Musique Mondiale label in Abidjan. Opening the record, “Yacouba” is a tribute to a great bambara dancer from Ballet National du Mali who was murdered in Dakar in 1973. Sober and heartfelt, Zani’s guitar playing is hypnotic while Flani mourns their late friend, enhanced by eerie background vocals. Other names such as Sory Kandia Kouyate or Bembeya Jazz’s singer Demba Cambara who happened to die in Dakar the same year as Yacouba passed away are featured in the second part of the song, names which are quoted with great emotion. On stage, the whole band would kneel down at a point when playing this tribute song to the great ones who had passed away.

File Under: Ethnic, Afro-Cuban, Funk
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Super Djata Band: Volume 2 (Yellow) (Kindred Spirits) LP
Super Djata is one of boldest and most exciting orchestras in the history of African modern music, if not one of Africa’s greatest and most unsung ensembles. Led by the late great Zani Diabate, Super Djata Band de Bamako stands proud as one of West Africa’s fiercest orchestras, with only a handful of releases and many tremendous gigs given over the last forty years. Thanks to their leader’s experience, the Djata Band quickly rose to fame within the Bamako region. Despite the lack of official support, Djata Band started to record their compositions under the aegis of expert engineer Boubacar Traore at Radio Mali’s tiny recording studio. By the end of the 1970s, the band’s repertoire was already very large and diverse. Their first album was released through the Discorama record label in Abidjan. Like several other Malian artists of the early 1980s, Super Djata’s only outlet for their material lay in some Ivorian record company. Bringing together bambara traditions, Wasulu hunter music, Kenedugu’s balafon music and bozo fishermen dances, mandingo chants and fula repertoire, mixed with a spicy, and at times even psychedelic guitar, Zani Diabate’s Super Djata Band came to the forefront of the emerging world music scene in the early 1980s as one of Mali’s strongest bands.

File Under: Ethnic, Afro-Cuban, Funk
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Peter Walker: Second Poem to Karmela or Gypsies Are Important (Light in the Attic) CD
LP in real soon. Originally released in 1968 on Vanguard Records, Peter Walker’s album “Second Poem To Karmela” Or Gypsies Are Important was a ground breaking blend of folk, raga, psychedelia, Eastern and Modal sounds that has remained unsung for decades. While his debut album for Vanguard, Rainy Day Raga, has been reissued several times on LP and CD, this album (his sophomore effort), has remained an obscure and hard to find vinyl relic. Carefully re-mastered from the original tapes, guitar scholar Glenn Jones recently interviewed Peter Walker for hours and has written a book-deep essay for the CD and LP liner notes that detail Walker’s association with an incredible cross-section of 1960′s counter-culture icons including LSD guru Timothy Leary (Walker personally provided “the soundtrack” to many a trip), he studied raga music with Ali Akbar Khan, and like his close friend Sandy Bull, Walker worked on a fusion of Western and Eastern sounds. Jim Pepper plays flute on Second Poem (he also recorded with The Fugs and Don Cherry), other accompaniment to Walker’s guitar, Sarod and Sitar playing includes violin, organ, tablas, and tamboura. This is true “acid folk” as interesting, progressive, and memorable as fellow 1960′s world travelers Robbie Basho, Davy Graham, and the Incredible String Band.

File Under: Psych, Folk, Guitar, Raga
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Various: Danse Sacrale (Cacophonic) LP/CD
The roots of Electronic Dance Music (EDM) by definition. An unlikely combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospectively unified by their commitment to the musical enhancement of 20th Century ballet and the evolution of modern dance. Presenting key exponents of the musique concrete and tape music movements alongside masters of the early electric sound synthesisers, as well as pre/anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements which found an improbable, sporadic and vibrant creative outlet via one of Europe’s proudest and sacred cultural institutions. Featuring composers names such as Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier and Remi Gassman alongside choreographers like Béjart, Ballancine and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed inhibited achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomena and an unconferred global synergy that formed the true foundations of electronic dance music and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.

File Under: Electronic, Avant-Garde, Modern Dance
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…..used goodies…..

Aethenor: Faking Gold & Murder (VHF) LP
Aethenor: Betimes Black Cloudmass (VHF) LP
Aethenor: En Form For Bla (VHF) LP
Aethenor: Deep in Ocean Sunk The Lamp of Light (VHF) LP
Boris: Amplifier Worship (Southern Lord) LP
Boris: Pink (Southern Lord) LP
Boris: Rainbow (Inoxia) LP
Boris w/ Merzbow: Rock Dream (Southern Lord) LP
Boris w/ Sunn o))): Altar (Southern Lord) LP
Burial Chamber Trio: WVRM (Southern Lord) 10″
Burial Chamber Trio: s/t (Southern Lord) LP
Circle: Katapult (No Quarter) LP
Earth: Angels of Darkness… (Southern Lord) LP
Jesu/Eluvium: split (Hydrahead) LP
KTL: i (Aurora Borealis) LP
KTL: II (Thrill Jockey) LP
KTL: III (Editions Mego) LP
KTL: V (Editions Mego) LP
KTL: Live in Krems (Editions Mego) LP
Murcof: Cosmos (Leaf) LP
Murcof: Versailles Sessions (Leaf) LP
Om: Pilgrimage (Southern Lord) LP
Om: Conference of Birds (Holy Mountain) LP
Om: Variations on a Theme (Holy Mountain) LP
Om: Live at Jerusalem (Southern Lord) LP
Om: Conference Live (Important) LP
Om: God is Good (Drag City) LP
Sunn o))): Domkirke (Southern Lord) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Sunn o))): Oracle (Southern Lord) LP
Z’ev: As/If/When (Sub Rosa) LP
Z’ev: Outer Bounds of Sound (Noiseville) LP


13th Floor Elevators: Psychedelic Sounds of (Internation Artists) LP
13th Floor Elevators: Easter Everywhere (Charly) LP
Arcade Fire: Funeral (Merge) LP
Bill Callahan: Dream River (Drag City) LP
Nick Cave: Push The Sky Away (Bad Seeds) LP
Bobby Charles: s/t (Light in the Attic) LP
Converge: Jane Doe (Deathwish) LP
D’Angelo: Voodoo (Modern Classics) LP
Dark: Round the Edges (Machu Picchu) LP
Darkthrone: Hate Them (Peaceville) LP
Darkthrone: Soulside Journey (Peaceville) LP
Darkthrone: Transilvanian Hunger (Peaceville) LP
Darkthrone: Under a Funeral Moon (Peaceville) LP
Miles Davis: Bitches Brew (Music on Vinyl) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Digable Planets: Blowout Comb (Modern Classics) LP
DJ Shadow: Endtroducing (Mo Wax) LP
Grizzly Bear: Shields (Warp) LP
Guru Guru: s/t (Ohr) LP
Hawkwind: In Search of Space (Rock Classics) LP
Etta James: At Last (Wax Time) LP
Jerusalem In My Heart: Mo7it Al-Mo7it (Constellation) LP
Jurassic 5: Quality Control (Universal) LP
The Knife: Silent Shout (Mute) LP
Lemonheads: It’s a Shame About Ray (Plain) LP
Mastodon: Call of the Mastodon (Relapse) LP
Ministry: The Mind is a Terrible Thing to Taste (Music on Vinyl) LP
Modest Mouse: Moon & Antarctica (Epic) LP
Modest Mouse: Good News… (Epic) LP
Angel Olsen: Burn Your Fire For No Witness (Jagjaguwar) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 3×10″
Queens of the Stones Age: Lullabies to Paralyze (Music on Vinyl) LP
Refused: Shape of Punk to Come (Epitaph) LP
Replacements: All Shook Down (ORG) LP
Rodriguez: Cold Fact (Light in the Attic) LP
Sunn o))): Black One (Southern Lord) LP
Tinariwen: Emmaar (Anti) LP
Weed: Deserve (Couple Skate) LP
Yamantaka // Sonic Titan: Uzu (Paper Bag) LP
Yamantaka // Sonic Titan: s/t (Paper Bag) LP

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…..news letter #627 – older…..

As usual, loads last week, so not so much this week, but some killer jamz anyway. Besides, it lets you catch up on all the stuff you still didn’t buy from last week anyway. And oh so much killer wax last week!!!

Thanks to all who came out for the Wyrd Distro launch on Saturday. Good times were hopefully had by all. I know we had a blast.

…..pick of the week…..

sunn ulver

Sunn o))) & Ulver: Terrestrials (Southern Lord) LP/CD
Now in on vinyl! “The recent news that Sunn O))) and Ulver, the, respectively, US and Norwegian pioneers of experimental metal, had collaborated on a new album has augured extremely well for the beginning of 2014. Terrestrials is the result of a nocturnal recording session, following Sunn O)))’s set at the 2008 Øya festival, at Ulver’s Crystal Canyon studio. The bands recorded three “live in improvisation” pieces, which were then worked on by Ulver, with the occasional help of Sunn O))) man Stephen O’Malley, who says: “I remember the vibe in the room back then was more raga than it was rock. And despite the fact that the walls were literally shaking from volume, it was actually quite a blissed out, psychedelic session. I wanted to preserve that vibe in the final mix.” Daniel O’Sullivan, prolific collaborator, one half of Grumbling Fur and current Ulver member, adds: “You know that opening sequence of Koyaanisqatsi, where the desolate desert landscapes, waves and cloud formations roll over the screen accompanied by deep male chanting and organ ostinatos. That’s where we were.””

File Under: Doom, Metal, Drone
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…..new arrivals…..

halloweenJohn Carpenter: Halloween OST (Mondo) LP
Back in stock! In celebration of its 35th anniversary, Mondo Records is pleased to present the soundtrack to John Carpenter’s Halloween, one of the most influential and beloved film soundtracks of all time. This release features the most comprehensive version of the soundtrack, never before released on vinyl, cut at 45RPM for the best possible sound quality. Limited edition 180g 2LP-sethoused in deluxe gatefold jacket with artwork by Phantom City Creative. “I had composed and performed the musical scores for my first two features, Dark Star and Assault on Precinct 13, as well as many student films. I was the fastest and cheapest I could get. My major influences as a composer were Bernard Herrmann and Ennio Morricone (who I had the opportunity to work with on The Thing). Hermann’s ability to create an imposing, powerful score with limited orchestra means, using the basic sound of a particular instrument, high strings or low bass, was impressive. His score for Psycho, the film that inspired Halloween, was primarily all string instruments. “With Herrmann and Morricone in mind, the scoring for Halloween began in late June at Sound Arts Studios, then a small brick building in an alley in central Los Angeles. Dan Wyman was my creative consultant. I had worked with him in 1976 on the music for Assault. He programmed the synthesizers, oversaw the recording of my frequently imperfect performances, and often joined me to perform a difficult line or speed-up the seemingly never ending process of overdubbing one instrument at a time. I have to credit Dan as Halloween’s musical co-producer. His fine taste and musicianship polished up the edges of an already minimalistic, rhythm-inspired score. We were working in what I call the “double-blind” mode in 1978, which simply means that the music was composed and performed in the studio, on the spot, without reference or synchronization to the actual picture. recently, my association with Alan Howarth has led me to a synchronized video-tape system, a sort of “play it to the TV” approach. There is a point in making a movie when you experience the final result. For me, it’s always when I see an interlock screening of the picture with the music. All of a sudden a new voice is added to the raw, naked-without-effects-or-music footage. The movie takes on it’s final style, and it is on this that the emotional total should be judged. Someone once told me that music, or the lack of it, can make you see better. I believe it.” - John Carpenter

File Under: OST, Horror, Mondo
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Bobby Charles: s/t (Light in the Attic) LP
Bobby Charles pioneered the musical genre known as “swamp rock” – he wrote the early rock n roll classic “See You Later, Alligator” (popularized by Bill Haley & the Comets). But the main reason that musicians far and wide sing his praises (and cover his songs) is for Bobby’s 1972 self-titled album released on Bearsville. Despite numerous CD reissues through the years, this is the first time in decades that the seminal album has appeared in its original vinyl LP format. A virtual who’s who of classic “roots” rock, the album features 10 Bobby Charles classics supported by the likes of Rick Danko, Levon Helm, Garth Hudson, and Richard Manuel of The Band, long time Neil Young sidekick Ben Keith, Bob Dylan’s former running mate Bob Neuwirth, session maverick Amos Garrett, the esteemed Dr. John, Geoff Muldaur and several others. But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Album also includes the slow burner “Street People” as featured on Country Funk 1969-1975, Volume 1. Perhaps Dr. John said it best “I think all of Bobby’s songs have something to offer at all times, for all people.”

 File Under: Swamp Rock, Roots Rock
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darksideDarkside: s/t ep (Wordsandsound) 10”
Super limited golden picture disc version with handstickered slightly oversized matte labels and 25×25 cm poster inlay of the CS008 original EP. Super rare one time reprint of the deleted CS008 from 2011/2012 which was Darkside´s  first ever release from the same year. An extremely rare piece with 3 songs NOT on the album that we found now. The EP begins innocently enough. But as you progress into the tracks, entitled “A1,” “A2,” and “A3,” it feels like searching for pleasure where you know you shouldn’t. The beat in this clandestine affair has just enough restraint. By the time Darkside concludes, you know the catharsis is worth the sin.

File Under: Electronic, Nicolas Jaar
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dm1Dead Moon: In The Graveyard (M’Lady) CD
Available worldwide for the first time ever on compact disc, M’lady’s Records is extremely excited to announce the reissue of Dead Moon’s debut album classic, In the Graveyard. Highly sought by rock ‘n’ roll maniacs around the globe for its breathtaking songwriting and attitude, it’s also the first release in M’lady’s 2014 reissue series documenting many different timeless albums issued by Fred & Toody Cole (also of the Rats and Pierced Arrows). This record will NOT let you go once it’s made its way into your mind: every song is a classic, almost intimidating in its poise and strength. For the uninitiated, Dead Moon come on almost like a hybrid of the most exciting elements of Love, AC/DC, the Weeds, and the Elevators. No joke. The group are also famous for operating extremely DIY, down to the recording and mastering of their albums (famously cut on the very same lathe that cut “Louie Louie” by the Kingsmen!). Highly recommended for everyone with a beating heart and two ears.

File Under: Punk, Rats, Pierced Arrows
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dm2Dead Moon: Unknown Passage (M’Lady) CD
This is the album that’s got “Dead Moon Night”, “54//40 or Fight”, and another half-dozen classics beloved by Dead Moon enthusiasts. Unknown Passage was reissued on LP by our comrades at the estimable Mississippi Records in 2011, and M’Lady’s teamed up with them to get this compact disc edition out to you, the bedroom rebel, the night time revolutionary, the romantic with a wake of destruction in your path.

File Under: Punk, Rats, Pierced Arrows
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dm3Dead Moon: Defiance (M’Lady) CD
This is the album that’s got “Johnny’s Got a Gun”, “Dagger Moon”, “Walking On My Grave”, “Dagger Moon”, and another half-dozen classics beloved by Dead Moon enthusiasts. Defiance was reissued on LP by our comrades at the estimable Mississippi Records in 2011, and M’Lady’s teamed up with them to get this compact disc edition out to you, the bedroom rebel,the night time revolutionary, the romantic with a wake of destruction in your path. Also highly recommended for everyone with a beating heart and two ears.

File Under: Punk, Rats, Pierced Arrows


Iron Claw: s/t (Lion) LP
“Sixteen pulverizingly heavy early masterpieces of dirty doom metal, this is a can’t miss package for all fans of heavy psych, proto-metal and the early days of doom rock. The whole album is just breathtaking.” – The Ripple Effect. Official heavy duty double album of early 70s Scottish underground heavy rock from Iron Claw, a band who were stomping around the UK with the likes of Black Sabbath, Hackensack, Pink Fairies, Juicy Lucy and others, but who never released a proper album. Iron Claw started their career in 1970 as (more or less) the world’s first Black Sabbath tribute band: they incorporated the entire first Black Sabbath LP and single into their live set! And as it happens, it was Iron Claw bassist Alex Wilson who unearthed the oldest known concert recording of Black Sabbath, a 1969 gig recorded by Wilson in Dumfries, Scotland! As time progressed, Iron Claw’s live sets started to include many originals, as well as the customary Sabbath covers. This collection of sixteen original studio tracks documents Iron Claw’s existence from 1970 thru 1974 and includes extensive liner notes, lyrics and photos. For fans of Tear Gas, Leaf Hound, Jerusalem, Ancient Grease, Toad, Incredible Hog, Elias Hulk!

File Under: Metal, Heavy Psych, Doom
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Johan Johannsson: McCannick (Milan) LP
McCanick is a 2013 American crime-drama mystery film directed by Josh C. Waller. It stars David Morse, Mike Vogel, Trevor Morgan, Ciarán Hinds, and Cory Monteith. This was Cory Monteith’s last role before his sudden death in July 2013. The film tells the story of Eugene “Mack” McCanick (David Morse), a detective who, along with his partner Floyd Intrator (Mike Vogel), hunts down a young criminal named Simon Weeks (Cory Monteith) who was just released from prison. The beautiful, dark and evocative score was written by acclaimed composer and artist Jóhann Jóhannsson. The music enhances the suspense and tension present throughout this exciting thriller. McCanick marks the first collaboration between Milan Records and Jóhann Jóhannsson.

 File Under: OST, Ambient, Drone
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Mad Men on the Rocks OST (Music on Vinyl) LP
Mad Men, based around the trials and tribulations of a New York ad agency in the ’60s, is considered one of the greatest TV shows of all time. The drama series stands as a colossus of contemporary television with two BAFTAS, three Golden Globes and no less than fifteen Emmys to its name. David Carbonara’s winning mix of contemporary score and period jazz delivers a distinctive sound that has become a part of the series as much as the timeless visuals and characters. Mad Men On The Rocks is anchored by “A Beautiful Mine,” RJD2′s original theme to go along with 22 further musical moments from the acclaimed series. Limited edition gatefold 180g vinyl with poster. First pressing comes on red colored vinyl and is limited to 1500 copies.

File Under: OST
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Angel Olsen: Burn Your Fire For No Witness (Jagjaguwar) LP
Many of the superlatives describing Angel Olsen refer to how seemingly little it takes for her to leave an audience speechless, even spellbound. But Olsen has never been as timid as those descriptors imply, and the noisy, fiery hints in her earlier work find a fuller expression on her newest LP, Burn Your Fire for No Witness. Here, Olsen sings with full-throated exultation, admonition, and bold, expressive melody. Also, with the help of producer John Congleton, her music now crackles with a churning, rumbling low end and a brighter energy. Angel Olsen began singing as a young girl in St. Louis, where she explored the remarkable range of her voice and the places it could take her songwriting. This act of meaning-making recurs as a theme throughout the album, as the sublimating response to the power of negativity. In the song, “Stars,” for example, Olsen wishes to “have the voice of everything” and in a moment of hatefulness and hurt realizes that the strength of fury results in the power she had been seeking all along. Thankfully for us, Olsen has decided to channel a lot of this newfound power into the ethereal, hypnotic performances of her new and revealing songs, sharing with us the full grace and beauty of her transformative moments.

File Under: Rock, Folk, Indie
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Puscifer: What is? (Puscifer) LP
Puscifer answers the enduring question of what exactly Puscifer is with a new DVD release titled “What Is…”, which is set for release via Puscifer Entertainment. This is the accompanying LP soundtrack. The two-hour sketch comedy show-meets-concert film builds upon and punctuates the multimedia format of the band’s live performances with skits from the stable of Puscifer characters such as Billy D, Hildy and Major Douche woven into the performance footage of the Maynard James Keenan led quintet. “Being surrounded by so many talented and creative people is an endless source of inspiration. This film only scratches the surface of how deep our proverbial rabbit hole goes. ‘What Is…’ Puscifer is meant to conjure as many questions as it answers,” explained Maynard James Keenan. Puscifer’s concerts have been praised for their out-of-the-box take on what a live performance can be, with the Orange County Register saying “the production matters as much as the music” and describing the event as “a thought-provoking, senses-jabbing statement on a variety of topics.” The Dallas Morning News called the evening “an idiosyncratic experience” while the Austin Chronicle referred to the concert as a “multimedia prop dramed”.

 File Under: Rock, Industrial, Tool, Live
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Selda: s/t (Pharaway Sounds) LP/CD
Imagine if Julia Child had marched against Vietnam, stood on the steps of the Pentagon, and placed a flower in a gun barrel. Selda Bağcan’s later records have that same cross of easygoing motherly warmth and righteous anger. This 1979 album (technically her fourth, although six of these songs were also released on her third), was recorded when Turkey was at its most politically polarized. Selda was sentenced to a total of over 500 years in prison right about the time it came out. A pile of acoustic guitars and bağlamas all going off at once under a blanket of reverb, with lyrics about blood, wood, mountains, families, and desperate troubles, so it’s a thick squirt for a folk album. Selda’s voice can either be sultry or really surge with emotion, and when she does belt one, it’s oddly high and completely unique. Her reward was the love of Turkey’s people, but also nine trials and three prison terms from the right wing military government of the ’80s. Remastered sound, insert/booklet with liner notes.

File Under: Psych, Turkish, Anatolian
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Selda: Vurulduk Ey Halkim Unutma Bizi (Pharaway Sounds) LP/CD
There were female Turkish folk singers before Selda Bağcan, but none whose hot-blooded voice carried such righteously angry words and none who also accompanied themselves on guitar. She began her career singing at her brothers’ Beethoven nightclub in Ankara while she went to school for physics during the day. Her first album had help from the cream of the crazy Istanbul pop scene, and cuts from the same sessions were also released on this second one in 1976. While the direction is folky overall, there’s fuzz, zooming synthesizers, and heavy flute to be found. When Selda performed the title-track in 1977 in a coastal town not far from Istanbul, her protest lyrics, though taken from an old poem, got her heckled by audience members who screamed that she should go back to Moscow. Find out why this brawny mama couldn’t be stopped by a military government that put her on trial nine times, and could call herself the bitter voice of the Turkish people. Remastered sound, insert/booklet with liner notes. 

File Under: Psych, Turkish, Anatolian
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D. Charles Speer & The Helix: Double Exposure (Thrill Jockey) LP
Dave Charles Shuford (aka D. Charles Speer) grew up in Georgia, absorbing the culture and history of the American South before moving to New York in the early 90s. He quickly fell in with the experimental rock underground that has long been an undercurrent of that city’s defining spirit, most notably as a member of the long-running No Neck Blues Band. The loose and free country rock boogie of Speer’s work with the Helix derives power from the tension between these two aspects of his personality, the traditional and the exploratory. With Speer joined once again by Hans Chew (keys), Marc Orleans (pedal steel), Ted Robinson (bass), and Steve McGuirl (drums), Doubled Exposure, is their most stylistically varied yet consistent work to date, offering a full mélange of what Speer and his band have to offer. Doubled Exposure touches on many aspects of Speer’s musical menagerie, enhancing his ramblin’ tunes with the blistering psych he has explored with Rhyton to the traditional Greek melodies he delved into on Arghiledes. In the propulsive “Cretan Lords,” Speer enhances a sweeping modal blues with the bouzouki and baglamas, lending a distinctively Mediterranean flavor to rich, tremoloed stew. The ten-minute epic “Mandorla at Dawn,” achieves an incredibly dense psychedelic swirl using a stereo amp rig and live looping, a first for Speer’s studio work. The album culminates with the exuberant “Tough Soup,” with chants echoing along to the rough and tumble boogie. Speer augments the expert, eclectic musicianship of his band with a remarkable lyrical prowess, which he delivers in his trademark deadpan drawl. His rich imagistic tales take three forms throughout the album: heart songs, which are based on personal experience and emotion; visionary songs, which incorporate surrealist language and beat poetics; and research songs, which see Shuford reimagining and incorporating historical events. Doubled Exposure was immaculately recorded by Jason Meagher at the increasingly legendary Black Dirt Studios in upstate New York. D. Charles Speer and the Helix will tour throughout 2014.

File Under: Alt. Country, Country Rock, Rock
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Survival: Simmer Down (Strawberry Rain) LP
While bands like Ofege and BLO have slowly becomes household names for collectors, there are still many Nigerian bands and albums that have remained unknown in most circles. Survival’s lone effort Simmer Down is one of those albums. Primarily an Afro Rock album, it contains psychedelic, soul, afrobeat, funky and progressive moments, all done in a raw nature with unpolished mixes and an underlying consistency that doesn’t lose the listener. Songs are filled with fuzz guitar solos, flute solos, and organ solos. Recorded by a group of talented High School students at the legendary ARC studio owned by ex-CREAM drummer Ginger Baker, this album seems to have remained under the radar until now. Filled with complete notes by the band with photos and history, including a story detailing a battle against OFEGE at the infamous “Space Funk” competition. A true gem from Nigeria, and one you won’t find an original of anytime soon.

File Under: Psych, AfroRock, Soul
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Laurence Vanay: Evening Colours (Lion) LP
Laurence Vanay is the pseudonym for Jacqueline Thibault, wife of music producer and musician Laurent Thibault of Magma. This marks the first ever reissue of her second album, originally released twice in 1975 – first as a version on Galloway credited to fictitious English band Gateway, and once as a CAM label library LP – and incredibly rare in both incarnations. Evening Colors is a singular and nearly peerless record – completely out of time, and completely unlike anything else to this day. The record is largely all instrumental, with gorgeous keyboards of many types (Hammond, Fender Rhodes, etc.), acoustic and electric guitar, even a little Zeuhl bass. Shimmering, dewy, mysterious, deeply emotional examples of melancholic musical beguilement; anyone with an affinity for golden age 4AD bands like the Cocteau Twins or Dead Can Dance will find much to love here. A devastating high-fashion follow-up to the legendary Galaxies.

File Under: Prog, Magma
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Andrew Bird: I Want To See Pulaski At Night (Grimsey) LP
Blue Phantom: Distortions (AMS) LP
Deafheaven: Sunbather (Deathwish) LP
Fruit Bats: Mouthfuls (Jealous Butcher) LP
Peter Gutteridge: Pure (540) LP
Haxan Cloak: s/t (Aurora Borealis) LP
Thee Headcoats: Headcoatitude (Gear Fab) LP
Nicolas Jaar: Space is Only Noise (Circus Company) LP
Mark Lanegan: Has God Seen My Shadow? (Light in the Attic) Box
Cliff Martinez: Only God Forgives (Milan) LP
Wim Mertens: Maximizing the Audience (Music on Vinyl) LP
Moon Duo: Circles (Sacred Bones) LP
Vampire Weekend: Modern Vampires of the City (XL) LP
Vangelis: Blade Runner OST (Audio Fidelity) LP
Kurt Vile: Wakin’ On A Pretty Daze (Matador) LP
Various: Cosmic Machine (Because) LP
Various: Eccentric Soul: Twinight’s Lunar Rotation (Numero) LP


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…..news letter #626 – wyrd…..

Lots of stuff this week, including a beauty of a collection from an audiophile who’s moving on. Silly for him, good for you! An eclectic mix of stuff, in immaculate condition. Lots of UK pressings. Come on down and dig!

Alright!  This is happening this weekend! The Wyrd Distro launch event! Wyrd Distro is the mail order/distribution arm of Weird Canada. We will be hosting a launch party/Q&A/live show on the 15th. Things will start rolling around 2pm starting with local drone fav’s Pigeon Breeders followed by a Google hangout Q&A with Wyrd Distro exec’s. Then Zebra Pulse will play a quiet sort of set and Jim Cumin will close out the event. This is a free party so come down, hang out and maybe buy some wax.

…..pick of the week…..


Vox Populi!: Cut Chemist Presents Funk Off: Vox Populi!/Pacific 231 (A Stable Sound) LP+7”
In tomorrow… First pressing on LP comes with 7″ containing previously unreleased tracks by Vox Populi! and Pacific 231. Vox Populi!, a 1980s French post-punk/industrial/minimal collective known for circulating cassette-only releases, gets the reissue treatment lovingly curated by turntablist/producer DJ Cut Chemist. In 2004, while on tour/record-digging in Milan, Italy, Jurassic 5 founder and DJ Cut Chemist picked up a compilation featuring a group named Vox Populi!, whose track “Megamix” caught his attention. As familiar as he was with early hip-hop releases that pioneered the megamix (The Adventures of Grandmaster Flash, Double Dee & Steinski’s Lessons series), this was clearly coming from a different set of cultural reference points. Originally released in the ’80s, the track was not rooted in disco, hip-hop, or in DJ history, but rather in the sounds of post-punk and industrial music. The rudimentary “scratching” present on the song was abrasive, and probably executed with a reel-to-reel tape machine rather than a turntable. Its intended effect was not to bridge two songs or breaks, but to jar the listener out of what was otherwise a seamless club track experience. “Musique concrète” is what the collective (Vox,Pacific 231, H.N.A.S., X Ray Pop, and others) might have called their approach at the time. “Wild Style on dust,” was how Cut’s collaborator Tom Fitzgerald described it. Finding this record ultimately led to Cut Chemist tracking down the group, bonding over shared aesthetics and getting their blessing for this collection, which includes unreleased tracks, photographs and little-seen flyers and art from the group. Their original output was primarily on cassette with the occasional vinyl LP/EP released on their own Vox Man Records imprint, or on other like-minded independent labels. Including extensive insert liner notes.

File Under: Post-Punk, Industrial, Minimal, French
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…..new arrivals…..

bongBong: Beyond Ancient Space (Ritual Productions) LP
In tomorrow… After a long wait, listeners will be delighted with the full, uncut version of Bong’s 2011 release Beyond Ancient Space, which has been remixed and remastered specially for vinyl. Housed in a deluxe, gatefold, bronze foiled sleeve. LPs come in two colors: black and bronze, both 180 gram. As with all their music, be it live performance or studio recordings, Beyond Ancient Space follows the same ritualistic path, that is to say the songs are all mesmerizing meditative jams centered around an unfurling guitar riff and gelled by spaced-out drum beats, the occasional crashing cymbals and Dave Terry’s distinctive vocal style. Once again, Bong shun all overdubs and keep the post-production to a minimum. The resulting sound is as deeply hypnotic as ever before and presents Bong at their most prolific, particularly on songs such as “Across the Time-Stream” and “Onward to Perdóndaris,” which surpass even the highest of expectations.

File Under: Doom, Metal, Drone
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Christopher: s/t (Out-Sider) LP
In tomorrow… Christopher were an underground acid-rock trio featuring future Josefus drummer Doug Tull. They evolved from United Gas, a psychedelic band from Houston who rubbed shoulders with legends like The 13th Floor Elevators and Moving Sidewalks. After relocating to Los Angeles, where they changed their name to Christopher, they played at numerous biker parties and recorded their sole album in 1970 for the Metromedia label. It’s an amazing example of West Coast psychedelia/acid-rock featuring strong fuzz-wah guitar, great compositions and superb musicianship. Terrific cover depicting the band at the same hippie crash-pad where some scenes from the The Trip movie were filmed. One of the Holy Grails of American psychedelic-rock and the rarest album originally released by the collectable Metromedia label. Newly remastered sound, original artwork, insert with liner notes. Note: this is the only legitimate, fully-authorized vinyl reissue of Christopher in the current market. Beware of inferior, low-quality bootlegs.

File Under: Psych, Fuzz
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Die WelttraumforscherDie Welttraumforscher: Die Singende Sternlaterne / Folklore des Weltalls 1982 (Planam) LP
In tomorrow… Planam very proudly presents you Die singende Sternlaterne / Folklore des Weltalls 1982 by Die Welttraumforscher. This record includes the first-time LP edition of the mysterious Swiss electro-Dada artist’s second cassette as well as previously-unreleased material. Issued in conjunction with Christian Pfluger’s first comprehensive retrospective Ein Sommer in der Wirklichkeit (i.e. “A Summer in Reality”) at Kunsthaus Langenthal and the corresponding monograph “Songs, Signs, Explorations” presenting drawings, music, lyrics, films and other rare material. When Die Welttraumforscher set out on July 14, 1981 no one could have realized that their journey would not be over soon. For more than 30 years now, Christian Pfluger has been working on drawings, texts, films and songs for the fascinating universe of the imaginary trio, which is well populated with figures like Leguan Rätselmann or Kip Eulenmeister and his astronauts of the spirit. In the course of that journey, among other things, over 35 music cassettes, LPs and CDs have been released, presenting minimal songs that the Welttraumforscher themselves call “Bretzelberg pop” and “space folklore.” Planam now re-issues the Welttraumforscher’s second cassette, including the previously-unreleased album Folklore des Weltalls 1982. Translator’s note: The expression “Welttraum” in “Die Welttraumforscher” is a play on the words “Weltraum” (Universe), “Welt” (world) and “Traum” (dream). “Die Welttraumforscher” can both be read as “The Explorers of the Universe” as well as “The Explorers of the Dream of the World.” Edition limited to 350 copies.

File Under: Experimental, Folklore, Dada, Swiss
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eekEek: Live at the Cairo High Cinema Institute (Nashazphone) LP
In tomorrow… “I saw him at a street party in Giza where a few hundred people had amassed to dance and scream into the night. Flanked by Khaled Mando and Islam Tata, his two drummers pounding furiously as the signature tone of his synth intensified for almost two hours, Islam Chipsy demonstrated his completely revolutionary take on modern Egyptian Shaabi. The sound was raw and distorted, the volume was deafening, and the energy was high. Thirty minutes into the set, the trio pulled out blindfolds and put them on, only to continue their virtuosic performance without missing a beat, synced to the max, playing forwards, backwards, sideways, psychedelic noise and showmanship projected through the distortion of a jet engine taking flight for some unknown location in the distant future of Shaabi sound. They were smiling and are very nice cats indeed, but when the PA system is blazing with their audio explosions, you best get up off your ass to dance or get the hell out of the way!” –Alan Bishop; 500 copies pressed on red vinyl.

File Under: Egyptian, Shaabi, Electronic, Dance
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glenngardMats Glenngard: Kosterlage (Subliminal Sound) LP
In tomorrow… First-ever vinyl reissue of rare and sought-after Swedish psychedelic/progressive/folk underground treasures from the early 1970s. From Swedish folk to epic full-tilt fuzz guitar jams, it’s all in here. Originally released in 1972 on the obscure Swedish Gump label, with many talented musicians of the time on board. Led by Mats Glenngård on guitar and fiddle, the album shows an interesting musical transition period before he joined the legendary Kebnekajse. One-time only limited pressing of 600 copies. From the original master tapes and with the original artwork, including previously-unpublished archival pictures and liner-notes by Reine Fiske. Don’t miss this one.

File Under: Psych, Prog, Folk, Swedish
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gnodGnod: The Somnambulist’s Tale (Aguirre) LP
In tomorrow… An early and one of the most special Gnod recordings is out now on Aguirre. The Somnambulist’s Tale consists of two side-long adventurous pieces which are carried by an incredible loop. The haunting ambience in combination with electronics, distant guitar layers, conversations between the band members, a typewriter, and other sounds from found objects makes this quite an atypical Gnod release, but definitely a great one. Influenced by early Krautrock bands like Can, Hawkwind, and Ash Ra Tempel, Gnod brings us back to those days, adding twisted sounds and strange lyrics to the whole, delivering a truly mesmerizing psychedelic drone record. Gnod is a British Krautrock band from Salford, England. Formed in 2006, the band is a collective with an ever-rotating list of members. They run experimental electronic live nights in Salford called Gesamtkunstwerk (German for “whole arts work”) where they offer “outsider electronics, hardwarped machine rhythms and analog debauchery, all reflecting the post-industrial mill space.” They have a punky belief in the dissolution of the boundary between artist and audience to the extent that it is not unlikely to find gig-goers onstage, adding to the instrumental melée. Artwork by Fliss Horrocks. Matte finishing. Pressed at Handle With Care, Berlin in a limited edition of 500 copies.

File Under: Krautrock, Psych
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Bruce Haack - Electric Lucifer (1970)

Bruce Haack: The Electric Lucifer (Omni) LP
“Bruce Haack’s The Electric Lucifer is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968 and 1969 (and released in 1970) it is an album both unique in conception and superb in realization. An eminently listenable work where pop-psychedelia and Moog/musique-concrete sounds coalesce around Haack’s central metaphysical concept of ‘Powerlove,’ a force so powerful that it could end war and unify humankind. Acclaimed upon its original release (one of Rolling Stone’s favorite albums of 1970 among many citations) yet unavailable on LP for over four decades, The Electric Lucifer is reissued here officially for the very first time on LP. Remastered and restored from the ‘lost’ original master tapes discovered in the Columbia vault. The Electric Lucifer is your gateway to the profound yet playful universe of Bruce Haack, a ‘far-out’ place where flower-power and inner-space electronics collide. Limited edition of 500 copies in deluxe replica packaging on 180 gram vinyl.”

File Under: Early Electronic, Classic, Psych, Moog
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Haymarket Square: Magic Lantern (Guerssen) LP
In tomorrow… Originally from Chicago, Haymarket Square released in 1968 one of the rarest vinyl artifacts from the U.S. underground psychedelic scene: the Magic Lantern album. Originally conceived as the soundtrack to a psychedelic lightshow art installation, the album offers crude, dark psychedelic rock featuring trippy, fuzzed-out/wah guitars, male-female vocals and long tracks. Newly remastered sound, insert with liner notes, repro of the ultra-rare Baron & Bailey Lightshow poster.

File Under: Psych, Fuzz
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Arve Henriksen: Chron + Cosmic Creation (Rune Grammofon) 2CD
In tomorrow… Cosmic Creation follows and expands upon Arve Henriksen’s 2013 album Places of Worship, a series of tone poems and mood pieces located around religious buildings and ruins. With Cosmic Creation he has gone beyond physical place to an audio exploration of pure rapture, contemplation and universal origins. His latest piece, in eight parts, enters deep space and time to convey a powerful sense of the eternal. Born in Norway and currently living in Sweden, Arve Henriksen was known for many years as a distinctive trumpet player and improvisor. He played in various jazz ensembles in his youth before co-forming Supersilent in 1997, a prolific free music group with Helge Sten (Deathprod) and Ståle Storløkken, which is still ongoing. His trumpet, augmented with effects and electronics, has appeared with David Sylvian, Terje Rypdal, Nils Petter Molvær, Jon Balke, Terje Isungset and Iain Ballamy’s Food. With Supersilent he recently collaborated with former Led Zeppelin bassist John Paul Jones. In parallel he has created a series of exquisite and distinctive solo recordings since 2001, which feature a combination of electronic textures, digital treatments and a dazzling collection of horns, woodwinds, ethnic instruments, percussion, keyboards and occasionally his mournful, yearning singing voice. Henriksen’s music reflects both the stunning beauty of virgin wilderness and the shifting, cosmopolitan environments experienced by the 21st century traveler. Cosmic Creation is released in a double set with Chron, an album which was first released as part of 2012′s Solidification retrospective box set on Rune Grammofon. If Cosmic Creation is about timelessness, Chron is very much rooted in the modern world and the here and now, with most of its source material derived from field recordings Arve made while touring the globe, or recordings made in hotel rooms, airports and other urban locations. Taken together, the two albums give a full picture of Arve’s extraordinary breadth of vision as an artist.

File Under: Electronic, Jazz, Trumpet
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Index: s/t (DC Records) LP
“In the mid 1960s, Detroit Michigan was a thriving industrial city. It was at the edge of a cliff, however. The great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Vietnam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in the affluent suburbs just outside of the city of Detroit, that Index was formed. The music of Index has been lauded by music heads for decades, and with good reason: it is bizarre, atmospheric, and ‘home-made’ (in the best of all possible ways); the band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud rhythms. Hidden amongst the echoing canyons of sound there’s some snotty post-punk attitude wrapped up in that trippy velvet fuzz; a wonderful bleak sound, both droning and murky, the atonal side of late 1960′s rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock artists like Joy Division or the Fall.”

File Under: Garage
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jack dice

Jack Dice: Sip Paint (Modern Love) 12”
In tomorrow… The second EP from Jack Dice throws stylistic references to everything from Prince’s Black Album to The Art Of Noise, Drake, Philip Jeck and Evian Christ’s “DUGA 3″ sessions. “Stash’s Theme” features rapper and producer Stash Marina, a track that deploys crisp triplets and mainstream signatures on the one hand, and a world of analog/deviant recording techniques on the other. Available here in both vocal and instrumental versions. The other tracks are more subdued and immersive; you could draw lines straight through the material here to a number of different projects Twells has been involved with, though he seems to benefit immeasurably from Chambliss’ presence.

File Under: Electronic 
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Stefan Jaworzyn: Drained of Connotation (Blackest Ever Black) LP
In tomorrow… Writer, musician, and misanthrope Stefan Jaworzyn was a notorious and energetic presence in the UK underground of the 1980s and 1990s. Following a brief stint in Whitehouse, in 1986 he formed Skullflower with Matthew Bower and remained the band’s guitarist for four years, playing on Birthdeath (1988), Form Destroyer (1989) and Xaman (1990), among others. In 1990 he established the Shock label. Shock Records was a resounding boot to the arse of the narrow-minded, welcoming artists as disparate as Lol Coxhill, Coil, Drunks With Guns, The Dead C, and Ramleh into its fold. Jaworzyn rejoined Whitehouse in 1990-1991, and around this time was also invited to participate in a roundtable discussion about serial killers on Channel 4′s After Dark program — it ended with him vehemently debating the meaning of the word “integrity” with fellow guest Michael Winner. Despite having supposedly renounced the guitar, in 1991 Jaworzyn returned to the instrument with some venom, forming Ascension (later Descension) with drummer Tony Irving. In the second half of the decade, Jaworzyn retired the Shock label and largely withdrew from music, choosing to focus on drinking and cursing; although his Texas Chain Saw Massacre Companion was published by Titan Books in 2003, and on occasion he emerged to play live (including the Whitehouse “farewell” show in a duo with drummer Chris Corsano). Now, after 17 years off the grid, Jaworzyn has reappeared. 2013 saw him reactivate Shock to issue two 12″ EPs of emphatic new solo material, as well as Eaten Away by Shadows (a compilation of solo bedroom recordings from ’82-’83) and the aforementioned Skullflower KINO CD series. Pre-dating the Eaten Away tracks, the driving, faintly sociopathic and supremely zoned pieces on Drained of Connotation were created in early/mid-’82 at Jaworzyn’s then home in Cardiff using a Korg MS10 or 20 and his beloved Dr. Rhythm drum machine. SJ: “While a maniacal edge predominates, a couple of pieces seem surprisingly ‘mellow,’ a concept infrequently associated with my subsequent endeavours and disposition.”

File Under: Whitehouse, Skullflower
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Johann Johannsson: Prisoners OST (NTOV) LP
In tomorrow… Jóhann Jóhannsson’s original score to the thriller Prisoners – starring Hugh Jackman and Jake Gyllenhaal, and directed by Denis Villeneuve – on double vinyl with double sided full-color insert courtesy of Cobraside.  The score has received its fair share of plaudits including Film Music Magazine which proclaimed that, “Prisoners is certainly one of the more interesting scores to appear since Johnny Greenwood’s brilliantly bizarre There Will Be Blood, while doing far less – if that’s even possible – a score that communicates riveting ideas with the most deceptively minimal of efforts – It’s “art” music that just happens to be a film score, and pretty much completely outside of the box in a cool Icelandic way.”

File Under: OST, Ambient, Iceland
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Kaumwald: Hantasive (Opal Tapes) LP
In tomorrow… Electric charges on Hantasive. Kaumwald lights up his dials and twists out five rolling generations to terrify and animate. Plying a line between glitch-like manifestation and cruder analog sewage, these tracks are forged from degrees of digital and analog that gives a contemporary edge to the gritty grey-scale industrial and proto-rhythm you might find while digging through the Vanity Records catalog. Warm kicks and clipping digital synthesis is interlaced with acoustic sourcing and a curious, magnetic primacy — developing vital color and tactility to these here wares. Think to those contemporary and necessary combinations of computer and combustion engine, but repurposed to a more Jean Tinguely-esque display of machinery for machineries-sake; built to chatter and clunk, to error, and essentially deteriorate. That quest for the perfect minimal weirdo beat re-cut for now.

File Under: Electronic
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Lumisokea Apophenia Artwork Low Q

Lumisokea: Apophenia (Opal Tapes) LP
In tomorrow… The rich, dark sound of Lumisokea, the Belgian-Italian duo of Andrea Taeggi and Koenraad Ecker, annexes a dark, foreboding aura from an abundance of reference points — codifying and making concrete the connections that which might otherwise have been elusive or intangible in the worlds of noise, dub, techno and musique concrète. Apophenia follows their Opal Tapes debut Contrapasso, and sees their sound continue to develop; growing in intensity and twisting into more complex, aggressive, and euphorically bent shapes. All seems abstract, not as “whoa, that’s weird,” but as though every element exists in direct opposition with nature and organic order. Industrial and technoid beats are rolled over sub-sonic, hyper-digital abrasions of noise and synthetic texture to reinforce and fortify the more extreme end of Opal’s sonic interests. Synthetic stomp and precise, premeditated glissandi form sonic sculptures where the unreal is turned towards something frighteningly palpable.

File Under: Electronic
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Gigi Masin: Talk to the Sea (Music From Memory) LP
In tomorrow… The highly-anticipated second release from the Music From Memory label takes you into the world of Italian musician Gigi Masin. Part of only a small and very much underground music scene in his hometown of Venice, Gigi Masin self-released two modestly pressed LPs, Wind (1986) and Wind Collector (1991), and appeared alongside Charles Hayward for the Sub Rosa compilation LP Les Nouvelles Musiques De Chambre Volume 2 (1988). Having met with little commercial success in Italy at the time, Gigi Masin’s solo albums remained for the most part totally unknown. His music has though in recent years, and seemingly by pure word of mouth, developed almost something of a cult following. Gigi Masin’s uniquely intricate and at times deeply emotive compositions take the listener into a realm of contemplation, a spellbound mind state where time and space appear to dissolve. His sparse and hypnotic often loop-based compositions seem to draw parallels with Detroit techno’s earliest beginnings, all at once conjuring those same feelings of both melancholic longing and ecstatic joy. With access to Masin’s large body of work, far greater than that of the handful of released recordings, Music From Memory’s new compilation covers a period of over 30 years, from the mid-1980s up until recent works. Including 17 compositions, most of which have remained unreleased or unavailable until now, Talk to the Seaaims to shine a light on Gigi Masin’s unique and heartfelt talent. This is electronic music from the soul.

File Under: Ambient, Electronic
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Blind Willie McTell: Complete Recorded Works Volume 4 (Thirdman) LP
Blind Willie McTell’s Volume 4 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl. This final installment features gorgeous new covers from Rob Jones, extensive liner notes, and, of course, amazing music morsels of blues history on vinyl for the first time in decades.

File Under: Blues


Mississippi Sheiks: Complete Recorded Works Volume 4 & 5 (Thirdman) LPs
The Mississippi Sheiks’ Volume 4 and 5 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl. This final installment features gorgeous new covers from Rob Jones, extensive liner notes, and, of course, amazing music morsels of blues history on vinyl for the first time in decades.

File Under: Blues

new york dolls

New York Dolls: Too Much Too Soon (Get on Down) LP
In tomorrow… “Too Much Too Soon, the second studio album by the legendary New York Dolls was first released in the spring of 1974. The record was laid down in New York with producer Shadow Morton. Morton, known for his work with the Shangri-Las, was brought in to the project by David Johansen despite (or perhaps because) Johnny Thunders wanted to produce the album. Though their self-titled debut with Todd Rundgren at the helm had received high praise from critics, the Dolls didn’t like Rundgren. And Rundgren had little respect for the Dolls. Thunders and Johansen thought Rundgren’s production watered down their sound. Rundgren was no fan of the group’s raucous sound and attitude, to the point that he’s even alleged to have yelled at them ‘get the glitter out of your asses and play!’ With Morton behind the boards Too Much Too Soon incorporated many of his trademark production techniques, familiar to Shangri-Las fans, mainly his use of sounds effects such as gunshots and highly present female backing vocals. Too Much Too Soon was well received by critics and fans who praised the band’s raw sound and felt that it was improved by Morton’s production. Over the years the New York Dolls legacy has only grown larger. Get on Down now presents this legendary dangerous, fun, soulful and unique piece of rock and roll history on hot pink vinyl.”

File Under: Glam, Rock
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Officer!: Ossification (Megaphone) LP
In tomorrow… Officer! is either Mick Hobbs (The Work, Family Fodder, Half Japanese) alone or Mick Hobbs with friends. Ossification is like an amazing party held at This Heat’s Cold Storage Studio, with friends like Felix Fiedorowicz, Tom Cora, Tim Hodgkinson, Bill Gilonis, Zeena Parkins, Patrick Q, and Catherine Jauniaux. The output of this party is one of the most unusual, pleasurable, and character-filled “pop” records anyone has heard. Fourteen songs that contain the spirit of pop, rock, classical, medieval, avant garde, R.I.O., The Work, Family Fodder, This Heat, Look de Bouk, Legendary Pink Dots, Henry Cow, and more. Ossification is a timeless anomaly in the history of recorded music. Limited to 700 copies on 180 gram vinyl with an insert. Remastered by Tim Dimuzio. Recorded in This Heat’s Cold Storage Studio in 1984.

File Under: Avant Rock, Rock in Opposition, This Heat
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orphan fairytale

Orphan Fairytale: My Favorite Fairytale (Aguirre) 2LP
In tomorrow… Welcome to the wondrous world of Eva Van Deuren’s one-girl project Orphan Fairytale. She creates a fairy-like, mystic and hypnotizing sound-world using only self-made electronics, toy instruments, cassette loops and small keyboards. The music shows a great deal of playfulness. Dream-like patterns are enriched by carefully-placed notes and tones. After almost 10 years of performing and recording, the time has come for a round-up and Aguirre is happy to present a wonderful set of four side-long pieces. The 2LP set consists of delicate, twinkling tunes recorded during the period of 2008-2011, wherein Eva shows an admirable creativity, coalescing minimalism, new age, psychedelic and repetitive sounds. Never too far away from contemporary fellow artists like Dolphins Into The Future, Innercity, and Panabrite, with whom she shares a certain ambience. Originating from Antwerp, Belgium, Eva Van Deuren grew up in a flourishing Belgian music scene and has released cassettes on numerous independent cassette labels — Audiobot, Beniffer Editions and Sloow Tapes, just to name a few. In the summer of 2007, she was even asked to open for Sonic Youth, and Thurston Moore became very fond of her music. After that she released full albums on Ultra Eczema and Blackest Rainbow. Artwork by Johan and Hannah. Pressed at Handle With Care, Berlin. Includes a pink double-sided insert. High-gloss finishing. Limited edition of 500 copies.

File Under: Ambient, Drone, Experimental
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Charlie Patton: Complete Recorded Works Volume 4 (Thirdman) LP
Charley Patton’s Volume 4 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl. This final installment features gorgeous new covers from Rob Jones, extensive liner notes, and, of course, amazing music morsels of blues history on vinyl for the first time in decades.

File Under: Blues

bo anders

Bo Anders Persson: Love Is Here to Stay (Subliminal Sounds) LP
In tomorrow… 2LP version housed in a gatefold sleeve including booklet with in-depth informative liner notes and pictures. The early works by Bo Anders Persson presented on this record were written between 1965 and 1967, before he started the experimental rock band Pärson Sound. All but one track is previously-unreleased. What is the origin of this strange, un-place-able music? What is its place in history, in the unfolding of important conceptual ideas, turning musical modernism into something wider, more mysterious and blurred? From where comes the lightness of touch, and how does the transient nature of the sounds correspond to the sense of mourning hidden within the music? What makes the music so exciting and loaded is the feeling of change, both in the actual performances and in the atmosphere of the rooms where the pieces are played. The sounds move freely within the minimal, repetitive structures. There are spaces for breathing and dreaming, turning inside and outside, and a sense of being in between positions. Suddenly, the doors are wide open and radical experiments can take place.

File Under: Drone, Psych, Prog
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Pye Corner Audio: Black Mill Tapes Volumes 1-4 (Type) 3CD
In tomorrow… Now available on CD! A 45-track, triple CD set collecting all four volumes of the Black Mill Tapes series from Pye Corner Audio. Audio re-mastered by Matt Colton. Housed in a triple jewel case. Lurking in the shadows between deep house, slow techno, Carpenter soundtracks and classic electronica, these sibling albums transcend genres with hallucinatory, shape-shifting effect, trudging from the pastoral whimsy of the first volumes to a darker, less certain point on the horizon. They could just as easily soundtrack a thriller about Balearic drug dealers as a sleazy, modern film noir set in Glasgow or some cosmic sci-fi adventure, spiking stealthy bass grooves with richly visual darkwave motifs and moments of beat-less, flickering neon ambient. Arguably, it’s some of the most evocative analog electronica since AFX’s SAW II and BoC’s Music Has The Right To Children, a masterful balance of eldritch melancholia and darkside prurience ranging from supple square wave rollers to hexed ambient vignettes.

File Under: Electronic, Ambient, BBC, Ghost Box
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Rainer Veil: New Brutalism (Modern Love) LP
In tomorrow… Liam Morley and Dan Valentine aka Rainer Veil return with New Brutalism, an exploration of angular, brittle club music. Referencing the stripped-down, utilitarian aesthetic of Brutalist architecture, the five tracks here mine looped, blocky source material gradually embellished with more complex, percussive and atmospheric layers that are at once robust and introspective. From the opening woodblock/rave dismantling of “UK Will Not Survive” to the heady hardcore of “Three Day Jag,” the EP evokes a distinctly Northern British Weltanschauung.

File Under: Electronic
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salem mass

Salem Mass: Witch Burning (Guerssen) LP
In tomorrow… Ultimate U.S. hard-psychedelic/proto-prog burner from 1971. Obscure Sabbath-esque hard-rock band Salem Mass self-released their only album in 1971. Recorded at a beer bar converted studio, Witch Burning consists of seven tracks full of ripping guitar, brutal Moog attacks, heavy keyboards, demented vocals, and Satanic/occult related lyrics, especially in the mind-blowing 10-minute-long title-track. First-ever vinyl reissue featuring the original artwork. Newly remastered sound, insert with liner notes and rare photos/memorabilia. Note: This is the only fully-authorized vinyl reissue of Salem Mass in the current market. Beware of inferior, low-quality bootlegs.

File Under: Hard-Psych, Proto-Prog
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Selda: s/t (Pharaway Sounds) CD
In tomorrow… Vinyl next week… Imagine if Julia Child had marched against Vietnam, stood on the steps of the Pentagon, and placed a flower in a gun barrel. Selda Bağcan’s later records have that same cross of easygoing motherly warmth and righteous anger. This 1979 album (technically her fourth, although six of these songs were also released on her third), was recorded when Turkey was at its most politically polarized. Selda was sentenced to a total of over 500 years in prison right about the time it came out. A pile of acoustic guitars and bağlamas all going off at once under a blanket of reverb, with lyrics about blood, wood, mountains, families, and desperate troubles, so it’s a thick squirt for a folk album. Selda’s voice can either be sultry or really surge with emotion, and when she does belt one, it’s oddly high and completely unique. Her reward was the love of Turkey’s people, but also nine trials and three prison terms from the right wing military government of the ’80s. Remastered sound, insert/booklet with liner notes.

File Under: Psych, Turkish, Anatolian
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selda2Selda: Vurulduk Ey Halkim Unutma Bizi (Pharaway Sounds) CD
In tomorrow… Vinyl in next week… There were female Turkish folk singers before Selda Bağcan, but none whose hot-blooded voice carried such righteously angry words and none who also accompanied themselves on guitar. She began her career singing at her brothers’ Beethoven nightclub in Ankara while she went to school for physics during the day. Her first album had help from the cream of the crazy Istanbul pop scene, and cuts from the same sessions were also released on this second one in 1976. While the direction is folky overall, there’s fuzz, zooming synthesizers, and heavy flute to be found. When Selda performed the title-track in 1977 in a coastal town not far from Istanbul, her protest lyrics, though taken from an old poem, got her heckled by audience members who screamed that she should go back to Moscow. Find out why this brawny mama couldn’t be stopped by a military government that put her on trial nine times, and could call herself the bitter voice of the Turkish people. Remastered sound, insert/booklet with liner notes.

File Under: Turkish, Psych, Anatolian


Sunroof!: Rock Power (Nashazphone) LP
In tomorrow… Reissue of an extremely rare and essential Sunroof! CD-R released during a European tour in 2003 on Matthew Bower’s own imprint, Rural Electrification Program (REP). On this LP, Bower is joined on guitar by Mick Flower (Vibracathedral Orchestra and Flower-Corsano Duo) and the result was once qualified as Sunroof’s rock record and its tribute to Neil Young and AC/DC (hence the title). Rock Power is a very singular record because it documents a very short time period in the M. Bower/Sunroof! evolution; between the dream-like psychedelia of releases such as Cloudz or early Hototogisu, and the brutal sonic assault of later records such as Panzer Division Lou Reed, Spitting Gold Zebras or the more recent Skullflower outings. 500 copies.

File Under: Psych, Noise, Bower
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Tinariwen: Emmaar (Anti) LP
For Saharan blues band Tinariwen, the desert is home; their hypnotic and electrifying guitar rock reflects the melding of their Tuareg musical heritage with modern urban blues. Their 2011 album Tassili, recorded in the Algerian desert, won a Grammy Award for Best World Music album. Now their new record Emmaar returns to their roots, delivering stripped-down dirges and effervescent electric anthems. Due to political instability in their country, the band recorded away from their homeland for the first time, setting up shop in another desert: Joshua Tree, California. Recorded over three weeks in studio built in a house in the region known for spaced-out rock ‘n’ roll and psychedelic cowboy folk, Emmaar showcases an organic feel from the rolling hand drums and meandering guitars of album opener ‘Toumast Tincha’ to the galloping beats of the forward-marching ‘Chaghaybou’. Accompanied by Red Hot Chili Peppers guitarist Josh Klinghoffer, Matt Sweeney from Chavez, Nashville fiddler Fats Kaplin, and poet Saul Williams, Emmaar is a richly layered listen solidified by atmospheric textures and gritty guitar-work. This band has received rapturous press with every release, and count high profile musicians like The Red Hot Chili Peppers, Robert Plant, Brian Eno and Bono among their many fans. 

File Under: Desert Blues, Tuareg, World, Psych
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Joel Vandroogenbroeck: Biomechanoid (Aguirre) LP
In tomorrow… Biomechanoid is the classic 1980 album by composer and flutist Joel Vandroogenbroeck. It’s 1980, in Munich, Germany. Upstart production music label Coloursound Library releases their debut album. Capitalizing on the success of Ridley Scott’s Alien film, the label dropped Biomechanoid, featuring cover art commissioned by H.R. Giger– whose horrific Necronom IV lithograph served as the basis for the design of Alien – and the music of the relatively unknown Joel Vandroogenbroeck. Comprised of bleak, cinematic synth soundscapes and percussion, the album served as an inaugural calling card for what would be a decade of dizzying solo releases by Vandroogenbroeck for Coloursound, running the gamut from Mesopotamian ethno-folk to synth sequencer funk to electro drum breaks to in-utero ambient delights. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name, in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group’s three main (and collectible) releases in the early ’70s – Cottonwood Hill, Celestial Ocean, and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit — which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan — an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient on the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossomsto percussive sound collage on Birth of Earth; and from Oberheim DMX drum breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project. Biomechanoid stands after all these years as an album full of dark, strange, disturbing soundscapes, the obscure side of Brainticket, proving how Joel was still a creative artist. Matte finishing. Double-sided insert. Pressed on 180 gram vinyl. Edition of 500 copies.

File Under: Electronic, Abstract, Ambient
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VTGNIKE: Dubna (Other People) LP
In tomorrow… Nicolas Jaar’s very own Other People label returns with yet another discovery from their artist roster. This time it’s a Juke by mysterious Russian producer VTGNIKE, which is pronounced Vintage Nike.

File Under: Electronic, Juke
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fist of fuzzVarious: A Fist of Fuzz (Particles) LP
In tomorrow… Originally issued in a tiny edition 15 years ago, this legendary compilation assembles some of the most fuzz-drenched obscurities to have emerged from late 60s America. From Arizona to New York, Rhode Island to Texas, there’s enough attitude here to fuel teenage angst for centuries to come. This mind-blowing set comes complete with background notes and rare photos, making it truly essential for garage psych addicts. Pressed on 180 gram vinyl.

File Under: Fuzz, Garage, Psych
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more fuzz

Various: For A Few Fuzz Guitars More (Particles) LP
In tomorrow… LP version. Originally issued in a tiny edition well over a decade ago, this outstanding compilation maintains the sky-high quality of its legendary predecessor A Fistful of Fuzz. Gathering 20 of the most fuzz-drenched obscurities to have emerged from late ’60s America and beyond, it’s a feast for fans of psychedelic garage rock, and comes complete with background notes and rare photos. Remastered sound Artists include: The Purple Sun,Velvet Haze, The Golden Grass, Bare Facts, The Ritual, Sherman Marshall, Smith Vinson, Rochelle Rosenthal & The Kickball Queen, Goodly Rubenson, The Living End, Super Band, Peacepipe, The Dystraction, Fowl, White Lightnin’, Twiggs, The Attack, Sounds Synonymous, The Sub, and The Outrage.

File Under: Fuzz, Garage, Psych
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disco reggae

Various: Disco Reggae (Stix) LP
In tomorrow… Stix Records is a sub-division of Favorite Recordings, launched with the first official single by Taggy Matcher & Birdy & Nixon, who pleased us with two reggae-rocksteady renditions of songs by the famous Black Keys. Specializing in the exercise of producing covers with a reggae twist, the new label presents their first album, Disco Reggae. Many artists faithful to the stable of Favorite Recordings and its various sub-labels were invited for the occasion: The Dynamics, Blundetto, Grandmagneto, 7 Samurai, John Milk, and Taggy Matcher. All came and brought their respective touch to this first compilation, with, among other things, some of the rarest titles from their Big Single Records’ years, but also four new and exclusive productions. Each of them delivers a great disco-reggae version of classic hits by artists as diverse as Madonna, Herbie Hancock, Justin Timberlake, The Commodores, The O’Jays, Curtis Mayfield, Harry Nilsson, and Sugarhill Gang. Whatever the genre or the period, nothing can resist their inventiveness and creativity, and sometimes their work can be confused as total originals. Everything was remastered and cut at Carvery Records (UK), known for their expertise in Caribbean and disco music. The vinyl LP comes in a deluxe version, housed in an old-school tip-on jacket.

File Under: Reggae, Disco, Rocksteady, Dub
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let no one judge

Various: Let No One Judge You (Honest Jon’s) 4LP/2CD
In tomorrow… Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 — with futuristic, overlapping trumpets and exquisite clarinet improvisation — through to a hauntingly soulful Hāfez setting by Moluk Zarrābi of Kāshān, from 1933. There are eight selections from more than 300 recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna, and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-organ; and rueful, imploring, besotted love-songs. “I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin.” A setting of Rāheb’s poetry by Moluk Zarrābi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. “Parvāneh,” for example, “Butterfly” — represented by her interpretations of Sa’di and Hāfez, with self-accompaniment on setar, a three-stringed lute (“seh,” three; “tar,” string), Iranian ancestor of the Indian sitar: “I am the slave of love…” And Helen, with some boozy Hāfez wisdom: “Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you.” Moluk Zarrābi — together with Qamar-ol-Moluk Vaziri – featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortezā Ney-Dāvud, amongst the country’s most acclaimed musicians and composers of all time, from the Jewish community of Tehran. It sounds like another stupendously gifted Iranian Jewish musician – Yahyā Zarpamjeh – accompanying Akhtar. Alongside one of these duets, two of Ney-Dāvud’s solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahnāzi, sublime ney and kamancheh playing by Mehdi Navā’i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-raw and rocking. The two CDs are sumptuously presented in a hard-back gatefold sleeve, with a 26-page booklet containing full notes and marvelous photos on fine-art papers, stitched, not stapled. The music was restored from 78s at Abbey Road Studios in London.

File Under: Ethinc, World, Iranian
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…..used goodies…..

Amadou & Mariam: Welcome to Mali (Nonesuch) LP
Felix Baloy: Baila Mi Son (Pure Pleasure) LP
Buena Vista Social Club: At Carnegie Hall (Nonesuch) LP
Buena Vista Social Club: s/t (Classic) 200gram 2LP
Burning Spear: Farover (Heartbeat) LP
Burning Spear: Fittest of the Fittest (EMI) LP
Burning Spear: Hail H.I.M. (Rondor) LP
Burning Spear: Marcus Garvy (Island) LP
Jimmy Cliff: Give The People What They Want (MCA) LP
Clifton Chenier: Lousiana Blues & Zydeco (Arhoolie) LP
Culture: Vital Selection (Virgin) LP
Fink: Biscuits for Breakfast (Ninja Tune) LP
Fink: Distance & Time (Ninja Tune) LP
Flamin’ Groovies: Shake Some Action (Sire UK) LP
Flamin’ Groovies: s/t (Kama Sutra) LP
Flamin’ Groovies: Jumpin’ in the Night (Sire) LP
Mary Gauthier: Mercy Now (Lost Highway) LP
Michael Hurley: Have Moicy! (Rounder) LP
Gregory Isaacs: Night Nurse (Mango) LP
Antonio Carlos Jobim & Luis Floriano Bonfa: Somba, Saudade & Bossa Nova (Get Back) LP
Linton Kwesi Johnson: Dread Beat An’ Blood (Virgin) LP
Bassekou Kouyate & Ngoni Ba: I Speak Fela (Out-Here) LP
Bassekou Kouyate & Ngoni Ba: Segu Blue (Out-Here) LP
Fela Kuti: Army Arrangement (Celluloid) LP
Bob Marley: Natty Dread (Island) LP
Al Dim Meola/John McLaughlin/Paco De Lucia: Friday Night in San Francisco (Speakers Corner) LP sealed
Misty In Roots: Live at the Counter Eurovision 79 (People Unite) LP
Jonathan Richman & The Modern Lovers: Back In Your Life (Beserkley) LP
Jonathan Richman & The Modern Lovers: s/t (Beserkley) LP
Modern Lovers: The Original Modern Lovers (Bomp) LP
Pablo Moses: Pave The Way (Mango) LP
Cedric Myton & The Congos: Face The Music (Go Feet) LP
Cedric Myton & The Congos:  Image of Africa (Congo Ashanty) LP
Joanna Newsom: Ys (Drag City) LP
Max Richter: Memoryhouse (Fat Cat) LP
Ballake Sissoko/Vincent Segal: Chamber Music (No Format) LP
Ben Sollee: Learning to Bend (Karate Body) LP
John Stammers: s/t (Wonderfulsound) LP
Jorge Strunz & Ardeshir Farah: Guitarras (Milestone) LP
Suarasma: Fajar Di Atas Awan (Drag City) LP
The Stranglers: Black & White (United Artists) LP+7”
Richard & Linda Thompson: Shoot Out the Lights (Hannibal) LP
Sidi Toure & Friends: Sahel Folk (Thrill Jockey) LP
U-Roy: Dread in a Babylon (Virgin UK) LP
Zombies: Time of the Zombies (Epic) LP
Various: Son Cubano NYC (Honest Jon’s) LP
and much more….


Black Keys: The Big Come (Alive) LP
Black Mountain: In The Future (Jagjaguwar) LP
Burial: s/t (Hyperdub) LP
Charles Cohen: Middle Distance (Morphine) LP
Faith No More: Angel Dust (Music on Vinyl) LP
Fuzz: Live In San Francisco (Castle Face) LP
Bill Fay: s/t (4 Men with Beards) LP
Bill Fay: Time of the Last Persecution (4 Men with Beards) LP
Lee Fields & the Impressions: My World (Truth & Soul) LP
Glaxo Babies: Put Me On the Guest List (Superior Viaduct) LP
Gol/Tazartes: Alpes (Planam) LP
Grinderman: s/t (Anti) LP
Bruce Haack: Hush Little Robot (QDK) LP
Stan Hubbs: Crystal (Companion) LP
Etta James: Good Rockin’ Mama (Ace) LP
Ministry: Mind is a Terrible Thing to Taste (Music on Vinyl) LP
Thelonious Monk: Solo Monk (Music on Vinyl) LP
Moondog: s/t (4 Men with Beards) LP
Moondog: More Moondog (4 Men with Beards) LP
Mother Love Bone: s/t (Music On Vinyl) LP
Oneohtrix Point Never: Returnal (Editions Mego) LP
Queens of the Stone Age: Lullabies to Paralyze (Music on Vinyl) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 3×10″
Raime: Quarter Turns… (Blackest Ever Black) LP
Silent Servant: Negative Fascination (Hospital) LP
Sons of Huns: Banishment Ritual (Easyrider) LP
Tame Impala: Innerspeaker (Modular) LP
Velvet Underground: & Nico (4 Men With Beards) LP
Various: Ecstasy of Gold Vol 4 (Semi Automatic) LP



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