Author Archives: listenrecords

…..news letter #669 – xmas knives…..

Happy holidays to everyone! Hopefully you are all ready for xmas, and if not, we’ve been stocking up all week to make sure that we’ve got everything you could possibly need. Lots of stuff is trickling in these days, but no time to list all that. Anyway, we are open all weekend, then next week a whack of wonky days…

Wednesday Dec 24 11 – 4
Thursday Dec 25 closed
Friday Dec 26 11 – 5
Wednesday Dec 31 11 – 4
Thursday Jan 1 closed

More importantly, on boxing day, we will obviously be having a big sale! 20% off pretty much everything all day! So if you didn’t get everything you wanted for xmas, come get if for cheap! Hell, even if you did get everything you wanted, come buy some more stuff!

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…..news letter #668 – ’tis the season…..

As you can tell by the lateness of this transmission, the volume of new stock in conjunction with the current date; we’re a bit swamped over here…..

…..pick of the week…..

advisory

Advisory Circle: From Out Here (Ghost Box) LP/CD
The Advisory Circle return with a new album and a much darker sound with ‘From Out Here’, the enchanted follow-up to the pastoral ambience of ‘As The Crow Flies’. Masquerading under this guise, Jon Brooks reveals what is quite possibly his strongest work to date; an 18 track suite drifting from brassy cosmic warning signals to ancient-futurist miniatures reminding of the fragile motifs in Actress’ ‘R.I.P.’ album. The common theme is undoubtedly Brooks’ exquisite sound design, uniting a series of individual themes that add up to what Ghost Box describe as “a Wyndham-esque science fiction story, where bucolic English scenery is being manipulated and maybe even artificially generated by bizarre multi-dimensional computer technology”. It’s all super hi-Q nostalgia for a pioneering age, capturing the spirit of intrigue and curiosity in a range of shape-shifting forms, from radiophonic vignettes sounding like Conet Project transmissions thru the joyfully self-explanatory ‘Experiment!’, the stoic development of ‘Discipline Before Data’ or the eldritch synaesthetics of ‘Sine Seeing’. It’s a deeply rewarding listen, begging to be curled up with on short winter days on long nights.

File Under: Electronic, Pseudo-Library, Ghost Box
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……new arrivals…..

49th

49th Parallel: Singles (Lion) LP
All of 49th Parallel’s singles and b-sides + rare alternates, on vinyl for the first time since their initial pressings back in 1966-68! The band’s first single, ‘All Your Love’, was recorded in 1966 as the Shades of Blond; it was previously only available on a staggeringly rare EP featuring Calgary bands. Their debut as 49th Parallel came with ‘Laborer’/’You Do Things’ in mid 1967, followed by ‘She Says’ b/w ‘Citizen Freak in early 1968: four hard-edged garage punk tracks—tough, and thick with fuzz guitar and a defiant sneer. The next single, ‘Blue Bonnie Blue’ b/w ’Missouri’ appeared in late spring of 1968. In the spring of 1969, the beautiful ‘Twilight Woman’ b/w ‘Close the Barn Door’ zoomed up the charts across Canada and parts of the USA. Both ‘Twilight Woman’ and the hit follow-up, ‘Now That I’m A Man’ b/w (Come On Little Child &) Talk To Me are melodic pop/psych of the purest and finest kind. One more post-LP single and a couple of rare tracks round out the story. Fifteen tracks all told on this, the ultimate 49th Parallel vinyl collection.

File Under: Psych, Garage, CanCon
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arcesia

Arcesia: Reachin’ Arcesia (Guerssen) LP
A classic since year zero of rare record collecting, Reachin’ Arcesia has always been the focus of many rumors and bizarre stories. Guerssen sets the record straight with this, the first ever legitimate reissue of this legendary album. John Arcesi was a veteran singer of the big band era who, in the early ’70s, recorded a pop album with help from an anonymous hip studio musicians. The album was released in a private edition of 300 copies and most of them were given away to family and friends. In the late ’80s, one of those copies was unearthed by record dealer Paul Major, who was one of the first people to appreciate the singularity of Reachin’ Arcesia. Since then, the album, which mixes over-the-top crooner vocals with late ’60s acid-rock and pop arrangements, has developed a reputation as a lounge-psych/real people masterpiece. Remastered and presented in a gatefold sleeve with the original artwork on the back and a new cover design on the front. Includes insert with lyrics. Features detailed liner notes and rare photos in the inner gatefold, telling the real story of John Arcesi.

File Under: Psych, Private Press, Lounge
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blind shake

Blind Shake: Breakfast of Failures (Goner) LP
Minneapolis three-piece The Blind Shake crafts dense, massive locomotive music—powerful sounds with the ability to careen through one cinematic, post-apocalyptic chase scene after another. The band’s latest album Breakfast of Failures comes clanging and crashing through these confused times. Fronted by brothers Jim and Mike Blaha along with friend Dave Roper on drums, the trio was tunneling through the underground since before telephones could talk. With six full-length albums to their credit, several singles, three collaborations with psych legend Michael Yonkers and another with downstroke warrior John Reis, The Blind Shake continues to push the sliding scale between catchy punk songs and pitch-red noise.  “The Blind Shake is at once spacey, primitive futuristic, and brutal: a kind of backyard extraterrestrial minimal surf-punk party. One guitar, one baritone guitar, a fuckload of reverb, and a drummer who deserves an Olympic medal.” —SF Weekly.

File Under: Punk, Surf
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ningen

Bo Ningen & Savages: Words To The Blind (Pop Noire) LP
London-based post-punks Savages and Japanese psych outfit Bo Ningen release their collaborative record, Words to the Blind,  via Stolen Recordings/Pop Noire. Words to the Blind was conceived after Savages saw Bo Ningen play a show while they were recording their excellent debut, Silence Yourself. From there, the two groups hit the studio together, drawing inspiration from  Zurich’s Cabaret Voltaire, a club created in 1916 where “artists would experiment with forms of sound poetry and simultaneous poetry.” The result of their collaboration is one sprawling, 37-minute track. Billed as a “loose composition based around five chapters,” it features a half-improvised noisy jam with lyrics sung in English by Savages’ frontwoman Jehnny Beth and in Japanese by Bo Ningen’s Taigen Kawabe. While the song does take a while to truly ignite, it’s a freewheeling, aggressive, and compelling piece that shows two bands gelling into one unit.

File Under: Psych, Post Punk
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branca

Glenn Branca: The Ascension (Superior Viaduct) LP
Glenn Branca’s first full-length album The Ascension is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell’s Kitchen to record five incendiary compositions. Originally released in the summer of 1981, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock ’n’ roll.  On “The Spectacular Commodity,” chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) “never stops climbing skyward.” With artist Robert Longo’s stark front cover that depicts Branca battling an unidentified man, The Ascension is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint’s Tweez.

File Under: Minimalism, Drone, Avant-Garde, No Wave
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budd

Harold Budd & Eraldo Benocchi : Music For Fragments From The Inside (Sub Rosa) LP
A “classic” from the Sub Rosa catalog, never released on vinyl before. An astonishing piano-player drifts on beats and soundscapes. Recorded during a magical night in the courtyard of a Siena Renaissance Italian Palazzio where the lightness of Harold Budd meets Eraldo Bernocchi’s deep electronics. Beats and bass, drones and soundscapes tie together harmonically to meet one of the most emotionally-involving piano players/composers.

File Under: Piano, Ambient
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beefheartCaptain Beefheart: Live 66-67 (Keyhole) LP
Captain Beefheart & His Magic Band are firmly established as one of the most imaginative acts to have emerged from late-’60s America. The historically vital recordings preserved on this set — a live set captured from Avalon Ballroom in 1966 and a radio station set from 1967 — capture Beefheart and his musicians as they emerge from their blues-based beginnings and begin to evolve into something far stranger. The set is accompanied by background notes and rare images. Features two tracks not previously available on the CD version.

File Under: Blues, Psych

cybotron

Cybotron: s/t (Dual Planet) LP
Part Man Part Machine, Cybotron was the synthesis of progressive rock and electronic music experimentation. Conceived by pioneers of the Australian electronic underground, Steve Maxwell Von Braund and keyboardist Geoff Green, together they produced a series of mind-altering cosmic albums throughout the 1970s which set the tone for the Minimal wave and electronic post punk scene of early 1980s Melbourne.Part Tangerine Dream, part Ash Ra Tempel, Cybotron channelled the spirit of Krautrock to create their own unique brand of throbbing Komische electronica rivalling the futuristic vision of their German counterparts.Dual Planet present the long awaited reissue of this landmark Australian recording. Issued as an exact replica of the rare 1976 Clear Light Of Jupiter LP.

File Under: Electronic, Prog, Kosmische
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dadaDada Plan: A Dada Plan is Free: s/t (Kingfisher Bluez) LP
“Dada Plan emerge from the picturesque Great Bear Rainforest in Vancouver with their blend of trip hop, orchestral noise polluted, synth storm rock.”—Creem Magazine. “A Dada Plan Is Free sounds like ’80s outsider pop, with retro drum-machine programming and synth sounds from [Matt] Krysko’s Roland Juno-60, but it’s no pale homage. There is a deeper meaning at work here, a haunting, dystopian tinge to its chill metropolitan grooves inspired by Brian Eno and Robert Wyatt.”—The Georgia Straight. Recorded to tape by Josh Wells (Black Mountain, Lightning Dust). Limited to 250 copies on black vinyl.

File Under: Rock, Psych, CanCon
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dij

Death In June: The Corn Years (Pylon) 2LP
This vinyl issue marks the 25th Anniversary of the first CD-only release by Death In June, originally released in 1989. All tracks recorded 1985-1987. This release has never been available on vinyl before. The double LP comes in a foil blocked gatefold sleeve with 2 fold out posters. Limited to 700 copies on grey vinyl for retail.

File Under: Goth, Industrial
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dij-sacrifice

Death In June: The Wall of Sacrifice (Pylon) LP
This vinyl issue marks the 25th Anniversary of the original release. All tracks originally recorded in 1988-1989. The album features 3 different unreleased versions of songs from this album which were recorded in 2005/2006 – ‘Giddy Giddy Carousel’, ‘Fall Apart’ and ‘Hullo Angel’. The double LP comes in a foil blocked gatefold sleeve with an insert and spot varnishing of the Totenkopf 6 on the front and back of the jacket. Limited to 700 copies on orange/yellow vinyl for retail. All artwork for this release has been reinvented and all recordings. Digitally re-mastered.

 File Under: Goth, Industrial
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destroy all monsters

Destroy All Monsters: Hot Box (Munster) 3LP Box
Destroy All Monsters are known by some for their role as a bastion of resistance of Detroit’s rock; for being, during their second period, the band in which Ron Asheton would reappear. For others, they are a pivotal reference point in the copious but relatively unknown avant-garde underground from the same city, after Thurston Moore and Byron Coley dug up their first recordings in 1996 and the original line-up reunited. Destroy All Monsters comprises two complementary and interconnected poles throughout the saga of the Motor City’s music scene, from the University of Michigan’s Cooperative Studio for Electronic Music to The Stooges, through to the White Panther Party. In its two incarnations, the experimental — led by Cary Loren, Jim Shaw and Mike Kelley — and the high energy one — with Asheton and Michael Davis from MC5, both featuring the phantasmagorical Niagara in the role of doped-up priestess, Destroy All Monsters are the object of one of the most devotional cults of America’s cultural underground, as testified by their abundant artistic and record production. Hot Box 1974-1994 is the first anthology to bring together the best outcome of those two hemispheres, including much unreleased material. Includes a generously-illustrated booklet featuring photos and artwork never seen before. All tracks have been remastered from recently discovered tapes.

File Under: Punk, Garage, Experimental
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durand

Werner Durand: Hemispheres (Blume) LP
Going back to his early musical inspirations in the early ’70s, Werner Durand was fascinated with the multiple saxophone sounds coming from Terry Riley’s “Poppy Nogood” and “Happy Ending,” Dickie Landry’s “Fifteen Saxophones” and Ariel Kalma’s “Reternelle.” His participation in the Parisian saxophone ensemble Urban Sax in 1976/1977 became a starting point for his own musical endeavors. The two saxophone pieces presented here were composed and recorded roughly 10 years apart and document his move from free microtonality towards just intonation, to which he was turned onto as a member of Arnold Dreyblatt & the Orchestra of Excited Strings from 1990 to 1997. The two hemispheres represent the two parts of the brain, associated with the intuitive (right) and rational (left) part. “Right Hemisphere” for soprano sax was composed in 1990 for a festival in Berlin, celebrating the 150th anniversary of the invention of the saxophone. The main idea for this piece was to make one forget what instrument one is listening to as well as to feature various unorthodox techniques like loose embouchure, false fingerings, or circular breathing, and a free microtonality. It was inspired by certain composers of microtonal music like Giacinto Scelsi, Phill Niblock, Lois V. Vierk, and Mary Jane Leach. The original version of “Left Hemisphere” was developed between 1995 and 2000. Dreaming of a certain ratio and intervals during a summer holiday in England in 1995, the piece slowly evolved over the next years. This version was recorded in 2000. The piece uses just intervals derived from the third and seventh harmonics played over a sax drone. All music composed, performed, recorded, and mixed by Werner Durand.

File Under: Drone, Minimalism
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eels

Electric Eels: Die Electric Eels (Superior Viaduct) LP
Cleveland’s electric eels (all lower case in homage to poet e.e. cummings) is America’s quintessential proto-punk band. Formed in 1972 by singer Dave E. McManus and guitarists John Morton and Brian McMahon, the group enlisted drummer Nick Knox (later of The Cramps) and producer Paul Marotta to record a flurry of catchy and genuinely fucked-up tunes. After only five legendary live performances—complete with Dave E. in black leather jacket covered in rat-traps and playing a gas-powered lawnmower on stage—the eels broke up in 1976 and posthumously released their classic single Agitated on Rough Trade in 1978, blazing a trail for high-art, low-concept rock. As Jon Savage writes in the liner notes, “There is something heroic about the eels’ isolation and uncompromising attitude: a fierceness that you can hear in these songs that still resonates in a different time and world.”  Retrospective LP of seminal Clevland band, circa 1975. From the loud and snotty “Agitated” and its B-side “Cyclotron” (which Johan Kugelberg listed as #1 in his top 100 punk singles) to the anarchic anthem “Jaguar Ride” and the loose, bluesy sludge of “Anxiety,” the album exorcises the demonic power of the Stooges and Velvets and captures the mystique of these outsider artists inventing a new language.  As the eels demand “Attendance Required” on their flyer for the infamous Special Extermination Music Night, listening is absolutely mandatory for this seminal band. Recommended for fans of Dead Boys, Simply Saucer and Pagans.

File Under: Punk, Proto-Punk
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eynon

Howard Eynon: So What If I’m Standing In Apricot Jam (Earth) LP
A reissue of the one and only album from the virtually unknown Australian singer Howard Eynon, now to be reissued 40 years after it’s original release. So What If Im Standing In Apricot Jam (note no apostrophe) is a bizarre and wonderful acid folk treasure in the vein of wild-eyed geniuses such as Syd Barret, Kevin Ayers, Neil Innes or Nick Drake, although perhaps even more beautiful and mysterious. It’s certainly more unusual, with its colloquial lyrics, acerbic wit and Howard’s Anglo-Australian accented singing voice. So What If Im Standing In Apricot Jam is a bold and madcap record on a par with Paul McCartney’s Ram. The evocative lyrics take in everything from political commentary, to anti-authoritarian jabs, to bright homely humor and deep descriptive stories. This daffy folksy psychedelic ramble full of tall tales, delightfully quirky melodies, hilarious lyrics and marvelous wordplay, risqué irreverence and beguiling lapses into musical frippery, has not only stood the test of time, but completely and utterly blown it away.

File Under: Psych, Acid Folk
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kohoutek

Father Yod & The Spirit of ’76: Kohoutek (Drag City) LP
“….the second coming of Kohoutek. This was the first spontaneous release that was made into a record, credited to Father Yod and The Spirit of ’76. It came out in 1973, the year of Kohoutek, when the imminent arrival of the big comet spawned a new round of cosmic consciousness in the media and with people all over the planet. This was more than a comet, its radiance was enormous, it came from ancient times to be experienced again by the enlightened people of the day. The Source Family were alive with expectation about the return of this long-haired messenger, and Father devoted considerable time chanting and eventually changing in his identity to Yahowa while meditating on the comet. Events like these were to be cherished for bringing infusions of energy that could only be accessed via the rare occasions. Life had to be lived in order to grow — and the two sides of Kohoutek are a special jam that passes through tranquility to exultation, a tapping of the passing flame in the skies and a greeting from Father to the messenger and bearer of such awesome gifts. Very pure. After the original LP pressing in 1973, Kohoutek was issued on CD for the first time as a part of the God and Hair boxset in 1996; this is the first time the vinyl has been available again since the 1970s. Features all of the original artwork, including an insert about the comet, plus new inserts with reflections from Isis. These emanations from the original Source are pure, uncut spiritual visions from the mid-1970s, not to be missed.”

File Under: Psych, Cults, Private Press
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githead

Githead: Waiting for a Sign (Swim) LP/CD
Githead are Colin Newman (Wire), Malka Spigel and Max Franken (Minimal Compact), and Robin Rimbaud (Scanner). But who they are is far less important than what they are: a band, rather than just a collaboration between individuals, each with their own highly regarded creative résumé. Githead formed in 2004, for what was initially intended as a one-off performance at the Swim record label’s ICA-hosted 10th anniversary event. Over the course of preparations for the gig, though, it quickly became obvious to all involved that there was a natural and rare chemistry between them, one that held the potential for significant organic development. Waiting for a Sign marks the return of Githead after a five-year break from recording and pushes further than their previous records, underscoring the band’s commitment to pursuing new directions. Fans will recognize many of the classic Githead tropes here: the hypnotic, motorik repetition, the weighty bass lines, and the dreamy melodicism that have come to define the band’s aesthetic. But Waiting for a Sign isn’t about sticking with a proven formula: Githead are forward-looking musicians, committed to reinvention rather than recycling. As previous releases such as Art Pop (2007) and Landing (2009) show, Githead’s forté has increasingly been to bring the synergy and inventiveness of their live performances to bear on the studio process. For this album, however, they upped the ante, arriving at the studio without any written material and trusting that their response to each other’s ex-temporization, as well as to the mood and the surroundings, would get the creative juices flowing. ‘Slow Creatures’ is a good example, kicking off in an almost heretically bluesy mode, although this flavour eventually dissolves into a larger hypnotic groove as the track builds. There’s a similar effect on ‘Air Dancing’, its introduction combining Kala bass and acoustic guitar. Most memorable is ‘For the Place We’re In’, whose melodic structure makes it Githead’s first bona fide folk song. Approaching the project as something of a blank slate, their minds free of predefined ideas and open to creativity makes this their most accomplished release thus far.

File Under: Art Rock, Wire
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icecross

Icecross: 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: Psych, Hard Rock, Metal
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icky

Icky Boyfriends: Live in San Francisco (Castle Face) LP
“You like anchovies? Morning breath? Dried blood? The sun-up residue after a night of hard drugs? Well, you’re gonna love Icky Boyfriends. “I painted houses for a couple years with an old-school San Francisco artist / musician dude who would let me run the boombox while we worked. This was right around the time I became obsessed with Icky Boyfriends. I would play the shit all day and wax about how I much I loved them. He piped up one day and asked what they were called again. ‘Icky Boyfriends,’ I said. ‘Oh yeah, I remember those guys…man, they could clear a room.’ “That’s the Ickys—an acquired taste for people who maybe have eyes that feel natural when trolling the gutter for nutrition. These are stories of strung-out super heroes singing the praises of the old school San Francisco freak scene. Hilarious at times, genius always and as scuzzy as anything you could ever hear. “Live in San Francisco was recorded masterfully by the Castle Face engineers team at the grand SF Eagle. There are many classic favorites here, as well as a couple new jams (I challenge anyone to tell the difference). We’ve kept it primal and simple as the Ickys always have. What a treat, now let’s eat!” —John Dwyer.

File Under: Punk, Garage

invisible hands

Invisible Hands: Teslam (Abduction) LP/CD
“The Invisible Hands is a transcontinental collaboration between Alvarius B. (Alan Bishop of Sun City Girls) and four stellar young musicians from Cairo, Egypt: Cherif El Masri, Aya Hemeda (both formerly of the popular Egyptian group Eskenderella), Adham Zidan and Magued Nagati. On Teslam, The Invisible Hands expand the already panoramic range of their eponymous debut LP with a haunting set of melodic, impeccably crafted songs whose vintage psych/hard-rock edge conjures up early Alice Cooper almost as often as it recalls Sun City Girls and 20th-century icons like Ennio Morricone and Serge Gainsbourg. The band’s exquisite sonic palette is deepened by Cairo-based guest musicians Mohamed Ibrahim, Mohamed ‘Moe’ Asem, and Sammy Sayed, as well as by longtime SCG compatriot Eyvind Kang. Recorded in Cairo between 2013 and 2014, Teslam represents a further evolution of Alvarius B.’s peerlessly idiosyncratic pop sensibility, which is just as volatile and unclassifiable as his more experimental work. His songwriting — both on his own, and in partnership with Cherif El Masri — is marked by a unity of purpose that has compressed countless musical and emotional incongruities into a handful of sharp-edged, pitch-black jewels. A brooding track composed by keyboardist Adham Zidan (‘The Great Implosion’) perfectly complements the record’s uneasy mood. As usual, Alvarius B.’s lyrics comprise an apocalyptic pile-up of cruel metaphors at the intersection of culture, politics and international crime. But they take on new power and new implications as sung by El Masri and Hemeda, whose seductive voices are as inviting as a welcome mat at the gates of hell. Each song stands on its own while also fitting into a planet-sized jigsaw puzzle detailing dark associations and secret narratives that stretch back as far as the foundation of the world. Arguably Alvarius B.’s most accessible work to date, Teslam is a generously baited steel-jaw trap for the unwary listener. Like The Invisible Hands’ 2013 debut, Teslam inevitably reflects the precarious political circumstances in which it was conceived and recorded. As such, it’s a vivid document not just of an unlikely musical collaboration, but also of a critical moment of hope, defiance, rage and sorrow in one of the world’s most venerable cities. [This limited-edition razor-edged stainless-steel CD comes in a beautiful die cut balsawood jacket that folds out to form a fully operational guillotine. Just kidding, but it does come as a digipak CD with lyrics booklet and lovely artwork].” –B. Kearney

File Under: Rock, Sun City Girls
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gizzard

King Gizzard & The Lizard Wizard: I’m In Your Mind Fuzz (Castle Face) LP/CD
Four clicks and we’re off, galloping through realms on a phase-shifted, hydra-headed, many-armed and muscular monster. This Australian beast of a band with a bear of a name and a thick herd of members delivers many things on this warped song-cycle: a skeleton of propulsive kraut-beat fleshed out with a liberal dose of citric sweetness; flutes and harmonicas bleeding through the mix often and welcomingly; an early-’80s heavy metal / fantasy vibe; and many lovely left turns into psychedelic mellowing, both groovily and sometimes with just a dash of DMT dread. The whole thing is just gooey with tape manipulations, saturations and wah pedal, yet many tasty tidbits bubble to the top.

File Under: Psych, Fuzz
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magma1

Magma: Ëmëhntëhtt Ré (Jazz Village) LP
Ëmëhntëhtt Ré, Magma’s tenth studio album, was originally released in 2009, though some of its material had been played live since 1975. The album is the third chapter of Magma’s Köhntarkösz trilogy, which also includes Köhntarkösz Anteria and Köhntarkösz. Housed in a gatefold sleeve. 180 gram super fidelity vinyl; includes a digital download for CD master quality .wav files.

File Under: Jazz-Rock, Prog, Fusion
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magma3

Magma: Rïah Sahïltaahk (Jazz Village) LP
“Rïah Sahïltaahk is the name of the Kobaïan who left after all the others, despite their disapproval. He thought he was better than anyone else and he was sure he could convert Kobaïa’s enemies to the Kobaïan spirit. But he failed and left alone for Kobaïa. On the symbolic stop-over planet, Malaria, he has to face the raging elements he thinks he can dominate. With his ship almost sunk, he ends up begging them… to no avail. He will disappear. Drowned, swept away by the frenzied elements. After the noise… silence. At dawn, only a final calm remains, enlightened by the soft beams of the sun in this new day.” Recorded and mixed between September 2013 and June 2014 at UZ Studio. 180 gram super fidelity vinyl; includes a digital download for CD master quality .wav files.

File Under: Jazz-Rock, Prog, Fusion
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magma4

Magma: Kohtarkosz (Jazz Village) LP
Originally released in 1974, Köhntarkösz is the second chapter of Magma’s Köhntarkösz trilogy, which also includes Köhntarkösz Anteria and Ëmëhntëhtt Ré. Includes “Coltrane Sündia” (“Coltrane Rest in Peace”), an elegy for John Coltrane. 180 gram super fidelity vinyl; includes a digital download for CD master quality .wav files.

File Under: Jazz-Rock, Prog, Fusion
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magma2Magma: Köhntarkösz Anteria (Jazz Village) LP
Originally released in 2004, Köhntarkösz Anteria was Magma’s first full-length studio release in over 20 years. The material was in large part originally composed by drummer Christian Vander in 1973 and 1974, and is sung almost entirely in Kobaïan, Magma’s constructed language, apart from a short passage in French (‘Les Musiciens du Bord du Monde’). The album is the first chapter of Magma’s Köhntarkösz trilogy, which also includes Köhntarkösz and Ëmëhntëhtt Ré. Housed in a gatefold sleeve. 180 gram super fidelity vinyl; includes a digital download for CD master quality .wav files.

File Under: Jazz-Rock, Prog, Fusion
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mccabe

Sean McCabe: It’s Time (Z) LP
Joey Negro’s tastemaking and scene-defining disco-house label Z Records is proud to announce its next full-length release, namely a debut album from Sean McCabe entitled It’s Time. It’s an LP that bucks the modern trend and shows up many of its peers by being one that is made of wholly original material, sounds and ideas, rather than one that leans on tired and classic samples. This lush and musical 12-track affair is Sean’s first big solo project and it has been in the works for almost three years. Written mostly in his Bristol studio, the LP features a wealth of international collaborations — Jennifer Wallace, Diane Charlemagne, Renn — and has been made primarily on real hardware such as the Fender Rhodes, SH-09, Juno 106, Poly 61, JV-1010, EMU Vintage Keys and the Moog Slim Phatty. Sean, who has been producing since his teens and includes fine labels like U.S. garage staple King Street Sounds, Defected, Strictly Rhythm and Local Talk in his discography says of the album: “It was important for me to get it perfected to my original vision, and to keep that vision throughout was difficult. I’ve literally drawn inspiration from everything that’s influenced me as producer and writer over the years. I always wanted to create something that demonstrates all my tastes in soulful dance music, which can be influenced by so many subgenres like hip-hop, disco, jazz, soul, deep house, U.S. garage, etc. The NuYorican Soul album has always been a benchmark for me in terms of a perfectly constructed album and is something I never get tired of listening to.” Those influences shine though in this fantastically musical and deeply considered album: it bares all the hallmarks of a proper full-length that has been built from the ground up with fantastic arrangements, catchy vocals and real song structures. “Everything’s Alright” opens the album in glorious style, with retro-tastic and sing along vocals, well-defined and authentic house production and plenty of feel-good chords. From there, there’s skipping and soulful house like “Something About You,” diva vocal cuts like “Holding On” and blessed-out dance-pop nuggets like “Tomorrow’s Another Day.” The good vibes continue from start to finish with many highlights along the way, such as the sultry and seductive deep garage house of “Want Me” and classically-inclined joys of “Love for Life.” The production values are sky-high on this album, and though it might have been a long time in the making, it was worth it, because it categorically proves that now really is Sean McCabe’s time.

File Under: House, Garage House, Downtempo
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mckayMcKay: Into You (Lion) LP
“One of the ‘holy grails’ of Indianapolis private-pressdom (surpassed only by Zerfas and Anonymous) available again in its original format! Ray ‘McKay’ Pierle and his musically-adept brothers and friends partied, jammed and partied some more on Indy’s south side throughout the mid-70’s, forming a band (Loos) which managed to garner zero media attention at the time. However, Ray’s trusty Teac four-track was always close at hand and countless hours of home recordings were induced onto magnetic tape, as well as a few songs laid down at a local studio. After a brief hiatus, the core members reconvened as McKay, and created their sole document, the 300-press Into You album (1978); the LP was given to friends and family and consigned in nearby record shops. A mere 15 years had to pass before the collecting world discovered the highly-personal songwriting, tight playing, and not-so-well-hidden West-Coast stylistic touches. A vinyl reissue was locally produced back then but it’s long gone, so here’s a new all analogue, master tape edition for a new generation to savor.”

File Under: Psych, Private Press
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quiet place

Ennio Morricone/Gruppo di Improvvisazione Nuova Consananza: A Quiet Place in the Country (Votary) LP
The missing link in the Morricone / Gruppo discography. Their originally unreleased avant / cacophonic score to Elio Petri’s manic Artsploitation masterpiece was the first and last time Morricone and Il Gruppo would co-sign an OST/session. Conducted by Bruno Nicolai with vocalisations by Edda Dell’Orso and drums by Vincenzo Restuccia, A Quiet Place In The Countryis anhistoric (and quite forgotten) recording that sees Il Gruppo in their key gestational phase just prior to recordings for Deutsche Grammophon, RCA Italiana (The Feed-Back) and the magnificent unreleased session, Niente. Featuring Gruppo di Improvvisazione Nuova Consananza members Franco Evangelisti, Mario Bertoncini, Egisto Macchi, Ennio Morricone, John Heineman and Walter Branchi and recorded at Forum Studios Roma 1968. Remastered 2014 from the Original Stereo Album Master Tapes (originally prepared by Morricone for a 1968 LP release but for reasons unknown not issued at the time).

File Under: OST, Italian, Maestro
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christmas evil

OST: Christmas Evil (Death Waltz) 10″
“The greatest Christmas film ever made” – John Waters Death Waltz Recording Company are overjoyed to bring you a bit of early Christmas spirit in the form of the score to the classic 1980 yuletide slasher movie Christmas Evil. When young Harry sees his mother being seen to on Christmas night by Santa Claus, it causes a shockwave that starts to convince him that he is Father Christmas. Grown up, Harry makes toys for children and spies on neighbourhood kids, checking if they really are naughty or nice, and violently dismembering anyone who gets in his way, be it churchgoers or co-workers. The music of Christmas Evil is composed by the trio of Don Christenson, Joel Harris, and Julia Heywood, who created a score both menacing and upbeat, with tunes in the Christmas tradition. Like many horror soundtracks of the era, synthesisers dominate, with melodies similar to John Carpenter’s legendary Halloween, only in a happier and more deranged fashion. Wild and swirling synths acts as a window into the mind of Harry and what seems to be a nervous breakdown, and a menacing mix of foreboding notes and seasonal bells, all leading up to the ending that’s frankly crackers. This holiday season, give your loved ones Christmas Evil.

File Under: OST, Horror, Festive(?)

kill

OST: Kill! (Roundtable) LP
Fuzz guitars, go-go beats, weird exotic soundscapes and Doris Troy (of ‘Dark Side Of The Moon’ fame) screaming about gizzards. Only in Rome, only in 1971. Brilliant but overlooked composer Berto Pisano and (we suspect) his no less talented brother Franco (working under a pseudonym) to craft the perfect score for this drug-fuelled piece of cinematic mayhem. Recorded at the Orthophonic Recording Studio, Roma 1971 and remastered in 2014 from the original stereo album master tapes this LP includes 2 previously unreleased tracks (one a haunting vocalization from ill-fated star Jean Seberg). Featuring extensive and exclusive liner notes by Alvin Lucia (documenting the largely unknown and quite incredible history of the making of Kill!) plus original artwork and rare photos/ephemera.

File Under: OST, Fuzz, Psych
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oldboy

OST: Oldboy (Milan) LP
Film and soundtrack fans have been asking for it for years and it is finally happening! The soundtrack to Park Chan-Wook’s cult Korean classic, Oldboy, is getting a proper vinyl release through Milan Records. Visionary director Nicolas Winding Refn (Drive, Only God Forgives) took the helm as executive producer and supervised the visual presentation of the ‘Oldboy’ vinyl release. This is the first release in a new series of classic soundtracks released on vinyl only and presented by Nicolas Winding Refn. Acclaimed illustrator Laurent Durieux (famous with the fans of Mondo) designed the whole original layout of the album. The soundtrack features a digital download card and is pressed on 180 gram red vinyl (with 500 units pressed on orange vinyl for the European Union).

File Under: OST, Korean

stage fright

OST: Stage Fright (Flick) LP
By 1987, Simon Boswell had already contributed fantastic music and songs to Dario Argento’s ‘Phe- nomena’ and scored all of Lamberto Bava’s ‘Demoni II’. When it came to hiring a composer for ‘Stage Fright’, Simon came highly recommended and was my first choice. ‘Stage Fright’ (aka ‘Aquarius’, ‘Deliria’ and ‘Bloody Bird’), was my first feature-length movie and has always held a special place in my heart. When I heard the ‘Stage Fright’ music I realised that Simon had matched my vision with something unique and fresh, combining his expertise in programming and playing synthesisers and samplers with his skills as a great guitarist. I love the way his classical roots rub shoulders with the distinctive ‘thrashy’ sound of 70’s English punk music, dreamy synth landscapes and the programmed rhythms of the indie dance music that he produced so much of in the 80’s. Altogether, this enabled him to compose a score that was very contemporary, hypnotic, scary and, when needed, both beautiful and aggressive. Here it is, for the first time on vinyl since 1987. Enjoy it! – Michele Soavi, August 2014

File Under: OST, Horror
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turkey

OST: Turkey Shoot (Dual Planet) LP
The notorious 1982 Australian film, Turkey Shoot (Also known as Escape 2000 in the US and Blood Camp Thatcher in the UK) has long been considered the ultimate of Australian Video Nasties. Set in a dystopian future where a totalitarian regime imprison a group of ‘deviants’ to a high security prison destined for rehabilitationand social re-programming. The story involves the group of inmates fleeing from the camp controlled by the draconian warden, a sadistic alopecic henchmen and a bizarrely scripted lycanthropic carnival-mutant…shall we read on..? Produced by Antony I Ginnane’s F.G films (Patrick, Thirst, Snapshot etc…) together with British actor David Hemming (Blow Up, Fragment of Fear, Deep Red), the film was aesthetically influenced by the brutality and savagery of Italian sub-genre cinema, (ie Umberto Lenzi’s Cannibal films and Lucio Fulci’s Zombie films), as well as borrowing the central theme from the 1932 film The Most Dangerous Game. Scored by renowned Australian film composer Brian May (Mad Max, Patrick, The Day After Halloween), the predominantly electronic soundtrack hints stylistically to brooding horror-synth of John Carpenter, the mutant patchbay of Gil Melle’s soundtrack The Andromeda Strain as well as some of the sonic characteristics found in Italian B-cinema (Fabio Frizzi & Goblin). Pulsing synth oscillations and pounding percussion together with inspired sound design all encapsulate the confused and claustrophobic human big-game hunt.

File Under: OST, Electronic
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making picturers

Maxine Payne: Making Pictures: Three for a Dime (Dust-to-Digital) Book
In the 1930s, the Massengill family of rural Arkansas built three portable photography studios on old truck frames, attached each to the back of any car that would run, and started a mobile photo booth business that would last for a decade. Without formal training or help, the Massengill family invented and improvised ways to mimic the popular photo booths they had seen in drug stores and brought their business to the dirt roads and open fields they knew well. Making Pictures: Three for a Dime, featuring Massengill family prints and photo albums collected by the artist Maxine Payne, illuminates a sliver of the Depression-era south previously unseen by the public. Unlike the hardscrabble lives and worn-down faces captured by Works Progress Administration photographers of the time, the Massengill photographs often show folks working to look their best. A man mugs in his Sunday suit and hat; a girl preens with lusty eyes; a boy clutches his prize rooster. Hand-painted backdrops, colorized prints, and even the occasional prop add a playful edge to these scenes. Among them, we also get a haunting glimpse or two of the difficult lives lived outside of these moments. Not unlike discovered troves of photographs by Vivian Maier or Mike Disfarmer, the Massengill photographs invite us to reconsider a time and place from a new perspective. Alongside the prints and albums, this volume includes introductions by Payne and curator Phillip March Jones, short remembrances from Lance and Evelyn Massengill, and a transcribed diary that recounts the difficulties and successes of the family business in short, powerful bursts. (“June 18, 1939 Mr Pennington drowned today. We went home about 4:00 o’clock and made cream at mama’s.”) Collected here in a handsome and ample design, Making Pictures: Three for a Dime is the definitive volume of the Massengill photographs. Hardcover book, 180 pages, 8.5″ by 6.25″, 271 images reproduced in full color.

File Under: Books, Depression

proud1

Pip Proud: A Bird In The Engine (Superior Viaduct) LP
In the late ’60s, Pip Proud recorded two of the oddest records ever to come out of Australia—Adreneline & Richard and A Bird in the Engine—before vanishing into obscurity for the better part of three decades. Often called the “Australian Syd Barrett,” Proud actually released his second album in 1969, a year prior to The Madcap Laughs, and developed his indigenous psychedelia in virtual isolation. A Bird in the Engine is even more rare than his debut. From the extraordinary “Eagle-Wise” to the remarkable title track (which includes the uncredited performance of a friend hitting a cardboard box with a microphone), Proud’s unrestrained genius is laid bare, a delicate tension of simple melodies and maddening form.  While other compilations of Proud’s music have been released in recent years, this is the first time A Bird in the Engine has been reissued in its original format. Recommended for fans of Alvarius B., Donovan and Jandek.

File Under: Psych, Acid Folk, Outsider
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pip

Pip Proud: Adreneline & Richard (Superior Viaduct) LP
In the late ’60s, Pip Proud recorded two of the oddest records ever to come out of Australia—Adreneline & Richard and A Bird in the Engine—before vanishing into obscurity for the better part of three decades. Often called the “Australian Syd Barrett,” Proud actually released his second album in 1969, a year prior to The Madcap Laughs, and developed his indigenous psychedelia in virtual isolation. To quote Byron Coley, who like a handful of underground luminaries discovered Proud in the ’80s via collector mail-order lists, Adreneline & Richard features “weirdly strummed barre-chord guitar, monotone vocals that occasionally [try] to pass way beyond their known range, oddball lyrics that [combine] nursery rhymes with druggy imagery. It [is] a hell of a cool record.” While other compilations of Proud’s music have been released in recent years, this is the first time that Adreneline & Richard has been reissued in its original format (including inner sleeve with lyrics). Recommended for fans of outsider and lo-fi pop from the US, UK, New Zealand and beyond.

File Under: Psych, Acid Folk, Outsider, Lo Fi
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patarmigan

Ptarmigan: s/t (Lion) LP
Ptarmigan recorded the basic tracks for what would eventually become their only album in 1972. It then took the band’s producer and manager, renowned flautist Paul Horn, more than a year to find a label willing to release such unusual music. Finally, in 1974, Columbia Records released Ptarmigan’s album to critical acclaim, and minimal sales. The music of Ptarmigan is deep and authentic and intimate; it’s reflective sounds are well suited to meditating on a landscape, an emotion, a bottle of wine, or maybe while staring at a flickering candle. Sometimes it is free-flowing and jazz-oriented; at other times it has the mystical feel of a shamanistic ceremony, fueled by Eastern-tinged harmonies. But in the end, this album is about the sea: Ptarmigan was, after all, from Vancouver Island, and the musicians were well-versed in the contradictory moods of the surrounding ocean. Hypnotic, mystical, largely instrumental tracks, all based on a complex interplay of recorder, hand drums and acoustic guitar—one of those hidden gems that make life better when you discover them all these years later. Rated by many as the best “folk/progressive” and/or “folk/psych” album ever made. As one contemporary review said, this is “music from musicians, for musicians, late-at-night, last joint music.” Our Lion Productions reissue comes with a massive fold-out insert which includes lyrics, liner notes from the band, and a multitude of photos and historical mementos.

File Under: Folk, Prog, Psych
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rider

J Rider: No Longer Anonymous (Machu Picchu) LP
Hot on the heels of our ecstatically received reissue of Anonymous’ classic album “Inside the Shadow”, Machu Picchu Ltd. is thrilled to announce the reissue of their elusive and legendary follow-up. After the 1976 release of “Inside the Shadow”, the group decided to change their name to J Rider (after the second cut on the Anonymous LP) and pursued a similar rich vein of impeccable songwriting, but this time adding more hard rock to the mix, resulting in a fantastic sounding album that sadly went unreleased at the time. The excellent reissue label OR Records first unearthed the tapes and put out a small edition of LPs in 1996, and we are now very happy to present you with a new and deluxe edition of this gem, complete with new sleeve art. “Kiss Of Your Soul” and “Pike River” get our vote for two of the greatest songs ever written, and “One Sided Lover”, “High Roller” and “Sunday‘s Hero” each offer a heavier spin on the group’s Television-like interplay and compositional prowess. This record is highly recommended for everyone who enjoyed “Inside the Shadow”, and it also happens to come with an entire unreleased album of songs recorded by the group’s visionary songwriter Ron Matelic! That’s right, ten bonus tracks of previously unheard songs recorded in the 1990s, featuring most of the members of Anonymous; a lost LP, if you like, and a fascinating complement to the Anonymous and J Rider albums. (Bonus tracks will be included in the form of a download card with each LP and are included on the compact disc.)

File Under: Rock, Psych
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rogers

Mark Rogers & Mary Byrne: I Line My Days Along Your Weight  (Important) LP
Important Records presents the vinyl version of I Line My Days Along Your Weight, the acclaimed debut from Brooklyn-based duo Mark Rogers & Mary Byrne. The album was recorded as a true duet: Rogers and Byrne played facing each other, inches apart, intent upon listening. They wove together archaic instruments — baritone acoustic, tricone resonator, golden-era flattop, space-age lap steel, upright piano, and hundred-year-old mandolin — into a new and vibrant third voice. All the songs were recorded live to two-inch analog tape, the studio equivalent of tightrope-walking without a net. Rogers and Byrne later added minimal touches of lap steel, piano, and electric guitar, but essentially what one hears is what they performed together, start to finish. With Rogers’ deeply expressive, contextual finger style and Byrne’s emphatic, unaffected singing, this striking debut invites listeners into a space most intimate and most human.

File Under: Folk
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salomon

Gabriel Saloman: Movement Building Volume 1 (Shelter) LP
Gabriel Saloman has developed a reputation for releasing penetrating works of haunting beauty in his new role as a solo performer and composer. Known for his part in the seminal electronic-noise duo Yellow Swans (alongside Pete Swanson), Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding palette of bowed strings, martial percussion and resonant piano. The majority of his work to date has been developed as music for contemporary dance, exemplified by two solo albums with Miasmah, 2012’s melancholic Adhere and last year’s celebrated ode to mud and decay Soldier’s Requiem. As he continues to prolifically produce music for dance, Saloman has developed a new series with Shelter Press to make these works available: Movement Building. The first of two volumes to be released individually on vinyl and together on CD, “The Disciplined Body” is a 34-minute work that moves through ghostly minimalist drones, poly-vocal drumming and culminates in an aching climb through sheets of shimmering guitar chords before erupting in a violent spurt of harsh noise. While at its climax it may be evocative of transcendental string manglers ranging from My Bloody Valentine to Godspeed You! Black Emperor, in its more subtle moments it wades through the kind of blackened water that suggests the outer boundaries of ambient metal, or the ghostly remnants of a cassette dub of beatless electronics. Composed for Daisy Karen Thompson’s “Re-Marks on Source Material,” the music shares that dance’s Foucault-influenced questioning of the limits imposed on our bodies by technology and labor, reaching for an ecstatic escape from discipline and control. Listeners may want to reach for the same — to do so we suggest they play this recording very, very loud. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin. All music by GMS (guitar, percussion). Recorded at 611 Alexander and SFU SCA in Vancouver, Coast Salish Territories, Spring and Summer 2013.

File Under: Ambient
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grun

Conrad Schnitzler: Grun (Bureau B) LP
Conrad Schnitzler’s green album (aka Grün), originally released in 1981 on Edition Block. “Schnitzler’s tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of ‘Der Riese und seine Frau’ (‘The Giant and His Wife’), bearing little resemblance to Schnitzler’s usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but ‘Bis die Blaue Blume blüht’ (‘Until the Blue Flower Blooms’) transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumann’s Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, ‘Bis die Blaue Blume blüht’ can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry — or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options — an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzler’s creative periods are too nebulous to be sure that the green album represents the coda of his ’70s music. Still, Schnitzler’s musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzler’s art would thrive in the decades which followed.” –Asmus Tietchens

File Under: Krautrock, Ambient, Kosmische
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gelb

Conrad Schnitzler: Gelb (Bureau B) LP
Conrad Schnitzler’s yellow album (aka Gelb), originally released in 1981 on Edition Block. “The chronology of Schnitzler’s solo releases in the 1970s — and even more so in the ’80s — resembles a book with seven seals. Schnitzler regularly issued his music on analogue cassette or LP, often on his own as ‘private releases’, without any help from a label or professional distributor. The yellow album, for example, was issued on vinyl in 1981 by René Block in Berlin on his art gallery label (Edition Block). Schnitzler had previously released records on various other labels. The music on the yellow album had, in fact, already been on the market as The Black Cassette in 1974, although the production run was probably limited. The yellow album is subtitled ’12 pieces from the year 1974′, pointing to Schnitzler’s novel approach. Whereas his prior works always lasted for the whole side of an LP or tape, the tracks here are shorter. Also new: Schnitzler goes beyond automatic sonic processes on a number of tracks, using his keyboards to integrate something approaching melodic improvisations ‘played by hand’ into his musical cosmos. Schnitzler’s otherwise crystalline, inorganic world of art is thus enriched by an almost human, organic element. An amiable breeze wafts through the music of the yellow album, thankfully miles away from the sentimental platitudes which run through off-the-shelf ambient music of the 1980s. The yellow album is not only amiable from start to finish, it also documents an important stage in Schnitzler’s musical development. Belatedly released on LP (1981) and lacking in discographical detail, this aspect is easily overlooked. On careful listening, as Schnitzler connoisseurs will also realize instantly, this album reveals itself to be an important milestone, illuminating a clear path into the future. Schnitzler had begun to free himself from the constraints of orthodox conceptual art, advancing into the wide open spaces of uncharted musical territory.” –Asmus Tietchens

File Under: Krautrock, Ambient, Kosmische
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shake logo

Shake! Records Assorted Tapes
Just got a whole slew of new tapes in from our pals at Shake records in Victory! All kinds of cool stuff from The Betrayers, Babysitter, Backhomes, Hansmole, Kim Gray, Zen Mystery Fogg, Surprise Party, Napalmpom, Line Traps, Psychomatic Itch, Lab Coast, Vicious Cycles, Throwaways, Defektors, Catholic Girls, The Mants, and more!

File Under: Punk, Garage, CanCon, Tapes

she & him

She & Him: Classics (Columbia) LP
Zooey Deschanel and Matt Ward, aka She & Him, are as comfortable and complementary a musical pair as Les Paul and Mary Ford. Matt and Zooey make music for an eternal springtime, when the temperature is warm enough to go riding with the top (or at least the windows) rolled down and the radio turned up. They occupy an alternate universe where the saddest of songs feel as warm as sun showers; the rain may be coming down, but somewhere nearby, everything looks bright. What began as a fascinating, no-strings attached collaboration on 2008’s Volume One has evolved into a bona fide recording and touring outfit not to mention three follow-up albums including Volume Two (2010), A Very She & Him Christmas and Volume 3 (2013). Now the duo returns in 2014 on Columbia Records with Classics, a collection of carefully-selected timeless standards from the 1930s, ’40s and ’50s which they recorded live and accompanied by a 20-piece orchestra, allowing a spontaneity that captured the spirit of the songs in their truest forms. In addition to lead single “”Stay Awhile” (Dusty Springfield), the 13-track walk down memory lane includes sublime takes on “Oh No, Not My Baby” (Maxine Brown), “Time After Time” (Jule Styne) and “This Girl’s In Love With You” (Burt Bacharach). “We are incredibly excited to release a record of our favorite songs,” said Deschanel. “It was a dream of ours to record these songs in a way that highlighted the brilliance of the songwriting and the beauty of their melodies. We had a wonderful time making the record and we hope people have a wonderful time listening to it.”

File Under: Folk, Indie, M Ward
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sin34

Sin 34: Do You Feel Safe? (Sinister Torch) LP
Formed in the wake of the first wave of LA punk, SIN 34 epitomized the Southern California hardcore scene at the time. Fast, defiant thrash; one part suburban teenage rebellion, one part crass satire, all held together by a thread of reckless adventuring. One of the rare hardcore bands fronted by a female singer, SIN 34 bounced it’s way briefly but not quietly through the SoCal scene, dodging flying bodies and antagonistic LA police as they went. SIN 34’s only full length LP, Do You Feel Safe?, captured the band in their short-lived prime. Originally released in 1983 and out of print for over 30 years until now; Julie Lanfeld, Dave Markey, Phil Newman, and Mike Glass encapsulated the youthful spirit of a vital and influential music movement.

File Under: Punk
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sleep

Sleep: Volume One (Tupelo) LP
Volume One is the debut album. It was the only album recorded with second guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep’s later work.

File Under: Metal, Doom, Stoner
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thing

The Thing/Thurston Moore: Live (The Thing) LP
On tour for their album Boot!, the Scandinavian free-jazz monsters teamed up with Thurston Moore of Sonic Youth fame at London’s Café OTO to produce some heavy improvised thunder. Recorded live in concert by John Chantler and Jonathan McHugh at Café OTO, London, February 10th, 2013. Mixed in July 2014 by Martin Siewert and Mats Gustafsson at Garnison7, Vienna. Mastered by Martin Siewert. Cover by Lasse Marhaug. Mats Gustafsson (baritone saxophone); Ingebrigt Håker Flaten (electric bass); Paal Nilssen-Love (drums); Thurston Moore (electric guitar).

File Under: Jazz, Free Jazz
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ugly things

Ugly Things #38 Magazine
“For our cover story this issue, we have a massive, exclusive, detail-packed interview with Dave Davies of The Kinks by Richie Unterberger, who also got access to internal memos from Warners/Reprise (the Kinks’ US record company) that shed new light on the band’s story. Also on the cover? US ’70s art punks The Screamers; we are featuring an extensive unpublished 1978 interview by Jon Savage, rare photos and more. And there’s lots more: Texas garage-psych icons The Golden Dawn, cult hard rock trio Dust, Swedish beat innovator Hazze Hep, Dutch beat group The Lazy Bones, ’70s punkers Elton Motello, Norway’s Borres Kork, Unsettled Society (of ’17 Diamond Studded Cadillacs’ infamy), Blue Cheer, Vanda-Young’s Marcus Hook Roll Band, the early years of Lester Bangs, Rhino 39, and mind-melting interviews with Dennis Dunaway (Alice Cooper), acid folkster Marc Brierley, and Johnny Strike of Crime. Cyril Jordan of the Flamin’ Groovies shares his experiences of 1968, and we take a journey deep, deep into The Diamond Mine with legendary DJ Dave Diamond. And, as always, our comprehensive review sections covering all the latest reissues, in-depth, and rock’n’roll-related books.”

vaccina

Lino Capra Vaccina: Antico Adagio (Die Schachtel) LP
One of two LP versions. Includes the first six tracks from Lino “Capra” Vaccina’s Antico Adagio (DS 027CD), originally released in 1978. Antico Adagio is an amazing work that anticipated countless others in the field of so-called “new age” and world music, yet remains at the crossroad between those genres and experimental and electronic music. Apart from a few violin parts and the extraordinary vocal lines (sung by Vaccina himself and Juri Camisasca), Antico Adagio is an album fully built on percussion. At the same time, it’s the farthest thing from the typical idea of percussion. You won’t find a single trace of African or primitive beats: instead, this is a collection of rather long, subtle and thoughtful compositions, crafted with vibraphones, marimbas and gong. Together they create a work which will remain unique — both in Lino Vaccina’s discography as well as in a more general sense.

File Under: New Age, Ambient, Electronic
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vaccina2

Lino Capra Vaccina: Frammenti (Die Schachtel) LP
The second of two LP versions. Includes the tracks from Frammenti da Antico Adagio, which features previously-unreleased material from the original 1978 sessions of Lino “Capra” Vaccina’s Antico Adagio.

File Under: New Age, Ambient, Electronic
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white

Hartley C. White: This Is Not What You Expect (Original Recordings) LP
This Is Not What You Expect is a collection of material recorded by Hartley C. White of Queens, NY from 1984-­2009. Hartley is the progenitor of a style of music he calls “Whopazootic,” which he has described as “a non­classical music utilizing a broken rhythm”. Under consideration is the entire contemporary and past landscape of time and being, from the shape of a joke to the cry of the politically disenfranchised to the observation of flowing water. When we first heard Hartley’s music, we were shocked, and you will be too. No matter how many albums you’ve listened to today, this will be the first Who-pa­zoo­tic one.

File Under: Outsider, Weirdo Whopazootic
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yahowa

Ya Ho Wa 13: Savage Sons of Ya Ho Wa (Drag City) LP
“Now that the story of The Source Family is out there, as the subject of an acclaimed book and documentary film (as well as an ongoing series of rare, never-before-released recordings), it’s time to turn the light back on the records that made this whole thing a story in the first place. In the 1990s, it was a revelation to discover that there was a series of records made by a hippie cult led by a big Santa Claus-looking guy named Father Yod. It was of further interest that these records weren’t simple, predictable light-rock recitals about Jesus — far from it! Instead, they were darkly psychedelic, stream-of-consciousness jams, with Father and the members of his band (usually The Spirit of ’76 and YaHoWa13) reaching together for divine transformation, and often finding it, as Father screamed, pounding kettle drums ecstatically, while the band erupted with coils of enlightenment rock, over and over. Records like Penetration, Contraction, To the Principles for the Children, and I’m Gonna Take You Home were amazing home-recorded documents, adorned with hand-drawn phrases and logos and grainy color shots of what appeared to be truly magical everyday cult life with Father. Super-crazy, inspiring stuff. Savage Sons of Ya Ho Wa is a record that Father doesn’t appear on. Well, he doesn’t play on the record, but look on the cover — Yahowa is still in the driver’s seat. Musically, YaHoWa13 go it on their own, with Octavius, Sunflower, Djinn, and Rhythm collaborating with Electron, who supplies powerful lead vocals. What’s here is a collection of powerful rock songs that will echo in your consciousness, like the opening track, ‘Edge of a Dream,’ and the refrain ‘I want to see/What’s going on.’ The guttural nature of Electron’s vocal sound may recall the name of Beefheart to some, and Electron is occupying the same unconsciousness, free in the communal slipstream, with less blues and more country gospel in his soul. This is one of Isis’ favorites of the original Source Family releases, and one of ours too. This is its first LP pressing in decades. Features all of the original artwork, including a really far-out inner-sleeve, plus new inserts with reflections from Isis. These emanations from the original Source are pure, uncut spiritual visions from the mid-1970s, not to be missed.”

File Under: Psych, Cults, Private Press
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aimer

Various: Aimer Et Perdre (Angry Mom) 3LP Box
This is one from the heart. The unique pre-war music of the Cajun bayous, the Carpathian Mountains of Ukraine and Poland, and the American rural countryside has been collected to narrate the human odyssey of love gained and love lost. Early songs of unbridled anticipation and desperate longing color the canvas of love, courtship, dejection and marriage… a never-ending cycle. The accompanying 16-page booklet features many rare, previously unpublished images and comprehensive lyrical translations. Three original artworks by Robert Crumb provide a backdrop for these sublime songs of passion and despair. Respectfully crafted by Christopher King and Susan Archie for Angry Mom Records.

File Under: Pre-War Blues, Crumb

jukebox

Various: Jukebox Mambo Volume 2 (Jazzman) LP
Long-awaited follow-up to the original game-changing Jukebox Mambo set of sweltering, rumba-accented rhythm & blues. Two years in the making, this sequel ploughs deeper still into the revolutionary ’40s and ’50s Afro-American musical canon, pulling together another combustible collection of lascivious Latin-edged blues exotica. Issued with extensive biographical notes and exclusive photographs on CD and deluxe old style 2LP paste-on gatefold (with A3 size show poster inside), Jukebox Mambo Vol. 2 is likely to be as influential in setting tastes as its predecessor. Artists include: Lincoln Chase, Christine Chapman & Peppy Prince Orchestra, Chris Powell & His Five Blue Flames, Zilla Mays, Johnny Oliver, Chuck Edwards, Oscar Saldana, Jimmy Nolen, Four Blazes, Chanters, Jeanne DeMetz, Camille Howard, Ashton Savoy, Freddie Mitchell & His Orchestra, Note & Toe & The Grenadiers, John McKinney & The Premiers, T-Bone Walker, Ron Rico & Sax Kari Orchestra, Don Tosti y su Conjunto, Billy Emerson, Frank Motley, and Red Saunders.

File Under: Mambo, Rumba, Exotica, RnB, Latin

sahel

Various: Folk Music of Sahel Volume 1 (Sublime Frequencies) 2LP
Folk Music of the Sahel: Niger consists of field recordings collected in the Republic of Niger during the course of six expeditions undertaken by Hisham Mayet between 2004 and 2014. This first volume in Sublime Frequencies’ new Folk Music of the Sahel series comprises a subjective but spectacular overview of Hausa, Zarma, Fulani, Songhai and Tuareg music culled from Mayet’s rich archives. On this lavish double album, Mayet methodically reveals the dazzling range and power of Nigerian music, from stream-of-consciousness griot performances that serve as a local news broadcast and gossip column to a rare example of ritual music from a private spirit-possession ceremony. Its four sides offer a tantalizing glimpse of this region’s unmatched musical riches, including the awe-inspiring courtship dances of the Wodaabe men and a rare duet between the late, great Tuareg guitarist Koudede and the renowned molo master Ousenni. The gorgeous gatefold cover features a 25-page bound-in booklet with extensive and informative liner notes, as well as Mayet’s emblematic photographs from towns and villages throughout the region. In addition to preserving an exciting variety of sacred and profane musical performances by known and unknown artists, these recordings capture the music of Niger at a difficult cultural crossroads in which ancient musical and oratory traditions are imperiled both by the demands of modern assimilation and by the reactionary forces that oppose it. As such, the intent of this album is not just to document the fantastic heterogeneity of Sahelian music, but also to bear witness to the changes and challenges faced by Niger’s diverse ethnic groups during a decade marked by almost inconceivable political instability and technological upheaval. Coming from an area wracked by disease, food shortages and droughts, as well as by social turmoil, this music reflects the essentially improvisational character of Sahelian life as well as its unfathomable cultural wellsprings. From exuberant a cappella drone chants to the riveting instrumental minimalism of goje possession music, the performances on this album represent a poignant cry to the universe by musicians who hold every note as sacred as the gift of enduring in this exceptionally severe region of the African continent. Housed in one of Sublime Frequencies’ most stunning packages, which pays homage to the great European ethno labels of yore, this monumental one-time pressing, limited edition double LP beautifully inaugurates SF’s comprehensive musical survey of the Sahel.

File Under: Desert Blues, Tuareg, Nigeria
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when i reach

Various: When I Reach That Heavenly Shore (Tompkins Square) 3CD
“Among the most powerful music to be captured on 78 rpm in America during the 1920s and 1930s are recordings of black sanctified and gospel singing. Ranging from plaintive mourning to unbridled ecstasy, the sacred music from this time period represents a flowering of diverse and idiosyncratic rural songs styles. At no time was there a wider panorama of religious songs in America. Selected exclusively from Christopher King’s private collection, the 78s included here represent the most unhinged, the most compelling survey of pre-war black gospel. Of the 42 tracks in this 3CD collection, 34 have never been reissued until now. The complete recorded output of the Primitive Baptist Choir of North Carolina is also included in this collection for the first time. Several rare and previously unissued photographs are also contained within. Lovingly and respectfully designed by Susan Archie and firmly grounded in Scripture by Christopher King.”

File Under: Gospel

…..used goodies…..

The Beatles: Early Beatles (Capitol) LP
The Beatles: Magical Mystery (Capitol) LP
The Beatles: Second Album (Capitol) LP
Black Sabbath: Paranoid (Warner) LP
Byrds: History of (CBS) 2LP UK
Johnny Cash: Original Golden Hits Volume 1 (Sun) LP
Johnny Cash: All Aboard the Blue Train (Sun) LP
Johnny Cash: At San Quentin (Columbia) LP
Johnny Cash: At Folsom Prison (Columbia) LP
Jimmy Cliff: The Harder They Come (Island) LP
Leonard Cohen: Songs of Love & Hate (Columbia) LP
Leonard Cohen: Songs of Leonard Cohen (Columbia) LP
Leonard Cohen: Songs from a Room (Columbia) LP
Ry Cooder: s/t (Reprise) LP
The Kinks: Something Else (Reprise) LP
John Mayall w/Eric Clapton: Blues Breakers (London) LP
Big Joe Turner: The Boss of the Blues (Atlantic) LP
Big Joe Turner: Every Day I Have the Blues (Cleo) LP
Big Joe Turner: Have No Fear, Big Joe Turner Is Here (Savoy) 2LP
Joe Turner: Jumpin’ With Joe (Charly) LP
Joe Turner: Jumpin’ The Blues (Arhoolie) LP
Eddie “Cleanhead” Vinson: Kidney Stew (Circle) LP
Muddy Waters: Fathers & Sons (Frog) 2LP
Muddy Waters: McKinley Morganield (Chess) 2LP
Muddy Waters: King Bee (Blue Sky) LP
Muddy Waters: At Newport (Chess) LP
Muddy Waters: Rolling Stone (Chess) LP
Muddy Waters: Sings Big Bill Broonzy (Chess) LP
Muddy Waters & Howlin’ Wolf: London Revisited (Chess) LP
Muddy ‘Mississippi’ Waters: Live (Epic) LP
Sonny Boy Williamson & The Animals: s/t (Charly) LP
Sonny Boy Williamson: The Real Folk Blues (Chess) LP
Sonny Boy Williamson & Memphis Slim: In Paris (GNP Crescendo) LP

…..restocks…..

Alvvays: s/t (Royal Mountain) LP
Aphex Twin: Richard D James (1972) LP
Aphex Twin: Selected Ambient Works 85-92 (Apollo) LP
Sir Richard Bishop: Polytheistic Fragments (Drag City) LP
Black Keys: Rubber Factory (Fat Possum) LP
Black Keys: Thickfreakness (Fat Possum) LP
Marc Bolan & T. Rex: Zinc Alloy (Fat Possum) LP
Carlton Melton: Photos of Photos (Agitated) LP
Nick Cave: Nocturama (Anti) LP
Luciano Cilio: Dell’ Universo (Die Schachtel) LP
Gene Clark: No Other (4 Men With Beards) LP
The Clean: Anthology (Merge) LP
Coloured Balls: Heavy Metal Kid (Defcon) LP
Cramps: A Date With Elvis (Vengence) LP
Cramps: Big Beat From Badsville (Vengence) LP
Cramps: Fiends of Dope Island (Vengence) LP
Cramps: Look Mom No Head (Vengence) LP
Cramps: Rockinnreelininaukland… (Vengence) LP
Cramps: Smell of Female (Vengence) LP
Cramps: Stay Sick (Vengence) LP
Destroyer: Your Blues (Merge) LP
Dirty Beaches: Badlands (Zoo) LP
Drexciya: Harnessed (Tresor) LP
Kyle Bobby Dunn: And the Infinite Sadness (Students of Decay) 3LP
Ex Hex: Rips (Merge) LP
John Fahey: America (4 Men With Beards) LP
Fennesz: Endless Summer (Editions Mego) LP
Flower Travellin’ Band: Satori (Phoenix) LP
Brigitte Fontaine: s/t (Superior Viaduct) LP
Nils Frahm: Felt (Erased Tapes) LP
Funkadelic: Maggot Brain (Westbound) LP
Serge Gainsbourg/Jane Birkin: J’ Taime (Light in the Attic) LP
Galaxie 500: On Fire (20/20/20) LP
Galaxie 500: Today (20/20/20) LP
Grobschnitt: s/t (Ohr) LP
Gulaab: Ritt Durch Den Hades (Merlins Nose) LP
Hawkwind: s/t (4 Men With Beards) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Heads: Everybody Knows We Got Nowhere (Rooster) 2LP/5LP
Hot Snakes: Automatic Midnight (Swami) LP
Hot Snakes: Suicide Invoice (Swami) LP
Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
Kiasmos: s/t (Erased Tapes) LP
King Khan & BBQ Show: s/t (In The Red) LP
King Khan & BBQ Show: Invisible Girl (In the Red) LP
King Khan & BBQ Show: What’s For Dinner? (In The Red) LP
Nazoranai: Most Painful…. (Idealogic Organ) LP
Nirvana: Unplugged in New York (Geffen) LP
Nomeansno: Mama (Wrong) LP
Nomeansno: Dance of the Headless (Wrong) LP
Oh Sees: Drop (Castle Face) LP
Oh Sees: Help (In The Red) LP
Oneohtrix Point Never: Returnal (Editions Mego) LP
Pallbearer: 2010 Demo (20 Buck Spin) LP
Pallbearer: Foundations of Burden (Profound Lore) LP
Parson Sound: s/t (Subliminal Sound) LP
Public Image Ltd: First Issue (Light in the Attic) LP
Public Image Ltd.: Second Edition (4 Men With Beards) LP
Real Estate: s/t (Woodsist) LP
Sonic Youth: Daydream Nation (Goofin) LP
Stars of the Lid: Avec Laudenum (Kranky) LP
M. Ward: Transistor Radio (Merge) LP
Various: Native North America (Light In The Attic) 3LP Box

Tagged , , , , , , ,

…..news letter #667 – devember…..

Well, thanks all for coming out to our big sale and RSD last week. The turnout was bonkers considering the weather. Well done Edmonton, way to laugh in the face of winter. Anywho, this week’s list has a bunch of fine things that were in late last week and what not. Loads to look at and listen to…

…..picks of the week…..

nna

Various: Native North America Volume 1 (Light in the Attic) 3LP/2CD
“Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin ‘Sipreano’ Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. 34 tracks newly re-mastered. Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations).”

File Under: Folk, Rock, CanCon
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ZFAMP_-_Patina_Pooling

:zoviet*france: and Fossil Aerosol Mining Project: Patina Pooling (Alt.Vinyl) 2LP
Over a year in the making, the intercontinental collaboration between :zoviet*france: and the Fossil Aerosol Mining Project is finally available via alt.vinyl. “Patina Pooling” is a limited edition double album, pressed on 180g vinyl, housed in a weathered and laser etched steel sleeve, and packaged with artifacts collected during the 1980s from a burnt-out American warehouse. The call and response of residue and hybrid. ” “:zoviet*france: long ago left behind the sense of techgnostic ritual and industrial jam band tactics that characterised some of their first releases. And yet some sounds here – rustlings, gurglings, heaving drones, and juddering attacks – recall their very earliest work… The textures are more precisely articulated, more carefully arranged, but texture remains the thing, and the unease evoked has more than a family resemblance to that of 1982’s Garista or 1984’s Eostre. Their US collaborators on this record are kindred spirits, and the half-buried fragments of disinterred tapes they weave in and out of :zoviet*france:’s electroacoustic weft adds depth and dirt in equal measure. It’s a spooky archaeology beneath an already radical geography.” Ltd edition of 350.

File Under: Electronic, Ambient, Field Recording
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…..new arrivals…..

Javier-Bergia-Front-Cover

Javier Bergia: Eclipse (Emotional Rescue) LP
Upon starting the label nearly 3 years ago, the band Finas Africae were very much in the label’s mind as the perfect band to reissue.   With a collection of amazing music that was criminally unknown at that moment, a compilation seemed the perfect remedy.   However, running a label is far more time-consuming than most would imagine and with the early releases in the pipeline, the idea slipped. The amazing collection of Finas Africae works on the sublime EM Records in 2013 was one of the reissues of the year and rightly got a lot of press and attention.   Therefore, with such a high standard to follow, our minds turned to releasing the individual members of the band’s own original music.  First then is a collection of Javier Bergia.   Singer, song writer, guitar player and producer all in one, Javier has had a career stretching over 30 years in Spanish (or Andulasian) folk. While underpinned by many of the songs on his classic and highly sought after Tagomago album, Eclipse includes other songs from his early career as well as a series of unreleased instrumental pieces that give the album an ebb and flow that his individual solo releases failed to achieve. Javier’s playing and vocals are so distinct that it would be hard to imagine the music collected here spreads over 25 years of his music career, so close and warm is the production that it is hard to tell which songs are from which era. The first then in a series of releases celebrating such music, next will see Javier working with fellow Finas Africae member, Luis Delgado, with a first time vinyl reissue of their classic La Flor De Piedra LP under the name Ishihonana.

File Under: Folk, Soft Rock, Spanish
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blown out

Blown Out: Drifting Way Out Between Suns (Riot Season) LP
Newcastle power-trio Blown Out issue their debut album Drifting Way Out Between Suns. Comprised of members of Bong, Drunk In Hell, Haikai No Ku, 11Paranoias, Khünnt and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Drifting Way Out Between Suns offers up 40+ minutes of sonic bass lines, steady free-form tempos, and totally crushing, waster-infused, head-change guitar leads. The trio evoke the psychedelic jam music of San Francisco’s glory days — effects-laden guitar jamming that goes nowhere and everywhere, held down by a hypnotic groove that never misses a beat, no matter how long they play without pause. The blues-rock roots of the jamming makes for a calming experience, after the head-fuck you’ll experience waiting for them. Also featured are sonically-heavy, rolling-thunder bass lines, shaped by total head-change, waster-infused guitar freak-outs, gelled together with steady freeform rhythms. You have to learn to die before you die. You give up, surrender to the void, to nothingness. Limited edition of 400. Pressed on grape-colored vinyl. Vinyl-only release with download code.

File Under: Psych, Rock
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faust

Faust: Just Us (Bureau B) LP+CD
Faust for all. The Krautrock legends lay down the musical foundations for everyone else to make something of their own. “j US t” — pronounced “Just Us” — is the new album from legendary Hamburg band, Faust. Founding members Jean-Hervé Peron and Zappi Diermaier have laid down 12 musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. While Diermaier largely remains true to his habitual handiwork — drums and percussion –Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like “nur nous” and “ich bin ein pavian” show that Faust have lost none of their predilection for avant-garde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions (“cavaquinho,” “gammes”). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage. The history of the band: “There is no group more mythical than Faust.” Thus wrote English musician and eccentric Julian Cope. Which says it all really, neither the habitus nor the music of the Hamburg group was easy to grasp. While some lauded Faust as the best thing that ever happened to rock, others dismissed them as shameless dilettantes. Their collage of Dadaism, avant garde rock and free improvisation radically divided opinion. When the first LP was unleashed on the world in 1971, Faust were very much the prophet in their own land, as the saying goes: few were interested in listening to their music — in Germany. Not so across the Channel: this is where Faust’s career really kickstarted. These monoliths of avant-garde rock sold 100,000 copies of their album The Faust Tapes. More than 40 years after their debut, Faust have come up with another archetypical album: inspiring, innovative, unpredictable, crossing boundaries, anarchic — Faustian!

File Under: Krautrock
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geertken

Hartmut Geerken & John Tchicai: Hindukush Serenade (Holidays) LP
Remembering his old friend John Tchicai and the days when these live recordings were made, Hartmut Geerken says, “When John came to visit us in Afghanistan and in Greece, where we lived in the ’70s and ’80s, my wife, Sigi, had to extend his bed always with fruit boxes. His height didn’t fit into a normal-sized bed as well as his musical dimensions were too far out to fit into the mainstream taste of the masses. It was wonderful to hike with him in the Hindukush mountains up the Salang Pass. Afghanistan was a very peaceful and hospitable country before the westerners destroyed this unique paradise.” Every time Hartmut Geerken unveils one of the many tapes he recorded and archived in his extraordinary life, it’s an incredible gift. Listening to these tunes almost 40 years after they were recorded, especially in the moment when John Tchicai stops playing and start his wild high-pitched singing, will really make you feel dizzy. Recorded live on May 12, 1977 at the Goethe-Institut Afghanistan in Kabul. Edition of 250 copies; cover printed with an old Heidelberg printing press on Favini Crush Olive paper. Cover drawing by Hartmut Geerken.

File Under: Free Jazz, Improv

dead

Grateful Dead: Two From the Vault (Future Days) 4LP
Following on the heels of Light In The Attic’s vinyl release of One From The Vault comes the next in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down later for release. Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the 6 piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, & Hart.

File Under: Jam Bands, Dead, Darkstar
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guess

Lenis Guess: The Story of… (Tramp) LP
Multi-talented singer, songwriter, producer, arranger, and label owner Lenis Guess was undoubtedly one of the most celebrated musicians known for his contribution to “the norfolk sound”. He first started releasing 45s on Frank Guida’s many labels before setting up his own D.P.G. label. After D.P.G. closed its doors, Guess, together with his new partner Dorsey “Brock” Brockington, opened up their own recording studio, Brockington & Guess, at 633 w 35th street, Norfolk, Virginia. 45s were steadily released but a substantial amount of material never saw the light of day. This collection will give you an impression of the artistry of Lenis Guess, pioneer of “the norfolk sound”.

File Under: Soul, Funk
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hassellJon Hassell & Brian Eno: Fourth World Vol. 1: Possible Musics (Glitter Beat) LP/CD
Originally released in 1980, Jon Hassell and Brian Eno’s collaborative album Fourth World Music Vol. I: Possible Musics is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as “ambient music” but it also facilitated the introduction of Hassell’s “future primitive” trumpet stylings and visionary “Fourth World” musical theories to the broader public. These vectors continue to enrich contemporary audio culture. Eno’s ambient strategies are now fixed in the DNA of electronic music and the cross-cultural legacy of Hassell’s “Fourth World” concept is apparent not only in the marketplace genre “World Music” but also more persuasively in the accelerating number of digitally-driven, borderless musical fusions we now experience. By the time that Eno and Hassell met, Hassell’s experiments with a “Fourth World” musical vocabulary were well underway and in fact it was because of these experiments, particularly Hassell’s debut album Vernal Equinox that Brian Eno purposefully sought him out. Within a couple of months of Hassell’s performance at The Kitchen the duo entered Celestial Sound in New York City and began work on what would become Fourth World Music Vol. I: Possible Musics. Hassell invited previous collaborators like the Brazilian percussionist Nana Vasconcelos and the Senegalese drummer Ayibe Dieng to join the sessions. Most of the tracks carry a Hassell/Eno writing credit, though the 20-minute “Charm (Over ‘Burundi Cloud’)” was a carryover from Hassell’s concert repertoire. Hassell has made it clear in several interviews over the years that the album’s shared billing was at least partly inaccurate and that Eno’s contribution was mainly as a producer. More spiky, angular and steeped in rhythm and exoticism than most of Eno’s records and more drone-based, reflective and sonorous than most of Hassell’s outings, Possible Musics — whatever the actual division of labor in sound and concept — is a seminal highlight in both of their discographies. A meeting of two of the late 20th century’s most restless and prescient musicians, the album sounds as beguiling, indeterminate and otherworldly today as it did 34 years ago when it was originally released. The impact of Possible Musics on the contemporary music conversation was almost immediate. Just ten days after it was mastered, Brian Eno and David Byrne convened in Los Angeles to continue experiments inspired in part by Hassell’s musical theories. The resultant album would be called My Life in the Bush of Ghosts. All parties involved agree that Ghosts was originally conceived as a trio project that included Hassell but the idea fell apart over disagreements about logistics and musical direction. Hassell still remains bitter about what he considers the projects un-credited appropriation of his musical signatures. From there it was a short jump forward to the chart-topping, Afro-futurism of The Talking Heads Remain in Light, an album that Eno co-produced and Hassell guested on. “Fourth World” strategies have echoed, and can still be heard echoing in the music of Peter Gabriel, Nils Petter Molvaer, Björk, David Sylvian, David Byrne, Ryuichi Sakamoto, Damon Albarn, DJ Spooky, Jah Wobble, Matmos, 23 Skidoo, Goat, Bill Laswell, Mark Ernestus, Adrian Sherwood, and of course, the ongoing projects of Eno and Hassell themselves. Glitterbeat is proud and honored to re-release and re-introduce this compelling, groundbreaking album.

File Under: Ambient, Jazz, Electronic, Classics
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white goddess

Frank Hunter: White Goddess (Captain High) LP
Reissued for the first time and in stereo. Trombonist and conductor Frank Hunter’s White Goddess from 1959 is one of the most fascinating and captivating exotica records ever released during the pinnacle phase of the genre. Next to this it is also one of the rarest in its original form so this reissue has been overdue. As the genre-defining piece of music it is, White Goddess stands miles above the average pathetic exotica sounds, with a rather haunting and mystical atmosphere that projects pictures of the dark side of the jungle into your mind. Wordless female chants, multiple layers of grooves, rich and colorful melodies plus a lush instrumentation with even such rare instruments as the ondioline electric piano, a hybrid between Theremin and shawm, are responsible for the imaginative approach of the music you experience when you give a spin to White Goddess. Feel your mind being stained with colors yet unseen, even by your inner eye. This is indeed an unearthly, trippy, yet utterly relaxed musical journey.

File Under: Exotica
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khorshid

Omar Khorshid & His Group: Live in Australia 1981 (Sublime Frequencies) LP
This is the first live concert recording ever issued of legendary Egyptian guitarist Omar Khorshid and his group. It features tracks recorded during his 1981 tour of Australia, including live versions of songs that grace his various LPs recorded for Lebanese and Egyptian labels during the 1970s with one phenomenal tune, “Al Rabieh,” being exclusive here as never before issued in any form. The sound is surprisingly great for a live cassette recording and the band is as sharp and monumental as ever, with stunning instrumental performances throughout, including an extended improvisational rhythmic exchange between percussionist Ibrahim Tawfiek and Omar’s electric guitar on the epic track “Sidi Mansour.” This record is loaded with Khorshid’s signature microtonal Arabesque surf guitar elegance darting atop the backing band’s brilliant accompaniment, and the tones of organist Fouad Rohaiem sound raw and abrasive, as though it were still 1973. The album has even more nostalgic (and tragic) significance as these shows would be his last; a car accident claiming Omar’s life within 72 hours of flying back to Cairo from Australia. Mohamed Amine, Khorshid’s lifelong friend and member of his group from 1975-1981, recorded these tracks and provided the photographs that embellish the beautiful gatefold jacket that accompanies this LP. Collected and researched by Khorshid historian Hany Zaki in Cairo, this unbelievable treasure is now available for the world to behold. Limited edition LP release in a full-color gatefold jacket with exquisite photos from Mohamed Amine’s personal archive and informative liner notes by Hany Zaki.

File Under: Egyptian, Arabic, Surf, Guitar Gods
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konstrukt

Konstrukt/Marshall Allen/Huseyin Ertunc/Barlas Tan Ozemek: Vibrations of the Day (Holidays) 2LP
The finest free jazz from Istanbul meets the alto saxophonist who travelled the spaceways side by side with Sun Ra and His Arkestra, and that’s quite a thing indeed. konstruKt, the Turkish revelation of the last few years, becomes a sextet ganging up with guitarist Barlas Tan Özemek and drummer Hüseyin Ertunç to create a percussion-based environment where all the elements cautiously contribute to a collective meditation and where two saxophones are free to dance into a dreamy parade. Recorded in 2010 and self-released in a limited CD edition, this expanded ensemble trip to the other world finally gets its deserved double-LP limited edition. 250 copies made, gatefold sleeve printed using gold ink with an old Heidelberg printing press on Arjowiggins Pop’Set Ultra Red paper. Cover drawing by Canedicoda

File Under: Free Jazz, Sun Ra
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lawrence

Lawrence: A Day in the Music (Mule Musiq) LP
This is the brand-new ambient and beyond album by Hamburg DJ/producer Lawrence, dedicated to his long-lasting relation with Toshiya Kawasaki, man of action behind labels like Mule Musiq, Endless Flight and Mule Electronic, and the artist Stefan Marx. Besides co-running the label Dial and the Mathew Gallery in Berlin, Lawrence is constantly releasing music on his own labels and befriended platforms like Smallville Records. Furthermore, he regularly contributes to Kawasaki’s imprints Mule Musiq and Electronic. The music he shares on his latest album isn’t linked to a special place or event. He mostly produced it on his DJ trips around the globe, including Toshiya’s homeland, Japan. Back in his cozy backyard studio in Hamburg, he finished all the pieces and mixed them down with a lot of joy. In terms of style, this album is ambient and opens the genre wide open with its very own musical and emotive language. A track like “Nowhere Is a Place” spreads smoothly-twisted spectral vibes with blurring sounds that could easily originate from alienated instruments like a damaru or a conch horn. Sometimes soft, sizzling noise slides under gentle, balanced ambient air, as in the track “The Visit.” In other arrangements, he lets the chords dance with cute, smacking electronic glimpses or odd, slow-motion melodies, reminiscent of the work of Hans-Joachim Roedelius and his love for the gentle swing. For Lawrence, this album is “a triple buddy record,” as not only is his emotional content included in the finished product, but also his friends, Stefan Marx — who is in charge of the artwork — and Mule Musiq-head Toshiya Kawasaki, who was also profoundly involved in the outcome. The genesis of A Day in the Life resides in its emotional content — it is a weightless one where all feelings are stored supremely in what you can hear, see, and hold in your hand.

File Under: Ambient, Downtempo, Electronic
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levan

Larry Levan: The Legend of Dance Music Volume 1 (SalSoul) 3LP
Larry Levan’s Paradise Garage! This contains some stone cold Garage anthems, including tracks from Loleatta Holloway, First Chance, The Salsoul Orchestra, and Inner Life. Presented in triple LP format to remind us all of the power in these timeless record.

File Under: Funk, Soul, Disco
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louca

Maurice Louca: Benhayyi Al-Baghbaghan (Nawa) LP
Salute the Parrot signals a departure for Maurice Louca from his first solo album Garraya — in which he composed electronic music unaccompanied — into the realms of acoustic orchestrations, both composed and improvised. Featuring guest performances by Alan Bishop (Sun City Girls, Alvarius B.), Sam Shalabi (Land Of Kush, Shalabi Effect), Tamer Abu Ghazaleh (Alif), Khaled Yassine (Anouar Brahem/Alif) and vocals by Egyptian Mahraganat MCs Amr 7a7a and Alaa 50, to name a few. Those who may have heard live iterations of Salute the Parrot at Louca’s jaw-dropping shows across the Arab world and Europe over the last couple of years, will encounter a much more complex and hard-hitting work of many influences. From psychedelic to Egyptian Shaabi, Louca shatters the confines of musical and cultural labeling with a work that is truly unique. The album’s new live and acoustic elements, coupled with limited pre-recorded material, present ample space for improvisation and fluidity within its composition. Its eight tracks offer a unique record of this new vision, and prepare the ground for future live performances of Salute the Parrot, which will never sound totally the same. For the design of the album artwork, Louca collaborated with Egyptian visual artist Maha Maamoun, whose videos and photographs address the form and function of images that are found in mainstream culture, to act as a lens through which familiar images are seen in novel and insightful ways. Salute the Parrot’s artwork aptly conveys the abstract and microcosmic character of Louca’s sound in three subtle variations, one for each of the album’s formats.

File Under: Arabic, Electronic, Experimental
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onyea2

William Onyeabor: Box 2 (Luaka Bop) 4LP Box
The second of two William Onyeabor vinyl box sets from Luaka Bop features four of the albums the elusive Nigerian synth-funk pioneer self-released between 1977 and 1985 – remastered and officially available for the first time. His music represents the epitome of the golden era of Nigerian funk, before he gave up a life in music to become a devout Christian. Luaka Bop released the critically acclaimed compilation Who is William Onyeabor? in October of 2013, and has since seen the release of the documentary Fantastic Man, which was fabricated around the myth of the musician and attempts to unearth the man behind the music. It is also now a full blown live show touring the world, paying tribute to the music of Onyeabor featuring a supergroup of Damon Albarn, David Byrne, Kele Okereke from Bloc Party, Alexis Taylor from Hot Chip, the Lijadu Sisters, Money Mark, Pat Mahoney and Sinkane. To this day, William Onyeabor has not spoken about his music in one single interview.

File Under: Afrobeat, Electro, Goodtimes
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bad2

OST: Breaking Bad Volume 2 (Spacelab 9) LP
Released for the first time on vinyl, Breaking Bad: Original Score Vol.2 includes selections from across the series with a focus on the fifth and final season, hand-picked by composer Dave Porter to correspond to the most pivotal moments of the show.

File Under: OST, TV, Meth
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dist9

OST: District 9 (Spacelab 9) LP
Released for the first time on vinyl, the deluxe expanded album includes the eleven tracks from the original 30-minute album, plus, for the first time in any format, an additional eight bonus tracks comprising 25 minutes of previously unreleased original score. From its sublime, droning rhythms to its frenetic tribal beats, the score by composer Clinton Shorter (2 Guns, Pompeii) provided the perfect backdrop to compliment the on-screen drama, now cemented in time as a fan favorite and cult classic.

File Under: OST, SciFi
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shredder

OST: Shredder Orpheus (Traction) LP+DVD
Orpheus’ journey to the underworld is reworked as a post-apocalyptic skate rock-opera in this 1989 cult classic. The mortal world faces imminent destruction when Hades unleashes an evil television signal that sublimates and kills its viewers. Shredder Orpheus features many Seattle performance luminaries including poet/performance artist Steven Jesse Bernstein (Sub Pop), and Robert McGinley in the title role. The 17 music cues weave together a blend of Barker’s hypnotic synthesizer compositions with blistering skate rock tunes featuring guitar work by Dennis Rea and precision percussion and bass by Rieflin and Amy Denio.

File Under: OST, Skateboarding
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raspberry

Raspberry Bulbs: Privacy (Blackest Ever Black) LP
Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-founded Bone Awl — one of the most distinguished black metal projects ever to come out of the U.S. Raspberry Bulbs’ debut album, Nature Tries Again, emerged in 2011. Hitherto a solo endeavor, RB expanded to a five-piece in the wake of Nature’s release, and sought to make a definitive break from black metal’s musical signifiers, if not its underlying themes of alienation and abjection — a path of self-discovery that culminated in the bruised, dynamic visions of their sophomore LP, Deformed Worship. Privacy arrives barely a year after its predecessor, but it’s a markedly more developed and far-reaching album. Songs of excoriating intensity once again form the basis of the work — the no-frills 4-track recording capturing all the violence and nuance of del Rio’s vocals, of the dual guitar rapport, and the machine-gun rhythm section — but this time they’re interspersed with eerie electronic miniatures, instrumental pieces that suggest unseen worlds, malign energies, forces beyond our comprehension and control. This aura of the uncanny is no accident. Though it’s practically impossible to describe Raspberry Bulbs’ music without mentioning punk or metal, the band’s most important influences are literary: in particular Lovecraft, Machen, Chambers’ et al. Includes mp3 download.

File Under: Rock, Punk, Hardcore
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slasher

Slasher Dave: Tomb of Horror (Bellyache) LP
Creeping out of the rotting crypts, Slasher Dave returns with yet another album of unrelenting horror soundtrack lunacy. Emerging from the murky depths of the John Carpenter inspired debut album, Spookhouse, a brand new chapter of terror takes form. This time, drawing influence from Fabio Frizzi and Italian movie soundtracks, in the festering spirit of Dr. Butcher M.D., Cannibal Ferox, and Fulci classicks like Zombie and The Beyond. Elements of Goblin can also be discerned shrieking from the decrepit caskets of the rotting dead.

File Under: Pseudo-OST, Goblin, Carpenter
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sloath

Sloath: Deep Mountain (Riot Season) LP
Limited edition 400 only vinyl LP. For fans of Melvins, Harvey Milk, Bardo Pond, Mainliner, etc. Upon releasing their now sold-out self-titled debut album in 2010, Sloath have finally delivered Deep Mountain. In place of the wide, white spaces of the debut, shorter tunes slam corkscrew riffage home with a newfound rhythmic propulsion. Behind the filthy power chords (redolent at times of Harvey Milk or Melvins), the overblown scut of Les Rallizes Dénudés or Mainliner, and the state-altering sonics a la Bardo Pond, a mud-scuffed classic rock sensibility informs the songs and their structures. Having submitted to the influence of Creedence, ZZ Top and the Groundhogs, Deep Mountain is no doom-rock trawl — with the exception of blissful, glacial centerpiece “The Toucher,” the songs here are for the party or the road trip. Some history: 2007: Five veterans of Brighton’s rock scene gather with the intention of playing slower, louder and heavier than any of them have previously. Initial songs are developed with the aid of weapons-grade skunk, Polish beer and a heady cocktail of cheap rum and apple tango. Tunes built from super-distorted power chords and crushing, throbbing, squalling drone stretch at times past the half-hour mark. Early gigs are marked by deafened, blissed-out audiences, blown amplifiers and mid-set fist fights with venue managers. 2010: debut album finally released on Riot Season, featuring three monolithic slabs of psych-sludge, but the band has already moved on, having written and discarded a whole LP’s worth of new material, before holing up in their practice space to record six brand-new numbers for album number two. The songs are shorter and faster, unlike the mixing process, which due to various members’ life-stuff takes four years to complete. In the interim, various comings and goings leave the band stripped back to a four-piece, working on yet another batch of new material in twice-yearly spurts of activity. 2014: New songs are debuted at a couple of riotous February gigs before the band scatters once more to the four corners of the globe. LP #2 Deep Mountain is finally completed and handed in to Riot Season. Touring plans are laid and delayed… Thus far Sloath have shared stages with Acid Mothers Temple, Decapante, Kogumaza, Om, Part Chimp, Bardo Pond, The Unit Ama and White Mice. They intend to hit the road in support of Deep Mountain.

File Under: Psych, Metal, Riffs
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sote

Sote: Architectonic (Morphine) LP
Morphine continues to take us there, this time with Iranian producer, Sote, with a full album. Architectonic focuses on studies in techno patterns and aesthetics from a maximalist musical perspective, without employing orthodox beats. The focal rhythmic element is achieved with programmed pitched sounds via FM, Physical Modeling and Additive synthesis methods in a modular environment. These aural components that withstand spectral and formant filters, as well as other signal processing units, form harmonies and melodies that interchangeably act as the structural groove. The outcome is occasionally polyrhythmic, aiming for a common-time feel and vice versa. Interwoven patterns and complex ornaments within a pliant grid form a diametric functionality of loop-based trance-inducing music, and require active listening. This is a paradoxical ode to noise and techno progressing further.

File Under: Electronic, Techno
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stars

Stars: No One is Lost (ATO) LP
The follow-up to 2012’s The North, Stars new ATO Records release No One is Lost is comprised of 11 original songs and was co-produced with Liam O’Neil (Metric, The Stills). For No One Is Lost, Stars craved autonomy, and serendipitously inherited the Mile End rehearsal space above the now defunct, Royal Phoenix nightclub in Montreal. Stars built a functional studio out of the former space of then-disbanding Handsome Furs (and site of Arcade Fire’s first rehearsals); Mile End became a home away from home. Then the nightclub (and life) crept in, resulting in Stars’ most urgent record to date. Drummer Pat McGee explains, “The sub-bass throb coming from the club below our studio was undeniably and unavoidably influential. It motivated us to out-throb the throb.” “This record’s called ‘No One Is Lost’ because that is a fucking lie,” adds lead singer/songwriter Torquil Campbell. “We are all lost, we are all going to lose this game and, as you get older, you lose people more and more. I just wanted to close my eyes and jump and hope that was true. Life is loss, love is loss. And loving people is about accepting that you’re going to have to say goodbye to them. And that’s why it’s fucking brave. That’s Stars ethos: this life is very heartbreaking and sad… so let’s get completely fucking arseholed and listen to some Dionne Warwick.” Lead track, “From The Night” revels in the chances you take and the loves you make or break on any given evening. Campbell explains, “I always find it so moving and beautiful to watch people have their nights out. There’s something so heartbreaking about it. People have jobs that they have to get up for, jobs they hate, and they live for the weekend; they live for these moments. And they put everything they have into it.” No One Is Lost translates all that anxiety into pure ecstasy, from the laser-cut new-waved precision of Millan’s “This Is the Last Time” to the soaring, Mozzerific chorus of Campbell’s “Trap Door,” to the dreamy duet “Look Away.” And the titanic title track – the sound of a dancefloor being swallowed whole by an ocean of sweat and swapped spit – feels like the moment Stars entire 15-year journey has been leading up to, a euphoric house banger that distills all the hope, fear, joy, sadness, and sex in the band’s songbook into a pair of unshakeable mantras: “put your hands up because everybody dies/put your hands up if you know you’re going to lose.”

File Under: Indie, Pop
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stottAndy Stott: Faith in Strangers (Modern Love) LP/CD
Faith in Strangers was written and recorded between January 2013 and June 2014, and was edited and sequenced in late July of 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener “Time Away” featuring euphonium played by Kim Holly Thorpe and last track “Missing,” a contribution by Stott’s occasional vocal collaborator Alison Skidmore, who also appeared on 2012’s Luxury Problems. Between these two points Faith in Strangers heads off from the sparse and infected “Violence” to the broken, downcast pop of “On Oath” and the motorik, driving melancholy of “Science & Industry” — three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with “No Surrender”– a sparkling analog jam making way for a tough, smudged rhythmic assault, while “How It Was” refracts sweaty warehouse signatures and “Damage” finds the sweet spot between RZA’s classic “Ghost Dog” and Terror Danjah at his most brutal. “Faith in Strangers” is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light, lingering on in the mind like nothing else.

File Under: Electronic, Techno, Ambient
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torn hawk

Torn Hawk: Let’s Cry and Do Push Ups at the Same Time (Mexican Summer) LP
Let’s Cry And Do Pushups At The Same Time is the most recent statement from Torn Hawk aka producer and video artist Luke Wyatt. It’s difficult to neatly categorize Wyatt’s genre-refracting productions. The nuts & bolts are built from live guitar, drum machines, junky synths, and layers of samples which are smeared into a cohesive whole. Wyatt’s guitar moves between the meditations of Manuel Göttsching, the jangle-grid of The Chameleons and the saturation of Medicine. Throw in the melodrama of a sax on a Don Henley hit, and you get a better idea of Torn Hawk’s playfully sincere sensibility. “Torn Hawk, the alias of Luke Wyatt, makes visceral and toxic music somehow feel sunkissed and melodic. His beats can sound as though they were programmed by William Burroughs, garbled and diced to the point of mesmerism.” – Pitchfork

File Under: Electronic, Ambient, Synth Pop
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bastardTyler The Creator: Bastard (Fanclub) LP
Tyler’s self produced debut mixtape from 2009, which was ranked #32 on Pitchfork Media’s list of the TOP 50 albums of 2010. 15 tracks on double heavyweight vinyl in full picture sleeve. An essential slab of wax for all Odd Future fans! Limited edition one time pressing.

File Under: Hip Hop, Odd Future
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unrelated

Unrelated Segments: The Story of My Life (Guerssen) LP
Double LP of ’60s punk, garage, moody sounds and proto-hard-rock of the highest order. Complete recordings (1966-1975) of this legendary band from Michigan, including their three killer 45s plus unreleased recordings and alternate takes. Includes master tape sound and an insert with photos and liner notes. Unrelated Segments created some of the most celebrated garage-punk anthems of all time. Tracks like “Cry, Cry, Cry” with its teenage-angst vocals and out of control fuzztone guitar break, “The Story of My Life” with that bizarre and ultra-punk bass line or the moody-punker “It’s Gonna Rain” have been included on countless garage comps (Back from the Grave, Acid Dreams, Nuggets, etc.) and have been covered by numerous bands who worship them as ’60s punk gods. Sadly, the band never got the chance to record a full album. After three outstanding 45s, they recorded a projected fourth single that never saw the light of day, just when the band had changed its name to U.S. and had started playing in a heavier vein, similar to early MC5. Soon after, the band split up and some of their members formed psych-rock band Lost Nation. On this collection, along with their official 45s and alternate takes/rehearsals, you’ll find the unreleased 45 from 1969 plus some demos recorded by an unnamed post-Unrelated Segments/Lost Nation band in 1972. An amazing find which shows the band playing pure Detroit high-energy hard rock.

File Under: Garage, Punk
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unsettled society

Unsettled Society: 17 Diamond Studded Cadillacs (Guerssen) LP
Complete recordings (1969-1974) of legendary U.S. acid-punk band Unsettled Society, famous for appearing on the seminal psych compilation Endless Journey back in the ’80s. But Unsettled Society have been a total mystery until now. The band came from the New York suburbs and were famous locally for their powerful stage shows, full of strobe and psychedelic flashing lights. In 1969 they released their first 45 for the Charm label: “17 Diamond Studded Cadillacs,” which is pure acid-psych, lo-fi basement insanity. It was coupled with “Passion Seeds,” a killer moody, atmospheric psych ballad. Between 1972 and 1974 they released two more 45s in a fantastic heavy psych vein, the last one recorded under the Thunder Head name. All of them are included here with sound taken from the original tapes. Includes a fold-out insert with lots of amazing unseen photos and detailed liner notes by Charm Records boss Pete Huntley.

File Under: Psych, Acid Punk
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voyag3r

Voyag3r: Doom Fortress (Bellyache) LP
Doom Fortress is the debut full length album from Detroit’s Voyag3r (pronounced Voyager Three). Voyag3r are a synth based instrumental rock band that draws inspiration from sci-fi, horror, and action soundtrack music from the 70’s & 80’s. Voyag3r have set out to create dynamic, epic, moody and atmospheric sounds intended to inspire. This experimental rock sound is like a movie-less score or the soundtrack to a far away mysterious journey. Voyag3r forge their sound with a multitude of analog synthesizers, acoustic drums and electric guitar.

File Under: Electronic, Pseudo OST, Synth
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invitation

Various: A Distant Invitation (Sublime Frequencies) LP
A hallucinogenic splatter-drift audio meltdown through the streets and back alleys of Southeast Asia recorded and assembled by Seattle-based multi-sword-wielding artist Jesse Paul Miller (Factums/Secret Records/Liver & Bacon/Big Tribal Balls). This limited edition LP includes street and folk music, situational ambience, radio excerpts, and psychedelic atmospheres from Burma, Cambodia, India, Indonesia, Malaysia, and Thailand. “We heard them from a distance, bells in the back alleys of Surakarta … Then, one day, two weeks later, we walked around a corner and there they were, a troupe of roving gamelan musicians and a monkey with a mask … If one wanders the streets of Southeast Asia, they will undoubtedly hear a variety of fascinating sounds; those created by street musicians, sellers in markets, horns from temples and mosques, woven with insect songs, birds, dogs, motorcycles. Intended to engage and entertain a host of spirits and gods, festivals and processions are frequent in certain regions. They can be extremely vibrant and overwhelmingly powerful energy situations. In rituals, the use of random multiple layers or instrumental vibrations can be intended to confuse or scare off bad spirits, and this can be very disorienting for the living listener also. Street musicians combine older instruments with electrical delivery systems in the form of genius portable battery-operated-waist-pack mini-horns connected to keyboards, karaoke machines, and folk instruments — sometimes with effects. These musicians sit roadside; in some places they hop on buses between stops. In markets and along roadsides, sellers manipulate their voices to advertise using delay effects. Food cart proprietors use an incredible array of sonic methods to attract customers. They tap on objects, use steam whistles; sing like birds, use bits of Western jingles (and much more). Buddhist, Hindu, and Muslim broadcasts can be heard blasting through loudspeakers. With the addition of amplification, there is usually some form of distortion inherent to the speaker systems, often magically enhancing the voices, mixing in with the urban or rural soundtrack. The sonic tapestry of any space can reveal poetic insights. There is the perspective that all audio events in an environment, regardless of their form, can be heard musically. The vitality and depth of human expression, whether awe-inspiring or minute in all of its multitudinous manifestations, is for now, intact in Southeast Asia, and very much alive.” –Jesse Paul Miller; This limited edition LP comes in a full-color tip-on jacket with a two-sided insert including photos by Linda Peschong & detailed liner notes and personal impressions by sound artist & compiler Jesse Paul Miller.

File Under: Ethnic, Field Recording, Asia
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funky

Various: Funky Chicken: Belgian Grooves from the 70s (Sdban) 2x2LP/2CD
The best Belgian dance tracks from the beginning of the ’70s. Dire times, they were, full of poverty and hardship. To make a living out of popular music was a near-impossibility in a small country like Belgium. This precarious situation, though, proved to be a blessing in disguise for creative minds. When it’s hard to get your hands on some money, trying out as many things as you can seems the logical thing to do. On the other hand, if there’s hardly any money to be gained anyway, you may just as well play what you bloody well like. That’s what Belgians like to do anyway. Moreover, living in a country where virtually every musical wave passes through also inspires. In the early ’70s, those waves were (Afro-)funk, soul, and Latin. The situation as a whole was a favorable one for some visionary musical entrepreneurs. Jean and Roland Kluger created a musical dynasty, American-style, with successful acts like Chakachas and Two Man Sound. Their rival, Marcel De Keukeleire, scored worldwide hits with Amadeo, Chocolat’s, and “The Birdy Song.” Relying on zealous energy and a shamelessly commercial logic, every effort was aimed at success, so they jumped on as many international bandwagons as they could and tried out their own variants on the local market. Nearly every style in the post-war scene is represented here: Hein Huysmans’ jazz-funk, the jazzy prog-rock of Cos, or the fusion of Open Sky Unit. And of course there’s Marc Moulin, a name that needs little or no introduction. This is the missing link between the variety orchestras of the ’60s and the electronic triumphs of Telex in the late ’70s and early ’80s. These tracks offer the same sense of adventure and slightly surreal pigheadedness that are also present in the best Belgian contributions to dance music. Think Front 242, Technotronic, or Soulwax/2manydjs. This is the ground they built upon. Artists include: Chakachas, Mad Unity, Rene Costy, Alex Scorier, Open Sky Unit, Plus, Andre Brasseur, Chicken Curry & His Pop Percussion Orchestra, Placebo, Les Hélions, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters ), Nico Gomez & His Afro Percussion Inc., Chocolat’s, Amadeo, El Chicles, The Mol Percussion Band, Cos, Rene Costy & His Orchestra, The Rapture, Doug Lucas, Hein Huysmans Kwintet, Leo Cavallo, and Super Funk Special.

File Under: Funk, 70s, Belgian
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goldband

Various: Funky Side of Goldband & Anla Records (Tramp) LP
Goldband Records played a key role in documenting and shaping of musical traditions, tastes, and trends, both regionally and internationally since 1944. The focus of the Goldband catalog is certainly set on Country & Western, Swamp Pop, and Cajun music. However, from the 1960s until the early 1970s Goldband, and it’s sub-label ANLA Records, released many high-quality Soul and Rhythm & Blues recordings. Simply put, Shuler had an ear for talent. He always believed in “…giving a man a chance; otherwise, how would you discover what somebody could do?” That was the guiding philosophy and the secret to the success of Goldband Records. Born March 27, 1913 in Wrightsboro, Texas, Eddie Shuler moved to Lake Charles in 1942 to work as a dragline operator. He found additional part-time work in a music store, leading him into a career in the music business. He then joined the country, western swing, and Cajun group The Hackberry Ramblers. Having sharpened his musical skills, he left the group to form his own band, The Reveliers. By the early 1950s, Shuler acquired the Goldband complex in north Lake Charles. It would be a combination record store (Eddie’s Music House), television repair shop (Eddie’s Quick Service T.V.), and recording studio for over a half-century thereafter. Being the one and only recording studio in town, it did not take long for other artists in the area to migrate in Shuler’s direction. A grassroots operation, Shuler was head of distribution and promotion. He distributed the recordings from the back of his car to record stores and to jukebox operators. Knowing that getting airplay was the key to increasing sales he created multiple labels which assured him better chances with the radio. One of those auxiliary labels was ANLA which featured Soul and R&B artists from South Louisiana and East Texas, including Clifton White, Charles Greene, and the Original Soul Senders. Around the same time, future Zydeco celebrity “Count” Rockin’ Sidney joined Goldband for almost a dozen releases. At the time of Eddie Shuler’s passing on July 23, 2005, he was the head of the nation’s longest running independent record label, Goldband, which is still based in Lake Charles, Louisiana.

File Under: Funk, Soul
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music from earth

Various: Music from Planet Earth Vol 2 (Stag-o-Lee) 10″
It’s a perennial starting point for conspiracy theories, the perfect excuse for lost homework or any kind of irrational behavior. Alien intervention solves everything. Things from other planets are a sustainable reason for many unanswerable questions and, across the music industry in the late ’50s and early ’60s, in the wake of a slew of space-based exploitation movies, a series of 45s and suitably unearthly concept albums emerged to capitalize on this burgeoning, bizarre and mysterious idea. Everyone was viewing far off planets with wonder, amazement and the occasional well-directed sound effect. No-one really knew what aliens could do, so the potential for music to accompany whatever they did was limitless. Over 50 years after these sides were released in a fit of futuristic creativity, we’re still asking about the potential of water on Mars, puzzling on the rings of Saturn and wondering if anything really did happen at Roswell. “Aliens stole my dog!” screams the headline in the National Enquirer. Of course they did.” –Dave Henderson, MOJO magazine, 2014; Features tracks from Cees & His Skyliners, Kenny Hollywood, Danny Wheeler, Dr. Samuel J. Hoffman, Carl & The Spindletoppers, Russ Garcia, Joe & Rose Lee Maphis, Rusty Wellington, Attilio Mineo, Jean-Jacques Perrey, and Sun Ra.

File Under: Rock & Roll, Experimental
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township

Various: Township Jive & Kwela Jazz Volume 3 (Ubuntu) LP
Soul Safari started as a blog to showcase the music of Africa with a strong emphasis on South Africa. Now in its sixth year, Soul Safari is proud to present the third volume of the compilation Township Jive & Kwela Jazz, a collection of rare gems originally released as shellac 78s in the period 1960-1965 in South Africa. On this third volume, the selection features the gorgeous close harmony vocal groups singing in the tradition of American R&B and doo-wop, but always with that typical South African swing and sung in the Zulu or Xhosa languages. DJ Eddy de Clercq, who initiated this compilation, also selected a few tunes that stand for the transition from early jive to mbaqanga, a most democratic vocal style characterized by the typical “groaning,” a form of call-and-answer between the male leader (groaner) and female singers. Mbaqanga would follow up jive as the popular vocal music from 1965 onwards. Kwela jazz knew many variations in which the original instrument, the penny whistle was traded in for accordion, violin, even a melodica, an instrument that also became widely popular in Jamaica. Similarities with uptempo ska can be heard in tunes by Kid Ma Wrong Wrong and Bra Sello, featured on this compilation. Again, an exciting selection of rare recordings from the heyday of South African jive & kwela. True musical treasures from a long-gone past.

File Under: African, Jive, Kwela

travelling

Various: The Travelling Archive (Sublime Frequencies) LP
The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar. They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site. Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls. The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi (small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum. This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future. Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.

File Under: Ethnic, Folk, Bengal
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while

Various: While No One Was Looking (Bloodshot) 3LP
To celebrate Bloodshot’s 20th anniversary, we have assembled this deluxe 38-track package (to be released on 2-CD and Gatefold 3-LP) Retrospectives and “Best Of” compilations aren’t really our style, so we reached out to a few artists and floated the idea of covering songs from our ample catalog because we thought it would be cool to hear what might happen. The speed, sonic breadth, ingenuity, and diversity of responses we received took us all by surprise. We heard from old friends, new friends, friends we didn’t know we had, and even a few heroes of ours. As different as all their back stories are, the weird and winding paths that brought these artists to us come from all over the sonic spectrum. Here, 38 songs from the Bloodshot catalog re-emerge in oft-head-craning styles from gritty punk to back porch folk, dark bedroom new wave to straight-up honky tonk, lush power pop and new emo. Featuring artists like Superchunk, Blitzen Trapper, Frank Turner, Chuck Ragan, Andrew Bird, William Elliott Whitmore, Mike Watt (and 31 more) covering the likes of Ryan Adams, Neko Case, Justin Townes Earle, Alejandro Escovedo, Wayne Hancock and many other Bloodshot favorites. While No One Was Looking is a totally satisfying sonic thrill ride from start to finish!

File Under: Rock, Indie
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…..restocks…..

Animal Collective: Strawberry Jam (Domino) LP
Caribou: Our Love (Merge) LP
Dead Weather: Horehound (Warner) LP
Bo Diddley: s/t (Dol) LP
Eric B & Rakim: Paid in Full (Fanclub) LP
Flipper: Generic Flipper (4 Men With Beards) LP
Futuro Antico: s/t (Black Sweat) LP
Futuro Antico: Dai Primativi All’Elettronica (Black Sweat) LP
Geto Boys: We Can’t Be Stopped (Fanclub) LP
Dr. Hoffman/Les Baxter: First Electronic Chill Out Record (Black Sweat) LP
Howlin’ Wolf: Album (Get On Down) LP
Jay-Z & The Roots: Unplugged (Fanclub) LP
Leyland Kirby: Death of Rave (History Always Favors the Winner) LP
Kraftwerk: Computer World (Fanclub) LP
Leadbelly: Take This Hammer (Dol) LP
John Legend & The Roots: Wake Up (Fanclub) LP
Sven Libaek: Solar Flares (Votary) LP
Love: Black Beauty (High Moon) LP
Magnolia Electric Co: Fading Trails (Secretly Canadian) LP
My Bloody Valentine: Loveless (Creation) 2LP
OST: Django Unchained (Mercury) LP
OST: Tron (Audio Fidelity) LP
Pink Floyd: Live at Pompeii (Fanclub) LP
Queens of the Stone Age: Rated R (Interscope) LP
Queens of the Stone Age: Lullabies to Paralyze (Music on Vinyl) LP
Ty Segall: Manipulator (Drag City) LP
Sensation’s Fix: Music is Painting in the Air (RERVNG) LP
Nina Simone: Sings the Blues (4 Men With Beards) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) DLX 2LP
The Stranger: Watching Dead… (Modern Love) LP
War On Drugs: Lost in the Dream (Secretly Canadian) LP
Weeknd: House of Ballons (Fanclub) LP
Ween: Live at Stubbs (Fanclub) LP
White Stripes: Elephant (Third Man) LP
Various: Local Customs: Cavern Sound (Numero) LP
Various: Trainspotting OST (Fanclub) LP

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…..news letter #666 – yikes…..

We might not be American, but that’s not gonna stop us from getting our hands on a whack of all the special Black Friday RSD items coming out. But more importantly, come help celebrate or 13 years of slinging all the best wax in town! It’s hard to believe that I get to do this every day, and that is entirely thanks to you, our fine customers. So to thank you for allowing us to run this little slice of heaven we’re having a sale all weekend for you! Stop in and take advantage of sale pricing. Finish up your Xmas shopping. Start your Xmas shopping. Xmas shop for yourself. Send your loved ones to Xmas shop for you…

…..pick of the week…..

sale

To thank you all for another year of support we are giving you 20% off all new and used records and CDs all weekend long! Starting at 10am Friday until 5pm Sunday!

*Sale excludes Record Store Day exclusives, special orders and holds, local releases, and consignment items. Gear is 10% off.

…..black friday exclusives…..

Aaliyah: Age Ain’t Nothing But A Number LP
Afghan Whigs: Gentlemen at 21 3LP
Afrika Bambaattaa: Planet Rock 12″
Beatles: Long Tall Sally 7″
David Bowie: Sue 10″
Miles Davis: Blue Xmas 7″
Miles Davis: The Prestige 10″ box set
Miles Davis: Enigma 10″
Dead Milkmen: Big Lizard in my Backyard LP
Death Grips: Government Plates LP
Decemberists:Black Friday 7″
Tom Dissevelt: Fantasy LP
Tom Dissevelt & Kid Baltan: Song of the Second Moon LP
Doors/Peter LaFarge: Honor the Treaties LP
First Aid Kit: America 10″
Flaming Lips: Imagene Peise–Atlas Eets Christmas LP
Grateful Dead: 11/18/72 Hofheinz Pavilion, Houston TX LP
Green Day: Tune In, Tokyo LP
Lee Hazlewood: There’s A Dream I’ve Been Saving Box Set 8 LP
Jimi Hendrix: Hear my Music LP
Husker Du: Warehouse: Songs and Stories 2LP
Iron Butterfly: Heavy LP
JB’s: These Are The JBs LP
Kinks: Muswell Hillbillies 2LP
Jenny Lewis: PAX-AM Sessions 7″
Lizzy Mercier Descloux: Fire/Morning Light 7″
J.Mascis: Fade Into You/Outside 7″
Mastodon: The Motherload 12″
Wayne McGhie & The Sounds of Joy: S/T LP
Metronomes: Time Keeping 1979-1985 LP
Mother Love Bone: Hold Your Head 7″
New Order: 1981-1982 LP
OST: Looking For Johnny: The Legend of Johnny Thunders 2LP
OST: Game of Thrones Soundtrack LP
OST: American Hustle Soundtrack LP
OST: Guardians of the Galaxy: Awesome Mix Vol.1 CS/LP
OST: The Big Lebowski Soundtrack LP
OST: The Good, The Bad and the Ugly LP
Outkast: Player’s Ball 10″
Ramones: Morrissey Curates the Ramones LP
Rockabye Baby!: Lullaby Renditions of Jay-Z LP
Run DMC: Christmas In Hollis 7″
South Park: James Cameron/My Bitch Ain’t No Hobbit 7″
Spot: Sounds of Two Eyes Opening Book
St. Vincent: Pieta 10″
They Might Be Giants: Flood LP
Johnny Thunders: Real Times 10″
Velvet Underground: Live MXMXCIII LP
Wu Tang Clan: C.R.E.A.M. 10″
Neil Young: Official Release Series Discs 5-8 Box Set 4LP

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…..news letter #665 – ngoziwow…..

Not a ton in this week, but that’s ok because next week is gonna be killer…

We might not be American, but that’s not gonna stop us from getting our hands on a whack of all the special Black Friday RSD items coming out. But more importantly, come help celebrate or 13 years of slinging all the best wax in town! Stop in and take advantage of sale pricing. Finish up your Xmas shopping. Start your Xmas shopping. Xmas shop for yourself. Send your loved ones to Xmas shop for you…

…..pick of the week…..

circle guillotine

Circle: Guillotine (Full Contact) LP
“Born in the bucolic city of Pori, Finland, Circle has been defying expectations since 1991. This unpredictable ensemble led by Jussi Lehtisalo has been reinventing, refining and perfecting its technical drones and heavy riffs over the course of numerous European, American and Japanese releases. The band effortlessly devours and personalizes skewed progressive-rock rhythms, distorted guitar firepower, cosmic sound paintings, gleaming minimalism, Kraut-influenced phrase repetition, and hymnal incantations written in a made-up language called Meronian. Circle’s instantly recognizable albums and frantic live sets have garnered ample international praise while masterfully exploring the outer limits of grinding tension and celestial calm.” One of the most varied and experimental works yet from an unflinchingly varied and experimental group. Jussi’s unique and powerful stream of consciousness singing appears in various incarnations and intensities, ranging effortlessly from far-eastern mystic to sideshow madman-comedian, possessed metal-maven to syllable-mangling cartoon monster. The entire band showcases its far ranging abilities, from their sublime droning diamond-sharp krautrock workouts, through multi-faceted movements of donk and plink; intuitive avant and experimental pieces slither and slake through jodorowskian acoustic stretches. a primality akin to the earliest Amon Duul I metamorphs with meticulous perfection into something like the giddy kraut-prog of the most sophisticated and animated Amon Duul II. “Simple and melodic guitar lines, antiquated synthesizers, and the occasional deep, Gregorian-style chant, intertwine with warm washes of sound and urgently staccato rhythms. Like a Steve Reich or Terry Riley piece performed by a rock band. Basic riffs are stretched and reshaped, creating bleak, underwater grooves and dizzyingly repetitive rhythms sounding like an otherworldly This Heat or a heavier, more damaged Can. Mellow jazzy moments and delicate melodies intersect with heavy, Bonham-esque beats and crushing hypnotic force.” Andee Connors / tUMULt.

File Under: Psych, Krautrock, Prog, Finland
Listen Here And Here

…..new arrivals….. 

future daysCan: Future Days (Mute) LP
In Tomorrow… Can was founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit – who formed a group which would utilize and transcend all boundaries of ethnic, electronic experimental and modern classical music. Throughout the changing eras of the band, they enlisted the talents of different powerful singers like Malcom Mooney and Damo Suzuki and collaborators such as Reebob Kwaku and Rosko Gee. Can’s wide-reaching influence has never diminished, and their indelible mark is apparent in subsequent acts who freely acknowledge their importance – from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead to John Lydon, The Fall, Ariel Pink, Fuck Buttons, Sonic Youth, Factory Floor and Queens Of The Stone Age. Originally issued in 1973, Future Days is the fifth studio album from Can and follow-up to their transitioning 1972 effort Ege Bamyasi. On Future Days the band employs much more of an ambient sound than on their previous records and this is the last album to feature vocalist and self-defined “20th century nomad,” Damo Suzuki. It was shortly after original Can vocalist Malcolm Mooney had left the band that they found themselves without a singer on the night of a sold-out concert. Upon spying Damo busking on the streets of Cologne, Holger Czukay just walked up to him and asked him if he wanted to sing at the concert; no rehearsal, just get up on stage with the band and sing. Damo, of course, accepted and the classic Can line-up was born.

File Under: Krautrock, Prog, Essential Grooves
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sun zoom

Captain Beefheart: Sun Zoom Spark (Rhino) 4LP Box
In the wonderfully idiosyncratic discography of the-one-of-a-kind artist Captain Beefheart (aka Don Van Vliet), attention usually focuses on the carefully wrought, experimental music heard on his noted masterwork Trout Mask Replica. As a consequence, the three stellar albums recorded soon after Lick My Decals Off, Baby (1970), The Spotlight Kid (1972) and Clear Spot (1972) are often criminally overlooked. Rhino intends to rectify that with the limited edition 180g 4LP box set Sun, Zoom, Spark 1970-1972 which revisits the albums Beefheart recorded with the Magic Band in the early-seventies. It includes all three albums, which have been remastered for the first time, as well as an entire LP featuring 14 previously unissued outtakes from the era.

File Under: Rock, Blues, Fried, Essential Grooves
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circle6000

Circle: 6000 km/h (Full Contact) LP
Ektro Records’ vision for the future is to offer “outstanding solutions of subversive sound art”. Key paths to realizing the vision are “harmonizing production lines” and “maximizing synergy advantages”. As part of this strategy, the company launches a new, innovative concept: The “6000 km/h” brand. 6000 km/h is a product line of high quality, multi-channel “live” recordings. The brand name strives to communicate “speed, dynamism and goal-orientedness”. The honour of opening the new product line has been given to Ektro records’ flagship merchandise Circle, jointly with its sister band oriented to the developing markets, Pharaoh Overlord. The pair of albums comprises a mutually complementing conceptual gesamtkunstwerk, the parts of which can, however, also be enjoyed as independent works. CIRCLE’s album 6000 km/h was recorded on the band’s European tour in spring 2014. Utmost care has been taken to include a top quality selection of most exciting “takes” of the band’s psychedelic rock hits like “Paniikin Valtias”, “Fish Reflection”, and the evergreen “Se Jonka Nimeä Ei Mainita”. Jussi Lehtisalo, the Executive Director of Ektro Records, is excited about the “6000 km/h” concept: “6000 km/h is our bravest product launch since the company started in 1996. This is going to be something totally whacked out!”

File Under: Psych, Prog, Finland, NWOFHM
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circle hissi

Circle: Hissi (Full Contact) LP
Nowadays, with Circle’s vast discography, you’ve come to expect the unexpected. Every other release seems to take a weird u-turn or completely wander off from the main autobahn, into the mysterious forests. In 1996, after releasing a few seven inches and two albums (Meronia and Zopalki) of guitar heavy hypnotic art rock, Circle still seemed like a band that’s progressing somewhat logically in their musical experiments. Hissi is the first “illogical” album in the ever-expanding, logic-defying discography of the band. Experimental puppet theatre music, demented lounge lizard grooves and cosmic rhythm music soundscapes that discard the band’s earlier guitar heavy approach almost completely. Hypnotic and strange like the first two albums, but still weird and unexpected. Psychedelic music without the usual hippie guitar solos and spacious effects or druggy trance techno thump. Not formally psychedelic, yet truly psychedelic, psychedelic in spirit. Now available on vinyl for the first time, remastered.

File Under: Psych, Prog, Finland, NWOFHM
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circle tape

Circle: Hukkaamiskielto (Rutom Music) CS
Recorded live at Dynamo, Turku, February 23, 2011. P. Jääskeläinen, J. Jääskeläinen, J. Westerlund, J. Lehtisalo, T. Leppänen, M. Rättö + T. Laurila, live audio engineer & additional live effects. Synthesized and re-arranged by M. Laine / Wolfborder Studios Hukkaamiskielto (”the prohibition of disposals”) by Circle is a highly charged monolith based on a 26-track live recording by a veteran sound designer, recording engineer and audiovisual producer Max Laine of a Circle show in Dynamo, Turku in February 2011. The production was meticulously done by manipulating all of the actual individual tracks. What you hear on this cassette album is the end-result of synthesizing and replacing all key instruments with effects used in modern day transient-tracking and pitch-to-MIDI techniques. Therefore, Hukkaamiskielto begs the question, what is synthesized and what is actually human-generated as we move further towards a Kurzweilian singularity or rather away from it further into the roots of all electronic music. What you hear is a Circle show from beginning to the end, but only transformed beyond basic recognition. The term ”hukkaamiskielto” became part of Finnish street folklore in November 2013, when the chief officer of drug-related crimes Jari Aarnio, was faced with dozens of charges including gross misrepresentation of the evidence, aggravated acceptance of bribes, assistance of serious fraud and so on. His vast private property worth 500,000 € was thus given the status of ”hukkaamiskielto”.

File Under: Psych, Prog, Finland, Space Rock

circle surface

Circle: Surface (Full Contact) LP
Live album by the now legendary Meronia/Zopalki -era line-up of Circle. Recorded in 1996 at Pakkahuone, Tampere, and originally released in 1998, Surface captures the full frontal assault of an early Circle live show. Wondrous stories of a band of crazed art rock warriors playing with ear-exploding volume and wearing dead fish on stage are still told with awe and respect as people who saw the show refer to the gig immortalized in these recordings. Starting off with a spooky ambient rendition of Hank Williams’ “I Saw The Light” and then speeding up with jarring guitar riffage and nervous synthesizer licks, Surface builds tension without mercy or release. Hauntingly original rock music from a very weird period of alternative music in Finland. Now available for the first time on vinyl, remastered and with new artwork.

File Under: Psych, Prog, Finland, NWOFHM
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fugazi

Fugazi: First Demo (Dischord) LP
In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape. Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song (“Break In”). It would be nearly another year before he would start playing guitar with the band. At that time, the studio was still located in the basement of engineer Don Zientara’s family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi’s longtime sound engineers, joined the band for the initial tracking. The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour. It was decided that the session would be passed out free as cassette copies, with the band actively encouraging people to share the recording. In the spring, Fugazi went out on its first U.S. tour and a few weeks after returning from the road they went back to Inner Ear to record what would become their debut Dischord release, the self-titled 7-song 12″ EP. The only song from the demo session that was formally released was “In Defense of Humans”, which appeared on the State of the Union compilation in 1989. Now, some 26 years later, Dischord is releasing the entire first demo including the one song (“Turn Off Your Guns”) that wasn’t included on the original cassette. This release also coincides with the completion of the initial round of uploads to the Fugazi Live Series website. Launched in 2011, the site lists and details all of Fugazi’s 1000+ performances and makes available close to 900 concert recordings that were documented by the band and by the public, as well as countless flyers, ticket stubs, posters, and photographs. After two years of work, all of the recordings in the band’s archive are finally posted. LP copies of First Demo will include a postcard set featuring photos of the band.

File Under: Punk
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kylesa

Kylesa: Spiral Shadow (Season Of Mist) LP
Deriving their name from the Buddhist concept of “kilesa mara” meaning delusionary states of the mind, critically acclaimed Savannah, Georgia heavy rock outfit Kylesa cites acts like Neurosis, Kyuss, early Pink Floyd and Black Sabbath as influences, while critics have compared them to metal masters like Baroness and Mastodon. With their stellar fifth full-length, 2010’s Spiral Shadow, Kylesa delivered a mosaic of amazing audio atmospheres. Melodic and musical, the stellar 11-song set offers up huge, heavy, mesmerizing sound waves which continually wash over the listener. The hypnotic visions evoked by Spiral Shadow catapulted Kylesa into the next exciting phase of their continuous evolution and saw the band constantly on the road for the next few years.

File Under: Metal
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loscil9

Loscil: Sea Island (Kranky) CD
Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener Ahull make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation.! Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the loscil “ensemble”, some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead’s Elaine Reynolds who provides layered violin on Catalina 1943, and Ashley Pitre contributing vocals on Bleeding Ink. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks Sea Island Murders and En Masse. “Equal parts dub techno momentum and tenderly organic sound design, one which consistently and carefully treads a fine line between crepuscular, chamber-like melancholy and widescreen optimism.” – Boomkat

File Under: Electronic, CanCon
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pharaoh

Pharaoh Overlord: 6000 km/h (Full Contact) LP
Ektro Records’ vision for the future is to offer “outstanding solutions of subversive sound art”. Key paths to realizing the vision are “harmonizing production lines” and “maximizing synergy advantages”. As part of this strategy, the company launches a new, innovative concept: The “6000 km/h” brand. 6000 km/h is a product line of high quality, multi-channel “live” recordings. The brand name strives to communicate “speed, dynamism and goal-orientedness”. The honour of opening the new product line has been given to Ektro records’ flagship merchandise CIRCLE, jointly with its sister band oriented to the developing markets, PHARAOH OVERLORD. The pair of albums comprises a mutually complementing conceptual gesamtkunstwerk, the parts of which can, however, also be enjoyed as independent works. PHARAOH OVERLORD’s album 6000 km/h is a recording of the band’s show at Turku’s H2Ö festival, where they gave the festival audience the most unforgettable summer experience of the year 2014, taking them on a ride through time and space into a dialectical tailspin where the laws of music, theatre and society, among other things, turn into their opposites. All the songs on the album are world premieres, including titles such as “Hei Se Kassi Tänne”, “No Ota Sitten Kolmekymppiä”, and “Onkohan Tää Riisiä” Jussi Lehtisalo, the Executive Director of Ektro Records, is excited about the “6000 km/h” concept: “6000 km/h is our bravest product launch since the company started in 1996. This is going to be something totally whacked out!”

File Under: Psych, Krautrock, Prog, Finland
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floydPink Floyd: Endless River (Columbia) LP
Pink Floyd’s new album The Endless River has as its starting point the music that came from the 1993 Division Bell sessions, when David Gilmour, Rick Wright and Nick Mason played freely together at Britannia Row and Astoria studios. This was the first time they had done so since the Wish You Were Here sessions in the seventies. Those sessions resulted in The Division Bell, the band’s last studio album. In 2013 David Gilmour and Nick Mason revisited the music from those sessions and decided that the tracks should be made available as part of the Pink Floyd repertoire. It would be the last time the three of them would be heard together. The band have spent the last year recording and upgrading the music, using the advantages of modern studio technology to create The Endless River. The Endless River is a tribute to Rick Wright, whose keyboards are at the heart of the Pink Floyd sound. It is a mainly instrumental album with one song, “Louder Than Words,” (with new lyrics by Polly Samson), arranged across four sides and produced by David Gilmour, Phil Manzanera, Youth and Andy Jackson. The concept for the powerful imagery of a man rowing on a “river” of clouds was created by Ahmed Emad Eldin, an 18-year-old Egyptian digital artist. Ahmed’s image was then re-created by Stylorouge, award-winning UK design agency. Pink Floyd’s album artwork, mostly created by Storm Thorgerson of Hipgnosis, is as legendary as the band’s music. With Storm’s passing in 2013, the task of finding an image that carried on Storm’s legacy passed to Aubrey ‘Po’ Powell, Storm’s original partner in Hipgnosis. David Gilmour: “The Endless River has as its starting point the music that came from the 1993 Division Bell sessions. We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album. Over the last year we’ve added new parts, re-recorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.” Nick Mason: “The Endless River is a tribute to Rick. I think this record is a good way of recognizing a lot of what he does and how his playing was at the heart of the Pink Floyd sound. Listening back to the sessions, it really brought home to me what a special player he was.”

File Under: Rock
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reichSteve Reich: Counterpoint: Kuniko Performs Reich (Linn) LP
Counterpoint – Kuniko plays Reich’ is a collection of works by Steve Reich arranged and performed by Kuniko, one of the most gifted and significant percussionists of her generation. The arrangements, made in collaboration with Steve Reich and originally premiered on ‘Kuniko plays Reich’ and ‘Cantus’, are available on LP for the first time. The pressing is on 180 gram vinyl and is manufactured by the prestigious Pallas firm in Germany, which is highly regarded by vinyl lovers everywhere. The LP showcases Kuniko’s new live solo marimba part that accompanies the pre-recorded tape of five marimbas in Six Marimbas Counterpoint. Kuniko gave the world premiere performance of her arrangement of Reich’s New York Counterpoint in New York in 2012. She won praise from the composer himself, who stated: ‘Kuniko Kato is a first rate percussionist.’ Kuniko’s arrangement of Vermont Counterpoint, originally for flute, piccolo and alto flute, was inspired after Reich himself suggested it. Kuniko is a soloist who is recognised around the world for her astonishing virtuosity, exquisite musical insight and expressive yet elegant performance style. Her debut album ‘Kuniko plays Reich’ was acclaimed by the media, becoming Linn’s bestselling album of 2011, whilst ‘Cantus’ entered the Top 10 of the Official UK Specialist Classical Chart. In 2012 KUNIKO completed a world tour playing at venues in America, France, Israel, Italy, Switzerland, Japan and Australia and in 2013 performed at the Lichfield and Cheltenham Music Festivals. Named ‘our greatest living composer’ by The New York Times, Pulitzer Prize winner, Steve Reich, is a pioneer of minimalist music.

File Under: Percussion, Classical, Minimalism

segallTy Segall: $ingle$ 2 (Drag City) LP/CD/CS
You thought Manipulator was the money album of the year? Think . . . AGAIN! 2014 ain’t done yet, and Singles 2 is here. And this time, it’s for the money. Two times! As all of the ears that have heard what Ty’s been putting out for the past five-ish years already know in their tiny l’il ear-brains, our kid’s got any number of places that he’s coming from, and putting them all into his rock and roll music is what he’s all about! Which is cool. Singles 2 sweeps out the ashes of the breakneck days (and nights!!!!) of 2011-2013, and burns down the house all over again in the process – but not by accident. Sorry . . . .Singles 2 slinks low and flat-out sprints behind the scenes of the Goodbye Bread – Twins – Sleeper trilogy (no it isn’t!), collecting all the now-out-of-print sides that totally work amazingly well together when placed back-to-back-to-back as an album. The super-deadly ‘Spiders’ single is spun again here in full, along with the epically pop b-sides for ‘I Can’t Feel It’, ‘The Hill’, and ‘Would You Be My Love’. Plus there are tracks for other righteous labels too (yes, Virginia . . . ) like Permanent, Castleface and Famous Class. Covering The Groundhogs, the Velvets and GG Allin, Ty reps for a good array of punk godheads too. Between the covers and the originals, Singles 2 is also a run through the SF 388 scene circa 2010-2013, with various local heroes like King Riff, Mike Donovan and Ty himself at the board. Sure, there’s the knotting up of all the loose ends for the heavy-breathin’, AADin’ freak-fans – but Singles 2 is really about the rush of getting a single for the a-side and then finding a total sunshine jewel like ‘Children of Paul’ or ‘Mother Lemonade’ on the flip. Or a stone-solid jam on a classic, like the COMPLETE retooling of ‘Femme Fatale’. Or hearing the Mackay-style sax bleatings of ‘Fucked Up Motherfucker’, and it fucking YOU up too! Closing the album with the seemingly unlikely (‘Music for a Film’, for REAL) and the seemingly inevitable (‘Pettin the Dog’, a mighty hardcore slamming of the lid) cleanses the palate for . . . what? Another spin, probably! Singles 2 has been designed to withstand obsessive flipping. Well, that it’s it for this one – until Singles 3-D, my friend…

File Under: Punk, Garage, Too Many Albums
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wilco

Wilco: 1994-2014: Alpha Mike Foxtrot (Nonesuch) 4LP
Nonesuch Records will release two new Wilco collections in November 2014 in conjunction with the influential Chicago band’s 20th anniversary. The first, Alpha Mike Foxtrot, is a 4LP box set of rare studio and live recordings collected from the band’s extensive audio archives. The second, What’s Your 20?, is a 2CD/digital compilation of essential tracks culled from the band’s previously released studio recordings. Both collections are produced by Grammy-nominated producer Cheryl Pawelski, co-founder of Omnivore Recordings, whose credits include Big Star’s Keep an Eye on the Sky, The Band’s A Musical History, and Townes Van Zandt’s Sunshine Boy: The Unheard Studio Sessions and Demos 1971–1972. These are the first compilations of Wilco music of any kind. “Like a lot of fans, I had collected these straggling tracks over the past two decades of following Wilco’s every move,” Pawelski said. “Alpha Mike Foxtrot includes almost every unique, essential performance that appeared on soundtracks, tribute albums and B-sides – and there are probably a few surprises for even the sharpest collector. This set presents an alternate history of the band, kind of a sideways view, and ultimately, it’s a super-fun listening experience.” Alpha Mike Foxtrot features 64 pages of liner notes that include track-by-track recollections from Jeff Tweedy, notes by band members Nels Cline and John Stirratt, and reflections from members of Wilco’s extended professional family. The booklet also showcases dozens of archival and never-before-seen photos from a wide array of photographers chronicling all phases of the band’s career.

File Under: Alt. Country, Indie Rock
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…..restocks…..

Afghan Whigs: Do To The Beast (Sub Pop) LP
Amon Duul II: Yeti (Cleopatra) LP
Arctic Monkeys: Whatever People Say I Am (Domino) LP
Arctic Monkeys: AM (Domino) LP
Baptists: Bushcraft (Southern Lord) LP
Beach House: Teen Dream (Sub Pop) LP
Beach House: Bloom (Sub Pop) LP
Boards Of Canada: Tomorrow’s Harvest (Warp) LP
Boris: Heavy Rocks (Sargent House) LP
Buena Vista Social Club: At Carnegie Hall (World Circuit) LP
Caribou: Swim (Merge) LP
Caribou: Our Love (Merge) LP
Dead Weather: Sea of Cowards (Thirdman) LP
Earth: Earth 2 (Sub Pop) LP
Earth: Phase 3 (Sub Pop) LP
Earth: Pentastar in the Style of Demons (Sub Pop) LP
Father John Misty: Fear Fun (Sub Pop) LP
Fleet Foxes: s/t (Sub Pop) LP
Fleet Foxes: Helplessness Blues (Sub Pop) LP
Flying Lotus: You’re Dead! (Warp) LP
Goat: Commune (Sub Pop) LP
Iron & Wine: Creek Drank The Craddle (Sub Pop) LP
Iron & Wine: Shepherd’s Dog (Sub Pop) LP
Isis: In Absence of Truth (Robotic Empire) LP
Olivia Jean: Bathtub Love Killings (Thirdman) LP
King Tuff: Black Moon Spell (Sub Pop) LP
Daniel Lanios: Flesh & Machine (Anti) LP
Mogwai: Hardcore Will Never Die, But You Will (Sub Pop) LP
Nehruviandoom: s/t (Lex) LP
Nirvana: Bleach (Sub Pop) LP
Obits: Bed & Bugs (Sub Pop) LP
Public Image LTD: First Issue (Light in the Attic) LP
Rodriguez: Coming From Reality (Light in the Attic) LP
Rodriguez: Searching for Sugar Man (Light in the Attic) LP
Sebadoh: Bake Sale (Sub Pop) LP
Ty Segall: Manipulator (Drag City) LP
Shellac 1000 Hurts (Touch & Go) LP
Shins: Oh Inverted World (Sub Pop) LP
Shins: Chutes Too Narrow (Sub Pop) LP
Shins: Wincing the Night Away (Sub Pop) LP
Soundgarden: Screaming Life/Fopp (Sub Pop) LP
Stars of the Lid: Ballasted Orchestra (Kranky) LP
Washed Out: Within & Without (Sub Pop) LP
Washed Out: Paracosm (Sub Pop) LP
Wolf Parade: Expo 86 (Sub Pop) LP
Women: Public Strain (Flemish Eye) LP

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…..news letter #664 – monstrous…..

I think this might be the longest news letter I’ve ever put together… at least in this deluxe style. Anyway, I’m swamped, as you will see below. Loads of killer wax in for our listening pleasure.

…..picks of the week…..

nazoranai

Nazoranai: The Most Painful Happens Only Once Has It Arrived Already…? (Idealogic Organ) LP/CD
Nazoranai comprises three gentleman, three friends and three fans of each other’s creative output. The Most Painful Time Happens Only Once Has It Arrived Already..? is the second release from Nazoranai, a power proposition made up of three sound/song heavyweights: Keiji Haino, Oren Ambarchi and Stephen O’Malley (no introductions necessary, intimidation checked in at the door). Recorded by Chris Fullard at CCSO, Birmingham, July 9th 2013, The Most Painful Time… expands the trio’s devastating explorations of improvised rock-based shapes. The opening track “you should look closely those shattered spells never attaining embodiment as prayer they are born here again you should look closely those shattered spells never attaining embodiment as prayer they are born here again” hurtles the listener straight in the abyss with an epic 18 + minutes of apocalyptic free rock. This is music on the threshold, a searing landscape where soaring guitars circle amongst a pounding minimal tribal rhythm. “will not follow your hoax called history” lurches out at the listener, offering a hand as a guide for this invented netherworld. The multi-limbed “who is making the time rot” documents our hosts in absolute freeform mode, wildly rummaging the remains of exploded structure. Finally, the title-track swings the pendulum back to earth in the guise of structure, base, rhythm and song. Hovering between annihilation and brutality The Most Painful Time Happens Only Once Has It Arrived Already..? is a sonic sinkhole where the unrestrained improvised peaks are indelibly stamped with the unique traits deployed by these three titans of rock and experimentation. Keiji Haino (guitar, vocals & synth), Stephen O’Malley (bass guitar) & Oren Ambarchi (battery).

File Under: Japanese Psych, Free Rock, Fushitsusha
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pca

Pye Corner Audio/Not Waving: Intercepts (Ecstatic) LP
Maybe 6 weeks ago, this record was going to be my pick of the week, but we sold out before I even made the news letter that week. Thankfully, it’s been repressed and here it is for all of you who didn’t get a copy from that first batch. It’s killer! Intercepts is a split album between Pye Corner Audio and Not Waving. Taking inspiration from the world of espionage, most specifically spy rings, both artists provide four tracks each, creating a thrilling musical call and response between these kindred producers. Some of the greatest world espionage stories involve spy rings — from the Rosenbergs, to the Cambridge Five and the Duquesne case, stories that have haunted the annals of the covert world and remain shrouded in mystery and fascination to this day. The clandestine spirits permeate these eight tracks of dream-like industrial techno, impressionist synth burbles, fragmented post-modern ambient and cosmic sci-fi adventure. White vinyl version.

File Under: Electronic, Synth, Ambient
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…..new arrivals…..

blumm

2562: The New Today (When In Doubt) LP
Under the 2562 codename, Dutchman Dave Huismans aka A Made Up Sound has been integral to deviant dancefloors since 2007. The otherworldly yet lifelike The New Today is 2562’s fourth album and presents his first new material in this guise since 2012’s Air Jordan EP, which was also self-released on his When In Doubt imprint. As with that last EP, The New Today was sketched out during a trip abroad — a six week stay in New York in late summer 2013 — and later arranged at his home studio in Utrecht, The Netherlands. Composed as a narrative collage drawing upon and splicing from an eclectic library of early European synth experiments, new age tapes, musique concrète, Krautrock, post-punk, obscure electro-pop and other largely forgotten and out of print music, The New Today loosely references the novel of ideas tradition of writing as a restless, eight-track drift bolstered and propelled by his signature texturhythms. From the humid concrète drone sphere of “Arrival” through the hypnotizing gyrations of “Terraforming,” to the airborne rhythmelodies and mercurial syncopation of “Vibedoctor” and centerpiece “Utopia,” the tension and conflict of aural assault “Drumroll” and ultimately the celestial sweep of closing chapter, “New Life,” it’s equally the most diffuse, cohesive and involving LP in his celebrated cache.

File Under: Electronic, Techno, Dubstep
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aka

AKA: Do What You Like (Granadilla) LP
Reissued for the first time. AKA might have been one of the top acts of the Indonesian rock scene in the late ’60s and early ’70s. It does not necessarily mean that any international audience for heavy rock and psychedelic sounds would have noticed that back then, but we change that now. Do What You Like is a colorful album with a diversity of moods. Of course you find hard-driving, wild, grooving rock with simmering guitars and pumping rhythms. Go to the next song and some gentle, nearly ethereal dreamy psych-pop will alter your mind. Another step ahead on the tracklist and some easy and melodic ’60s beat makes you want to dance the night away. The special factor of this album is the musical flavor of Indonesian pop that all of the songs sung in their native tongue show, while the few English tracks can compete against all of the popular hits from those days from American or European acts. AKA know how to heat you up with their psychedelic sound explosions and eruptive beats. They also know how to calm you down again and lay your soul to rest in a flow of gentle harmonies. Fans of ’60s power pop with a regional feel presented by bands such as Omega from Hungary and of the ’60s U.S. West Coast psych and pop scene will go crazy about this record.

File Under: Indonesian, Psych, Hard Rock
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alberich

Alberich: NATO-Uniformen (Hospital) LP
This gatefold double LP set is a redacted version of Alberich’s indomitable, spirit-crushing opus, NATO-Uniformen, cut from 30 tracks in the original eight-cassette box (limited to 50 copies) to 19 tracks on this version, edited in 2014 for the Trans Industrial Assembly in NYC. Originally deployed in 2010, its bombed-out luster has become a firm favorite of everyone from Blackest Ever Black’s Kiran Sande to Endangered Species’ Vereker. Between the bludgeoned doom techno of “Skysweeper,” the shell-strewn darkwave scenes of “Man Is Ready” and the Carpenter-esque adrenalizer, “Immortality Is No Consolation for Death,” Alberich finds a very specific line through heavy electronics, synth zones, and dread techno, and holds it to the last with a shell-shocked, eviscerated aesthetic most unlike any other. Fully remastered and cut at Alchemy.

File Under: Electronic, Noise, Techno
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atobe

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

File Under: Electronic, Basic Channel, Chain Reaction
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bandon

Dao Bandon: Kon Kee Lang Kwai (EM) LP
This is the second release in the re-launch of EM Records’ Thai music series. Paradise Bangkok, Soi 48 and EM have teamed up to deliver a series showcasing the extraordinary performances of some of Thailand’s greatest musical legends. For reasons unknowable, certain places in certain eras become hotbeds of music, fertile in their growth and flowering of musical talent. Thailand in the 1970s was such a place, and Dao Bandon is one of the enduring greats of that era. Born in the farm country of the Isan region, Bandon came from a poor family and was a monk during his teens, two great influences which shaped him, with his farm roots grounding the earthy heart of his lyrics, and his years of monastic chanting lending a unique resonance to his singing. After an apprenticeship with some of the greats of Thai music, Dao Bandon began to enjoy success leading his own band. The songs here, released in the 1970s, showcase the infectiously joyful Bandon groove, his mellifluous voice, and his captivating melodic sense. His lyrics deal with sex, love, marijuana, and the struggles of the poor, but no matter what he sings about, a sense of good cheer is always evident. Featuring parallel translations of the lyrics, in-depth liner notes, rare photos, and of course, great music, Man on a Water Buffalo is yet another example of Thai excellence from EM Records. Housed in a standard jewel case. Includes a 24-page booklet with liner notes written by Soi 48 as well as rare photos. English & Japanese text with Thai, English, and Japanese lyrics.

File Under: Thai, Luk Thung
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bedhead

Bedhead: Beheaded
Bedhead: WhatFunLifeWas
Bedhead: Transaction de Nova
(Numero) LP
The complete studio recordings of Dallas, Texas, slow-core pioneers. Every cymbal crash, guitar brush, and whisper, across four compact discs. Deluxe box includes WhatFunLifeWas, Beheaded, Transaction De Novo, and an additional disc overflowing with singles, EPs, and outtakes, alongside a perfect bound book dissecting the quintet’s nervous slouch through the ’90s. “I met them in full flower, in the depths of their mania, pursuing contemplative music with the kind of intensity normally found in psychopaths. No detail was too small to sweat, no crack in the veneer not worth gluing and clamping. We built a common language, equal parts philosophy, rock music, and disdain for the dullness around us.” – Steve Albini

File Under: Indie Rock, Slowcore
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belfi

Andrea Belfi: Natura Morta (Miasma) LP
Natura Morta, “dead nature” or “still life.” This album can be understood as a powerful study of the minute details of the art of electro-acoustic composition, as much as the Renaissance “nature morte” were a masterful display of the artist’s skill in portraying the glow of a ripe fruit, or capturing the light beaming on a vacant chair. Six tracks, to be listened to as two long explorations in the art of variation and repetition. Layers of drums and percussions intertwine with synth waves, making the portrait come to life, detail after detail, until a complex figure emerges from the white canvas. The constant, unsteady sounds, wavering noise, swirling cymbals, and distant feedback gently pull the listener into the picture, letting them enjoy every detail of these beautifully-staged compositions. Recorded at EMS studio, Stockholm, ZKM in Karlsruhe and at the legendary Funkhaus in Berlin, this album mixes influences from both Italian minimalism and the electro-acoustic contemporary scene. Somewhere in between the electronics of Keith Fullerton Whitman, the percussive repetitions of Jon Mueller, and the atmospheric sensibility of Pan-American.

File Under: Experimental, Electro-Acoustic
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bowles

Nathan Bowles: Nansemond (Paradise of Bachelors) LP
Nansemond is the name of a fading dream as much as it is a place name; the word has largely disappeared from maps of Virginia. The eponymous American Indian tribe, once part of the Powhatan empire but now numbering only 200 members, lent its name first to the Nansemond River, and later to a now-extinct county incorporated in 1646 but renamed in 1974. This region of tidewater Virginia was once predominantly underwater, beneath the blackwater and cypress groves of the million-acre Great Dismal Swamp, since drained to a mere fraction of its former span. Escaped African American slaves, as well as subjugated Nansemond Indians, took to these vast swamplands as fugitive maroons, lying out in secret settlements amid the labyrinthine morass. Now Nansemond is a ghost-choked locale, the tendrils of its spectral swamps grasping for purchase among parking lots, subdivisions, and peanut farms. This is the wetlands landscape Nathan Bowles conjures with the cinematic suite of contemplative set pieces on his remarkable second solo album. Although he now resides in mountainous Southwestern Virginia, in a crucible of old-time music, he grew up on a body of water improbably called Sleepy Lake, on an estuarine peninsula surrounded by the Nansemond and James Rivers and Chuckatuck Creek. Nansemond aims at reconciling childhood memories, historical narrative, and recent life-changing events by revisiting the changing sites that connect and punctuate those hazy temporal nodes, both real and imaginary. It’s a record deeply engaged with how our memories colonize and transform a sense of place. Although his recent solo recordings prominently feature his virtuosic banjo, Bowles is also widely recognized as a drummer, and he considers himself first and foremost a percussionist, with banjo as a natural extension of his interest in percussive drone. The seven songs on Nansemond deploy banjo, percussion, piano (his childhood instrument), tapes, and—for the first time—his robust voice to explore the rugged country between the poles of Appalachian old-time traditions and ecstatic, minimalist drone, moving effortlessly between composed sections, improvised passages, and field recordings. This forking-path approach follows his wide-ranging work as an ensemble player with the Black Twig Pickers (banjo, percussion), Pelt (struck and bowed percussion), Steve Gunn (drums, piano, banjo), Hiss Golden Messenger (banjo), Jack Rose, and others.

File Under: Folk, Country, Bluegrass
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caleJohn Cale: Academy In Peril (4 Men With Beards) LP
“The Academy in Peril by former Velvet Underground member John Cale was originally released in 1972. The album is an exploration of his influences and training in classical music and features mainly instrumental compositions including two tracks that feature the Royal Philharmonic Orchestra. Cale balances the rock-classical fusion on the record with touches of humor while the music is beautiful and subtle showing Cale’s skills at composing and arranging. Contributors include Ron Wood on guitar, Del Newman on drums and ‘Legs’ Larry Smith of The Bonzo Dog Band. Cover art and design by Andy Warhol. 180 gram vinyl reissue in a die-cut custom gatefold jacket.”

File Under: Rock, VU
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clark

Gene Clark: Two Sides to Every Story (High Moon) LP
Two Sides to Every Story, the criminally long out-of-print solo album from Gene Clark, a founding member of The Byrds, is available as a deluxe CD reissue packaged in a hardbound eco-book. Finally available on CD, this remastered version of the 1977 RSO album features absolutely stunning sound. Two Sides to Every Story was voted #3 in the 2010 Uncut feature “Readers 50 Greatest Lost Albums.” From the country-rocking “Kansas City Southern,” to the to the achingly, melancholy, strings-and-synthesizer-draped “Sister Moon,” Two Sides is a masterfully eclectic album that AllMusic proclaims “succeeds on many more levels than more heralded No Other. ” Produced by Thomas Jefferson Kaye (who also produced Clark’s masterpiece No Other), the album features an all-star cast of musical co-conspirators: Emmylou Harris on backing vocals, banjo virtuoso Douglas Dillard, country violin legend Byron Berline, pedal-steel ace Al Perkins, and Jeff “Skunk” Baxter on guitar. Gene Clark served as The Byrds’ chief songwriter in the mid-’60s, penning some of their most essential songs, including “Feel a Whole Lot Better,” “Eight Miles High” and “You Showed Me.” Clark is widely considered to be the pioneer of three musical genres: folk-rock, country-rock, and psychedelic-rock. Gene Clark’s inimitable songwriting and singing continue to inspire and influence countless artists, including: Robert Plant and Alison Krauss (who recorded TWO of his compositions on their 2010 Grammy-winning Album of the Year, Raising Sand), Bob Dylan, Fairport Convention, R.E.M., Tom Petty, Yo La Tengo, the Flamin’ Groovies, Teenage Fanclub, and Wilco. Features bonus cuts on an exclusive download card with over 90 minutes of unheard Gene Clark in 24-bit WAV files.

File Under: Rock, Folk, The Byrds
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consumer electronics

Consumer Electronics: Estuary English (Dirter Promotions) LP
The unlikely trio of aging renegade Philip Best (Whitehouse, Ramleh, Skullflower, etc.), hip U.S. artist Sarah Froelich and producer/guru Russell Haswell are all set to unleash their first recordings, the state-of-the-nation Estuary English from Consumer Electronics. In possibly Dirter’s most ambitious presentation yet, this release consists of 2×12″ singles cut at Alchemy and a CD of the album that has different mastering by the legendary Denis Blackham. Denis is, of course, well-known for adding his touch of genius to the likes of NWW, Whitehouse, C93, etc., etc., not to mention his impressive CV that features Led Zeppelin, Black Sabbath, and Hendrix to name but a few. The CD will only be available with the first pressing and will not be issued on its own; both formats need to be heard to be believed. The package is housed in a beautiful gloss laminated gatefold sleeve and the vinyl is pressed on heavy 180 gram black virgin wax.

File Under: Electronic, Whitehouse
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cut hands

Cut Hands: Festival of the Dead (Blackest Ever Black) LP
It is said that the gods of the dead demand you ritualistically commit to each intensely hot beat of the ceremonial drum. Now, here, is the music for their celebration of death, music to dance together with, to oblivion, a music both spectacular and ecstatic where, like never before, the spirits of Santería and Voudou mix with raw electricity into burning diabolical polyrhythms. Festival of the Dead is without doubt the most potent distillation yet of Cut Hands’ malign percussive energy, with pieces like “The Claw” and “Vaudou Take Me High” leading the irresistible polyrhythmic assault in pursuit of one thing: a final rapturous celebration of oblivion. Written and produced by William Bennett.

File Under: Electronic, Whitehouse
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diamond

Diamond & The Psychotic Neurotics: Stunts, Blunts & Hip Hop (Get on Down) LP
“Long out of print, and even impossible to find on vinyl at the time of its release, Get on Down presents the classic Diamond D debut Stunts, Blunts and Hip Hop. As the album title states, this album is one long party from beginning to end. Diamond shines both on the mic and behind the boards creating one of the greatest hip hop albums ever made. Coming in at over an hour long Stunts never has a dull moment, Diamond along with the Psychotic Neurotic’s and his D.I.T.C brethren are able to make each song or interlude stand out and play through without any skip worthy moments. Although Diamond D handles the majority of the album’s production, others such as Large Professor, Q-Tip, Jazzy Jay, Showbiz, and DJ Mark the 45 King co-produce on several tracks. The music he was making in 1992 cemented Diamond as one of the best producers in the game.”

File Under: Hip Hop, Rap
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lips

Flaming Lips: With A Little Help From My Fwends (Warner) LP
Brand New Flaming Lips album doing a Track for Track cover of Sgt.Pepper! Album includes contributions from Miley Cyrus, MGMT, Tame Impala and Moby, among others.

File Under: Rock, Beatles
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green

Green: s/t (Lion) LP
Green arrived in the mid-1980s, amidst a Chicago scene that included bands like Naked Raygun, Big Black, and Ministry (and eventually, Material Issue and Smashing Pumpkins). Green bypassed the major label-express that many of those other bands rode to fame and fortune, and continued to make records their own DIY way, records which were lauded in the pages of Trouser Press, Spin, and The Village Voice, among others. And with each passing year there are an increasing number of folks who are convinced that their debut LP is worthy of those Mojo/VH1/Spin/ lists of the top 50 or 100 rock albums of all time. From the first pulsating, exuberant notes of the intro, the band knows what they want to say: kids get ready, gotta rock steady, because they ‘Gotta Getta Record Out,’ they are trying to ‘Curry Your Favor,’ they play the records, and maybe most of all, they want to be ‘Big in Japan’! One astute reviewer said: “The band darts through decades of pop history as impatiently as the ‘Spiral Scratch’-era Buzzcocks, with band leader Jeff Lescher’s voice ranging from Princely falsetto to gravel-tinged field holler, but most often sounding as though someone stepped on Paul McCartney’s toes in 1965.” And as another reviewer quite rightly said, “This is such a flawless pop masterpiece that I’m not even ashamed to trot out terms like ‘flawless pop masterpiece.’” Green may be the bee’s knees for anglophile power poppers, but they deserve more notice than that; they were the kind of all-embracing band, with a taste for punk, glam rock and soul—and with a twitchy sort of energy—of the sort that burbled around in the late-80s, pre-grunge underground (a little Feelies anyone?). It remains a mystery why other bands are fixed in the collective memory as the era’s best—at the very least, Green should make a list of top obscure pop groups of all time! Booklet has band history and lyrics, plus many a fine photo, all courtesy of Lescher. Seven bonus tracks, including the CD debut of the band’s 1984 EP “The Name of This Band is Green.” Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

File Under: Garage Rock, Indie Rock
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gulaab

Gulaab: Ritt Durch den Hades (Merlins Nose) LP
Ultra-rare lost psychedelic Kraut-folk from 1979. First time on CD and LP. Taken from the original master tapes. “Gulaab” means “rose” in the Nepalese language. Gulaab is a German virtuoso on the acoustic guitar who served three years as an after-dinner musician in a luxury restaurant in Nepal, playing for an amazing number of well-known personalities of the 20th century during the early ’70s. This was a strongly-influential experience that shaped his musical expression big-time, but also let him become an open-minded spirit. Ritt durch den Hades is the result of his experimentation with sounds, atmospheres and a multitude of styles in traditional music from Latin to Eastern Asian elements. It was first released in 1979, vanishing into obscurity soon after, waiting to be rediscovered by a more open-minded generation of music lovers now. Traditionalists be forewarned: This mystic grail of ’70s “Kraut folk” stands far out from the average folk and singer/songwriter stuff, combining guitar harmonies of the highest order with a cosmic drone that backs up the hypnotizing picking and trippy swirls of sounds. This album is in fact more like a musical journey than just a piece of music, taking you from secret sacrificial altars in the Andes to the ceremonial places of the ancient Himalayan population with a short stopover for a little “joint venture” in the musical space-centers of highly flown-out German originators like Ash Ra Tempel/Manuel Göttsching, Popul Vuh/Florian Fricke, Witthusser & Westrupp, Bröselmaschine, Dom or Deuter. Now take a ride through Hades with Gulaab.

File Under: Kraut Rock, Psychedelic, Kosmische
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gun club

Gun Club: Mother Juno (Bang!) LP
At last, a vinyl reissue of this 1987 classic album by The Gun Club, featuring Jeffrey Lee Pierce and Kid Congo Powers (The Cramps, Nick Cave And The Bad Seeds). Mother Juno meant the evolution of sound at The Gun Club’s discography, entering into musical adventures where Jeffrey Lee Pierce and Kid Congo Powers mixed their guitars and melodies as per Television and Jimi Hendrix. This record has the addition of guitar cooperation from Blixa Bargeld (Einstürzende Neubauten, Nick Cave And The Bad Seeds) and was recorded in Berlin during the wild period before the fall of the Wall. Intense, obscure, rich in sound and writing, Mother Juno is a timeless classic for all fans of rock music. Proudly released by Bang! Records, courtesy of Creeping Ritual Productions, this record has been remastered and is presented in a deluxe gatefold edition, including two bonus tracks (“Crab Dance” and “Nobody’s City” which has been recently covered by Iggy Pop and Nick Cave, alongside Sonic Youth’s Thurston Moore and Beasts Of Bourbon’s Brian Henry Hooper) previously unreleased on the original edition.

File Under: Rock
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his name

His Name is Alive: Tecuciztecatl (London London) LP/CD
HNIA’s stunning new offering is a rock opera depicting an epic struggle between identical twins, reflective in nature, and mirrored in twin science, secret language, and mythology. Described variously by the press as “absolutely beautiful” (CMJ), “a silver thread out of the labyrinth” (NME), and “haunted, wholly out of time or context” (Plan B), His Name Is Alive continues to mystify with Tecuciztecatl. Beginning in Livonia, MI as an experimental bedroom dream pop project, HNIA has released a steady stream of music since their first self-released cassettes in the late-’80’s. One of label founder Ivo-Watts Russell’s Top 5 groups of all-time, HNIA would go on to release 7 albums on the 4AD label over a period of 13 years. Out of step with the Alterna-Grunge zeitgeist of the ’90’s, with the current ascension of horror soundtracks and other non-“rock” forms into both pop and underground music, HNIA’s time may have finally come.

File Under: Rock, Ethereal, 4AD
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hookworms

Hookworms: The Hum (Weird World) LP
Hookworms return with their new album, The Hum, which follows the Leeds quintet’s debut album Pearl Mystic – a record that steadily went on to become one of 2013’s most impactful breakout statements in the UK! Even more ferocious and uncompromising than its predecessor and yet more melodic and focused, The Hum further cements the band’s status as a vital force in British independent music. The Hum takes the blueprint of Pearl Mystic – proto-punk, garage rock, Washington DC hardcore, 80’s British spacerock – and further stamps it with the band’s seal. Leaner, meaner and more propulsive thanks to the muscular playing of new drummer JN, the record boasts both the most straight-up punk song the band have written to date in eviscerating opener “The Impasse” (“we wanted it to sound like Suicide if they had a full band”, explains MJ) and moments of patient, widescreen beauty only hinted at previously. “We were writing Pearl Mystic to an audience in the same way your diary has an audience”, says guitarist SS. “It’s written to one but if no one ever reads it that’s not a big deal. This time round though we knew we had a really clear audience, so The Hum is really about different freedoms and constraints – with Pearl Mystic the possibilities were almost too vast, this time around we had a much clearer idea of what the record should be like and that became freeing because we didn’t need to worry about its direction so much.” That word “free” is a good way to approach The Hum, a record that could only be made by a band in total command of their personality.

File Under: Psych, Space Rock
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invisible

Invisible Hands: Teslam (Abduction) CD
“The Invisible Hands is a transcontinental collaboration between Alvarius B. (Alan Bishop of Sun City Girls) and four stellar young musicians from Cairo, Egypt: Cherif El Masri, Aya Hemeda (both formerly of the popular Egyptian group Eskenderella), Adham Zidan and Magued Nagati. On Teslam, The Invisible Hands expand the already panoramic range of their eponymous debut LP with a haunting set of melodic, impeccably crafted songs whose vintage psych/hard-rock edge conjures up early Alice Cooper almost as often as it recalls Sun City Girls and 20th-century icons like Ennio Morricone and Serge Gainsbourg. The band’s exquisite sonic palette is deepened by Cairo-based guest musicians Mohamed Ibrahim, Mohamed ‘Moe’ Asem, and Sammy Sayed, as well as by longtime SCG compatriot Eyvind Kang. Recorded in Cairo between 2013 and 2014, Teslam represents a further evolution of Alvarius B.’s peerlessly idiosyncratic pop sensibility, which is just as volatile and unclassifiable as his more experimental work. His songwriting — both on his own, and in partnership with Cherif El Masri — is marked by a unity of purpose that has compressed countless musical and emotional incongruities into a handful of sharp-edged, pitch-black jewels. A brooding track composed by keyboardist Adham Zidan (‘The Great Implosion’) perfectly complements the record’s uneasy mood. As usual, Alvarius B.’s lyrics comprise an apocalyptic pile-up of cruel metaphors at the intersection of culture, politics and international crime. But they take on new power and new implications as sung by El Masri and Hemeda, whose seductive voices are as inviting as a welcome mat at the gates of hell. Each song stands on its own while also fitting into a planet-sized jigsaw puzzle detailing dark associations and secret narratives that stretch back as far as the foundation of the world. Arguably Alvarius B.’s most accessible work to date, Teslam is a generously baited steel-jaw trap for the unwary listener. Like The Invisible Hands’ 2013 debut, Teslam inevitably reflects the precarious political circumstances in which it was conceived and recorded. As such, it’s a vivid document not just of an unlikely musical collaboration, but also of a critical moment of hope, defiance, rage and sorrow in one of the world’s most venerable cities. [This limited-edition razor-edged stainless-steel CD comes in a beautiful die cut balsawood jacket that folds out to form a fully operational guillotine. Just kidding, but it does come as a digipak CD with lyrics booklet and lovely artwork].” –B. Kearney

File Under: Rock, Sun City Girls
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it's psych

It’s Psychedelic Baby #1 Mag
130 full-color pages, glossy sleeve, plus a bonus space rock/neo-psychedelia compilation CD! A must-have for fans of Shindig!, Flashback or Ugly Things Magazine! Read what Vernon Joynson has to say about it: The first Country Joe And The Fish album Electric Music for the Mind and Body is one of the very finest examples of psychedelia and when Klemen found it as a 12-year-old among a pile of his dad’s records and played it, his life changed forever. His curiosity led him to research deeper and deeper into the whole ’60s music scene. He started a blog where he discussed private pressings and over the next few years, with the help of a network of like-minded friends, the blog evolved into the fabulous online magazine that is now It’s Psychedelic Baby!. The name is perhaps a little misleading because the magazine’s scope is much wider than just psychedelia. Its scope encompasses prog-rock, jazz, blues, folk, punk, metal & avant-garde music. Indeed, Klemen is a huge folk and jazz fan. Above all, the web site has a special focus on obscure and rare music. At the last count this stunning site contained over 500 interviews with a very broad range of artists and people connected with the music business, as well as lots of reviews and articles. He has done so much original research, located so many forgotten artists and even helped some to find record labels. What you have in your hand is the first hard copy version of this magazine! This first edition is primarily dedicated to Texas psychedelia. The state has a very rich and diverse musical tradition, but in the ’60s it produced countless tough garage-punk bands and some of the most demented acid-punk records to come out of the U.S. in this era, as well as some seminal hippie-rock bands. Many of these were drawn to the attention of wider audiences in the subsequent years by the pioneering works of David Shutt, whose Journey to Tyme was a brilliant interpretative discographical guide to Texas 1960s punk and psychedelia and by Doug Hanners’ equally excellent magazine Not Fade Away, focusing on the Texas music scene in that era. It is largely due to them and other Texas collectors that many obscure Texas recordings of the mid to late ’60s found their way onto the many various artists’ compilations of ’60s punk and psychedelia that emerged in subsequent years. Now, in this new hard copy magazine, Klemen, assisted by other music historians like Kevin Rathert, has traced and interviewed many more artists and the magazine contains features about Powell St. John, Zakary Thaks, The Moving Sidewalks, Lemon Fog, Golden Dawn, Homer, Corpus, and many more. Be sure to read the interview with Michael Jensen (who was a member of the 13th Floor Elevators in the ’80s) and shares for the very first time many stories about Roky and different meanings of some of the band’s songs. In keeping with the sheer scope of Klemen’s antenna, this mag includes many other features, too. He has tracked down the Zambian band Witch and has a fascinating feature (probably the first in hard copy) about the whole ’70s Zambian music scene. He’s also found Vyto (from First Chips) and there are articles on the Mexican Kaleidoscope, Bodo Molitor, Anonymous, and reviews of new reissues and new psych releases. There is also a fascinating non-music-related feature about “music as medicine.” Read on… I promise you will not be disappointed. CD features tracks by: White Hills, Uncle Acid & The Dead Beats, White Hills, Les Indiens, The Oscillation, Get Your Gun, Farflung, Strangers Family Band, Jacco Gardner, Earth Mk.II, Amen Dunes, Aalto, David Greenald.

File Under: Psych, Magazines

kiasmos

Kiasmos: s/t (Erased Tapes) LP
Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album-size. After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’ synth-heavy electro-pop, with their collaborative electronic project Kiasmos. By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly-built studio in Reykjavik, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesizers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them recording the thumb piano, finger-snapping, and even the sound of the metal grinder of a lighter used to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere. Long-time Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing how he also designed the cover for their Thrown EP. Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavik, Arnalds used to work as a sound engineer, often for Rasmussen’s other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

File Under: Electronic, Minimal, Modern Classical
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lacey

Bruce Lacey: Spacey Vol 1 & 2 (Trunk) LP/CD
Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he’s made film, music, art and performances, and collaborated with everyone from The Beatles to Throbbing Gristle. He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World. This is the first time his extraordinary music has been released. Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrète to droning electronic trance. The music will be released across two separate LPs and one CD. Included will be a fine essay about the history of this inspiring figure by BFI/Flipside archivist Will Fowler. Bruce Lacey has been a busy man. Since the 1950s he’s been making film, making music, making art, sculpture, rituals, performances, and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine. By the early 1970s, Lacey was exploring stone circles and ancient rights; he’d also bought a home-made synthesizer from a schoolboy who’d advertised it in Exchange & Mart. He’d made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years. This music is made only when “The Muse” descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey’s music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music by one of the UK’s most extraordinary men has been made available. Full-color LP sleeve. Includes copious notes and an essay.

File Under: Library, OST, Electronic
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love

Love: Black Beauty (High Moon) LP
Black Beauty, the never-before-released masterpiece by Arthur Lee’s legendary psychedelic rock band Love is available as a TrueSound Audiophile CD packaged in a hardbound eco-book. The deluxe CD comes with a 64-page photo-filled booklet. Both formats come with bonus tracks featuring explosive live performances, two unreleased Arthur Lee studio cuts and an unearthed Arthur Lee interview from 1974. Recorded in 1973 for the ambitious new label Buffalo Records, the album remained unreleased when the company folded. Finally, after 39 years High Moon Records is honored to fulfill Arthur Lee’s wish that Black Beauty be heard by music fans worldwide. Black Beauty is making its first-ever official release in any format, anywhere! With unparalleled sound and state-of-the-art packaging, critics are hailing Black Beauty as an instant classic. Black Beauty is that rarest of rock artifacts: an unreleased, full-length studio album, from an undisputed musical genius. Black Beauty is the missing link in a catalog that includes Forever Changes, the classic 1967 Love album The New York Times called “one of the most affecting and beguiling albums of all time.” With Black Beauty, Arthur Lee manages to combine searing ’70s rock with gorgeous melodies and stellar songwriting, topped off by his most distinctive, snarling, soulful vocals. ever. With its wonderfully eclectic collection of songs, the album offers Love fans a rare glimpse into a previously-undocumented phase of Arthur Lee’s fabled career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love.

File Under: Rock, Psych, Soul
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lynnBarbara Lynn: Here is Barbara Lynn (Light in the Attic) LP
To be a woman singing your own blues and soul songs in 1960s Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that’s just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, “You’ll Lose A Good Thing,” recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit. It was a path that Lynn chose at elementary school in 1940s Beaumont, Texas, when she told her mother she wanted to play guitar. “I decided that playing piano was a little bit too common, you know what I mean?” says Lynn in the new liner notes. “You’d always see a lady or a little girl sitting at a piano. I decided I wanted to play something more unexpected, so that’s when I got interested in learning to play the guitar.” Self-taught, first on the ukulele and then on a guitar, Lynn formed her first group, Barbara Lynn and Her Idols, while still at school and soon took the local scene by storm. Hers was a powerful talent in a petite package, a performer who could stand up against the best–even as a teenager. Spotted while performing, underage, in Louisiana, she was offered the chance to record her own material, songs that filtered the experience of being a black Texan teen with power, feel, and guts. Ten of the twelve tracks on her debut album were her own compositions. “It took a lot of time,” Lynn remembers of the recording process, “but we got ‘Good Thing,’ we got our hit. I loved it. I loved meeting the new musicians; a lot of the guys who played on that record became friends. And seeing how the engineers worked and how they produced the sounds, all of that was really interesting to me.” The success of that single took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, Supremes, Chuck Berry, Guitar Slim, and The Temptations. BB King even wrote a letter to Lynn’s mother to tell her what a talented daughter she’d raised. She appeared at the Apollo Theater, she was twice on American Bandstand, and one of her songs, “Oh Baby (We’ve Got A Good Thing Goin’)” was covered by The Rolling Stones. Though she was a precocious performer, hers is a talent that came to full bloom on Here Is Barbara Lynn, her 1968 album produced by Huey P. Meaux and originally released on Atlantic Records. The record was conceived as an introduction of Lynn’s prodigious talents, her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. It collected her early hit and a raft of new songs, each packed with Lynn’s passion and fire. Yet the introduction to her world–now reissued by Light In The Attic–largely proved to be her swansong. She married in 1970, aged 28, had three children, and largely retired from the music industry for most of the ‘70s and ‘80s. Now touring again, she’s amused to think of her 46 year-old album gaining new fans. “I hear this album, and it seems like… it seems like the old times to me,” she says. “I don’t know, it’s strange to know it’s coming out again. It is going to be a wild, first time thing for me, like going back in time. But I’m excited to see what happens.”

File Under: Funk, Soul
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mobb deep

Mobb Deep: Hell On Earth (Get On Down) LP
“By the time Mobb Deep hit with their third album — Hell On Earth — they were solidified street legends. Coming off the critically acclaimed The Infamous, Havoc and Prodigy hit the lab and came back with a soundtrack that is fitting to its title. Havoc’s production is atmospheric; laced with his trademark drums loops and sharp pianos stabs. Add Prodigy’s trademark flow and it’s evident that the pairing is such an amazing match. While Hell On Earth is essentially a continuation of The Infamous you can still hear the growth in both performers and Hell On Earth stands as some of their best work. The album features guest appearances by Nas, Raekwon, Method Man, and frequent collaborator Big Noyd.”

File Under: Hip Hop, Rap
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monotonMonoton: Monotonprodukt 02 (Desire) LP
“Although Monoton dried up in 1992, its entire output consisting of a handful of mini-albums and limited-run EPs, its minimalist electronica appears increasingly ahead of its time. The sole work of Austria’s Konrad Becker, it was a key influence on the brand of Eurotronica found on labels from Kompakt to Mego. Becker began hooking up analog rhythm boxes and tone generators in late ’70s Vienna, churning out a terse music of bleeps, pings and subsonic pulses, all plunged in tape delay and reverb. Blau — originally titled Monotonprodukt 02 — was Monoton’s first release from 1980. The buzzing machines often sound strained to their limits, yet the overall mood is somber, a palette of grays and umbers punctuated by Becker’s incoherent murmurs. ‘Dubwise’ is a spooky premonition of Rhythm And Sound’s Germanic reggae. Muffled steel drums resound around ‘Wirklichkeit,’ while ‘Teil 2′ is seared with a violin drone. Even after 28 years, Monoton’s unearthly, steely beauty is preserved intact.” –Rob Young; This classic album is now reissued on vinyl for the first time ever and original copies exchange for $200 nowadays. 1,000 copies on clear blue vinyl. 350 gram sleeve with holes. Printed inner. Includes a download code.

File Under: Early Electronic, Ambient
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lizard

Ennio Morricone: Lizard In A Woman’s Skin (Death Waltz) LP
It is a proud day for Death Waltz Recording Company as we prepare to release a score by one of the biggest composers in film music history. Ennio Morricone (Once Upon A Time In The West, Cinema Paradiso, Orca: Killer Whale) has produced masterpiece after masterpiece, but none so creatively unsettling as his score to the 1971 Lucio Fulci giallo A Lizard In A Woman’s Skin (aka Una Lucertola Con La Pelle Di Donna). Like many of Fulci’s movies, Lizard blurs the line between dreams and reality, with hedonistic nightmares featuring narcotic-fuelled orgies leading to real murder that may or may not have been committed during one of the dreams. Morricone’s music is as unhinged as the film itself, mixing post-sixties funk and jazz with increasingly uncomfortable effects to provide a haunting and biting backdrop for the turn of the century thriller. As always, elements of the maestro’s music are beautiful, with ethereal vocals by regular collaborator Edda dell’Orso, and this works even better in stark contrast with the harsher sections, with eerie woodwinds, the requisite whistling, wind instruments that sound like coyote howls, and low rhythmic bass that hits your head and your stomach at a point where you start to wonder if someone else is if the house with you. Still, if you’re going to be graphically murdered, A Lizard In A Woman’s Skin is the soundtrack to have it done to you by.

File Under: OST, Italian, Maestro
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mothers

Mothers of Invention: Wollman Rink (Keyhole) LP
Double LP version, pressed on 180 gram vinyl. This superb set documents The Mothers Of Invention’s appearance at the 1968 Schaefer Music Festival, sponsored by the Schaefer Brewing Company and held at the Wollman Skating Rink in New York City’s Central Park. In exchange for $4,000 and what the contract described as “100% star billing,” Zappa and his cohorts played two exhilarating 40-minute sets (at 8:00pm and 10:30pm), taking in early material, pieces that had yet to be recorded, and some that never would be. Remastered sound. Background notes and photos included.

File Under: Zappa, Bootlegs

mwale

Harry Mwale Experience: s/t (Strawberry Rain) LP
Another rare Zamrock album comes to light with the Harry Mwale Experience. The sole and lone album from the legendary figure is fully licensed, and is a blend of psychedelic rock, ethnic psychedelic (with fuzz guitar) and even some soul. Overall a very robust and strong effort with above average fidelity as compared to most Zamrock releases, and one of the more obscure and harder to find records from Zambia, as well as one of the more unique. Limited to 500 copies on LP, one time limited edition pressing. For fans of Blo, Witch, Salty Dog, Amanaz, The Peace, Survival and other afro rock albums. Look out for our upcoming Zamrock selections as we have a lot to roll out, including some from the original master tapes!

File Under: Zamrock, Psych, Fuzz

neel

Neel: Phobos (Spectrum Spools) LP
There’s a large empty space on your record shelf, in between Nurse With Wound’s Space Music and Pete Namlook & Tetsu Inoue’s Shades of Orion: a gap between the cold, lifeless experimentations of Steven Stapleton — space heard as a largely silent void punctuated by the sudden and infrequent arrival of massive objects — and the romantic imaginings of ’90s space ambient which filled space with idealistic longings of earth. There aren’t many records to put right between those two. But now Neel has given us one, Phobos, and it’s both a lustrous and shadowy beauty. After debuting stellar live performances at MUTEK in Montreal as well as Berlin Atonal, the time to release an album documenting the material has arrived. Phobos is the debut LP from Neel, well-known as the sonic mastermind behind the Voices From The Lake project, together with his fellow Italian DJ, friend, and cosmic joker Donato Dozzy. Neel is a young mastering engineer with golden ears, and through Voices From The Lake, he and Dozzy have brought a level of immaculate sound production to techno which, to be honest, simply hasn’t existed before. Alone, however, you might feel Neel sounds even better. Phobos is a carefully-cut gem, reflecting layers of patient detail and filling the full frequency range with a perfect balance. Voices From The Lake is an organic project, with a tight focus on water and life, but Phobos has leapt to the opposite end of the spectrum. You cannot take a sampler’s magnifying glass to a place that does not transmit sound — another kind of imagination and technique is required. The sonic results are a real treat. This album more than most, will benefit from whatever outrageous hi-fi you can swing at it. Don’t just play it loud — play it well. Legend has it Neel constructed Phobos out of an elaborate narrative concerning Phobos, the larger of Mars’ two moons, Fear and its brother Dread, the son of Aries and Aphrodite, the moon which sets twice across the Martian sky each day, and which each century draws closer to its red parent by one earthly meter, in a 50-million year gravitational tease that can only end in destruction. Further investigators will have to tease out the real details of that story from Neel, but for listeners the album slowly traverses through deep space over the course of a single hour-long track, patiently passing slow-turning objects and desolate plains, until the final minutes where it unpacks itself — presenting all the pent-up emotions from a long trip — in a blissful moment that marks the end and beginning of this voyage into space alone.

File Under: Electronic, Ambient, Drone
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neotantrik

Neotantrik: Omnichrom (Pre-Cert) LP
Once again mining a rich source of archival material, tape works and improvised recordings, Andy Votel’s Neotantrik tap deep into the subconscious with a highly-visual trip into the furthest reaches of psychedelic ambience. Following on from Blue Amiga (VHSX 010LP) that came and went in a flash, Omnichrom is a more brooding, studied affair. Unfurling from a delicate modular opening sequence, the A-side flows into a hallucinogenic fever-dream fleshed out with barely-there analog malfunctions and strings that suddenly throw you into a cacophony of noise in a proper creeped-out, tense fashion. The flipside carries on from this point — pushing you deeper into a Badalamenti-esque soundworld replete with unnerving found sounds and mechanical percussion swung in and out of one of the trippiest Kosmische sessions we’ve heard in a while. Cut at Dubplates & Mastering in an edition of 500 copies.

File Under: Electronic, Ambient, Psych
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objekt

Objekt: Flatland (Pan) LP
PAN is excited to announce the release of Objekt’s debut album, Flatland. Written between 2012 and 2014, Flatland follows up a succession of dynamic single releases from his base in Berlin, including the recent split 12″ with Dopplereffekt on Leisure System, Cactus/Porcupine on Hessle Audio and three 12″ singles on his eponymous white label series. His recorded work so far has toyed with techno and electro conventions and has turned dancefloor tropes on their head, tickling the boundaries of what can or can’t constitute an effective club record. Approaching the album format on its own terms, Objekt makes full use of the larger canvas to explore a framework of competing truths, multiple perspectives and conflicting accounts. Flatland imagines a world in which any scene can be seen from every angle at once. Semblances and cross-references entwine the 11 original tracks and Objekt’s existing recordings, shaping a powerful and absorbing album that weaves between the alien and the hauntingly familiar. This is an effervescent body of work, its sound design evoking vivid imagery and conveying the same unmistakable sense of detail and movement for which Objekt has become known. On his first attempt, Objekt has constructed a mature and multilayered album with its own story to tell, from whichever angle you choose to approach it. Mastered and cut by Matt Colton at Alchemy. by Joe Dilworth and artwork by Bill Kouligas & Kathryn Politis.

File Under: Electronic, Techno
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onyeabor

William Onyeabor: Volume 1 (Luaka Bop) 5LP Box
The first of two William Onyeabor vinyl box sets from Luaka Bop features five of the albums the elusive Nigerian synth-funk pioneer self-released between 1977 and 1985 – remastered and officially available for the first time. His music represents the epitome of the golden era of Nigerian funk, before he gave up a life in music to become a devout Christian. Luaka Bop released the critically acclaimed compilation Who is William Onyeabor? in October of 2013, and has since seen the release of the documentary Fantastic Man, which was fabricated around the myth of the musician and attempts to unearth the man behind the music. It is also now a full blown live show touring the world, paying tribute to the music of Onyeabor featuring a supergroup of Damon Albarn, David Byrne, Kele Okereke from Bloc Party, Alexis Taylor from Hot Chip, the Lijadu Sisters, Money Mark, Pat Mahoney and Sinkane. To this day, William Onyeabor has not spoken about his music in one single interview.

File Under: African, Electro, Synth, Funk
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trick

OST: Trick ‘r Treat (Waxwork) LP
Waxwork Records is thrilled to release, for the first time ever, Douglas Pipes’ score to the 2007 Halloween anthology film, Trick ‘r Treat. Directed by Michael Dougherty (X-Men 2, Superman Returns), Trick ‘r Treat has become a modern cult classic and traditional October viewing alongside classic horror films such as John Carpenter’s Halloween, and has earned a 24-hour rotational airing in 2013. Starring Anna Paquin, Brian Cox, and Dylan Baker, Trick ‘r Treat has won over fans and critics alike with it’s maliciously whimsical approach of breaking down Halloween traditions in one of the most impressive horror films to date. Waxwork Records has worked closely with both Michael Dougherty, Douglas Pipes, and Legendary Pictures to create the ultimate Trick ‘r Treat soundtrack experience. With their stamp of approval, this deluxe LP is as official a Trick ‘r Treat product as they come. This expanded double LP features over an hour of music that has been mastered for vinyl and supervised by the composer. For art duties, Waxwork brought on none other than the incredibly talented Francensco Francavilla (Afterlife With Archie, The Black Beetle). Francavilla has worked as an in-house artist for both Marvel and DC Comics, and has created the full LP packaging artwork with approval from director Michael Dougherty, himself. If that wasn’t enough, at the request of Michael Dougherty, Waxwork has acquired the full audio stems from the film to create a full bonus Spooky Sound FX album perfect for a haunted house, or to spook your neighbors this Halloween season. Like the classic Disney LPs such as “Chilling, Thrilling Sounds From The Haunted House”, the included Trick ‘r Treat spooky sound-fx album will take the listener through the streets of Warren Valley, Ohio on a cold Halloween night filled with vampires, werewolves, rock quarry zombies, and Sam himself. If that wasn’t enough, the entire spooky sound-fx album has been constructed, mixed, and edited by Evan Chen, the sound designer on Michael Dougherty’s 1996 animated short Season’s Greatings which features Sam’s first appearance, and inspired the film Trick ‘r Treat.

File Under: OST, Horror
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pedigo

Hayden Pedigo: Five Steps (Debacle) LP
The latest LP from Seattle’s killer Debacle Records comes courtesy of Amarillo, TX guitarist Hayden Pedigo. Five Steps veers between two sides of Pedigo’s musical spectrum: crisp, beautiful acoustic numbers that build upon his low-key debut album, and tripped out, blasted experimentation on the other (the side-long “Dream Theory Parts One-Four”). For his follow-up, Pedigo reached out to some of his heroes to collaborate on the album, and the response was overwhelming. Five Steps features contributions from This Heat’s Charles Hayward, Werner “Zappi” Diermaier of Faust, Fred Frith, and Acid Mothers Temple’s Kawabata Makoto, to name a few. A mesmerizing record from one of the most promising young talents we’ve heard in a hot minute.

File Under: Folk, Experimental
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picturebooks

Picturebooks: Imaginary Horse (Riding Easy) LP
The Picturebooks, a blues-soaked duo featuring singer/guitar player Fynn Claus Grabke and drummer Philipp Mirtschink. The German band release their North American debut album, Imaginary Horse, on Oct. 7 via RidingEasy Records. Music, skateboarding and motorcycles, thats all we need,” says Grabke. The pair, who hail from Grsloh, Germany, are well known in motorcycle circles for their custom creations and the bands unique working environment thats part recording studio, skate park and chopper garage. From Dice Magazine to Kustom World, Custombike or Kustom, their bikes are featured in chopper magazines worldwide. Fynn, the son of famed 80’s era skateboarder Claus Grabke, and Philipp have trekked across the European continent for the past four years, combining their passion into a lifestyle thats reflected in their wall-shaking music. The Picturebooks retreated to their “garage” in order to record Imaginary Horse during early 2014. Mirroring their daredevil skateboarding ethos, they broke rules while recording. For starters, there was considerable physical space between the musicians and the microphones, and it wasn’t simply a sterile studio environment. The concrete floors and airy expanse contributed to the sound, and the overall atmosphere proved quite apropos. Ultimately, all of these pieces form a blues rock pastiche that’s as individualistic as it is infectious. The Picturebooks’ Imaginary Horse becomes a reality for rock ‘n’ roll now. “We never wanted to sound like anybody else,” concludes Fynn. “We’ve done everything possible to create something of our own. I hope people see that, hear it, and feel it.” For fans of Graveyard, Uncle Acid, Kadavar, Black Keys, White Stripes.

File Under: Blues Rock, Psych
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pink

Ariel Pink: Pom Pom (4AD) LP/CD
Across its 17 tracks and 69 minutes, Pom Pom is unfiltered Ariel Pink, featuring infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade. From demented kiddie tune collaborations with the legendary Kim Fowley (songs such as “Jell-O” and “Plastic Raincoats In The Pig Parade” were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop (“Put Your Number In My Phone,” “Dayzed Inn Daydreams”), scuzz-punk face-melters (“Goth Bomb,” “Negativ Ed”) and carnival dub psychedelia (“Dinosaur Carebears”), Pom Pom could very well be Ariel Pink’s magnum opus. Speaking about the record, Ariel Pink says that “although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded.”

File Under: Indie Rock, Pop
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probe

Probe 10: There is a Universe (Lion) LP
“This masterpiece crawled up my spine like a kundalini snake and proceeded to take the top of my head off. Probe 10 are unquestionably linked to a very specifically American form of proto-prog-into-jazz-rock synthesis of the precise sort Elektra Records used to specialize in, from Tim Buckley’s Starsailor to David Stoughton’s Transformer. Toss in trumpet fanfare laden acid psych straight out of the C.A. Quintet songbook, the riotously melodic and dense brassy arrangements of McLuhan… and…well…hold on to your hookahs!” —Mutant Sounds “Unique jazz-rock album with major space-rock vibes. You have to love the way the bass counters the effects-laden guitar solos and heavy fuzz. Considering how many loner folk and hard rock private press albums came from the same time period, discovering something this ambitious and unusual is a real kick. Most of the time, it sounds like the world’s best exploito-jazz record, Herb Alpert filtered through Pink Floyd and Quiet Sun.” —Acid Archives

File Under: Prog, Jazz, Psych, Rock
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j rider

J Rider: No Longer Anonymous (Machu Picchu) CD
Vinyl soon! Hot on the heels of our ecstatically received reissue of Anonymous’ classic album “Inside the Shadow”, Machu Picchu Ltd. is thrilled to announce the reissue of their elusive and legendary follow-up. After the 1976 release of “Inside the Shadow”, the group decided to change their name to J Rider (after the second cut on the Anonymous LP) and pursued a similar rich vein of impeccable songwriting, but this time adding more hard rock to the mix, resulting in a fantastic sounding album that sadly went unreleased at the time. The excellent reissue label OR Records first unearthed the tapes and put out a small edition of LPs in 1996, and we are now very happy to present you with a new and deluxe edition of this gem, complete with new sleeve art. “Kiss Of Your Soul” and “Pike River” get our vote for two of the greatest songs ever written, and “One Sided Lover”, “High Roller” and “Sunday‘s Hero” each offer a heavier spin on the group’s Television-like interplay and compositional prowess. This record is highly recommended for everyone who enjoyed “Inside the Shadow”, and it also happens to come with an entire unreleased album of songs recorded by the group’s visionary songwriter Ron Matelic! That’s right, ten bonus tracks of previously unheard songs recorded in the 1990s, featuring most of the members of Anonymous; a lost LP, if you like, and a fascinating complement to the Anonymous and J Rider albums.

File Under: Psych, Rock
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shindig

Shindig #43 Mag
Overview: The Prisoners: England’s ’80s shining lights who bridged garage band snarl with mod cool. Dana Gillespie: ’60s folkie and one-time Bowie girlfriend turned blues belter returns with new album. Neighb’rhood Childr’n: Cult girl-led San Francisco act that should’ve followed Jefferson Airplane to success. Foxygen: And Star Power. Stark! Raving! Bonkers! 2014 style. The future? Plus Scott Fagan, Alan David Eastwood, Lola Colt and much more!

File Under: Magazines

silver birch

Silver Birch: s/t (Granadilla) LP
Remastered! This cutie actually should be one of the crown jewels of British folk music from the early 1970s, but as things sometimes happen, the greatest art often gets its deserved praise not before the second spring. This is the case with Silver Birch, a group which is still active in a different incarnation up to today. Their only album from 1973 was a beautiful affair with clearly-structured folk tunes, mostly traditionals, based on haunting vocal arrangements and an all acoustic but very rich instrumentation with fiddle, acoustic guitars, harmonium, tambourine and bells for the rhythms, and mandolin, weaving a fine-meshed lattice of melodies on which the enchanting vocals can find a solid footing. Close your eyes while you take a listen and take a journey to the royal courts of King Arthur to the smoky pubs where the peasants celebrate their joy of life. Silver Birch prove their dedication to this music with their vivid, passionate, and often steaming performance, even in the most fragile moments. A grand piece of classic, song-driven folk music that is highly recommended to everybody who loves acts such as Mellow Candle, Dulcimer or the great late Gwydion Pendderwen.

File Under: Folk
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sylvie

Sylvie Simmons: Sylvie (Light in the Attic) CD
“Light In The Attic has an impeccable reputation for uncovering rare and precious albums from the past. Their latest release, Sylvie, is haunting and out-of-time–but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, Sylvie is ‘a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.’ Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company. The raw, delicate, and sensual songs about love and love gone wrong are performed on a ukulele, which here sounds like a broken harp or a heartbroken guitar. ‘I’d always thought of the uke as a toy, a little handful of happiness,’ says Sylvie, ‘but not any more. My first ukulele–in fact all my ukuleles–came to me by accident, under strange circumstances usually involving mysterious, vanishing men. From the moment I picked it up, I fell in love. A uke has a sad, fractured sweetness and a modesty. It doesn’t try to impress you, it almost apologizes for being there. The notes are like feathers; you play them and they’re blown away in a second. And yet these songs kept coming through this tiny instrument with all their heartbreak and truth intact.'”

File Under: Folk, SSW
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sylvie

Slovenska Gruda: Pesmi (Atlantide) LP
Originally released in 1983 in former Yugoslavia, this album is a truly undiscovered gem of ethereal folk music. Pesmi combines the old traditional melodies of Eastern Europe and the Balkan States area with the lush and enchanting instrumentation of late ’60s and early ’70s folk with elements of progressive folk and singer/songwriter music from England and the USA. This results in a highly-mystifying and still easily folksy piece of exclusively acoustically instrumented music with haunting female vocals that seduce you with lyrics in their native tongue. Pesmi reminds of well-known artists like Pentangle, Steeleye Span, Gryphon, Fairport Convention, and even Simon & Garfunkel, just with this very unique Eastern flavor and bigger emotional gestures in the melodies. An utterly picturesque musical experience.

File Under: Folk, Balkan
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sound cer

Sound Ceremony: Guitar Star (One Kind Favor) LP
“First time vinyl reissue of the Outsider, Real People, proto-punk fuzz of Ron Warren Ganderton’s debut under the Sound Ceremony name, Guitar Star, replete with more mellow modes than later offerings. During the late 1970s multi-instrumentalist Ganderton (guitar, harmonica, keyboards and piano) along with a rotating cast of accompanists (including future members of the Pretenders, late period progressive rockers Quasar, and Subway Sect) created a hard to narrowly define, small catalog of sounds praised by private-press hunters, esoteric appreciators and ‘out of time’ searchers. Ganderton’s output holds echoes of monotone mavens like proto-punks Jonathan Richman and Lou Reed, similarities to cult-raved acts such as Armand Schaubroeck and Kenneth Higney, and carries a loose influence of the ‘talking blues’ tradition while maintaining a uniqueness and singularity laced with ’60s fuzz, primitive and skittering rhythms, and alternately confrontational and heart-on-sleeve topicality — thusly eking out its own sonic territory with a population of one. To put it down succinctly, just like a period advertisement did, Ron Warren Ganderton is, ‘One of rock’s individuals.’ Insert with detailed liner notes from Jeremy Cargill (Ugly Things / Got Kinda Lost), plus rare photos.”

File Under: Proto Punk, Fuzz, Private Press
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blumm

Springintgut/FS Blumm: The Bird & White Noise (Pingipung) LP
Originally, all they wanted was to record one mutual track for the Japan tour in spring 2014. On this tour, Springintgut and F.S. Blumm would present their recent solo records in nine cities in Japan, and one duo track couldn’t hurt for an encore. These duo compositions came off surprisingly easy, and in a breath, there were 17 tracks instead of one. Keeping in mind that both solo albums have been six years in the making, the recording of The Bird and White Noise within two months is extraordinary. It’s a proof of the compatibility of Springintgut’s cello and F.S. Blumm’s acoustic guitar, both played through their individual electronic systems. They create dense structures filled with their particular sounds of acoustic instrument processing. The melodic sessions are woven with numerous field recordings from the artists’ concert tours to India, Japan, and Italy. The record’s fundament are slow, powerful beats which hold everything together Springintgut was responsible for the studio production at most times while F.S. Blumm, experienced for years in making radio plays, handled the mixing and collaging of the parts. The Bird and White Noise invites you to join the travels, and in its long arches and bridges it can easily be listened to as a whole. While the opener or “Eskimono” feature the rather lyrical side of the duo, tracks like “Land Ab Neu” or “Chitin” set more punchy priorities to a heavy bass and 808 drums. “Chitin” is a late climax of the album, building up for minutes to a massive groove in an insect-like, abstract sound world, leaving just enough space for romantic cello lines to break through in the middle.

File Under: Electronic
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supersilent 11

Supersilent: 11 (Rune Grammofon) CD
CD version — previously only available on vinyl. In 2007 Supersilent celebrated 10 years as a groundbreaking quartet with their first studio album in almost 5 years. As with Supersilent 6, Supersilent 8 was recorded during a five-day studio session in Athletic Sound in Halden, Norway, the all-analog facility where other great-sounding Rune Grammofon albums like Supersilent 1-3, Scorch Trio, Luggumt and Raus Aus Stavanger were recorded. From the monumental hardcore blizzard storm of 1-3 to the elegant electro-jazz of 4 and from the quiet soundscapes of 5 to the epic 6, Supersilent yet again re-invented themselves with 8, an album that to a certain degree explored more abstract and mysterious pathways beyond categories and comparisons. In fact, these sessions turned out to be so fruitful that producer Deathprod finished five hours of music and at one point considered making it another triple CD. In the end, 68 minutes ended up on Supersilent 8, but it was always understood that more of the excellent music that didn’t make it to the final cut would appear in one way or another at a later time, and indeed, here it is as 11. This was also Jarle Vespestad’s final studio session. Since the very beginning, Supersilent have always moved forward with the greatest integrity. Supersilent music is collective work, total group improvising, and not a matter of individual grandstanding. They never rehearse as a group and don’t discuss the music with each other, meeting only to play concerts or to record. Every recording and every concert is a unique occasion, not to be repeated, and their music lives in a no-man’s-land between the genres, somewhere between rock, electronica, jazz and modern composition. It can sometimes appear to be written or at least arranged, again making it clear that these musicians communicate on a high, almost telepathic level. Supersilent was formed in Oslo in 1997 after producer, musician and sound artist Helge Sten approached improvising trio Veslefrekk with the idea of forming a new quartet. The first time they played together was a concert at Bergen Jazz Festival the same year. Their first album, the triple set 1-3 was released in late ’97, also being the first release on Rune Grammofon. Members include: Helge Sten (audio virus, electric guitar), Ståle Storløkken (synthesizers, keyboards), Arve Henriksen (trumpet, voice, electronics), and Jarle Vespestad (drums).

File Under: Electronic, Jazz, Experimental, Improv
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teague

Ryan Teague: Block Bound (Village Green) LP
Block Boundaries is the new album from minimalist composer Ryan Teague building on his previous releases for Type, Sonic Pieces and current label Village Green. Inspired by the theme of psychogeography, the record fuses acoustic instrumentation with electronic and processed material, taking the listener on a hallucinogenic Ballard-ian journey through from the thrumming urban activity of New York, Amsterdam and London. Brooding opener “Site & Situation” sets the tone with hypnotic guitar and mallet chimes, emotive cello swells and surging bass synth, “Last Known Position” comes on like a lost Tangerine Dream jam session, spiraling arpeggios and oscillating pulses, while “Liminal Space” introduces driving percussion around mesmeric synth pulses and a shimmering piano progression. Closer “End of the Line” brings the journey to an end in an introspective mood — a wavering synth figure cut against wistful drone washes that fade into the distance. Block Boundaries is a masterful achievement of melody, form and texture that rewards more with every captivated listen and will assuredly secure Ryan Teague’s place alongside his acclaimed contemporaries such as Nils Frahm, Jon Hopkins, Emeralds and Hauschka.

File Under: Electronic, Modern Classical
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truth

Truth & Janey: Erupts! (Lion) LP
“Raw crushing live recordings from 1976 by one of the Midwest’s heaviest power trios of all time!!! The live recordings featured on Erupts! were originally released posthumously in the early 90s on a long out of print double album. It was also previously released by Rockadrome on compact disc minus a few tracks, now it’s back, re-mastered for vinyl by Tony Reed (Mos Generator, Saint Vitus, Stoneaxe) and in its entirety. Now you can once again drop the needle and hear Billylee Janey plug in his ’64 Gibson Firebird, power up his Marshall stacks, flip on his Echoplex and Univibe and take you on a journey back to 70s heavy rock nirvana. Steve Bock is there too, pumping out wicked Bruce/Bogert styled bass thump, along with Denis Bunce, holding it all together with his heavy handed skin work. It all adds up to one sweet trip back in time to a hazy nightclub in 1976 with Truth and Janey lighting the place on fire! Re-designed for the Vintage label with colorized artwork; including an 11×17 poster.”

File Under: Hard Rock
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vu1Velvet Underground: Boston Tea Party ’68 (Keyhole) LP
Double LP edition, pressed on 180 gram vinyl. 1968 was a tumultuous year for The Velvet Underground, with the departure of John Cale, the addition of Doug Yule, a grueling touring schedule and considerable musical transition. Supported by the MC5, the quartet played their final shows of the year at the Boston Tea Party, which Lou Reed once described as his favorite place to play. This legendary live recording finds them playing reworked versions of early classics as well as several songs that would appear on their forthcoming third album, and two tracks that went unreleased in their lifetime. It’s presented here together with background notes and photographs. Remastered sound.

vu2Velvet Underground: Boston Tea Party ’69 (Keyhole) LP
Double LP version, pressed on 180 gram vinyl. Coinciding with the March 1969 release of their third album, The Velvet Underground played three nights at the Boston Tea Party, which Lou Reed once described as his favorite place to perform. By that timeDoug Yule was well-established as an important contributor to the band, and their set confidently reworks some confrontational early classics as well as incorporating some glorious ballads. Their March 13th set is presented here together with background notes and photographs. Remastered sound.

File Under: Live VU, Psych

wesley

Fred Wesley & The J.B.s: Damn Right, I Am Somebody (Get On Down) LP
“In 1974 one of James Brown’s most important band-leaders and sidemen — trombonist Fred Wesley would release not one but two albums as a leader including Damn Right, I Am Somebody. Starting with an evocative cover it was clear to fans that this album wasn’t all about a party. Deep messages abound in the songs here, such as the nearly 10-minute workout ‘I’m Paying Taxes, But What Am I Buying.’ Social messages aside, Fred and his assembled JBs were a party-moving funk machine at heart, as heard on ‘If You Don’t Get It The First Time, Back Up And Try It Again Paarty’ and the laid-back groove of ‘Same Beat’ (with prototypical sampling of Jesse Jackson exhorting an audience to chant ‘I am / Somebody’). Nestled among these raise-your-fist classics is one of the most experimental funk cut ever made: ‘Blow Your Head,’ known to relatively modern listeners as the backbone of Public Enemy’s ‘Public Enemy #1′ (from 1987). Get On Down pays reverent tribute to this classic by pressing it on 150-gram vinyl, housed in a 1970s style Stoughton jacket in an 8-gauge custom polybag emblazoned with an embossed People Records logo. In addition, the package comes with a 22″ x 22″ poster featuring the original cover art, as well as a 7-inch flexidisc of the rare ‘Unrubbed Version’ (without Moog) of Fred Wesley & The JBs’ 1973 single ‘Blow Your Head.’ This version was only available previously on 2000’s James Brown’s Funky People Part 3 compilation.”

File Under: Funk, James Brown
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wesseltoft

Bugge Wesseltoft, Henrik Schwarz & Dan Berglund: Trialoge (Sunday Music) LP
Limited version, features a frontside hand-printed with linoleum stamp, numbered. Sunday Music goes deeper and deeper with this fantastic album release. It reflects the love of label owner Henrik Schwarz for jazz, contemporary, and chamber music. When Norwegian electro-jazz pioneer Bugge Wesseltoft and German house producer Henrik Schwarz produced their collaboration Duo, it was clear that their synergy was both unique within, and revitalizing to, the whole genre of electro-acoustic beat-based improvisation. Now the duo becomes a trio, and the dialogue becomes a Trialogue. Indie/jazz bassist Dan Berglund brings additional dimensions and a whole new range of songwriter possibilities, a completely new layer of sound with tastefully-chosen electronic, rhythmic patterns and drums, virtuosic piano-playing, analog synthesizers, and thumping double bass lines. Subtle but high energy walks through your speakers. Moments of quasi-ambient atmosphere sit alongside driving, energetic swathes of blues-inflected jamming from the future, near-metallic semi-sinister meteor storms of sound rest easily beside moments of classic jazz noire, and there is a marked assimilation of classical chamber sensibilities. This is a thoroughly post-postmodernist soundworld. What the listener will recognize instantly is, simply put, great music. Line-up: Bugge Wesseltoft (grand piano), (synthesizers), (percussion); Henrik Schwarz (computer), (small percussion); Dan Berglund (double bass). Features musicians from the Orchestre Philharmonique du Luxembourg.

File Under: Jazz, Electro-Jazz
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wyatt1

Robert Wyatt:
Different Everytime 1: Ex-Machina
Different Everytime 2: Benign Dictatorship
(Domino) LP
Domino Records is proud to release Different Every Time, a new compilation album of the works of Robert Wyatt. Curated by Robert together with Domino and biographer Marcus O’Dair, the double album features LP 1&2 – Ex Machina, the ideal introduction for the Wyatt novice, compiling tracks from Robert’s entire career to date and acting as a companion to O’Dair’s new biography, also titled Different Every Time. LP 3&4 bring together the best of Robert’s collaborations and guest appearances, or, as Robert has it, Benign Dictatorships, including some very special oddities and rarities available here for the very first time. Starting out as a drummer for Soft Machine, sharing bills with Pink Floyd and Jimi Hendrix, Robert Wyatt blended Bohemian and jazz and brought it to the ’60s rock scene. Focusing on singing and songwriting, he embarked on a unique solo career which earned him a loyal European following. Admired by his peers and with a career spanning five decades, he has collaborated with Bjork, John Cage, Brian Eno, Scritti Politti, David Gilmour and Hot Chip to name but a few, many of which show up on Different Every Time. Both volumes are double LP sets on 180 gram vinyl in gatefold sleeves with MP3 download codes.

File Under: Psych, Prog, Soft Machine
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lead kindly

Various: Lead Kindly Light: Pre-War Music & Photographs from the American South (Dust-to-Digital) 2CD+Book
What happens when a 78 collector marries a collector of antique photographs? Lead Kindly Light: recordings of rural Southern music: old time, string band music from Appalachia, extremely rare country blues and African American gospel singing from 1924-1939. A portrait of the rural American South between the dawn of the twentieth century and World War II, Lead Kindly Light brings together two CDs of traditional music from early phonograph records and a fine hardcover book of never-before-published vernacular photography. North Carolina collectors Peter Honig and Sarah Bryan have spent years combing backroads, from deep in the Appalachian mountains to the cotton and tobacco lowlands, in search of the evocative music and images of the pre-War South. The music of Lead Kindly Light presents outstanding lesser-known recordings by early stars of recorded country music, as well as rarely- and never-reissued treasures by obscure country, blues, and gospel artists. The photographs, mainly images of the rural and small-town South, are richly textured depictions of family life, work, and fun, and the often accidental beauty of the vernacular snapshot. 159 photographs from the collection of Sarah Bryan reproduced in full color. 46 audio recordings from the 78 RPM record collection of Peter Honig. 176-page hardcover book with 2 CDs. 8.5 inches x 6.5 inches. Debossed and tip-on cover.

File Under: Blues, Gospel

nippon

Various: Nippon Girls 2 (Kent) LP
Few guessed it would become one of our top sellers of recent years, but that’s exactly what happened to “Nippon Girls”. With that in mind, we’ve commissioned international girl-pop authority Sheila Burgel to compile a follow-up volume. Former Tokyo resident Sheila also provides the notes, which expertly guide us through our second journey into the wild world of female pop and beat, Japanese style. The collection is available in 24-track CD and 12-track 180g red vinyl LP formats. The CD’s 20-page booklet and the LP’s heavy-duty gatefold jacket are sumptuously illustrated with rare items from Sheila’s collection. Leaving no stone unturned on her quest for groovy sounds, the LP version alone includes compelling tracks by Kayoko Ishuu, Reiko Mari, Mari Henmi, Katsuko Kanai, Akiko Wada, Akiko Nakamura, Kemeko Matsudaira, the Peanuts, Kazumi Yasui and cover girl Chiyo Okumura, none of whom featured on the first volume.

File Under: Garage, Pop, Yeh Yeh

parchmann

Various: Parchman Farm: Photographs & Field Recordings (Dust-to-Digital) Book+2CD
In 1947, ’48 and ’59, renowned folklorist Alan Lomax went behind the barbed wire into the Mississippi State Penitentiary at Parchman. Armed with a reel-to-reel tape deck — and, in 1959, a camera — Lomax documented as best an outsider could the stark and savage conditions of the prison farm, where the black inmates labored “from can’t to can’t,” chopping timber, clearing ground, and picking cotton for the state. They sang as they worked, keeping time with axes or hoes, adapting to their condition the slavery-time hollers that sustained their forbears and creating a new body of American song. Theirs was music, as Lomax wrote, that “testified to the love of truth and beauty which is a universal human trait.” “A few strands of wire were all that separated the prison from adjoining plantations. Only the sight of an occasional armed guard or a barred window in one of the frame dormitories made one realize that this was a prison. The land produced the same crop; there was the same work for blacks to do on both sides of the fence. And there was no Delta black who was not aware of how easy it was for him to find himself on the wrong side of those few strands of barbed wire … These songs are a vivid reminder of a system of social control and forced labor that has endured in the South for centuries, and I do not believe that the pattern of Southern life can be fundamentally reshaped until what lies behind these roaring, ironic choruses is understood.” –Alan Lomax, 1958 “Black prisoners in all the Southern agricultural prisons in the years of these recordings participated in two distinct musical traditions: free world (the blues, hollers, spirituals and other songs they sang outside and, when the situation permitted, sang inside as well) and the work-songs, which were specific to the prison situation, and the recordings in this album represent that complete range of material, which is one of the reasons this set is so important: it doesn’t just show this or that tradition within Parchman, but the range of musical traditions performed by black prisoners. I know of no other album that does that.” –Bruce Jackson, 2013 124-page hardcover book with 2 CDs. 6.25 inches x 9.5 inches (landscape). Includes slipcase and foil stamping. 44 audio recordings, 12 previously-unreleased, all newly remastered; 77 photographs, many published here for the first time; Essays by Alan Lomax, Anna Lomax Wood, and Bruce Jackson. Produced by Lance Ledbetter, founder of Dust-to-Digital, and Nathan Salsburg, curator of the Alan Lomax Archive.

File Under: Blues, Field Recordings

poco

Various: Poco Loco In The Coco Vol. 3 (University of Vice) LP
University Of Vice presents the third volume of the craziest compilation of music from all over the world. This comp collates a worldwide mixture of painfully obscure crud-a-phonic dance craze platters from the ’50s and ’60s. A brilliant and bonkers concoction of exotica and international nonsense novelties. If you need something new to listen to after you’ve worn out yer Las Vegas grind and jungle exotica records, then this is for you and will liven up any party. Lurch-eriffic tropical crazes and totally daffy mix-n-match foreign language tracks that’ll make your eyes and ears pop just like corn. Long live the University Of Vice. Artists include: David Melanio, Joe Quijano, Doc & Les 6 Jets, The Goyo’s Cats, Sonny Scott, Tito Benito, The Warriors, Carl Stevens, Caney Orchestra, Chino Herrera, Comparsa De La Laguna, Eddie Kochak, The Mogambo’s, and The Journeymen.

File Under: Exotica

stone

Various: Sly’s Stone Flower (Light in the Attic) LP
Double LP version, housed in a gatefold “tip-on” jacket. “In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves–and the words ‘Written by Sylvester Stewart/Produced and arranged by Sly Stone’ on the sticker. Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too–the imprint folded in 1971–but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On. This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career.”

File Under: Funk, Soul

…..restocks…..

A Winged Victory For The Sullen: Atomos (Kranky) LP
Belle & Sebastian: Boy With The Arab Strap (Matador) LP
Black Flag: Damage (SST) LP
Causa Sui: Pewt’r 1-2 (El Paradiso) LP
Causa Sui: Euporie (El Paradiso) LP
Causa Sui: Pewt’r 3 (El Paradiso) LP
Causa Sui: Live Freak Valley (El Paradiso) LP
Channel 1: Satta Dub (Deeper Knowledge) LP
Channel 1: Full Charge Dub (Deeper Knowledge) LP
Bobby Charles: s/t (Light in the Attic) LP
Karen Dalton: 1966 (Delmore) LP
Death Blues: Non-Fiction (Sige) LP
J Dilla: Donuts (Stones Throw) LP
Drexciya: Neptune’s Lair (Tresor) LP
Aaron Dilloway/Jason Lescalleet: s/t (Pan) LP
Electric Wizard: Let Us Prey (Rise Above) LP
Ex Hex: Rips (Merge) LP
Bill Fay: Time of the Last Persecution (4 Men With Beards) LP
Fennesz: Endless Summer (Editions Mego) LP
Lee Fields: Problems (Truth & Soul) LP
Function/Vatican Shadow: Games (Hospital) LP
George-Edwards Group: Chapter 3 (Drag City) LP
Goat: World Music (Rocket) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Son House: Real Delta Blues (Blue Goose) LP
Son House/JD Short: Delta Blues (Folkways) LP
Howlin’ Wolf: Message (Get On Down) LP
Shin Joong Hyun: Beautiful Rivers & Mountains (Light in the Attic) LP
Skip James: Devil Got My Woman (Stardust) LP
Mark Lanegan: Has God Seen My Shadow (Light in the Attic) LP
Madlib/Freddie Gibbs: Pinata (Madlib) LP
Modest Mouse: We Were Dead Before (Epic) LP
Morphine: Cure For Pain (Modern Classics) LP
Nico: The End (Music On Vinyl) LP
North of America: Elements of an Incomplete Map (NoYes) LP
OST: Halloween III (Death Waltz) LP
Plastic Cloud: s/t (Lion) LP
Psychic TV: Dreams Less Sweet (Angry Love) LP
Public Image LTD: First Issue (Light in the Attic) LP
Ty Segall: Goodbye Bread (Drag City) LP
Shooting Guns: Brotherhood of the Ram (Riding Easy) LP
Temple of the Dog: s/t (Music on Vinyl) LP
Unwound: Rat Conspiracy (Numero) LP
Unwound: No Energy (Numero) LP
White Stripes: De Stijl (Thirdman) LP
Young Holt Unlimited: Super Fly (Paula) LP
Various: Country Funk (Light in the Attic) LP
Various: Wayfaring Strangers: Darkscorch Canticles (Numero) LP
Various: Heavenly Ethiopiques (Heavenly Sweetness) LP

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…..news letter #663 – so clean…..

Another light week, although it should have been a bit bigger, but it would seem not one, but two shipments that should have been here this week didn’t even leave as of yesterday. So I guess next week, despite being a short week will have one hell of a list, so brace yourselves. Until then…..

…..pick of the week…..

north of

North of America: Elements of an Incomplete Map (NoYes) LP
North North Records and Noyes Records have joined forces to reissue one of Canada’s seminal indie rock records. Seeing its first ever vinyl release on 4 November 2014 is “Elements of an Incomplete Map” by Halifax’s North of America. This collection, which was originally released in 1998, has been remastered for vinyl by band member and acclaimed mastering engineer J. LaPointe. The original artwork has also been reinterpreted by Yo Rodeo. The original 10 track album has been pressed on classic 180 gram black vinyl. To complete the full reissue treatment, the package also includes recently unearthed demos.

File Under: Math Rock, Indie Rock, CanCon, Street Cents
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…..new arrivals…..

afghan

Afghan Whigs: Gentlemen (Elektra) LP
IN TOMORROW… If there is one album fully deserving of a coming of age celebration, it is The Afghan Whigs Gentlemen. Since its original release in October of 1993, Gentlemen’s lore has grown in stature as fans new and old continue to embrace the album. 33 1/3 published a book about the album in 2008 and Stereogum proclaimed, “From its bombastic opening to its understated end, Gentlemen remains a fine example of what exactly independent rock music is capable of accomplishing.” The blistering 11-track set has retained its visceral connection with fans over the last 21 years from the deeply dark and confessional lyrical content to the no-frills production qualities and of course Greg Dulli’s soul-baring vocal performances. Recorded in Memphis at Ardent Studios and originally released by Elektra Records on October 5th 1993, the album was the band’s major label debut after recording two full-length albums for Sub Pop. In the original 1993 biography for the album, Dulli commented: “It was a bad year for me and some of my friends, in terms of relationships and dealing with some of my own little ghosts. A year of just some kinds of remembrances and stuff that I guess I will never be able to forget, especially since I wrote it all down and made a record out of it.” 21 years later, we’re still all glad he did.

File Under: Indie Rock
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anjou

Anjou: s/t (Kranky) LP
“The culmination of four years writing and editing, Anjou marks the first collaboration between Labradford’s Robert Donne and Mark Nelson since the release of that group’s fixed:context LP. Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture. Guitar, bass and Steven Hess’ (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming. The product of twenty plus years of friendship, Anjou is refined and challenging. An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future.”

File Under: Ambient(ish), Electronic, Labradford
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black moth

Black Moth Super Rainbow: Eating Us (Graveface) LP
Limited edition Repress! Grey Colored Vinyl, download, gatefold. Now issued after a long delay. Eating Us, promises to up the ante on the fidelity and melodies that BMSR have become known for. Here, the merry cryptic band has added some new flavors to their already well-established rainbow of sounds, with even more dense layers of lushly complex orchestration, intensely rhythmic drumming from a live, human drummer, vocoder vocals that are anything but robotic, and thick, undulating bass tones. Recorded at Tarbox Road Studios, Eating Us marks the first time BMSR has ventured into a modern recording studio. Production and partial tracking were handled by Dave Friedmann (The Flaming Lips, MGMT, Weezer) whose hands and ears were the only ones trusted to keep the freaked out wiggles and hairy candies fully in-tact, while also expanding them in a more realistic space.

File Under: Electronic, Space Rock
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dean blunt

Dean Blunt: Black Metal (Rough Trade) LP/CD
In its review of Dean Blunt’s The Redeemer – which they later named their top album of 2013 – FACT called Blunt “the premier art prankster of our time,” while acknowledging his earnestness; Tiny Mix Tapes, who would give the album the #2 spot in their best of the year rankings, praise the work for its liberating “short-circuiting of the boundaries of taste and instilled critical response,” while speaking to the album’s near-paradoxical emotional depth. Blunt’s newest odyssey, Black Metal, rides this tension between critical detachment and mainlined human feeling, and in fact he climbs ever-steeper theoretical heights just as his emotionally stark songs become, at times, startlingly intimate. A true multi-media vanguard, Blunt employs original instrumentation along with elements of pastiche and his unique vocal performances to create songs and recordings that are not only beautiful, but also tie into his larger project that incorporates music, visual art, and the written word to play with identity, cultural signifiers, and artistic agency. But Black Metal is above all a brilliant, majestic collection of songs, encompassing everything from hypnotic long-form experiments to ballads almost disarming in their sweet simplicity, swirling equally with fascinating sounds and fascinating ideas. Blunt’s influences are wide-ranging, from rock’s underground pioneers (he quotes Sonic Youth in interviews; the album leads with a Big Star sample), to neo-classical composers, to early indie pop (another track samples The Pastels), to classic rock, hip-hop, and R&B. But rather than coldly compiling them, Blunt brings the works and genres he draws from into a new musical and cultural conversation. With his newest, most accomplished, and most vexing album, Black Metal, Dean Blunt invites us to draw our own conclusions in his expansive and fascinating world.

File Under: Electronic, Experimental
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boc

Boards of Canada: Hi Scores (Skam) LP/CD
Skam Records are very proud to announce the re-release of Boards Of Canada’s Hi Scores. Originally released in 1996, Hi Scores constitutes Boards Of Canada’s second official release after 1995’s Twoism. This follows the reissue of their other seminal records by Warp in 2013. The new edition has been re-recorded and re-mastered from the original DAT tapes. The CD is housed in a Digi-Pak sleeve with some extra art. The original image on the back of the sleeve is now in color. Spot varnish finish on the images & text alongside the usual Skam Braille sticker gives the whole package new depth and a refreshing look and feel.

File Under: Electronic, Downtempo
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deerhoof

Deerhoof:  La Isla Bonita (Polyvinyl) LP
Blame it on the Ramones. After Deerhoof finished recording demos for La Isla Bonita this past February, they began rehearsing for an upcoming tour. Halfway through a run-through of a long-time Deerhoof live favorite, their cover of the Ramones classic “Pinhead,” someone offhandedly asked, “Why don’t we ever write a song like this?” So Greg quickly dashed off a song on a scrap of paper, showed it to the band, and they recorded the breakneck stomper “Exit Only” in one take. “And we suddenly realized,” Greg says, “this is the whole thing, this is what the whole record is about!” La Isla Bonita was recorded in guitarist Ed Rodriguez’s basement. Situated next to a parking garage, it was perfect for making noise till the wee hours. They recorded live, DIY style, “a weeklong sleepover arguing over whether to try and sound like Joan Jett or Janet Jackson, cracking each other up, one guitarist whose name starts with J always putting too much red chile into the rations,” says Greg. But more than that La Isla Bonita is about the eclectic worldwide community that has supported them. You’ll hear them pay musical tributes to their improbable list of heroes-turned-fans: David Bowie, Ric Ocasek, The Roots, Lou Reed, David Byrne, Sonic Youth, The Flaming Lips, Radiohead, Beck. Of course their intent is never reverence, but provocation. They are always on the hunt for that perfect union of the hilarious and the terrifying that one hears in other bands of their generation like Bikini Kill and Lightning Bolt. 2014 has been a killer year for young, aggressive female-fronted bands (St. Vincent, Tune-Yards, Perfect Pussy, Karen O, Speedy Ortiz) and La Isla Bonita is also partly a discourse with them.

File Under: Indie Rock
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drums

Drums: Encyclopedia (Minor) LP
There were two wildly successful full-lengths (The Drums and Portamento), there were hits (“Let’s Go Surfing,” “Best Friend,” “Money,” and more), and for a moment, there was even the possibility of happiness. Then, managers left, band members departed, and The Drums nearly disbanded. Yet, Pierce worked through his bitterness with the kind of revelation only an artist truly in harmony with melancholy could contrive: they were better off broken than stuck in a rut. The two carried on, in their original form, the band of Jonny and Jacob. That decision is Encyclopedia. For the band’s third full-length, Jonny and Jacob first had to reconcile their opposing impulses. Pierce had no-wave on his mind (“I wanted to make a garage record!”), while Jacob was wondering what might happen if they blended “The Sound of Music with obscure Japanese synthesizer pioneers.” In traditional The Drums fashion, the band decided to try… all of it. They holed up in a fittingly bleak rehearsal space and spent the next year composing and recording their most sophisticated and cohesive album yet. A dark miracle, really.

File Under: Rock, Indie Rock
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lanegan

Mark Lanegan: Phantom Radio (Vagrant) LP
Phantom Radio is the brand new full length from the Mark Lanegan Band which will be issued through Flooded Soil/Vagrant Records. Phantom Radio, produced by Alain Johannes, is Lanegan’s ninth release under his own name, his 20th if you include his collaborations, and close to his 50th if you include his guest appearances. Lanegan’s chief compositional tool on Phantom Radio was his phone – specifically an app called Funk Box. “I didn’t bother to hook up my 909 and 808 this time,” he says, “because the app had ’em. I’d write drum parts with it then add music with the synthesizer or the guitar.” The album grew organically from these synthetic roots, taking in Mark’s ongoing love of Krautrock and also an ’80s new wave show on Sirius satellite radio, his favored aural companion as he drives around Los Angeles. “They have a few good shows but the ‘80s one in particular I like,” he adds. “That’s the music that was happening when I started making music. And although the Trees drew on Nuggets psychedelia, 13th Floor Elevators and Love, we were actually listening to Echo And The Bunnymen, Rain Parade, the Gun Club. A lot of British post-punk. We loved that stuff. I just waited until I was in my late forties before I started ripping it off.” British guitarist Duke Garwood assisted with “I Am The Wolf,” violinist Sietse van Gorkom co-wrote “The Killing Season,” and Lanegan’s girlfriend Shelley Brien added vocals to the set’s “Floor of the Ocean.”

File Under: Rock
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lanoisDaniel Lanois: Flesh & Machine (Anti) LP
Daniel Lanois is one of the most influential record producers of the modern era: the man who brought Bob Dylan back; longtime collaborator with Brian Eno, soundsculpting a series of mammoth releases for U2; and producer of breakthrough late-career albums by Willie Nelson and Emmylou Harris. But before all that, Lanois was an experimental musician, recording his unique guitar voicings for groundbreaking albums with guys like Brian Eno and Jon Hassell, along the way helping to invent a genre called ambient music. What is lost in the wild success of his production career is Lanois’ musical life at the edge, which is where Flesh and Machine, his new album on ANTI-, comes full circle. A wildly ambitious, diverse exploration of modern sonics, Flesh and Machine careens from the huge guitar skronk of “The End” to the haunted landscapes of “Iceland.” But perhaps for the first time, Lanois’ new album highlights the strange parallel evolution that has taken place in Daniel’s music; alongside the developments in IDM that launched from the same 70s avante-intrumental roots as Eno and company, Lanois’ music has developed a rhythmic complexity heard in the most adventurous music by Autechre or Matmos. Only for Lanois, nothing is digital. Dense, visceral music that combines the primitive stomach-pounding volume of rock with the heartbreaking found sonics of early electronic music, Flesh and Machine reminds us that we are bodies in a mechanized world, and that in the midst of our digital noise we must not forget to breathe. LP also contains a CD of the full album.

File Under: Electronic, Rock, Ambient
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matching moleMatching Mole: s/t (Esoteric) LP
Esoteric Recordings are proud to announce the release of a limited 180 Gram Vinyl LP edition of Matching Mole’s self-titled debut album. Formed in 1971, Matching Mole featured former Soft Machine drummer Robert Wyatt, former Caravan keyboard player Dave Sinclair, guitarist Phil Miller, bassist Bill McCormick with guest keyboard player Dave MacRae. Recorded between December 1971 and February 1972, ‘Matching Mole’ was a wonderful debut that included tracks such as ‘O Caroline’, ‘Signed Curtain’ and ‘Part of the Dance’. This Esoteric Recordings limited LP edition is a facsimile of the original 1972 vinyl release and has been re-mastered from the original CBS master tapes and includes an inner bag with an essay by Sid Smith.

File Under: Rock, Psych, Soft Machine, Robert Wyatt
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gravity

OST: Gravity (Mondo) LP
Steven Price’s score for the lost-in-space epic Gravity, which took the Oscar for Best Original Score, will finally make its way onto vinyl. After rumours swirled around the web, an LP release of the film’s music is officially on the way. Pop culture purveyors Mondo have been tasked with launching the LP into the world, and the label has once again teamed up with James Plotkin to remaster the soundtrack for vinyl. The limited-edition double-LP will be pressed on black vinyl and randomly inserted variant colorway vinyl. The cover art for the release, is taken from a Mondo-released poster designed by Kevin Tong.

File Under: OST, George Clooney
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dune

Z aka Szajner Bernard: Visions of Dune (In Fine) LP
About Visions Of Dune: A rare synth classic lovingly reissued. French electronic pioneer Bernard Szajner’s 1979 concept album based around Frank Herbert’s cult Dune Trilogy. Dystopian sci-fi drones and otherworldly melodies drift across the stereo spectrum, creating a multi-layered, deeply immersive listening experience. Remastered from the original tapes by Rashad Becker in Berlin, and with a new sleeve reimagined by acclaimed Barcelona-based designer Arnau Pi (Young Turks, Hivern Discs, DJ Kicks). Includes two lost pieces from the original sessions and never before heard, left off because Pathé Marconi EMI considered them to be “too futuristic”! After years spent in relative obscurity, it is time for the best-kept secret of the French underground to leave its protective shadow and finally appear in the full light of day. Fittingly, the release of this alternative soundtrack to Dune coincides with the cinema release of award-winning Documentary Jodorowsky’s Dune about the failed attempt in the mid-70s by the Chilean director of psychedelic cinema classics El Topo and Holy Mountain to film Herbert’s novel.

File Under: Electronic, French Prog, Synth
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…..restocks…..

A Winged Victory For The Sullen: Atomos (Kranky) LP
Arcade Fire: Funeral (Merge) LP
Arcade Fire: Suburbs (Merge) LP
Beastie Boys: Check Your Head (Capitol) LP
Beastie Boys: Hello Nasty (Capitol) LP
Belle & Sebastian: Dear Catastrophe Waitress (Matador) LP
Belle & Sebastian: If You’re Feeling Sinister (Matador) LP
Belle & Sebastian: Tigermilk (Matador) LP
Belle & Sebastian: Fold Your Hand Child (Matador) LP
Christian Bland: The Unseen Green (Reverberation) LP
Captain Beefheart: Trout Mask Replica (Reprise) LP
Nick Cave: Nocturama (Anti) LP
Coil: Megalithomania (Threshold House) LP
Descendents: Somery (SST) LP
Nick Drake: Pink Moon (Island) LP
Esben & The Witch: A New Nature (Nostromo) LP
Brigitte Fontaine: 13 Chansons… (Because) LP
Brigitte Fontaine & JacquesHigelin: Chansons D’Avant Le Deluge (Because) LP
Fu Manchu: In Search Of (Cobraside) LP
Grouper: Ruins (Kranky) LP
Interpol: El Pintor (Matador) LP
King Crimson: In The Court of the Crimson King (Pangyria) LP
MF Doom: Special Herbs 1 & 2 (Nature Sounds) LP
MF Doom: Special Herbs 3 & 4 (Nature Sounds) LP
Modest Mouse: Moon & Antarctica (Epic) LP
Modest Mouse: Good News For… (Epic) LP
Ennio Morricone: Veruschka (Dagored) LP
Ennio Morricone: Le Foto Proibite Di Una… (Dagored) LP
Mr. Bungle: s/t (Music on Vinyl) LP
Pavement: Crooked Rain (Matador) LP
Perfume Genius: Too Bright (Matador) LP
SBTRKT: Wonder Where We Land (Young Turks) LP
Ty Segall: Manipulator (Drag City) LP
Ty Segall: Slaughterhouse (In the Red) LP
Shovels & Rope: Swimmin’ Time (Dine Alone) LP
Nina Simone: At the Village Vanguard (Doxy) LP
Sonic Youth: Daydream Nation (Goofin) LP
Sonic Youth: Goo (Goofin) 4LP
Piero Umiliani/Chet Baker: Smog (Doxy) LP
Vampire Weekend: s/t (XL) LP
Kurt Vile: Wakin’ On A Pretty Daze (Matador) LP
White Stripes: Icky Thump (Third Man) LP
Jack White: Blunderbus (Third Man) LP
XX: Coexist (Young Turks) LP

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…..news letter #662 – halloweiners…..

Finally, a chance to breathe a little bit after all the huge releases that have been coming in lately. Despite this comparatively brief news letter, the store is packed with stuff right now. After you load up on candy tomorrow, head over on the weekend and get something to stick in your ears.

…..pick of the week…..

cavern

Various: Local Customs: Cavern Sound (Numero) LP/CD
Not quite hell, but close enough. Local Customs: Cavern Sounds covers six years lost in the deranging darkness of Independence, Missouri’s Pixley limestone mine, where a team of misfit engineers captured the reverberating echoes of Kansas City’s rock ‘n’ roll blasting cap. Taped in the subterranean studio headspace of Cavern between 1967 and 1973 are previously unissued recordings by Jaded, Larry Sands & the Sound Affair, Sheriff, Mulligan, Stone Wall, Morningstar, the Montaris, and the Dantes, alongside the most explosive tracks released on KC’s Pearce, Rock, and Cave labels by the likes of the Reactions, Burlington Express, the Classmen, Fraight, American Sound Ltd, Baxter’s Chat, 21st Century Sound Movement, Pretty, Tide, and A.J. Rowe.

File Under: Psych, Rock, Private Press
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…..new arrivals…..

baptists

Baptists: Bloodmines (Southern Lord) LP
Vancouver’s BAPTISTS recently completed work on their second full-length album, the follow-up to their 2013 debut Bushcraft. Entitled Bloodmines, the new album (like the debut) was recorded at Godcity Studios in Salem, Massachusetts with with Kurt Ballou. Like its predecessor, Bloodmines is a fast, exhilarating album of rage, oozing with genuine raw emotion and punk rock fury. Shards of feedback make way for fast powerful riffs and savage vocals, whilst explosive drumming pumps blood around the band’s beating heart. On album tracks like “Vistas”, “Calling” and the title track, “Bloodmines”, the pace changes, revealing powerful, almost anthemic, jagged noise rock akin to influential San Diego post-hardcore band Drive Like Jehu and similar acts which go beyond the two minute mark. Discordant guitar melodies and abrasive vocal passages are elongated, still volatile but perhaps allowing for further contemplation of the band’s underlying message. BAPTISTS continually find new ways to express their rage and with Bloodmines they have created a memorable and commanding album.

File Under: Post-Hardcore, Metal, CanCon
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budos

Budos Band: Burnt Offering (Daptone) CD
VINYL NEXT WEEK! The Budos Band return with Burnt Offering; a wild, booze-fueled ride of hazy riffs, take-no-prisoners horn lines and relentless percussion that summons the occult – an evolved sound for this mighty 10-piece band sparked by their love of Black Sabbath and Pentagram.  Burnt Offering was recorded live in the studio, engineered and produced by Thomas Brenneck, a founding member and guitarist in The Budos Band who runs Dunham Records and Studios. It was written at the band’s longtime Staten Island studio, where they’ve gathered for weekly rehearsals for over fifteen years. The haunting album cover was created by drummer Brian Profilio, a NYC public school art teacher. The new album is dripping with the psychedelic sounds of early heavy metal fused with the tight-knit propulsion of Fela Kuti.  “The Sticks” kicks off with a snarling riff seamlessly.

 File Under: Funk, Afro-Beat, Metal
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bulbous

Bulbous Creation: You Won’t Remember Dying (Numero) LP
In 1971, Bulbous Creation poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. The band wouldn’t stay together long enough to save up for a custom pressing on Rock. Singer/guitarist Paul Parkinson was deeply individualistic, and left to perform his songs as he thought they should be, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Drummer Horstmann followed suit. Jim ‘Bugs’ Wine and guitarist Alan Lewis soldiered on, shortening their name to the more sensible Creation and adding vocalist Wayne Austin, dynamic drummer Tommy Ward, and guitarist Roger Sewell. The Bulbous Creation LP was nearly doomed to oblivion, but for the efforts of Rich Haupt, who issued an unauthorized eight song LP in 1995 on his Rockadelic imprint. Lewis died in 1998 of esophageal cancer. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, with piece of mind that someone, somewhere, was listening.

File Under: Hard Rock, Acid Rock
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dope body

Dope Body: Lifer (Drag City) LP
Dope Body has built their name in the underground with intense live performances of their Also intense studio recordings. On the back of their second album, 2012’s Natural History, they embarked on a rigorous nineteen months of almost nonstop touring, bringing their individual performance stomp to every bar, basement and backyard that asked for it. It’s easy to picture the members of Dope Body emerging from their distant and hidden cave of rock with a new wave of grimey, Sabbath-refracted mayhem in order to torch America/Earth once again – but they’re actually a group of trained players and fine artists with vision. On Lifer, Dope Body redefines the aural yawp they have been venting for some time, honing wild windmills into surgical strikes, their gut-busting repulsion-sound continuing to expand without losing any of the feral energy that made a crazed reputation in the already-insane Baltimore music and arts underground. Zachary Utz’s metalloid guitar fingerprints are as uniquely rough and scabrous as ever, but with a few new refinements added to his barrage. Andrew Laumann’s vocal bellow continues to incite a riot of excitement with each additional chorus. David Jacober’s power-and-precision drumming continues to grow in might and scope, driving the songs whether at peaks of volume or the depths of introspection. Plus, bassist John Jones, who joined following the recording of Natural History, contributes to the weird math of Dope Body’s nu-power trio with lines that perfectly expand the bounds for the band. When Dope Body converge to conceive of the next thing, the storm brews, songs are rocked out and written, and we’re propelled into another sweaty go-round. This is a controlled demolition, planned but with room to take down additional structures.

File Under: Punk, Noise Rock
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geg

George-Edwards Group: Chapter III (Drag City) LP
Chapter III of The George-Edwards Group archives draws from deep in the pockets of their sporadic later embodiment. With their grand 70s dreams of Hollywood stardom fading, Edward Balian and Ray George continued to track their winsome muse, perhaps a bit more aggro and with a bit more dolor than they had back in the 38:38 days. Although late-60s Detroit was the seedbed for The George-Edwards Group, they had more in common with Silver Apples than the Amboy Dukes. Enamored of keyboard effects and sonic tomfoolery, they developed their sound away from the scene, slowly developing a spacily elegant pop music as the 70s passed by outside their basement lair. Scoring their melancholic melodies with bells, pianos and synthesizer led to something you might almost call ba-roque n roll (if someone hadn’t already said it about The Left Banke!), or perhaps like demos for Big Star’s Third. In 1977, they laid down enough tracks to produce a white-label LP pressing that they dubbed 38:38; however, a trip to the Sunset Strip to drum up record-label enthusiasm was a complete bust. But without that pressing of 100 copies, where would the legend of George-Edwards be? Instead, based on oft-told tales, Galactic Zoo Disks located the music, and the band brought this wayward classic to Drag City. 38:38 received a first official release in 2009, to great fanfare. The 21st century discovery of The George-Edwards was also accompanied by a show or two (still in the deep underground, of course), along with, naturally, the recovery of more tapes. The 2011 GZD/DC release, titled Archives, brought to the light a few fuzz-heavy rock cuts and deep synth dirges to add to the ethereal G-E signature.

File Under: Electronic, Psych, Private Press
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grouper

Grouper: Ruins (Kranky) LP/CD
“Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother’s house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”—Liz Harris

File Under: Ambient, Ethereal, Drone
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kayo-dot-coffins-on-io

Kayo Dot: Coffins On Lo (Flenser) LP
Led by founding member Toby Driver (Secret Chiefs 3), Kayo Dot emerged in 2002 from the ashes of Boston, MA, metal group Maudlin of the Well. Since then, Driver has led Kayo Dot through lineup changes and stylistic shifts: from traditional metal, to atmospheric, avant-garde metal; and now with their new album Coffins on Io, to the bats-in-your-belfry hard rock of Sisters of Mercy intersecting with Peter Gabriel-era Genesis, Scritti Politti and early Roxy Music. In 2013, Kayo Dot released their critically acclaimed conceptual double-album Hubardo. Undeniably experimental, but largely unclassifiable, it received rave reviews: SputnikMusic ranked it among the best of 2013, and Cvlt Nation called it, “mesmerizing avant-garde blackened doom”, and a “towering achievement”. But Kayo Dot’s evolution is governed by an inscrutable inner-logic. Accessible songwriting on Coffins on Io and an emphasis on vocal melody and electronic percussion makes the record’s darkness and intensity familiar and relatable. For example: the dark wave of ‘Offramp Cycle, Pattern 22′ might be unrecognizable to Kayo Dot’s metal fans. “The sound is kind of like a sexy combination of Type O Negative, Peter Gabriel, Sisters of Mercy,” Driver says. But the track also encompasses the brooding menace of classic Bauhaus as well as current dark wavers Cold Cave and Crystal Stilts: artists young and old who live and die in those unknowable corners where heaviness meets delicacy and sincerity meets theatricality. Driver’s penchant for prog rock surfaces in the ethereal ‘Spirit Photography’, complete with a saxophone melody line – strikingly gentle when compared to the group’s brutal back catalog. ‘Longtime Disturbance on the Miracle Mile’ could be a Bryan Ferry-era Roxy Music cut, and ‘The Mortality of Doves’ could be Eno-produced David Bowie. Driver says there’s also an element of sexuality in Coffins on Io.”Basically the vibe that we’re going for here is inspired by ’80s retro-future noir…Blade Runner,” Driver explains. “I wanted to make a good record to put on while you drive across the desert at night under a toxic, post-apocalyptic atmosphere,” he says, adding, “There’s a weird underlying theme of murder, shame and death.”

File Under: Prog, Dark Wave
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zep4

Led Zeppelin: IV (Warner) LP/2LP/DLX Box
John Bonham, John Paul Jones, Jimmy Page and Robert Plant came together in 1968 as Led Zeppelin. Over the next decade, the band would become one of the most influential, innovative and successful groups in modern music, selling more than 300 million albums worldwide. Their songs are some of the most celebrated in rock ‘n’ roll history that, to this day, resonate with fans young and old around the globe. Still, no matter how many times you may have listened to their music, you’ve never heard Led Zeppelin like this before. Painstakingly remastered from the original master tapes by guitarist Jimmy Page, and pressed at Pallas (Europe’s best plant), this 180g LP of Led Zeppelin IV sounds utterly amazing. Page spent years on this project with one goal in mind: Making these reissues the end-all-be-all definitive editions of his iconic band’s records. He has succeeded, and then some. In addition to the reference-caliber audio, each LP features packaging that fully replicates the look of the first pressing of the original album. You won’t believe how these records sound, look, and feel.  The ultimate Zeppelin, this Super Deluxe Edition box set of Led Zeppelin IV contains both the 180g LP and CD of the remastered album, the previously unreleased companion audio on 180g LP and CD, a hardbound album-sized 80-page book with rare and previously unseen photos and memorabilia, a high-quality print of the original album cover, and a high-def audio download card of the musical content at 24-bit/96k (live tracks are 24-bit/48k). This is what all deluxe reissues should aspire to be. The companion audio for Led Zeppelin IV: Super Deluxe Edition gives fans the first peek into the band’s recording sessions, with different mixes of every song on the album, not the least of which is “Black Dog” with guitar overdubs, a mandolin/guitar mix of “Going to California,” and an alternate mix of “Rock and Roll.” Nobody outside of Zeppelin’s inner circle has ever heard these until now. Released in November 1971, the album (which is officially untitled) defined the sound of rock music for a generation with ubiquitous anthems such as “Stairway To Heaven,” “Rock And Roll,” “Black Dog,” and “When The Levee Breaks.” The album was inducted into the Grammy Hall of Fame in 1999 and has been certified 23x platinum by the RIAA. It’s arguably the most popular and widely known album in rock history.

File Under: Classic Rock
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holyLed Zeppelin: Houses of the Holy (Warner) LP/2LP/DLX Box
John Bonham, John Paul Jones, Jimmy Page and Robert Plant came together in 1968 as Led Zeppelin. Over the next decade, the band would become one of the most influential, innovative and successful groups in modern music, selling more than 300 million albums worldwide. Their songs are some of the most celebrated in rock ‘n’ roll history that, to this day, resonate with fans young and old around the globe. Still, no matter how many times you may have listened to their music, you’ve never heard Led Zeppelin like this before. Painstakingly remastered from the original master tapes by guitarist Jimmy Page, and pressed at Pallas (Europe’s best plant), this 180g LP of Houses of Holy sounds utterly amazing. Page spent years on this project with one goal in mind: Making these reissues the end-all-be-all definitive editions of his iconic band’s records. He has succeeded, and then some. In addition to the reference-caliber audio, each LP features packaging that fully replicates the look of the first pressing of the original album. You won’t believe how these records sound, look, and feel.
The ultimate Zeppelin, this Super Deluxe Edition box set of Houses of the Holy contains both the 180g LP and CD of the remastered album, the previously unreleased companion audio on 180g LP and CD, a hardbound album-sized 80-page book with rare and previously unseen photos and memorabilia, a high-quality print of the original album cover, and a high-def audio download card of the musical content at 24-bit/96k (live tracks are 24-bit/48k). This is what all deluxe reissues should aspire to be. The companion audio for Houses of the Holy gives fans the first peek into the band’s recording sessions, with different mixes of seven tracks. They include rough and working mixes for “The Ocean” and “Dancing Days” that reveal a deeper look inside the recording sessions of these classics. Other standout recordings include the guitar-mix backing track for “Over The Hills And Far Away” and a version of “The Rain Song” without piano. Nobody outside of Zeppelin’s inner circle has ever heard these until now. Led Zeppelin topped the charts again in 1973 with Houses Of The Holy, which features legendary tracks such as “The Song Remains The Same” and “No Quarter” while also showcasing the continuing evolution of the band’s signature sound with the reggae-tinged “D’yer Mak’er” and the funk jam “The Crunge.” The album has been certified diamond by the RIAA for sales of over 11 million copies.

File Under: Classic Rock

MM2Modest Mouse: Lonesome Crowded West (Glacial Pace) LP
Out on Tuesday! REISSUED!!! Subject to its own Pitchfork documentary, listed in numerous prestigious Best Albums of the 90s lists, and destined to be re-discovered by continuous generations, The Lonesome Crowded West stands as the defacto Northwest indie-rock record. Originally released in 1997, it not only helped shape the sound that came to be associated with the American Pacific Northwest, but across these sprawling, wide-open 15 songs, Modest Mouse helped redefine what was possible for guitar music. As such, The Lonesome Crowded West has often been mimicked, but it’s awesome open-hearted existentialism and manic ambition has rarely been matched. A modern classic that demands reappraisal. Pressed on 180-gram double vinyl.

File Under: Indie Rock
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rocket from the crypt

Rocket From The Crypt: Group Sounds (Vagrant) LP
More patented, catchy rock ‘n’ roll with just enough of a punk edge to keep things raw and furious. Mario Rubacalba’s (ex-Clikatat Ikatowi and 411) first foray into the RFTC world. Now available again on colored vinyl.

File Under: Punk, Rock ‘n’ Roll
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rodion-ga

Rodion G.A.: The Lost Album (Strut) LP
The album has never been released before; People thought the music had been lost; The music is innovative and timeless; Rodion has influenced a generation of European musicians, especially electronic musicians; There’s been a resurgence of interest in Rodion G.A.’s music; a younger audience are discovering Rodion G.A.’s music (he lectured at the prestigious Red Bull Academy). Rodion G.A.’s music’s popularity is at an all time high. He’s been playing around Europe. A new generation of musicians have been discovering Rodion G.A’s music. Rodion is recording a new album. Music lovers will be fascinated to hear what Rodion’s music is like thirty years after the music on Behind The Curtain-The Lost Albums was recorded. The music on Behind The Curtain-The Lost Albums was recorded whilst Romania was a Communist country. Musicians and artists had to play “cat and mouse” with the censor. So, all the time Rodion G.A. was making music, he was fearing a knock on the door from the censor.

File Under: Electronic, Prog, Psych
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slim twig

Slim Twig: A Hound At The Hem (DFA) LP
Slim Twig is the name of a man, not of a band – though he has performed in many a group, some under his own moniker. Boasting a catalogue several under-the-radar releases deep, the Toronto native lays claim to a tremendously original work with his orchestrally inflected, art rock album, A Hound At The Hem. Self produced in the fall, 2010, Hound is a suite of narrative songs thematically inspired by Vladimir Nabokov’s Lolita. DFA is privileged to reissue this album in advance of the release of Twig’s newest works. Upon completing AHATH in 2010, Twig struggled to find wide release for it due to its uncompromising textural onslaught and disregard for genre. This course of events set the stage for the composition and release of Sof’ Sike, a somewhat more conventional set of pop songs released on Paper Bag Records, in 2012. The title of that work refers to Twig’s own conception of Hound as the hard- psych flipside to his work of that period. Recorded on Toronto Island in collaboration with fellow Torontonian, Louis Percival, the album features string arrangements by Owen Pallett, and other collaborators including Meg Remy (U.S. Girls), Carl Didur (Zacht Automaat), and the St. Kitts Quartet. As a concept album exploring the troubling and the taboo and themes like the transformative power of lust, AHATH can be interpreted as an echo like response to Serge Gainsbourg and Jean Claude Vannier’s Histoire De Melody Nelson. Most of all, AHATH poses the question; where next for Slim Twig, this promising and original auteur? First time available on CD, comes in a custom gatefold mini-jacket with a lyrics poster. Deluxe gatefold reissue with full album lyrics, first pressing on coloured vinyl, limited to 500 copies. Vinyl cut by Joe Lambert (Darkside, Animal Collective, Black Dice, Deerhunter) LP comes with a download.

 File Under: Indie, CanCon
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today is the day

Today is the Day: Animal Mother (Southern Lord) LP
Southern Lord Recordings is beyond stoked to broadcast that influential, visionary metal act, Today Is The Day, has joined with the label’s roster for the release of their massively anticipated tenth studio album. Early this year, Today Is The Day’s newest lineup was announced, as the foundation of the then unnamed album was taking shape. Guitarist/vocalist Steve Austin welcomed Sean Conkling (Regression, Burn Your Halo, Sprawl) on bass as well as returning member Jeff Lohrber (Enabler, ex-Harlots), Lohrber having previously handled touring drum duties for TITD many times in the past. Conkling and Lohrber tracked most of their sessions in December and January at the founding frontman’s own Recording and Mastering Studio in Maine. “Sometimes things just dial-in and align perfectly,” Steve Austin stated on signing with Southern Lord for the release of Animal Mother. “Myself and Today Is The Day are extremely excited about working with Southern Lord Records and Greg Anderson. To me they have the right idea about the kind of music they release; heavy, real, experimental, integrity-driven music is what the label represents to me. Today Is The Day’s Animal Mother LP on Southern Lord in 2014… I don’t think I could ask for anything more!” Early this year the frontman warned the public that the album is “a fifteen-song rampage of bloody carnage fueled by hate, love and vile, raw emotion,” continuing, “I feel it is my finest work to this date. It is the most complex and HEAVY record we have ever made. This is real — no bullshit Protools crap; just pure violent energy and real band songwriting in the middle of the woods in Maine. It lies somewhere between Temple of The Morning Star and In The Eyes of God, and Jeff’s playing is beyond incredible. I was determined to push the limits in complexity, musicianship, and creativity as far as we could and I feel we have put together a record that narrates the horror and pain that we have been living through.”

File Under: Metal
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…..restocks…..

Arcade Fire: Neon Bible (Merge) LP
Erykah Badu: Mama’s Gun (Music on Vinyl) LP
Baptists: Bushcraft (Southern Lord) LP
Black Keys: Brothers (Nonesuch LP
Black Keys: El Camino (Nonesuch) LP
Black Sabbath: Paranoid (Rhino) LP
Blanck Mass: s/t (Rock Action) LP
James Brown: Payback (Universal) LP
James Brown: In The Jungle Groove (Universal) LP
Can: Tago Mago (Mute) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Homework (EMI) LP
Daft Punk: Human After All (EMI) LP
Death From Above 1979: Physical World (Last Gang) LP
Death From Above 1979: You’re A Woman, I’m A Machine (Last Gang) LP
DJ Shadow: Preemptive Strike (Mo Wax) LP
Nick Drake: Pink Moon (Island) LP
Nick Drake: Bryter Layter (Island) LP
Electric Citizen: Sateen (Riding Easy) LP
Daniel Johnston: Hi, How Are You (Eternal Yup) LP
Kindness: Otherness (Female Energy) LP
King Crimson: In the Court… (Pangyric) LP
Kyuss: And the Circus Leaves Town (Elektra) LP
Kyuss: Welcome to Sky Valley (Elektra) LP
Neu!: Neu! (Gronland) LP
Oasis: What’s The Story Morning Glory (Big Brother) LP
Pearl Jam: Vitalogy (Epic) LP
Pearl Jam: VS (Epic) LP
Royal Blood: s/t (Warner) LP
Ty Segall: Twins (Drag City) LP
Shadowy Men on a Shadowy Planet: Dim The Lights… (Cargo) CS
Salem’s Pot: Lurar Ut Dig Pa Prarien (Riding Easy) LP
SNFU: Last of the Big Time Suspenders (Cargo) CS
Tame Impala: Lonerism (Modular) LP
Tops: Picture You Staring (Arbutus) LP
Lucinda Williams: Down Where The Spirit… (Thirty Tigers) LP
Various: New Orleans Soul (Soul Jazz) LP

Tagged , , , , , ,

…..news letter #661 – copwolf…..

Well, I suppose there were AS many big new releases this week as the last few, but there’s still some pretty awesome stuff in. As you may also have noticed, the Black Friday Record Store Day list is now floating around. If there is something you would like to see us bring in that isn’t something we would already obviously be bringing in, be sure to let us know!

…..pick of the week…..
plastic cloud

Plastic Cloud: s/t (Lion) LP
Another totally killer slab of Canadian psych that everyone needs! “Bay Ridge, Ontario’s contribution to the psychedelic pantheon, their self-titled LP (Allied/1968) is a swirl of gossamer vocals and Tolkien references, swathed in the some of the most relentless fuzz guitar you will ever hear. We feel it’s about time this fine record got the compact disc treatment it deserves, so we’ve gone all out for this reissue — newly remastered from the tapes and the accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of the original press release that must be seen to be believed. Essential psychedelia.”

File Under: Psych, Garage, CanCon, Raerz
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…..new arrivals……

winged victory

A Winged Victory For The Sullen: Atomos (Kranky) LP/CD
IN TOMORROW! After releasing a first glimpse in the form of the Atomos VII EP earlier this year, A Winged Victory For The Sullen reveal their second full-length album entitled Atomos which sees the duo introduce flurries of electronics, harp and modular synthesizers to their sound in the follow-up to the 2011 self- titled album. In 2013 AWVFTS caught the ear of Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, who is perhaps best known for his choreography work on the Radiohead video ‘Lotus Flower’ as well as ‘Ingenueʼ by Atoms For Peace. McGregor used the debut album as the warm-up music during practice sessions for Random, and after noticing the group’s reaction with the music, he contacted Adam and Dustin to see if they would write the score for his new work. Given complete artistic freedom, the duo treated the score with the same care and attention as their debut full-length by recording more than sixty minutes of music over a four-month period across studios in Brussels, Berlin and Reykjavik with the help of their long time collaborative sound engineer Francesco Donadello. During the process they came to the realization that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique release.

File Under: Ambient, Stars of the Lid
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abbhama

Abbhama: Alam Raya (Strawberry Rain) LP
Abbhama’s lone symphonic progressive effort has been highly regarded within South East Asia for years but is just starting to open ears elsewhere. Named one of the top 100 albums of all time by Rolling Stone Indonesia, Alam Raya was recorded in 1978 and has only been available on cassette until now. This fully licensed re-release will be one to hold on to. With the International Edition being limited to 250 copies (the Indonesian Edition of 250 copies has already sold out), this will surely move quickly. For fans of Genesis, Yes, Guruh Gypsy, ELP and Triumvirat. Sadly the leader of the band, Iwan Madjid passed away very recently and will be missed. May he rest in peace.

File Under: Prog, Indonesia
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last match

Aisler Set: Last Match (Slumberland) LP
Where The Aislers’ debut Terrible Things Happen’s synthesis of 60s mod-pop, 70s punk and 80s/90s indie flavors provided an end-of-the-century summation of where pop had been and where it was heading, 2000’s The Last Match upped the ante even farther. More ambitious in conception, it expanded the band’s sound into more orchestral areas. While the songs are still driving and catchy as a fish hook, the arrangements are far more sophisticated. It’s a must-listen album, one that fueled fond memories, sparked love affairs, set off spontaneous dance parties, and reminded us all of the power of song-craft and melodies and POP.

File Under: Indie, Pop
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bbs

Big Boys: Wreck Collection (Gern Blandsten) LP
Comprehensive, remastered collection of 34 tracks including original demos, outtakes, and live tracks that span the band’s entire career (1979-1984). Big Boys were highly influential in their introduction of funk rhythms to hardcore punk and also featured Tim Kerr on guitar (Poison 13). During their now legendary shows, singer Randy “Biscuit” Turner, was often seen wearing a tutu or dress and made a point of inviting the audience to come up on stage to join in singing. The Big Boys were also one of the first bands involved in the skatepunk scene, including having their very own skateboard, appearing in Thrasher magazine and many Thrasher skate videos. Essential listening, highly influential.

File Under: Punk
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bunyan

Vashti Bunyan: Heartleap (Di Christine Stairs) LP
Nine years after ‘Lookaftering’, her last album of new material, legendary British singer-songwriter Vashti Bunyan returns with a breathtaking new LP. Recorded largely in her home studio, ‘Heartleap’ is a unique and entrancing collection of ten songs forming what Vashti is adamant will be her final album. Vashti’s third album follows her rediscovery – after thirty years in the wilderness – with the 2000 re-release of ‘Just Another Diamond Day’ (a bona fide cult classic that made # 53 in the Observer Music monthly’s ‘top 100 British albums of all time’), and the critical success of 2005’s ‘Lookaftering’. With ‘Heartleap’ she has delivered an album with a classic sound, where – for the first time – she herself has been in control of the whole process, from writing and arranging to playing and recording. Working predominantly from a studio set up in her Edinburgh home, the record was slowly pieced together, and reveals an artist at her peak, capturing her songs within fluid settings that masterfully marry content and form. Both ‘JADD’ and ‘Lookaftering’ saw Vashti‘s songs arranged and framed by others. Joe Boyd’s production and Robert Kirby’s arranging of the former remain timelessly classy, whilst Max Richter’s elegantly beautiful production of Lookaftering was enhanced by contributions from a raft of supporting artists – all eagerly adding their colours. Vashti is justly proud of ‘Lookaftering’, but ‘Heartleap’ is a more personal record, standing solely on the merits and patient endeavour of its author rather than being buoyed by and filtered through the cachet and collaborative creativity of a powerful supporting cast. The vast majority of ‘Heartleap’ was recorded and edited by Vashti, who “wanted it to be more akin to my very first recordings, the ones even before ‘Diamond Day’. I wanted to try to emerge from the shelter of others and stand out in the open. It would have been much easier had I worked with a producer and an engineer – I would not have had to spend so much time on editing – but that’s been the interesting part. If I’d taken these songs and gone into a studio with them they might have turned out very differently, perhaps more ‘produced’ – but not as near to how I hear them for myself.” Recording her vocals when no one else was around to overhear – freed Vashti up to deliver more confident performances. Equally, working without the induced pressures of studio deadlines enabled her to craft it slowly and lovingly in her own time, weaving together tracks out of numerous takes. Predominantly guitar or piano led – with additional instrumentation building throughout – the songs have no underpinning bass-line or percussion, giving each instrument and voice the chance to pace itself. Like the deer on the cover painting, ‘Heartleap’ moves gracefully, enchantingly. Overcoming adversity through sheer willpower, its very existence is a dazzling triumph.

File Under: Folk, SSW
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unit

Destruction Unit: Eclipse (FDH) LP
IN TOMORROW! “In 2010 we released the Destruction Unit LP Eclipse. This album was quite a departure from the synthpunk background that the band was known for. This record was sort of the start of a new era of the band. Diving deeper into a epic Psych rock sound. Granted this record is less heavy then their most current works ‘Deep Trip’ & one of my personal favorites ‘Void’ however this record set the groundwork for these titles. You can check out the first track from the album “Time Traveler” over in our player on the right hand side of the page to get a taste of this albums vibe. We now have 100 copies back in stock on mixed color vinyl. Grab one today as they are sure to go quick.”—FDH.

File Under: Psych, Garage, Punk
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grouper

Grouper: Ruins (Kranky) LP/CD
IN TOMORROW! “Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother’s house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”—Liz Harris

File Under: Ambient, Ethereal, Drone
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heads

The Heads: Everybody Knows We Got Nowhere (Rooster) 5LP
IN TOMORROW! Fourteen years after its original release (Sweet Nothing Records, 2000), the second album in The Heads’ impressive canon is repackaged with a full complement of bonus material from that period (B-sides and tracks from 7-inches, their Man’s Ruin 10-inches, Radio 1 session and compilations), all re-mastered by Simon Price and Shawn Joseph. Broken hands, lost Rickenbackers, and sliced tendons aside, Price (guitar, vocals), Hugo Morgan (bass), Wayne Maskell (drums) and Paul Allen (guitar) hit many highs during this time. It represents the full force of the Heads’ psychedelic pummel, their trippiest, most psych collection, brutal yet beautiful. Strap in. Let go. The hardcover, full-color box set, in a numbered edition of 1000, wrapped in a specially printed tote bag, includes a 70-plus-minute CD of previously unreleased material culled from dozens of rehearsal / demo in Price’s CDr archives.

File Under: Psych, Stoner, Space Rock
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iceageIceage: Plowing into the Field of Love (Matador) LP
“Plowing Into the Field of Love” is the third album from Copenhagen’s Iceage. It is new, bold and forceful. Channeling the rage and emotion of their tempestuous early releases into finely honed musicianship, “Plowing Into The Field of Love” features piano, mandolin, viola and organ atop Johan Suurballe-Wieth’s razor-sharp guitars and the lolloping, synchronized rhythm section of Jacob Tvilling Pless and Dan Kjær Nielsen. The record has a clear, uncompressed sound, and Elias Bender Rønnenfelt’s desperate vocals are out front, nakedly accountable for the words. At the other extreme, the album tends to a sort of euphoria, especially in the unexpectedly upbeat country number “The Lord’s Favorite”. Yet desperation and loss lurks behind. This is an album about seeing, learning, and rejecting things, in a cycle that repeats and builds. The reference points are wildly varied – on a recent German radio show, the band played records by Abner Jay, Rowland S. Howard, Brian Eno, and Coil – but the sound is uniquely and darkly Iceage. “Iceage has always been a stylish band, so the accompanying video takes every opportunity to drive their point home: while taking lurid pulls off cigarettes and martinis, Ronnenfelt’s searing stare betrays the fact he knows damn well how much he’s playing against type.” – Pitchfork on “The Lord’s Favorite” (BEST NEW TRACK).

File Under: Punk, Post-Punk
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ballettoIl Balletto Di Bronzo: YS (Vinyl Magic) LP
“YS” was nothing less than a unique masterpiece of the golden age of Italian progressive rock. Coming from the town of Naples, Balletto di Bronzo had already published in 1970 their debut “Sirio 2222”, an ideal bridge among beat, prog and hard rock, when in ’71 they were joined by keyboardist Gianni Leone, who completely revolutionized the sound of the band. The following year “YS” fell like a bolt from the blue on the Italian music scene. The songwriting is always unsettling, extremely intricate and the sound is dark and dense at the same time. The tracks need several plays to be absorbed, but this effort reveals an extreme sense of gratification in the end. This milestone of Italian Prog is now reissued in the usual LP-replica edited by Vinyl Magic, including the lyric insert which was present in the original ’72. First pressing comes on a lavish white vinyl.

File Under: Prog, Italian
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isis

Isis: In The Absence of Truth (Robotic Empire) LP
IN TOMORROW! The logical expansion of ISIS’ multiple personalities yield “In The Absence Of Truth”, their latest monster full-length. It only makes sense that the ‘atmospheric’ parts are even more haunting (yet, uplifting) and the ‘heavy’ parts are even more brutal and crushing. However, it’s hardly an album of polar opposites, with the fluidity only achieved by a band who’s been consistently developing like this for nearly a decade now. The increased amount of actual singing really makes a difference on the more mellow moments, but widespread experimentation with new elements reaches far beyond the vocals here. Appropriate usage of unique tones, leads and overall surprising song-structures culminate with nine tracks of ISIS’ most impressive work to date. “In The Absence Of Truth” really is an astounding album, with a maturity displayed that leaps from their past into amazing uncharted waters of heaviness. Robotic Empire is honored to supply this gatefold, double-LP vinyl edition of ISIS’ latest masterpiece.

File Under: Metal, Post Rock
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johnson

Philip Johnson: Youth In Mourning (Superior Viaduct) LP
IN TOMORROW! Philip Johnson, a lost figure in the dark waters of early industrial music, self-released over 25 tapes starting in the late ’70s. As a part of the “cassette culture” in the UK, he produced ethereal soundscapes, damaged electronics and undanceable drum patterns, along with homemade j-cards. For his first and only LP, 1982’s Youth in Mourning, Johnson further refined his approach with mesmerizing audio collages and Mark-E-Smith-ian vocals to make one of the most unique documents of the era. The song “C81,” commenting on NME’s compilation of the same name, expresses contempt with know-it-all indie culture that was similarly reflected 20 years later in LCD Soundsystem’s “Losing My Edge.” Fans of the degenerate tale in The Velvet Underground’s “The Gift” will appreciate Johnson’s “The Karate Kicking Girl of New Invention.” Youth in Mourning is a personal record, yet fearless. It pulls back the bedroom curtain, revealing (as Johnson writes in the liner notes) “the sound of a warm-air heater on a cold afternoon and a cassette being pushed into the deck and switched on.” This first-time reissue comes from the original master tapes. Recommended for fans of Cabaret Voltaire, John Bender and The Shadow Ring.

File Under: Electronic, Experimental, Industrial
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kim ki o

Kim Ki O: Bir, Iki (S-S) LP
IN TOMORROW! Istanbul, Turkey; Year 2006: Ekin Sanaç and Berna Göl form Kim Ki O. Sanaç plays synth while Göl hits the bass. They both come up with beats and sing. Their music is lo-fi minimal synth with a post-punk / cold wave feel. The cool / warm dual female vocals are eerie and dreamy, referencing classic post-punk as well as traditional Turkish melodies but remaining understated. Over the next couple years, the pair releases two very limited CDRs and tours Scandinavia. In 2009 they appear on Radio Resistencia, released by the great Dutch synth label Enfant Terrible. One year later, Enfant Terrible releases their first album Dans. KFJC writes “The name of the band means ‘Who is that anyway’ in Turkish, and it reflects the ethereal nature of the sounds … a lovely early ’80s slow and somber electronic vibe (think Joy Division) combined with floaty, minimal lady vocals (sort of 4AD-ish like Cocteau Twins and Lush) … sweet, but not saccharine.” The vinyl issue of Dans quickly sells out. Over the next couple of years, Kim Ki O appears on various compilations and tours Turkey and Europe several times. They collaborate with Turkish filmmakers Merve Kayan and Zeynep Dadak on the short film Elope and write music for the Turkish performance group biriken for their play Re: Fwd: die in good company. In 2013, Lentonia Records out of France releases Grounds. It inspires a followup album of remixes called Grounds Album Remixes, also on Lentonia. In 2014, S-S Records dips into the Kim Ki O vaults and finds songs from their early CDRs. While the originals were muddy sounding, the tracks used for Bir, İki… (Turkish for “One, Two…”) are crystal clear. The vinyl—mastered by John Golden—gives Kim Ki O’s sound new warmth. These ten early tracks are a great addition to their catalog. Not content with music, film and drama, Sanaç and Göl are also involved in Turkey’s pro-democracy and women’s / gay rights movement. They strongly identify with other women in rock ’n’ roll and underground culture.

File Under: Post-Punk, Minimal
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vortex

Andrew Liles: The Equestrian Vortex (Death Waltz Originals) 10″
Death Waltz Recording Company in association with director Peter Strickland and audio historian Andrew Liles are proud to present the world premiere release of a true classic of Italian cinema: the 1977 giallo The Equestrian Vortex. A tale of a coven of witches presiding under a riding academy, the film has been hailed by both critics and detractors as one of the most disturbing pictures ever made, with much of the credit going to the film’s soundtrack. Supervised by director Giancarlo Santini and created by sound engineer Gilderoy, the score is a journey into the unconscious, where ghosts swirl with ethereal drones as screams echo into the night. Adding to this is the conspiratorial dialogue from actresses Silvia, Claudia, and Elisa, reading bizarre incantations that unleash the full horror of what lies beneath.

File Under: OST, Electronic, Ambient, NWW
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meatbodies

Meatbodies: s/t (In The Red) LP
IN TOMORROW! Loud, fast, wild—you’ve heard this all before but you haven’t because the Meatbodies are brand new and they’re going to dominate your eyes and ears and give you a bangover like you’ve never had before. Meatbodies initially came about as a solo project for Chad Ubovich after spending the last several years touring in other groups: In 2011, he was recruited by his friend Mikal Cronin to play bass, and eventually guitar, in Cronin’s band’s first ever tour. While Cronin strummed his twelve-string to his future classic pop songs, Ubovich howled alongside, adding his own brand of wolf-man style to Cronin’s live show. Heavy super-group Fuzz took notice of his on-stage prowess and recruited him to deliver Geezer Butler-style bass riffs that could propel Charles Moothart and Ty Segall’s songs through the stratosphere. While both of these bands have kept him busy over the past few years, his mind was always on his own songs. He would come home and secretly work on his own material—explosive, crunching, grinding songs with soaring melodies and gentle bridges cascading into torrents of riffs. Eventually he shared his work and allowed Segall to put out a tape of his bedroom recordings on his label God? Records. The tape was well received, so Ubovich recruited several friends with whom he could play around Los Angeles and San Francisco, and people began to see that he was more than just a sideman to his heavy-hitting comrades. Eventually, In the Red took notice and the Meatbodies were added to their roster. Sequestering himself in master studio magician Eric “King Riff” Bauer’s San Francisco studio / psychedelic sanctuary, Ubovich busted out an album’s worth of songs, barely leaving the small Technicolor underground quarters. Once the tracks were done, he sent them up to Chris Woodhouse to give them just the right final touches of perfectly controlled chaos. And perfectly controlled chaos is what this trifecta delivered. The self-titled record is a sonic experience truly evocative of its creator: Unabashed, unrestrained, beautiful and strange. Riffs for days. It’s everything we’ve come to expect from Chad Ubovich.

File Under: Garage, Indie
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moore

Thurston Moore: The Best Day (Matador) LP/CD
“The Best Day”, Thurston Moore’s first solo record since 2011’s “Demolished Thoughts”, radiates with both his signature dynamism of dense thrashing electric guitars as well as blissful 12-string acoustic ballads. Recorded with Thurston’s current band line-up of James Sedwards (guitars, UK), Deb Googe (of My Bloody Valentine, bass, UK) and Steve Shelley (Sonic Youth, drums, USA), there are also a some tracks that feature all instrumentation by Thurston. ‘The Best Day’ is a staggeringly confident, expansive work, one that not only rivals much of Moore’s past work, but also suggests his relocation to England has inspired a creative rebirth of sorts. This is a record defined by positivity and radical love. The songs range from opener “Speak to the Wild”, a Crazy Horse-like paean to anti-authority and activism, to “Vocabularies”, a paean to a new realization of language which includes ALL people. Thurston Moore has been at the forefront of the alternative rock scene since that particular obriquet was first used to signify any music that challenged and defied the mainstream standard. He is the founder and ringleader of Sonic Youth, the band that turned on an entire generation to the value of experimentation in rock n’ roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own ‘Daydream Nation’ album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006.

File Under: Indie Rock, Sonic Youth
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mm1

Modest Mouse: This Is A Long Drive… (Glacial Pace) LP/CD
IN TOMORROW! Modest Mouse’s 1996 debut album expands upon the themes of emotional and geographic isolation found in the band’s early recordings, and finds the band mixing slow, brooding numbers with thrashing guitar workouts. The general mood here is one of loneliness and desperation, eloquently expressed through both the lyrics and the rhythmic, sprawling instrumentation. Modest Mouse made their first significant mark with songs whose meanings are simultaneously universal and painfully personal.

File Under: Indie Rock
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fistful

Ennio Morricone: Fistful of Dollars (BTF) 10″
The year is 1964. Almost out of nowhere, the little-known and regarded director Sergio Leone transposes into a western key a film by Akira Kurosawa, and by putting together all the right pieces, adding a bit of intuition, lays down new rules for the “spaghetti western” genre, giving way to an endless series of imitations. A Fistful of Dollars would not have the same impact without the inimitable music written by Ennio Morricone, who had been an old elementary school mate of Leone’s. The main soundtrack themes were chosen from two arrangements that Morricone had already drafted two years earlier; once he removed the lyrics and added the unmistakable whistle of Alessandro Alessandroni, the spaghetti-sound was finally complete! The film was an incredible success, and projected Leone, Morricone, and in particular the actor Clint Eastwood into the Olympus of the Great. The soundtrack was released for the first time the following year, along with Sergio Leone’s subsequent work For a Few Dollars More. This new edition sees the original seven tracks of the score in a completely new layout.

File Under: OST, Western
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quando

Ennio Morricone: Quando Le Donne Vano La Coda (Contempo) LP
Quando Le Donne Avevano La Coda (When Women Had Tails) is the soundtrack to a bad Italian ripoff of One Million Years BC (Raquel Welch invents stoneage bikini etc) recorded in the late 1960s when Morricone was at the height of his psychedelic period. The music is colorful, bouncy, gooey, and completely irresistible. To Morricone fans, this is worth whatever you’d have to pay to get ahold of it. More than this, Quando is one of the rarest Morricone scores. Originally released by CAM in 1970, it has never been reissued on vinyl since then. Orchestra directed by Bruno Nicolai, featuring Alessandroni’s Cantori Moderni.

File Under: OST, Italian
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milano

Ennio Morricone: Milano Odia (GDM) LP
Milano Odia: La Polizia Non Puo Sparare, a 1974 movie directed by Umberto Lenzi, is the quintessence of the Italian police films. It’s even more violent and extreme than usual, with one of the best interpretations ever by the Cuban actor Tomas Milian. The soundtrack for the film was commissioned to Ennio Morricone, who at the time was already a full-time score composer, and had already worked in the same field. The Maestro wrote the entire OST starting from a single, obsessive theme, arranged in many different ways for each different scene or atmosphere. The whole soundtrack had never been released until 2007, and this is the first complete edition on vinyl ever.

File Under: OST, Italian, Crime
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nihilist

Nihilist Spasm Band: No Record (Lion) LP
One of very few indie label releases on Spin Magazine’s list of 100 top counter-cultural music, ahead of legends like Mulatu Astatke, Brigitte Fontaine, Pärson Sound, Ornette Coleman, Sun Ra and His Solar Arkestra, Harry Partch, and Os Mutantes. Zowie! “In 1965, eight guys from London, Ontario, decided to start a free-improv group — ‘free’ to the point of building their own instruments, which they decided couldn’t be set up to produce specific pitches… Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn’t treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the ’90s, noise artists finally recognized NSB as their ancestors — and, almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over.” —Spin “The record you’re holding is one of the masterworks of that big gray area of noise/weirdo/freak-out music. It’ still hard to believe that No Record was released in 1968. This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of record that was years ahead of itself. And as with albums like Trout Mask Replica, and The Faust Tapes, it still sounds fresh today. No Record is mandatory listening. —Lasse Marhaug

File Under: Experimental, Underground, CanCon
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orgasmo

Orgasmo Sonore: Omaggio a Bruno Nicolia (Cineploit) LP
Canada´s one & only Orgasmo Sonore was digging deep inside the Italian Soundtrack Archives and is presenting his own versions of music Maestro Nicolai did for the Giallo Genre. You can feel the black gloves and cold steel listening to this wonderful music, and maybe even following the blood drops – pure Italian Soundtrack Magic executed in the fantastic way only Orgasmo Sonore does!

File Under: OST, Italian, Redux
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friday

OST: Friday the 13th (Wax Works) LP
Waxwork Records proudly presents the original motion picture score to the 1980 horror slasher film Friday The 13th starring Kevin Bacon and Betsey Palmer, and directed by Sean Cunningham. Working closely with the film’s composer, Harry Manfredini, Waxwork Records brings the remastered score to vinyl for the first time ever. The original master tapes were discovered in the Paramount Pictures vaults by Manfredini, and have been faithfully restored to create the ultimate LP release of one of the most iconic scores in the history of horror cinema.

File Under: OST, Horror, Kevin Bacon
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house of the devilOST: House of the Devil (Death Waltz) LP
Death Waltz Recording Company are proud to present Jeff Grace’s score to The House of the Devil, Ti West’s acclaimed shocker that homages and celebrates films from one of the true golden ages of horror cinema. Coming from the same kind of place as The Omen and Rosemary’s Baby, the film has a certain period aesthetic that is reflected in its brooding and slow-burning score. Whilst it starts with an electric guitar and synth piece that immediately sets the mood and the time, Grace’s score doesn’t immediately hit you over the head, instead building itself up over time and increasing intensity while always being absolutely unsettling. The score begins in a minimalistic way, with delicate piano providing an eerie and foreboding presence. There are flashes of beauty amongst the sinister, with a solo violin providing a brief but exceptional moment of escape, but even that feels uncomfortable. Things start to heat up soon after, with the introduction of frantic strings to jolt you before Grace opens up with massive synths and insectoid violins in a glorious moment of musical confrontation, and from there on you’re in for a terrifying treat, with a final act that cements the score as a modern classic. This is a house you’ll want to return to again and again.

File Under: OST, Horror
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ought

Ought: Once More With Feeling (Constellation) 10″
Four-piece post-punk group Ought has been gathering momentum the old-fashioned way, with a humble and deceptively unassuming debut album that’s been worming its way into many many ears thanks to its combination of intelligence, authenticity, directness, simplicity and energy; and with live performances in which the band’s channeling of genuine passion, politics and charisma are consistently connecting with and exuberantly galvanizing audiences. Released in April 2014, More Than Any Other Day was showered with accolades. Since then the band has been mostly on the road, racking up tour dates and ramping up the attack on their existing songbook. Discussion of a tour-only release that would grab a couple of the band’s self-recorded early tunes and commit them to vinyl shifted by the end of spring towards a realization that Ought might update this material to reflect how the songs have evolved on stage and in concert. An intense weekend session at Montréal’s Hotel2Tango in June 2014 yielded new recordings of two early pieces, “Pill” and “New Calm Pt. 2″ (the self-recorded 2012 versions of which remain available on Ought’s Bandcamp) along with the brand new, more experimental and largely instrumental “New Calm Pt. 3″. The fantastic non-album track “Waiting” from the More Than Any Other Day sessions (and the first tune to be given out via Constellation when we announced the Ought signing) rounds out this 4-song, 24-minute, 10″ vinyl-only offering, suitably titled Once More With Feeling… In light of this new/freshly recorded material, it seemed unfair to restrict the Once More With Feeling… EP to tour-only status; Constellation is also making it available to indie retail, with a proper release date and all. As with More Than Any Other Day, the 10″ was recorded by Radwan Ghazi Moumneh at H2T, mastered by Harris Newman at Grey Market, and pressed at the inimitable Optimal record plant in Germany. We think it’s a very fine set of tunes that highlights and brings fans up to date with Ought’s first two years of songwriting, revealing additional facets of the band, including its ability to play with nostalgia and balladry (“Pill”), feverish revival-tent testifying (“New Calm Pt. 2″), and  improv/abstraction (“New Calm Pt. 3″).

File Under: Post-Punk, CanCon
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pc

Parquet Courts: American Specialties (Play Pinball) LP
IN TOMORROW! American Specialties is a much stranger collection of recordings than their incredible (official) debut LP, Light Up Gold, but it’s equally as pleasing. That awesome (but a little messy) tape was sent to Play Pinball’s tried and true pal, David Willingham, at The Echo Lab in Denton to work his magic and boy howdy, this remaster sounds better than hoped.

File Under: Punk, Indie
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pickettWilson Pickett: Hey Jude (4 Men With Beards) LP
IN TOMORROW! The classic 1969 release by Wilson Pickett cut with the Muscle Shoals session crew while Duane Allman added his intense, bluesy guitar to the mix. This album of hard Southern soul features Pickett in top form with his powerful vocals featured on soul tunes such as “A Man And A Half” and “Toe Hold,” alongside choice rock covers including the title track and “Born To Be Wild.” Reissued on 180 gram vinyl with tip on jacket.

File Under: Soul
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wolfcopShooting Guns: Wolfcop (One Way Static) LP/CS
Back in stock in limited quantities, this pressing is now sold out at the source, so don’t wait!!! “Wolfcop is currently wrecking havoc at multiple festivals baffling audiences all over the world. Equally remarkable is the killer soundtrack provided by Shooting Guns. A unique blend of heavy carpenter electronics mixed with Black Sabbath-esque riffs and even a hint of country. Upon hearing it, we just knew we had to release this. Limited to #1000 copies worldwide on RED & BLUE MARBLED VINYL. Vinyl packaged in a deluxe gatefold old school tip-on jacket with original artworks by Randy Ortiz (Marvel Comics, Mondo,…). Also included is a free digital download. In addition to the vinyl release there is a cassette tape version housed in a VHS clamshell box.

File Under: OST, Stoner, Metal, Psych, CanCon
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smith

Chris Smith: Bad Orchestra (Hermit Hut) LP
IN TOMORROW! Like most key figures in the Antipodean noise scene, Chris Smith exists in the adventurous-musician nethersphere: hailed by followers, unknown to most. Though he has released a few solo albums, played in groups like The Golden Lifestyle Band and Library Punx, and co-released recordings with Peter Jefferies, his only release outside of his country was 2002’s Map Ends: 1995-2001 (Emperor Jones). Bad Orchestra is from 2007, and aside from a small CD run on Death Valley, didn’t get the opportunity to turn heads. Thankfully, Hermit Hut has taken on the mission of releasing vinyl of this impossible-to-find album. Bad Orchestra is Smith’s masterpiece, a maelstrom of expansive guitar abstractions, sound collage and full-out rocking. Recorded with a band, the album touches many tangents while converging as a glorious whole. Initially inspired, surprisingly enough, by The Germs, Smith creates music as a solution to his own inner turmoil. He captures an essential rawness on par with Jim Shepard. Bad Orchestra is an assault that is wrought with skill. Every listen unearths new treasures and dynamics.

File Under: Experimental, Guitar
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total control

Total Control: Typical System (Iron Lung) LP
IN TOMORROW! Total Control emerged from Australia’s dynamic punk scene in ’08, releasing a succession of 7”s that developed from an aggressive post-punk band sound to studio forays into electronic forms from minimal wave to house. Their debut LP, Henge Beat, was commended as one of the few records released in 2011 that evaded the ease of classification and competent tribute act status of most modern bands. Subsequently, they have released three very different records: a split 12” with Thee Oh Sees, a 7” single on Sub Pop and a house remix 12”. Typical System develops on the incongruent demands of their debut LP and ensuing releases, a further development on their continually evolving sound.

File Under: Punk, Minimal Wave, Australia
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twilight sad

Twilight Sad: No One Wants To Be Here… (Fat Cat) LP
Following their stark nod to the heroes of an industrial past, No One Can Ever Know, The Twilight Sad has dug into their own past to form an album that’s bracing, biting and as widescreen as anything in their canon. The band, ever ambassadors of Scottish gloom, have harnessed their dark muse once again and drawn on their prowess in the live arena to track a record that proves they can translate the power of their stage show to tape. Where each album prior to No One Wants To Be Here and No One Wants to Leave saw the Twilight Sad tackling new sounds and ways of writing, their latest work draws from their entire career. MacFarlane says: “Over the 8 years we’ve been touring, our live sound has taken on different forms, from full on noise/feedback, to a sparse, synth led sound, to a stripped back set up with just keys, drum machine and guitar, to playing with an orchestra, and to just an acoustic with vocal. We wanted to try and capture all of those elements and develop them in some way to make the new record.” Opting to stay in Glasgow, the album was produced at Mogwai’s Castle Of Doom studio, engineered by the band’s live soundman Andrew Bush, mixed by Peter Katis (also responsible for Fourteen Autumns), with touring member Johnny Docherty playing bass. “We spent a lot of time at home when writing this new record, we got to hang out with old friends and get back to some sort of normality, which I think really helped me clear my mind and focus in on writing these new songs,” Graham says. “I had a lot I wanted to get off my chest and I’ve done that with this new record.” A first listen to the album confirms everything the band has said – noisy, densely layered, and deeply melodic, it wouldn’t be out of line to say this may be their best yet. One thing’s for sure – the Twilight Sad have still got a lot of life left in them.

File Under: Indie Rock
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ultimate

Ultimate Painting: Bleeding Moon (Trouble in Mind) LP
IN TOMORROW! Jack Cooper (Mazes) & James Hoare (Veronica Falls) are Ultimate Painting. Each member composed five songs each, creating a seamless journey that is both pastoral & cosmopolitan. Intertwining guitar lines that ride off into the sunset, shuffling head-boppers with hook after hook, mellow gothic romances and sunny melodies—they are all found herein.

File Under: Indie
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useless

Useless Eaters: Bleeding Moon (Castle Face) LP
IN TOMORROW! Seth Sutton has been ripping the shit out of terse Telecaster-sharp riffs and Devo-indebted angular rhythms with Useless Eaters since dude was 18 years old. A young protégé of Jay Reatard, Sutton’s home-fried concoctions are sharp, corrosive mini-masterpieces that drive you to flick cigarettes and push strangers. Psycho-sexual, serrated vocals; thin, acidic guitars; rubbery bass and hot-to-tape traps lather the whole disc. Sutton delivers a really ripping crew of tunes this time around, kicking off with the supremely heavy “American Cars” and not letting up ’til the side break—these are glass-crunching gems with just the right amount of crud to cut your lip a little. A great alienated vibe flows throughout, along with some really sticky melodies, too. Going out under the neon tonight? Take this with you.

File Under: Punk
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zola

Zola Jesus: Taiga (Mute) LP
Nika is the 25-year-old singer/songwriter behind Zola Jesus. Her new album Taiga is at once challenging and accessible, and is undeniably branded with what Nika terms a “piercing ambition.” Such encompassing purpose, she explains, would be impossible without a newfound sense of personal and artistic self. The album is a declaration of that purpose; one laced with jarring clarity in both its content and production. Taiga, the Russian name for a boreal forest pays homage to Nika’s Russian roots and her time spent growing up in rural Wisconsin on a 100-acre farm. For Nika, Taiga is a leap that reflects a fearlessness to be earnest and open, an approach that is immediately evidenced in the album’s first single, “Dangerous Days,” an undeniably hook ridden four-on-the-floor smash. Nika wrote the album on Vashon Island, a densely-wooded enclave in Puget Sound with no bridges connecting it to the mainland. Nika was influenced by her time in Iceland, Vermont and British Columbia and the album conjures these places while creating a unique sonic space of its own that each listener can travel to, explore, hide in, and celebrate. Liberated in the present and connected to the past, this album is a transition for Zola Jesus. Masterful layers of composition are bathed in familiar atmospheric vocals, but a new sensibility is deeply present. Nika summates, “For me, it feels like my true debut, because it is the first time I have felt so open and liberated.”

File Under: Electronic, Synth-Pop
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sly's

Various: I’m Just Like You: Sly’s Stone Flower 1969-1970 (Light in the Attic) CD
In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves–and the words “Written by Sylvester Stewart/Produced and arranged by Sly Stone” on the sticker. Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too–the imprint folded in 1971–but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On. The first 45 came in February 1970: Little Sister’s dancefloor-ready “You’re The One” hit Number 22 in the charts–the label’s highest showing. The follow-up, “Stanga,” also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone’s “Dynamite,” featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic “Life And Death In G&A” is one of the bleakest moments Sly Stone ever created on disc (Hicks’ prior single for Scepter, “Home Sweet Home,” the first released Stone Flower production, is also included). This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career.

File Under: Funk, Soul

temporary

Various: Temporary: Selections From Dunedin’s Pop Underground (Ba Da Bing) LP
On the same day Ba Da Bing releases an album by Dunedin legend Hamish Kilgour, the label is honored to present the city’s current artists. The tiny city of Dunedin, located in the Otago Region of New Zealand, is synonymous with smart bands, incredible melodies and a wholly distinct and innovative music. Thanks to The Clean, The Chills, The Bats, The Verlaines, and The Dead C, Dunedin has amassed a worldwide reputation for innovative music. Local label Fishrider Records has taken on the mission of compiling and producing an album that casts a light toward the Dunedin of today. These bands have all created their own sound away from the shadow of their city’s past, yet like many of their predecessors they retain the air of slightly disturbed melancholia along with a sense of space and distance from the rest of the world. Whether it is dark synth-pop, teen angst noise pop, guitar-and-organ jangle, or all-out psychedelic weirdness, these songs all come from a place on the edge of the world where the young still read books in abundance and fend off boredom by creating music and art in cold houses. Yet again, an extraordinary number of incredible groups are populating the scene, and the songs on Temporary are the best of the best—a Dunedin Double Plus Good, if you will.

File Under: Indie, New Zealand

…..restocks…..

Beachcomber Trio: Live At Kahiki 1965 (Bacchus) LP
Beach House: Teen Dream (Sub Pop) LP
Beirut: Gulag Orchestra (Ba Da Bing) LP
Beirut: Flying Club Cup (Ba Da Bing) LP
Beirut: The Rip Tide (Pompeii) LP
Big Star: #1 Record (4 Men With Beards) LP
Big Star: Radio City (4 Men With Beards) LP
Bjork: Debut (One Little Indian) LP
Black Keys: Chulahoma (Fat Possum) LP
Black Keys: Rubber Factory (Fat Possum) LP
Black Keys: Thickfreakness (Fat Possum) LP
Black Lips: Underneath The Rainbow (Vice) LP
The Body: All The Waters of… (At A Loss) LP
Captain Beefheart: Safe As Milk (Sundazed) LP
Chromatics: Nightdrive (Italians Do It Better) LP
Death From Above: You’re A Woman, I’m A Machine (Last Gang) LP
Death Grips: No Love Deep Web (Harvest) LP
Decemberists: Castaways & Cutouts (Jealous Butcher) LP
Desire: II (Italians Do It Better) LP
J Dilla: Donuts (Stones Throw) LP
Nils Frahm: Spaces (Erased Tapes) LP
Goat: Commune (Sub Pop) LP
Hiss Golden Messenger: Lateness of Dance (Merge) LP
Billie Holiday: Commodore Days (Doxy) LP
Billie Holiday: Rare West Coast (Doxy) LP
John Lee Hooker: I’m Going Home (Devil) LP
Olivia Jean: Bathtub Love Killings (Thirdman) LP
Khun Narin’s Electric Phin Band: s/t (Innovative Leisure) LP
King Khan & BBQ Show: s/t (In The Red) LP
King Tuff: Black Moon Spell (Sub Pop) LP
Magnolia Electric Co.: Trials & Errors (Secretly Canadian) LP
MF Doom: Mm.. Food (Rhymesayers) LP
Monolord: Empress Rising (Riding Easy) LP
Mudhoney: Piece of Cake (Music On Vinyl) LP
NoBunny: Love Visions (Almost Ready) LP
OST: Halloween II (Death Waltz) LP
Placebo: Ball of Eyes (Music on Vinyl) LP
Public Image LTD.: First Edition (Light in the Attic) LP
Nina Simone: Little Girl Blue (Doxy) LP
Songs:Ohia: Magnolia Electric Co. (Secretly Canadian) LP
Stefano Torossi: Feelings (Golden Pavilion) LP
T-Rex: The Slider (Fat Possum) LP
T-Rex: Tanx (Fat Possum) LP
Viet Cong: Cassette (Flemish Eye) 12″
White Fence: Family Perfume (Woodsist) LP
Wipers: Is This Real? (Jackpot) LP
Wipers: Over The Edge (Jackpot) LP
Wipers: Youth of America (Jackpot) LP
Yob: Atma (20 Buck Spin) LP
Yob: Catharsis Reissue (Relapse) LP
Various: After Dark 2 (Italians Do It Better) LP
Various: New Orleans Soul (Soul Jazz) LP

Tagged , , , , ,

…..news letter #660 – given…..

Holy moly! Another week of stacks of stuff piled up all over. And here I thought short weeks were supposed to give a bit of a reprieve, but no. Tons of killer stuff is on it’s way for next week too. It’s as though everyone is trying to get a new record out before there is no more vinyl left to press… man, that’d suck.

…..picks of the week…..

stranger

The Stranger: Bleaklow (History Always Favors The Winner) LP
One of the most destitute and absorbing albums in Leyland Kirby’s canon is finally given a much-needed vinyl pressing, following on from its initial CD release in 2008. Bleaklow is harrowing from the start, the opening “Something to Do with Death” reverberating dread via layers of unstable, radiant drones punctuated with pained, hi-pitched howls that cut through the mix with violent intent. “Solemn Dedication” adds percussion to the mix and sits somewhere between classic John Carpenter and Nate Young, but it’s on “Indefinite Ridge” that things really take a turn towards that eerie, destabilizing sound Kirby can do so well, like a standout BoC vignette pounded by the rattle of industrial machinery malfunctioning in the background; it’s at once deeply unsettling and oddly comforting. “A Melody Drags Me Back” recalls the spirit of Kirby’s best-known productions as The Caretaker, except in place of those old 78s you get just the vaguest hint of life and color beneath the endless layers of sonic unease. The album ends with “Ominous Sunset,” an incredible 6-minute coda that’s perhaps best compared to Kirby’s Sadly, the Future Is No Longer What It Was set, sounding like Vangelis’ score for Bladerunner aged and degraded yet still somehow conveying all its retro-futuristic romance. It’s an astonishing ending to one of Kirby’s finest albums. Fully remastered and cut by Matt Colton at Alchemy.

File Under: Dark Ambient, The Caretaker
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soused

Scott Walker + Sunn o))): Soused (4AD) LP/CD
When Sunn O))) first approached Scott Walker about appearing on their 2009 album Monoliths & Dimensions, they didn’t know what it would actually lead to. Four years on, Scott returned with something even more enticing, collaborating on Soused, a body of work he was writing with them in mind. Recorded in London in early 2014 and produced by Walker and long-time ally Peter Walsh with the assistance of musical director Mark Warman, Soused is a 5-track, 50-minute record that cements the status of both acts’ wide-reaching and otherworldly renown. The vinyl edition consists of two 180g LPs, pressed on black vinyl and housed in a heavyweight tip-on sleeve. The artwork was designed by Sunn O)))’s Stephen O’Malley, featuring photography by Gast Bouschet.

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

ambarchi

Oren Ambarchi/Jim O’Rourke/Keiji Haino: Only Wanting To Melt Beautifully… (Black Truffle) LP
“Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo’s legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums. Presenting the entire first set of the trio’s March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen is their fifth release and blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino’s most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O’Rourke’s 12-string acoustic guitar and Haino’s kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver’s seat, here O’Rourke takes center stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino’s greatest recordings, such as the legendary Live in the First Year of the Heisei volumes recorded with Kan Mikami. After this stunningly beautiful opening sequence, the performance moves organically through a number of episodes, including a dramatic central passage in which Haino moves to synth and drum machine, crafting a current of raw electricity that unfurls slowly over the gently pulsing foundations of Ambarchi’s cymbals and builds to heights of manic intensity. When Haino later turns to wooden flute, Ambarchi answers him with nimble hand-drummed percussion in a passage that calls to mind Don Cherry’s liberated combination of free-jazz improvisation and non-Western musics. The trio’s move away from the power trio dynamic bespeaks a risk-taking and questing spirit that refuses to be satisfied with repeating past glories, and yet the organic, immersive flow of this single improvisation attests to the intuitive bond that has formed between them over the last five years. Exuding the signature mystery and emotion of Haino’s greatest works, this release is perhaps the strongest statement yet from this acclaimed trio, and holds out a tantalizing promise for everyone hooked on their continuing exploration of ‘those things said to be as of yet unseen.’ –Francis Plagne

File Under: Psych, Japanese, Improve
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Brilliant-Career-PR-Image

Belle & Sebastian: Dear Catastrophe Waitress
If You’re Feeling Sinister
Tiger Milk
Fold Your Hand Child…
Life Pursuit
Etc.
(Matador) LP
All ten albums repackaged in resealable mylar bags, each with customized obi “It Could have been a brilliant career’ + all album art. Download coupons included plus brand new cover art for ‘Dear Catastrophe Waitress’. “Push Barman…,” “The Life Pursuit,” and “Dear Catatrophe Waitress” back in print after a long absence from the market.

File Under: Indie, Pop
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bong

Bong: Stoner Rock (Ritual) LP
Gatefold double LP version. Ultimate drone-lords Bong have summoned the tones of the elder gods with their epic new genre-defining album, Stoner Rock, their fourth full-length release on Ritual Productions. Recorded at Blank Studio, Newcastle, the album “is a tongue-in-cheek dig at our usual classification as ‘stoner rock’ and what the term has come to represent. The idea is to create our own definition of ‘stoner rock’ by creating an album so utterly stoned and repetitive to be a million miles away from the usual definition. Those who know Bong already will get both the humor and the philosophical redefinition… those who don’t know us will either get it when they listen or will never understand Bong at all.” Inspired by the works of H.P. Lovecraft, sonically speaking, Stoner Rock ventures further into the abyss, gravitating toward an endless void, and with the magnitude of their ritualistic, mesmeric drones, we have no choice but to follow. Featuring artwork by Zdzislaw Beksinski.

File Under: Drone, Metal, Doom
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buck65

Buck 65: Neverstory (Warner) LP 
“People of Earth! Today I bring news I’ve been waiting to share with you for a long time. I’m very happy to announce that a new album called Neverlove will finally be released on September 30th, 2014. A great deal of time and pain and joy and refinement went into the making of this one. Some of the saddest and silliest and strongest songs I’ve ever written are on this record. I’m excited and terrified for you to hear it.” – Buck 65

File Under: Hip Hop, Rap, CanCon
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brood

Elliott Brood: Work & Love (Paper Bag) LP
For their fifth album, Elliott Brood wanted to break things. 2008’s Mountain Meadows was shortlisted for the Polaris Prize, and the band’s last record, Days Into Years, won a 2011 Juno award for roots album of the year. Now was the time to smash the precedents, break the mould. To withdraw to a farmhouse in Bath, Ontario, hammering out nine songs in two weeks. For the first time, Elliott Brood decided to work with an outside producer: Ian Blurton, who has helped make roaring records for the Weakerthans, Skydiggers and Cursed. And for the first time, the group’s two songwriters decided to mine the bare histories of their own lives: penning verses about the ends of relationships and the tests of adulthood, long drives, childhood retreating in a rear-view mirror. “Work and love will make a man out of you,” the Constantines sang; and so here is Elliott Brood’s Work and Love, their most personal album to date, the sound of a grown-up band searching their hearts for all they’ve lost and gained. Casey Laforet, Mark Sasso and Stephen Pitkin recorded Work and Love in the cold spring of 2014, as the ice was coming apart on Lake Ontario. They deserted their families and holed up in the Tragically Hip’s Bathhouse studio, scarcely emerging – waking and playing and playing and playing, one song a day. The magic usually happened some time after midnight, when they were “just tired enough”. Blurton would come out and lure them into a new place: a different, even truer landscape. They called him “the Wizard”. Blurton the Wizard and engineer Nyles “the Mad Scientist” Spencer, filling the corners of songs with burred effects and tape loops. Elliott Brood had “played it safe” for four records, they claim: Blurton sharpened their sound, weathered and interrogated it, forced the three musicians to confront their own habits. And it made for a full-length that gestures toward the Hip and the Cons as much as it does to Richard Buckner and Whiskeytown. Adding dimension to select tracks on the album, the band is joined by Aaron Goldtein (City and Colour, Daniel Ramano) on Pedal Steel and John Dinsmore (Kathleen Edwards, Sarah Harmer) on bass (for ÔEach OtherÕs Kids). These songs are loud and quiet but mostly loud, and always reaching toward something. First loves, lost loves, fuck- ups and young men’s just desserts. Laforet has called Work and Love a “lament for youth”, but it’s also a eulogy for the moments that came just after, on the doorstep of manhood. It’s music of remembered abandon, new burdens, and those nights, years ago, when the moonlit fields seemed to go on forever. It’s Elliott Brood at their sheerest, facing forward and backward at the same time.

File Under: Folk, Country, CanCon
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fennesz

Fennesz: Venice (Touch) LP
Special 10th anniversary edition & first time available on vinyl. Gatefold double LP release — 14 tracks. Artwork and photography by Jon Wozencroft. Featuring David Sylvian (vocals) and Burkhard Stangl (guitar). Venice, the fourth studio album by Christian Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz’s best-selling record to date. Prefix (USA) noted: “Although Fennesz’s breakout record Endless Summer was followed by a live release and a collaboration with Jim O’Rourke and Peter Rehberg as Fenn O’Berg, Venice is the true heir to that album’s ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human.” Pitchfork Media (USA), in a lengthy review, also noted: “Venice’s quality extends beyond its sound. Touch proprietor Jon Wozencroft — through his breathtaking design and photography — continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect.” and The Declaration Online (Web): “Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water’s gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz’s latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audio-visual imprints dedicated to inextricably tying sound and vision.”

File Under: Electronic, Ambient
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black emanuelle

Nico Fidenco: Black Emanuelle (Dagored) LP
The legendary Nico Fidenco’s score for Black Emanuelle is by turns sultry and serious, fun and funky. The sound is sophisticated, groovy and melodically memorable; mixin’ latin rhythms—in a continuous sexual tension with the exotic images of the beautiful Laura Gemser—and electronic textures that show the influence of early techno masters such as Giorgio Moroder and Kraftwerk.

File Under: OST, Italian
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emanuelle

Nico Fidenco: Black Emanuelle Orient Reportage (Dagored) LP
Nico Fidenco’s Black Emanuelle Orient Reportage aka Black Emanuelle Goes East is one of the seminal soundtracks that will set you on an Italian groove odyssey! The film is probably the most depraved of all the volumes of the Emanuelle series. Maestro Fidenco relies heavily on layered strings, horns, flutes, violins and an array of exotic instruments and aims for eclecticism in playing with versions of the main theme. No one is ever the same after…Black Emanuelle! Mastered at 45rpm.

File Under: OST, Italian

fvs

Function/Vatican Shadow: Games Have Rules (Hospital) LP
Function and Vatican Shadow have combined forces on Games Have Rules for Hospital Productions, simultaneously stripping back each producer’s more prevalent production elements — the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow — to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric. As befitting what began life as an “emotional acid” album best suited for an after-hours home-listening experience, Games Have Rules was created in the early hours at New York’s Hospital Productions and Berlin’s Inanimate Objects studios, helping imbue the record with a sense of night turning into day, and the shifting contrasts of dark and light the music evokes. Although not created as the result of improvisation, the album retains an effortless, free-flowing structure, while simultaneously introducing the traditional techno drum kit over the course of the record, deconstructing the ever-changing, looming presence of New York City’s skyline. Ambient in the most traditional sense, Games Have Rules omits the top-heavy reverb saturation of so many modern releases and builds from the ground up with an arsenal of hi-fi and lo-fi production techniques/equipment with a cinematic sequence over the arc of the record. But whereas New York City has so often been depicted in film as a prison, Games Have Rules is an embracement of the city’s endless possibilities: the LP’s gatefold black and white image of The Empire State Building lit up at night from the inside; the ongoing stories of rise and decline lived out at its base.

File Under: Electronic, Ambient, Techno, Industrial
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ATOZ_12in_TIPONSteve Gunn: Way Out Weather (Paradise of Bachelors) LP
In Donald Barthelme’s 1982 story “Lightning,” the narrator, a journalist investigating lightning strike survivors, reflects that “lightning changes things; the soul burns, having been struck by lightning.” He wonders about aesthetic (and supernatural) dimensions—is “lightning an attempt at music on the part of God?” Three decades later, as the catastrophic effects of climate change encroach upon the realms of science fiction, how might our communications and social conventions change, becoming correspondingly weirder and darker? Weather is, after all, both a formulaic conversation starter across cultures and a shared condition that connects us experientially. So what happens when “How about this weather?” becomes a less banal and much more compelling, and dangerous, question? While ecological unease worries at the edges of Steve Gunn’s bold new full-band album Way Out Weather—the breathing sea of the billowing title track, the bad wind and moon over “Wildwood,” the polluted pyramid and blue bins in “Shadow Bros,” the desert heat sickness of “Atmosphere”—the resonance of the title is primarily metaphorical and oblique. Written largely while on tour, the record is an elliptical but seductive travelogue, more engaged with navigating foreign (“way out”) emotional landscapes, and with grasping at universal threads of language and narrative, than with bemoaning rising sea levels. Despite the album-opening lyric to the contrary, “Way Out Weather” is an uncommon song in Steve Gunn’s discography. Sonically and lyrically the album demonstrates a radical evolution, lighting out for lusher, more expansive, and impressionistic territories; it’s his first major work as an artist for whom the studio provides a critical context. A more enigmatic and elevated affair than its predecessor, Way Out Weather completes Gunn’s satisfying transformation into a mature songwriter, singer, and bandleader of subtlety and authority. It ranks as most impressive and inviting record yet, an inscrutable but entirely self-assured masterpiece.

File Under: Folk Rock, Psych, Blues
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helio

Heliocentrics/ Melvin Van Peebles: Last Transmission (Now Again) LP/CD
“An interplanetary space/love odyssey featuring Melvin Van Peebles (Brer Soul, Sweet Sweetback’s Baadasssss Song). Following Heliocentrics’ Out There and 13 Degrees of Reality albums. 2 CD set — Instrumentals included on bonus second disc. Van Peebles makes for the Heliocentrics’ ideal foil: he did graduate work in astronomy in Holland in the 1950s and maintains an avid interest in cosmology. The Heliocentrics, as their name conveys, draw inspiration from both the philosophic leanings of the likes of Stephen Hawking and interstellar mysteries, like those surrounding the Malian Dogon tribe’s knowledge of the Sirius B star hundreds of years before it was discovered. Their music is as indebted to Sun Ra’s interstellar jazz as it is inspired by psychedelia’s spiritual expanse. The Last Transmission, presented as a vocal album and an expanded instrumental selection on a bonus disc, can be taken as both the band’s interpretation of Van Peebles’ poem and a musical voyage inspired by Van Peebles’ vivid imagery. The band considers it their defining work, the result of more than a decade of playing and recording together. They’ve found a voice as a band, one that meshes with Van Peebles,’ as he weaves an intergalactic ‘Rime of the Ancient Mariner.’ In between producer/drummer Malcolm Catto’s thunderous syncopation and producer/bassist Jake Ferguson’s bellowing bass lines, amidst the analog electronics and atmospheric interference naturally accorded by their organic analogue process, Van Peebles’ voice floats in and out, spectral in its tone, complete in its conviction in the unfathomable sense that life’s eruption in the cosmic expanse made, and in love’s ability to transform and transcend death.”

File Under: Funk, Library
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jawbreaker

Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
One of the most popular and successful underground bands of the early- / mid-’90s, California’s Jawbreaker was comprised of Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums). The band melded raw vocals, a driving rhythm section and grinding guitar with complex song structures and literary lyrics, forging a distinctive style that has since, along with Schwarzenbach’s subsequent band Jets to Brazil, influenced a generation of independent music. By the end of 1993, Jawbreaker was in full stride. The band had completed a full US tour in the summer, played several shows that October with Nirvana, and was attracting significant major label attention. 24 Hour Revenge Therapy, released in early 1994, was Jawbreaker’s third album. After the more “progressive” Bivouac, the trio had returned to a straightforward, poppier sound, and the resulting full-length is widely regarded as their best. The bulk of the recording was done by noted independent producer Steve Albini (though it is officially credited to Albini’s cat, Fluss). Following the mainstream success of fellow Californians Green Day and Rancid, Jawbreaker decided to sign with DGC. They released a final studio album, Dear You, before calling it quits in 1996. A feature-length documentary on the band is currently in the works.

File Under: Punk
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jayhawks

Jayhawks: Rainy Day Music
Sound of Lies
Smile
(American) 2LPs

The Jayhawks couldn’t be more excited to announce that the long-awaited reissues of Sound of Lies, Smile and Rainy Day Music are now available on American Recordings/Universal. Smile was never released on vinyl (in the US) and Sound of Lies and Rainy Day Music were only originally released on vinyl in very limited quantities. The new 2LP editions will released on 180g high quality vinyl and will contain bonus tracks. All of the original tracks were remastered in April 2014 by renown mastering engineer Vic Anesini at Battery Studios in NYC using original analog sources whenever possible, offering a fresh new look at these classic albums. The Jayhawks were definitely swimming against the tide when they emerged from a crowded Minneapolis music scene halfway through the 1980s – a memorable decade that saw the likes of the Replacements, Soul Asylum, Husker Du and Prince put Minnesota on the musical map in a big way. Forging a rootsy sound that wasn’t quite rock or country – “Hank Williams on speed” somebody once memorably called it – The Jayhawks quickly turned into one of the most important bands of the post-punk era. Over the course of two decades, several albums, countless memorable live shows and enough personal drama to fill a couple of Behind the Music episodes, this beloved band soared to heights few ever achieve while wining the hearts and minds of numerous critics, fans and peers in the process. Named after “The Hawks” – as in “Levon and the Hawks,” the name of Dylan’s backing band in the ’60s before they became known as “The Band” – The Jayhawks and their fellow travelers even helped make the world safe again for artists who weren’t afraid to fuse traditional rock, country and folk influences into something that was both timeless and modern, just like the best American bands always have.

File Under: Alt. Country, Rock
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jorge

Seu Jorge & Almaz: s/t (Now Again) LP
2014 repress with download code. Originally released in 2010 “Listening to this remarkable album for the first time you’ll surely be struck first by the deep, soul-piercing voice of that great Brazilian singer, Seu Jorge. Yes: he’s a singer first and foremost. Many may know him as an actor for his screen-stealing performances in the likes of Wes Anderson’s The Life Aquatic and Fernando Meirelles’ City Of God but Seu has known since he was a child that we was destined to sing. He’s a Brazilian singer who speaks the truth through samba, to paraphrase a well-known Seu Jorge quote. But this project is about a band: Almaz. Drummer Pupillo and guitarist Lucio Maia from the stalwart Nação Zumbi; bassist and composer Antonio Pinto from the soundstages of movies starring Seu Jorge. They came together naturally to record a song for a Walter Salles film; they enjoyed the experience so much that they recorded an entire album of music that inspired them. Songs famous within the Brazilian diaspora (Tim Maia, Jorge Ben) mesh with classic American (Roy Ayers, Michael Jackson) and European (Kraftwerk, Cane and Abel) soul songs begging for a bit of psychedelic samba. They enlisted producer and fellow Brazileiro Mario C. (Beastie Boys, Jack Johnson) to put the finishing touches on the project. Their album is both warm and dark; psychedelic and yet grounded, uplifting but at times somber. To listen to it is to join them in the studio, where the only bandleader is the music and the only agenda is to follow your heart.”

File Under: Brazilian, Psychedelic, Samba
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maclean

The Juan Maclean: In A Dream (DFA) LP
The dance world way too often privileges the new, and not many dance artists write albums as good as In A Dream, the third full-length album by The Juan Maclean, this far into their career. The Juan Maclean have weathered electroclash, disco-punk, electro-disco, techno, house, deep house, and whatever we can call the sound of today. They never feel totally in step with the moment, but somehow always feel right and necessary. Put differently: there’s always something exciting to say about these guys. Let’s start with Nancy Whang. Nancy’s voice has always been a kind of secret weapon on The Juan Maclean records, but this album is her triumph. Just take a look above at the album art where she’s front and center This is the Nancy Show — you get all sides of Nancy on this record, a wide range of expression. These are all love songs, but emotions run wild. And you can’t pull this off without Nancy — she’s not living in these songs, she’s leading them. Like every Juan record, this one quotes freely from house and techno and disco. Dead drums and vintage synthesizers. This is a DFA record, after all. But early on in their career, The Juan Maclean stopped sounding like genres and just started sounding like The Juan Maclean. Part of that is lyrical — how the words interact with the melodies that carry them. The diction is always off in all the right ways. Another part is how much fun Juan and Nancy have with the arrangements of their songs. Different parts interact and play off one another in a way that’s remindful of the interplay on classic disco records.

File Under: Electronic, Dance, DFA
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lss

Legendary Shack Shakers: Agri.Dustrial (Stag-o-Lee) LP
Right in time for their reunion Stag-O-Lee releases Agri.Dustrial, the latest album by Legendary Shack Shakers on vinyl for the first time. The album features a new track, a new running order and a proper vinyl remastering. A roots rock juggernaut from Nashville, TN, the Legendary Shack Shakers are a hot-rodded foursome combining blues, rockabilly, country, and rock & roll into one manic assemblage boasting all the gloriously explosive instability of an M-80. Fronted by the manic JD Wilkes, who when not busy with music (he also leads the Dirt Daubers) is also known as a visual artist, publishing comic books and creating elaborate “carnival art” murals on discarded roll-up projection screens. The Legendary Shack Shakers existed from 2000 until 2010 with Agri.Dustrial from 2010 being their last release, although only on CD back then. On this record we hear new guitarist Duane Denison (Hank III, Jesus Lizard), who plays with the enthusiastic power of his predecessors, while new drummer Brett Whitacre drives his kit like it’s a semi full of dynamite rolling down a steep hill with no brakes. Singer Colonel JD Wilkes matches the mania of his bandmates, and with longtime bass man Mark Roberts in tow, they deliver a disc packed with sizzling slabs of rock mayhem. This is one sweet and evil ride. Sixteen songs in 38 minutes. Fasten seat belts. The Legendary Shack Shakers play like their lives depend on wringing the maximum force out of every note. Agri.Dustrial — already a timeless classic.

File Under: Rockabilly
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kink gong

Kink Gong: Gongs (Discrepant) LP
Since the end of the ’90s, Laurent Jeanneau aka Kink Gong has been recording the music of mostly endangered minorities of South East Asia. Alongside his relentless pursuit of remote exotic and unpublished musical traditions, he also creates electronic versions by combining raw recordings with natural sounds, archival material and electronically-treated sounds. For Gongs, Laurent returns to his soundscape approach not heard since the Xinjiang LP (2011) and further develops his unique re-versions around the extensive gong orchestra recordings he made on location in the remote regions of Cambodia & Laos. All tracks were recorded on location and re-arranged by Laurent Jeanneau in Dali, Paris & Berlin. Vinyl pressing of 500 copies.

File Under: Field Recordings, Asia
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Processed with VSCOcam with f2 preset

Mr. Twin Sister: s/t (Twin) LP
This is the second full length album by the five members of Twin Sister, now known as Mr Twin Sister. For this record, the band returned to the creative process they had employed on their first two EPs- working individually or in small, shifting groups, slowly building and rebuilding, before ultimately polishing with the full band. There was a new depth to the process this time- prior to 2010, the band had never before been in a proper studio. Now having spent time in one, they knew better how and when to use it, and were able to combine its benefits with a more methodical songwriting approach for the first time. Revolving around themes of self-identity and isolation, we are given eight songs stretching 38 minutes, something far deeper, darker, and more substantial than anything they have done before.

File Under: Indie Rock, Synth Pop
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stevens

Cedric Stevens: Hanging in the Wires (Discrepant) LP
After a busy spell collaborating with the likes of Fennesz and My Cat Is An Alien, Belgium experimental stalwart Cédric Stevens still finds time to complete a meditative LP of modular electronics, electric guitar and Indian tambura. Taking his trademark modular synth textures further into the ether zone, Stevens continues his flirtations between the fragile lines of noise and celestial drones, offering again another beautiful glimpse into his ongoing studio experiments at the reclusive Hermetic garage. With a gentle A-side of modular synths, guitars, and field recordings, the B-side plunges the listener into a grandiose meditating raga piece entitled “Benares Crescent.” Based exclusively on recordings of an Indian tambura and developed by Stevens over the last 5 years, “Benares” swooshes through Indian psychedelic drones, evoking a sometimes wild others meditating, electrified Indian harmonic soundscape. The logical continuation of the Belgium “school” of exploratory electronics. Fans of Baudouin Oosterlynck, Léo Kupper, Folke Rabe or Remko Scha take note.

File Under: Drone, Raga, Electronic
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supersilent

Supersilent: 12 (Rune Grammofon) CD
Rune Grammofon are delighted to welcome back the mighty Supersilent with a brand-new record, their first in four years. Recorded during three different sessions back in 2011, Supersilent 12 is produced by Deathprod from hours of recordings at his own Audio Virus LAB, Athletic Sound in Halden and the Emanuel Vigeland Museum, known for its 20-second natural reverb. Since the very beginning, Supersilent have always moved forward with the greatest integrity. Supersilent music is collective work, total group improvising, and not a matter of individual grandstanding. They never rehearse as a group and don’t discuss the music with each other, meeting only to play concerts or to record. Every recording and every concert is a unique occasion, not to be repeated, and their music lives in a no-man’s-land between the genres, somewhere between avant-garde free-jazz, rock, electronica and modern composition. It can sometimes appear to be written or at least arranged, again making it clear that these musicians communicate on a high, almost telepathic level. Supersilent 12 brings further evidence to the above. Known as being heavy on electronics, this time they have moved further towards the avant-garde territory populated by Deathprod and current Arve Henriksen releases Chron and Cosmic Creation. It features some of their darkest and most eerie soundscapes, but there’s still room for Henriksen’s lyrical trumpet. Supersilent was formed in Oslo in 1997 after producer, musician and sound artist Helge Sten approached improvising trio Veslefrekk with the idea of forming a new quartet. The first time they played together, without prior rehearsals, was at Bergen Jazz Festival the same year. Their first album, the triple set 1-3 was released in late ’97, also being the first release on Rune Grammofon. Drummer Jarle Vespestad left the group in 2008 without being replaced. Ståle Storløkken is a member of Humcrush, Elephant9, BOL, Reflections In Cosmo and Terje Rypdal’s Skywards trio and a couple of other projects. Arve Henriksen has released eight solo albums, seven of them on Rune Grammofon, and he has recorded with David Sylvian, Trygve Seim, Jon Balke, Christian Wallumrød and many others. Helge Sten aka Deathprod was a former member of rock group Motorpsycho and is now a permanent member in Susanna’s trio. As Deathprod he has released three albums as well as a retrospective 4CD box set. He is a producer on the various independent scenes in Norway, with credits including Jaga Jazzist, Nils Petter Molvaer, Motorpsycho, The White Birch, Susanna, Jenny Hval, and several others. Helge Sten (audio virus, electronics); Ståle Storløkken (keyboards, electronics); Arve Henriksen (trumpet, electronics).

File Under: Electronic, Ambient, Improv, Jazz
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jmt

Jone Takamaki Trio: Universal Mind (Arc Light Editions) LP
Arc Light Editions follows up two successful vinyl-only releases (Arthur Russell, Ingram Marshall) with Jone Takamäki Trio’s Universal Mind, a forgotten Finnish spiritual improv record from 1982, fully authorized by Jone himself. The tracks on Universal Mind are based on traditional Indian arrangements, with Japanese influence, leaning towards Alice Coltrane’s spirituality and pace. In addition to traditional improv instrumentation (saxophone, bass, drums), the record also includes synthesizers, gongs, finger pianos, a vibraphone and washbasins. Jone says, recalling making the record: “We played a lot together, daily, at our rehearsal space before recording. We went through the melodies and talked about how to handle them with a kind of different angle, improvised a lot with different sounds. We talked about tempos, especially we were diving deep into special moods, how each of those melodies talked to us. They are mostly old love songs from India, more folk songs than classical music.” After the recording, they left immediately on a European tour. “I told the people at the record company not to do anything to the record before we came back, but it was released while we were away. We saw the record on the windows of different record shops when we drove into town from the tour!” The record has never appeared on CD, and the 1982 vinyl release has rarely been heard outside Finland. The only place the release has re-emerged in recent memory is with the track “Bhupala I” selected on Son of Arctic Hysteria, a CD compilation of Finnish avant-garde and experimental music.

File Under: Finnish, Improv, Spiritual Jazz
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teenanger

Teenanger: E P L P (Telephone Explosion) LP
This eight-song offering is simultaneously their most accessible AND diverse to date. Here’s a review from Exclaim: “Teenanger have never been an easy band to peg — 2012’s Frights found the band kind of, but not quite, shrugging off their garage-y past, while 2013’s Singles Don’t $ell rode the line between direct punk poppiness and a new wave sheen. As the title suggests, E P L P is a continuation of the band’s ambivalence toward stasis or definition, sounding like a culmination of all of their previous ideas while still incorporating some new ones into their honed hooks. Most notably, Jon Schouten has opted for a sharper, crunchier guitar tone throughout the record, giving everyone else a bit more room to step up and be heard. Bassist Melissa Ball’s backup vocals play a greater role, even taking the lead on “Mild Survivor.” The changes might be slight, but like the bleating saxophone solo on “Twisted,” or the stabs of synth on “Negative Zeroes,” they’re essential to giving E P L P a sound that’s difficult to classify easily, while still making it distinct from its predecessors.”

File Under: Punk, CanCon
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tin man

Tin Man: Ode (Acid Test) LP
What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night’s unmade sheets. Appropriately, Tin Man’s melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 — his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like “Depleted Serotonin,” the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, “What a Shame” sounds like a forgotten Warp classic run through Tin Man’s palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On “Vertigo,” he reins in the acid box acrobatics — opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It’s a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen’s recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man’s music, there is always something left unsaid — he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic “Memoraphilia” and “Ode.” The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album’s textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. “Ode”‘s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd — an emptiness which can remain long after it’s disbanded. What comes when the dance is over?

File Under: Electronic, Techno
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unicorns

Unicorns: Who Will Cut Our Hair… (Xemu) LP
2003’s Who Will Cut Our Hair When We’re Gone? is the third and final album from Montreal, Quebec band The Unicorns. The release features thirteen tracks deeply rooted in careful songwriting and lo-fi pop experimentalism. The Unicorns have a gift for blending a morbid sense of humour with irresistible pop melodies caked with beautiful vocals employing thoughtful, near-sacred lyrics. The recording opens with “I Don’t Wanna Die,” a plea to the makers of the universe to “grant me one more breath”, setting the tone for the overall theme of the album. “Tuff Ghost” takes the intensity up a notch with The Unicorns’ attempt to cash in on the disco punk sound. “Ghost Mountain” is a lyrical tale of colonialism blanketed in a taut metaphor of one journey to the top of a haunted mountain, boasting classic lines like ‘There was heat from the fire, but I still froze when I saw the ghost.’ Completing the ghost trilogy, “Sea Ghost,” a pithy pop tune in the purest form, will stick with you for days, eating at your insides and turning your skin green, not unlike a parasite attached to your leg at the bottom of the ocean. In terms of sonorous diseases, “Jellybones” is maybe the most infectious pop tune on the record, ending too soon, but sticking around so long. Analog synthesizers never sounded this good. But suddenly, the smoking urgency of “The Clap” re-awakens the unsettling undercurrent of the album, in a wiry, unforgiving 1:25. The band’s sing-along Motown-inspired “I Was Born a Unicorn” serves as the band’s confrontational anthem, flatly asking: ‘Are you a believer?’ “Tuff Luff” will make Jay-Z wet his pants when he hears it! The song’s hook comes in the form of a penny whistle, but the impact remains in the wry critical observations of U.S. foreign policy. And then, just as you’ve embraced the Unicorns as your favorite band… it’s over, sharply abrupt and sad (like slipping off a cliff to one’s demise) with “Ready to Die,” a naive dirge, relenting to the unavoidable reality of mortality.

File Under: LoFi Pop, CanCon
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univers

Univers Zero: Relaps (Sub Rosa) LP
First limited edition: solid blue, black and clear mixed vinyl. Gatefold sleeve. Founding members of the original “Rock In Opposition” (R.I.O.) movement and the inventors of “chamber rock,” mythic Belgian band Univers Zero have continued to change and grow and develop over their entire career, while still keeping an ensemble sound and spirit that is easily recognizable. These recordings were previously unavailable in an LP format. Longstanding dark-hued Belgian chamber rockers and avant-prog pioneers led by drummer/composer Daniel Denis, Univers Zero was formed in 1974 with co-composer and guitarist Roger Trigaux (who left the band in 1980). This 2LP documents the final 1980s line-ups before the band’s long sabbatical from recording and touring. Despite many line-up changes over the years, their overall sound remained fairly consistent.

File Under: Prog, Rock in Opposition
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unwoundUnwound: No Energy (Numero) 3LP Box
As a robust rock underground got swallowed alive by the Major Label Industrial Complex, the very autonomous Unwound “Olympia, Washington’s Great Noise Hope” toed the troublesome line between pay check and Check Engine light. Captured in the gaps of a ruthless touring schedule, defining fourth and fifth albums The Future of What and Repetition were issued in the back-to-back springs of 1995 and ‘96. Both find the band severing their post-hardcore roots, for gripping detours into Echoplex, kraut, D&B, and Mingus, as guided by a sun-worn copy of Book Your Own Fuckin’ Life. No Energy collects both of these 1990s masterworks, beginning with Justin Trosper’s home-made haircut stabs on ‘New Energy’, continuing with Vern Rumsey’s reanimating bass on ‘Corpse Pose’, and closing in a wall of Sara Lund crash cymbals on ‘For Your Entertainment.’ This 33-song collection is buttressed by singles and period live tracks, a pile of double-exposed photographs, and a 10,000 word essay by latter-day Unwound diarist David Wilcox.

File Under: Punk
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x2

X: Aspiriations (Ugly Pop) LP
“The Sydney band’s 1979 debut is one of the all-time great Australian records, a devastatingly tough yet diverse album featuring 14 tracks of superb punk rock, equal parts wiry tension and savage release. This antipodean classic has fallen out of print again in recent years but should always be available, so Ugly Pop is pleased to announce that we’ll be reissuing it with new insert and unseen photos.”

x1

X: Spurts (Ugly Pop) LP
“Before their legendary debut LP, X recorded a 1977 demo session that is a brilliant snapshot of the period, and a treasure for anyone with an interest in world-wide first wave punk. Ten tracks, perfect raw/full recording, seething with desperation and urgency, this is the sound of early AC/DC meets ‘Pink Flag’ with everything cranked. 37 years on, Ugly Pop presents the first ever vinyl appearance of this seminal document.”

File Under: Punk, Australian
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haino

Zeitkrazter/Keiji Haino: Live at Jahrhunderthalle Bochum (Karlrecords) LP
LP version of 2014 release Zeitkratzer + Keiji Haino. 180 gram pressing, gatefold sleeve, limited to 500, includes download code. On his second release with Zeitkratzer, Keiji Haino concentrates solely on his voice. No electronics are used except for amplification. Nevertheless, this live recording is even more radical than the first one. Radical is the concentration on the very limited but frenetic musical material, worked out in detail, which is rarely heard in the noise context — enabling Keiji Haino to sit on it, fly over, to merge or just to oppose. Zeitkratzer’s amplified instruments, played with extended techniques as developed by the group and its outstanding musicians over more than a decade and Haino’s incredible richness in voice timbres and noises complement each other perfectly. It’s one of the closest and most natural cooperations Zeitkratzer ever had. Wild and beautiful. Shouting, scratching, screaming, piping, chattering, crying, rumbling, oscillating, roaring, clashing, juttering, tinkling, singing, … and at the end, it’s hilarious, powerful music, pure noise and pure melody. As the Chicago Reader noted: “The supernova finally occurs!” and The Wire agreed: “A real highlight, with Zeitkratzer enfolding Keiji Haino in its grasp like some tentacular kraken of the deep. Haino effectively becomes another member of the group.” Rock-a-Rolla cheered: “Forceful and utterly compelling!” Nothing left to say than: listen! Zeitkratzer is directed by Reinhold Friedl: Frank Gratkowski (clarinets); Hild Sofie Tafjord (French horn); Hilary Jeffery (trombone); Reinhold Friedl (piano); Marc Weiser (acoustic noises); Maurice de Martin (percussion); Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); + Keiji Haino (voice); Recorded live at Jahrhunderthalle Bochum, Ruhrtriennale. Recorded & mixed by Martin Wurmnest . Mastered by Rashad Becker.

File Under: Modern Classical, Experimental
Listen Here

burlesqueVarious: Burlesque Temptations:
Swinging Sound
Sleazy Sound
Sophisticated Sound
(AC) LP

Swing it, baby! Welcome to a fantastic three volume series dedicated to Burlesque music. Intended as an inspiration for performers who are searching for new tunes, as well as presenting a pleasant listening experience for fans of the newly re-born art of Burlesque, these volumes are the perfect soundtrack to a Burlesque club night or any retro cocktail party. Featuring the most swinging, lascivious, and provocative sounds the 20th century had to offer, the Burlesque Temptations series will please any and all fans of Sazerac and garter belts. The series has been compiled by Rome’s own legendary guru/mentor of the thriving contemporary Burlesque scene, Alessandro Casella, and featuring beautiful original artwork from one of the UK’s finest retro aficionados, Tony Diavolo. Each volume is presented on 140 gram vinyl with a free accompanying CD.

File Under: Exotica, Jazz, Swing

falco

Various: Tav Falco’s Wild & Exotic World of Musical Obscurities (Stag’o’Lee) LP
Tav Falco, the Memphis legend (of Panther Burns fame) compiled 25 of his favorite tunes from ’50s rockabilly to tangos, waltzes & other wonderful obscurities. Songs he loves, songs he covered with Panther Burns, songs that influenced him, thus shedding much light upon the music that incessantly ignites Falco’s muse. This is a wild and wonderful ride. A Back to Mine-style compilation that will open your ears. Double vinyl housed in a gatefold sleeve with extensive liner notes by the maestro himself. Artists include: The Johnny Burnette Trio, Don Willis, Bobby Lee, Allen Page, Arthur “Big Boy” Crudup, Jimmy Lloyd, Benny Joy, Alexander Princes, Bachicha Bianco, Anton Karas, Los Indios Tacunau, Carlos Di Sarli, Orchestra Juan D’Arienzo, Osvaldo Pugliese, Elmore James, Bobby Blue Bland, Chet Baker, Fred Buscaglione, Martin Denny, Dion & The Belmonts, Shorty Rogers, Charlie Feathers, and Alex Chilton.

File Under: Rockabilly, Exotica

…..restocks…..

13th Floor Elevators: Easter Everywhere (Snapper) 2LP
Alexisonfire: Crisis (Dine Alone) LP
Alexisonfire: Old Crows/Young Cardinals (Dine Alone) LP
Alexisonfire: Watch Out! (Dine Alone) LP
Bjork: Homogenic (One Little Indian) LP
Black Keys: Brothers (Nonesuch) LP
Black Keys: El Camino (Nonesuch) LP
Black Keys: Magic Potion (Nonesuch) LP
Black Keys: Turn Blue (Nonesuch) LP
Caribou: Swim (Merge) LP
Caribou: Andorra (Merge) LP
Chrome: Visitations (Cleopatra) LP
City & Colour: Bring Me Your Love (Dine Alone) LP
City & Colour: Hurry & the Harm (Dine Alone) LP
City & Colour: Little Hell (Dine Alone) LP
City & Colour: Sometimes (Dine Alone) LP
Clash: s/t (Epic) LP
Clash: Combat Rock (Epic) LP
Earth: Primitive & Deadly (Southern Lord) LP
Flying Lotus: You’re Dead! (Warp) 4LP Box
Genius/Gza: Liquid Swords (Get On Down) LP
Grateful Dead: Aoxomoxoa (Rhino) LP
LCD Soundsystem: s/t (DFA) LP
LCD Soundsystem: Sound of Silver (DFA) LP
M83: Hurry Up We’re Dreaming (Mute) LP
MF Doom: Operation Doomsday (Metal Face) LP
New Order: Power, Corruption, & Lies (Rhino) LP
New Pornographers: Brill Bruisers (Last Gang) LP
Pallbearer: Sorrow & Extinction (20 Buck Spin) LP
Placebo: s/t (Music on Vinyl) LP
Queens of the Stone Age: s/t (Rekords) LP
Queens of the Stone Age: Rated R (Interscope) LP
Queens of the Stone Age: Lullabies to Paralyse (Music On Vinyl) LP
Laetitia Sadier: Something Shines (Drag City) LP
Sigur Ros: Meo Suo I Eyrum Vio Spilum.. (XL) LP
Sleaford Mods: Divide & Exit (Harbringer) LP
Sun Kil Moon: Benji (Caldo Verte) LP
Talking Heads: 77 (Rhino) LP
Talking Heads: Fear of Music (Rhino) LP
Talking Heads: More Songs About Buildings… (Rhino) LP
Tweedy: Sukierae (Anti) LP+CD
Robert Wyatt: The End of an Ear (Cherry Red) LP
Ahmad Zahir: 70s Aghan Psychedelic Folk-Pop (Guerssen) LP
Various: Guardians of the Galaxy OST (Hollywood) LP
Various: Original Raw Soul 3 (Now Again) LP

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