Author Archives: listenrecords

…..news letter #680 – yack…..

…..pick of the week…..chrome

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

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

ata kak

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

File Under: African, Highlife, Rap, Electronic
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blackmoth

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

File Under: Electronic, Pop
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body

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

File Under: Metal, Doom
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tender

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

File Under: Rock, NICK CAVE
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dengue

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

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

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

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

 File Under: Electronic, Slow Techno, Ambient
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zep

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

File Under: Classic Rock
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magma5

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

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

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

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

File Under: Funk, Soul
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freecovers.net

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

File Under: Rock, Indie
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moon duo

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

File Under: Psych, Rock, Wooden Shjips
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no age

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

File Under: Indie Rock
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prekop

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

File Under: Electronic, Sea & Cake
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ronson

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

File Under: Pop, Funk, Soul
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segall

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

File Under: Punk, Garage
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von

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

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

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

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…..news letter #679 – mu…..

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

…..picks of the week…..

alessandroni

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

File Under: Library, Italian, OST
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bishop

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

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

affinity

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

File Under: Jazz Rock, Psych, Vertigo
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behold

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

File Under: Electronic, Ambient
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ambarchi

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

File Under: Electronic, Experimental
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haino

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

File Under: Fushitsusha, Japanese Psych, Drone
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atobe

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

File Under: Electronic, Techno, Basic Channel
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blackshaw

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

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

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

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

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

File Under: Rock, NICK CAVE
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clapclap

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

File Under: Electronic, Tribal, Juke
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cowell

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

File Under: Folk, Country
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craig

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

File Under: Electronic, Dance
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sierra

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

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

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

File Under: Jazz, Free Jazz, Norway

dino bug

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

File Under: Rock, Live
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duch

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

File Under: Minimalism, Experimental, Avant Garde
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flashback

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

File Under: Reading

ghostface

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

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

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

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

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

File Under: Psych, Krautrock, Acid Rock
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villalobos

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

File Under: Electronic
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iw_vol1_outer

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

File Under: Folk, Indie
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harbour

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

File Under: Rock, Folk, Goth
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leigh

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

File Under: Experimental, Noise
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mccann

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

File Under: Ambient, Classical, Avant-Garde
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microtub

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

File Under: Experimental, Minimalism
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sauna

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

File Under: Indie, Folk, Rock
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naka naka

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

File Under: Electronic, Techno, Synth
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om

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

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

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

File Under: OST, TV
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tam

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

File Under: Brazil, Tropicalia
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ramones

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

File Under: Punk

sanul

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

File Under: Psych, South Korea
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semool

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

File Under:  Psych, Prog
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sun ra

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

File Under: Jazz

mugstar

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

File Under: Psych, Krautrock, Improv, Can
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totland

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

File Under: Ambient, Electronic, Deaf Center
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trader

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

File Under: Psych, Folk
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we the people

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

File Under: Psych, Garage
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whitehorse

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

File Under: Indie, Folk, CanCon
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woorden

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

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

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

File Under: Indie, Electronic, Radiohead
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zappa

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

File Under: Rock, Blues, Legends, Live

arizona

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

File Under: Garage, Psych

brazilian

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

File Under: Brazil, Boogie, Disco, Funk

ACE-CiaoBella-CD-Fro

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

File Under: Italian, Girl Groups, Pop

fallin

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

File Under: Funk, Soul

tanzania

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

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

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

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…..news letter #677 – empyrean…..

Well, a relatively light week for shipments this week. That storm in the US hasn’t helped any. But we should have piles of new stuff next week. In the meantime I’ll be putting out another stack of jazz LPs tonight! Come get your dig on!

…..pick of the week…..

6ooa

Six Organs of Admittance: Hexadic (Drag City) LP/CD
“THE SYSTEM builds all of the tonal fields, chord changes, scales, and lyrics on this record, creating the framework for the songs with which the musicians engage. Yet THE SYSTEM is open; within the framework, Chasny’s own personal aesthetics — such as the production mode of loud guitars, the order of songs, the editing of length — were all conscious decisions made to communicate the pieces. The exact same combinatorial patterns used on this record can create infinite results, depending on the choices of the individual. Ben’s years of study have produced an operational agent that has not only built all the songs on Hexadic but is also a system anyone can use to restructure their ways of habit. The first thing one notices when listening to Hexadic is how unhinged it all sounds. The album brews and boils with an ominously dark tone in a desolate space, somehow dense with energy, guitar overdriven past the point of sanity, slamming drum accents, vocals cutting through in what seems to be comprised of another, as yet unheard, language. Yet, inside the apparent wild abandon and destruction is a strict internal logic of construction that unveils itself upon listening. This is the majestic dialectic of Hexadic.”

File Under: Rock, Psych, Comets on Fire
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…..new arrivals…..

father john

Father John Misty: I Love You, Honeybear (Sub Pop) LP
“I Love You, Honeybear was recorded intermittently from 2013 to 2014 in Echo Park, Los Angeles and produced with Jonathan Wilson, whom I also recorded and produced 2012’s Fairly Fun with. There’s a case to be made that it sounds and acts a bit like solo-era John Lennon, Scott Walker, Randy Newman, Harry Nilsson, and Dory Previn, while taking more than a few cues from Woody Allen, Kurt Vonnegut, Alejandro Jodorowsky and Muhammad Ali. “It has a decidedly more soulful presence than Fear Fun, due in no small part to the fact that I am truly singing my ass off all over this motherfucker. The album is really characterized by the scope and ambition of the arrangements. Nearly every tune is augmented by something special, be it orchestral strings, a mariachi band, questionable electronic drum solos, ragtime jazz combos, soul singers, or what have you. I’m pretty sure there’s a sitar in there somewhere. “My ambition, aside from making an indulgent, soulful, and epic sound worthy of the subject matter, was to address the sensuality of fear, the terrifying force of love, the unutterable pleasures of true intimacy, and the destruction of emotional and intellectual prisons in my own voice. This material demanded a new way of being made, and it took a lot of time before the process revealed itself. “The massive, deranged shmaltz I heard in my head, and knew had to be the sound of this record, originated a few years ago while Emma and I were hallucinating in Joshua Tree; the same week I wrote the title track. I chased that sound for the entire year and half we were recording. The means by which it was achieved bore a striking resemblance to the travails, abandon and transformation of loving someone. There: I said it.” – Josh Tillman aka Father John Misty I Love You, Honeybear was produced by Josh Tillman and Jonathan Wilson, mixed by Phil Ek, and mastered by Greg Calbi. This standard black vinyl edition comes housed in gatefold jacket and includes a fold out poster, listening instructions and an accompanying MP3 download coupon.

File Under: Folk, Indie, Fleet Foxes
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half jap

Half Japanese: Volume 2 1987-1989 (Fire) LP
Formed in 1975, this US group has undergone numerous personnel changes since its inception. Despite an erratic history, the unit remains an important outlet for the considerable but anachronistic talents of Jad Fair, who has also pursued a musically indistinguishable solo career. Half Japanese performances were events in the truest sense, often featuring two sets of drums, brass bands, magicians and up to four guitars. Half Japanese’s body of work taken as a whole represents an almost inconceivable playground of diversity and experimentation. However, it should not be a roll-call of distinguished colleagues that provides Jad Fair and Half Japanesewith their notoriety, but the stature of their music and lyrics, which have played a large part in shaping the development of the American underground rock scene (influencing artists such as Beck, Sebadoh and Nirvana.) The Fire Records Half Japanese reissue series continues with the second volume – covering the three releases of Music to Strip By, Charmed Life and The Band That Would Be King – issued one a year from 1987 to 1989. Following the 2014 release of Volume 1: 1981-1985, the next three Half Japanese records come in their original release form, with the additional tracks that were later added to the CD releases over the years available via download code. The LPs are wrapped together in a heavy wide spine outer sleeve with a specially designed paper cut image by Jad Fair, who also provides more illustrations throughout the booklet, with words by David Fair. “Half Japanese assumed it was the greatest Rock and Roll band on the planet. It was often right.” – SPIN

File Under: Punk, Rock, LoFi
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para one

Para One: Girlhood (Because) LP+CD
French producer Jean-Baptiste de Laubier aka Para One (TTC) has loyally composed all of the original soundtracks for French screenwriter and director Céline Sciamma’s films. Para One now presents his soundtrack to Sciamma’s acclaimed 2014 film Bande de filles (Girlhood), featuring an appearance by Frida Sundemo. Presented on LP with CD included.

File Under: OST, Electronic
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sigur ros

Sigur Ros: Agaetis Byrjun (XL) LP
A lot of people have one album that changes their lives, something that in some way alters everything after the first moment the hear it. 1999’s Agaetis Byrjun is that album for a lot of people. Agaetis Byrjun (a good beginning), is actually Sigur Ros’ second beginning. Three years previously they released their debut album, Von. After that the trio became a quartet and they evolved into something astounding. As suggested by a lyric from Agaetis Byrjun’s title track, Sigur Ros had bigger ambitions after releasing Von. Agaetis Byrjun gradually grew into a huge commercial success in Iceland, remaining in the top of the charts for over 2 years. Dave and Alex from Fat Cat Records had had their eye on Sigur Ros since 1998 and quickly signed the band to their label following Agaetis Byrjun’s release. The first indication of the critical acclaim the album would receive abroad came with the release of the Svefn-g-englar EP in September 1999. Ecstatic reviews began emerging and gushes like “the last great band of the twentieth century” and “like god weeping tears of gold in heaven” were not uncommon. Agaetis Byrjun became available to the rest of the world in 2000 when Fat Cat released the album in the UK, and in 2001 when PIAS Recordings released the album in North America. Agaetis Byrjun was an album that came literally out of nowhere and seemed to tug at the heartstrings of those who least expected it. No one thought an album by an unknown band of four shy Icelandic men in their early-20s, singing in Icelandic, would become the worldwide music phenomenon it became. The record label projected the album to sell 1500 copies – it has to date sold several million copies.

File Under: Ambient, Pop, Iceland
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Modern-Surf-ClassicsSwami John Reis & The Blind Shake: Modern Surf Classics (Swami) LP
Death by kowabunga bunga! Swami John Reis and The Blind Shake pay tribute to the classic surf and rock ’n’ roll instrumentals of the 1960s and update the genre for today’s more extreme, modern surfer. Thirteen original modern surf compositions create this tidal wave of booming tom toms, skronking saxophones and a chaotic surge of guitars. Let this south swell topple you, and may you be pinned in its undertow of reverb. Swami John Reis uses a similar aggro guitar approach to his playing in Hot Snakes and Night Marchers but allows the influences of Omar Khorshid, The Ventures, Link Wray, Randy Holden’s Fender IV and forgotten instro combos rise to the surface for air. Joining Swami is Minneapolis’s The Blind Shake (Goner Records, Castle Face), a bombastic power trio consisting of guitar, baritone guitar and drums whose sound has been described as “muscular psych punk.” This collaboration generates a symphonic wall of twang, amplifying the cinematic sense of drama and tension with the addition of saxophone, doumbek, piano, riq, vibraphone and piano. To capture the essence of this vibe, some of the initial tracking was recorded under Crystal Pier (San Diego) by Ben Moore utilizing a mobile recording VW van. Because of the intense rhythmic velocity achieved on many of these tracks, Modern Surf Classics can also be recommended to those interested in BMX, roller skateboarding, snowboarding / toboggan, fighting, yoga, car racing, military and most other water activities (with the exception of SUP).

File Under: Surf, Hot Snakes, Drive Like Jehu, RFTC
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switches

Switches: I Just Wanna (Switches) LP/CD/CS
Better late than never, these Edmo garage punk’s full length album is finally available! “If you’re going to cover an artist’s career-defining hit, you might want to take a few lessons from Edmonton’s Switches. Their version of Tracy Chapman’s wistful acoustic ditty, Fast Car, is one of the best covers of ANY song EVER — because the Edmonton garage-punks render it almost unrecognizable.  “I had a feeling I could be someone,” Tara McMahon snarls triumphantly as a gritty guitar and an NHL-style organ tussle in the back seat.  Even better, their rendition doesn’t stick out like a Mustang in a fleet of jalopies on the foursome’s new album, I Just Wanna. Their Fast Car sounds like just another one of the gang — you might need a few spins before you even realize it’s a cover — fitting in with tunes about beers, babes and bad-assery. “I just wanna shake it up / My way,” McMahon warns on the title track, a fast ’n’ ferocious number. “I just want her now,” she howls on Ma Cherie, a ’50s-style ballad punctuated with disheveled back-up vocals.  “I don’t need you by my side / But I still want you by my side,” she weighs her options on Stole All My Stuff. There’s no doubt about it: McMahon and her pals — Marlaena Moore, Tamar Dinner and Stefan Opryshko — will steal your heart.” – Edmonton Journal

File Under: Garage, Punk, Local
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two gallants

Two Gallants: We Are Undone (ATO) LP
San Francisco based guitar-drum duo Two Gallants return with their fifth studio album, We Are Undone, on ATO Records. While singer and guitarist Adam Stephens and drummer Tyson Vogel have stayed true to the two-person format since their acclaimed 2004 debut, The Throes, their sound has evolved considerably over the intervening years. Following 2012’s The Bloom and the Blight, We Are Undone is the band’s second release on ATO. Thematically, the album ranges from songs that attempt to make sense of the dramatically shifting social landscape of their home town, to the illusion of authenticity, impending environmental collapse, and romantic estrangement. Sonically, the thrash blues of songs such as “We Are Undone” and “Some Trouble” is balanced by the austerity of ballads such as “My Man Go” and “There Is So Much I Don’t Know.” Vogel notes, “I think that with this album, in reference to the albums previous, I think it steps in line with this other sort of expansion of both our personal lives, and our relationships personally. We’re both growing together and in different ways, and learning how to find that balance.”

File Under: Indie Rock
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…..restocks…..

Death From Above: You’re A Woman, I’m A Machine (Last Gang) LP
Earth: Primative & Deadly (Southern Lord) LP
El Michel’s Affair: Kiddy Ditty (Truth & Soul) 10″
Madvillain: Madvillainy (Stones Throw) LP
MF Doom: Mm… Food (Rhyme Sayers) LP
Obliterations: Poison Everything (Southern Lord) LP
Arthur Russell: Love is Overtaking Me (Audika) LP
Slint: Spiderland (Touch & Go) LP
Total Control: Henge Beats (Iron Lung) LP
White Noise: An Electric Storm (Island) LP

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…..news letter #676 – invisible roots…..

I’m glad to see winter is back with a vengeance. I really wanted to be able to get out on my skis more than twice this year. Not that I will, but I certainly would like at least the option. Anywho… loads of stuff this week, if not new there’s a whack of used stuff hitting the bins as usual, oh, and that jazz stuff is starting to hit the shelves, see below….

…..pick of the week…..

data planDada Plan: A Dada Plan is Free (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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…..new arrivals…..

amt

Acid Mothers Temple: Have You Seen The Other Side… (Nod & Smile) LP

“First time on vinyl for this Acid Mothers classic from 2006! Featuring the core group along with reed player Ono Ryoko and vocalist Nao, this one mixes psychedelic overload freakout with pastoral acoustic drone glossed with a jazz/jam sensibility. Double LP on red vinyl in a hand numbered edition of 500.”

File Under: Psych, Japanese Psych
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decemberists

Decemberists: What A Terrible World… (Capitol) LP
Produced by the band and long-time collaborator Tucker Martine (My Morning Jacket, Neko Case), it is The Decemberists’ first full-length studio album since 2011’s The King Is Dead, which debuted at No. 1 on the Billboard 200 and contained the Grammy-nominated single “Down By The Water.” While officially on hiatus for the past few years, The Decemberists – comprising Colin Meloy, Chris Funk, Jenny Conlee, Nate Query and John Moen – nonetheless remained visible. The band released a live album, We All Raise Our Voices to the Air, contributed a song to The Hunger Games soundtrack, appeared in animated form on The Simpsons and performed on the season six finale of Parks and Recreation. What a Terrible World, What a Beautiful World is The Decemberists’ most varied and dynamic work, both musically and emotionally. With their two most recent albums, The Hazards of Love and The King is Dead, the songs flowed out of an overall theme. Entering the studio in May 2013, The Decemberists reversed that approach. “Typically we book four or five weeks in the studio and bang out the whole record,” explains Meloy. “This time, we started by just booking three days, and didn’t know what we would record. There was no direction or focus; we wanted to just see what would come out. We recorded ‘Lake Song’ on the first day, live, and then two more songs in those three days. And the spirit of that session informed everything that came after.” The first songs were highly personal, a change from the strong narrative thrust that has characterized much of The Decemberists’ work. “Having a family, having kids, having this career, getting older – all of these things have made me look more inward,” says Meloy. These reflections come to the foreground in “12/17/12,” a song he wrote after watching President Obama address the nation following the Newtown school shootings. “I was hit by a sense of helplessness, but also the message of ‘Hold your family close,'” recalls Meloy. This bewildering, conflicted feeling came out in a phrase near the end of the song – “what a terrible world, what a beautiful world” – that gave the album its title. The sound of the album is also fuller and richer, inspired in part by Leonard Cohen’s 1977 collaboration with Phil Spector, Death of a Ladies’ Man. As The Decemberists remained committed to “letting the songs become themselves,” What a Terrible World, What a Beautiful World found its final form, a distillation of the best things about this remarkable band.

File Under: Pop, Folk, Indie
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dylan

Bob Dylan: Shadows in the Night (Columbia) LP
Columbia Records has announced a February 2015 release for Bob Dylan’s newest studio endeavor, Shadows In The Night. Featuring ten covers of songs and standards once sung by Frank Sinatra, the Jack Frost-produced album is the 36th studio set from Dylan and marks the first new music from the acclaimed artist since 2012’s worldwide hit Tempest. The legendary singer/songwriter’s take on Ol’ Blue Eyes’ 1945 hit, “Full Moon and Empty Arms” was premiered on his website in May 2014. Dylan commented, “It was a real privilege to make this album. I’ve wanted to do something like this for a long time but was never brave enough to approach 30-piece complicated arrangements and refine them down for a 5-piece band. That’s the key to all these performances. We knew these songs extremely well. It was all done live. Maybe one or two takes. No overdubbing. No vocal booths. No headphones. No separate tracking, and, for the most part, mixed as it was recorded. I don’t see myself as covering these songs in any way. They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.” Columbia Records Chairman Rob Stringer adds, “There are no strings, obvious horns, background vocals or other such devices often found on albums that feature standard ballads. Instead, Bob has managed to find a way to infuse these songs with new life and contemporary relevance. It is a brilliant record and we are extremely excited to be presenting it to the world very soon.” Bob Dylan’s five previous studio albums have been universally hailed as among the best of his storied career, achieving new levels of commercial success and critical acclaim for the artist. The platinum-selling Time Out Of Mind from 1997 earned multiple Grammy Awards, including Album Of The Year, while Love and Theft continued Dylan’s platinum streak and earned several Grammy nominations and a statue for Best Contemporary Folk album.

File Under: Dylan, Sinatra, Folk
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blaze

 Blaze Foley: Sittin’ By The Road (Elite) LP
On January 16, 2015 eliterecords will release Sittin’ By The Road, the first ever vinyl-edition of the earliest recordings by the exceptional Texan Folk artist Blaze Foley. Recorded on reel-to-reel in the late 70s by the artist himself, the songs show the raw talent of his straight and genuine songwriting. Born in Arkansas, Foley was shot to death way before his time, under circumstances still to be fully clarified. As a homeless, he traveled the streets of the Texan cities to share his music with people in nightclubs and bars. The companion and close friend of Townes Van Zandt always stood up for the weak, which eventually cost his life. “He’s only gone crazy once. Decided to stay. […] I am proud to call Blaze my friend.” – Townes Van Zandt “The song I wish I’d written: ‘Clay Pigeons’ by Blaze Foley. It paints a picture search did listen to it when you finish, you hope that’s you he’s singing about. “- Caleb Followill, Kings Of Leon “Blaze Foley was a genius and a beautiful loose.” – Lucinda Williams

File Under: Folk
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resa

Ennio Morricone: La Resa Dei Conti (Contempo) 2LP
Ennino Morricone delivered more of the same dramatic conflict on his score for the 1968 Western ‘La Resa Dei Conti’, this time mixing in a bit of atmospheric formlessness among his more romantic and orchestral sounds. There’s some vampiric-sounding organs as well as one of those ascending, judgement day tunes that’s expected of a Western: the strings come into play and the choir gets heavy with the tension.

File Under: OST, Maestro, Westerns
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morrcone

Ennio Morricone: L’Istruttoria E’Chiusa Dimentichi (Contempo) LP
Ennio Morricone’s atmospheric and avant garde soundtrack to 1971 Italian crime drama L’Istruttoria E’ Chiusa: Dimentichi. Morricone’s prolific output has included the soundtracks to The Thing, Once Upon a Time in America, The Untouchables and Mission to Mars and, more recently, Tarantino blockbusters Kill Bill, Inglorious Basterds and Django Unchained. Gatefold sleeve featuring the original movie poster.

File Under: OST, Maestro
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cat in the brain

OST: A Cat in the Brain (Mondo) LP
For those who don’t know, A Cat in the Brain (Un Gatto Nel Cervello) is horror master Lucio Fulci’s take on the Director in turmoil sub-genre made popular by Frederico Fellini’s 8 1/2. Composed by frequent collaborator Fabio Frizzi (The Beyond), the soundtrack is everything you want out of an Italian horror score: bizarre, haunting and fun. Fabio Frizzi’s work is a huge part of the reason we got into the soundtrack business in the first place. MONDO is proud to release this soundtrack for the first time ever on vinyl.

File Under: OST, Frizzi, Horror, Mondo
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ironOST: The Iron Giant (Mondo) LP
MONDO is pleased to present Michael Kamen’s Original Score for the animated cult classic THE IRON GIANT for the first time on Vinyl.

File Under: OST, Mondo, Animation
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pet

OST: Pet Sematary (Mondo) LP
Mondo is pleased to present Elliot Goldenthal’s original soundtrack to Pet Sematary. Featuring over a dozen cues never before released on vinyl, as well as two tracks by The Ramones (Pet Sematary & Sheena Is A Punk Rocker) and featuring original artwork by Mike Saputo.

File Under: OST, Horror, Mondo, Ramones
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sleater box

Sleater-Kinney: Start Together (Sub Pop) 7LP Box
BACK IN STOCK! The wildly acclaimed and influential band Sleater-Kinney – formed in Olympia, Washington in 1994 – consisted of a core line-up of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals) and Janet Weiss (drums). Over the course of a breakneck seven albums in ten years, Sleater-Kinney took rock music in a new direction combining raw punk energy and an unabashedly political stance. Time magazine’s Greil Marcus called Sleater-Kinney “America’s best rock band” while Rob Sheffield went a step further hailing them as “America’s best punk band ever” in Rolling Stone. Start Together is a deluxe box set compiling all seven of Sleater-Kinney’s critically-acclaimed albums spanning 1995 to 2005, plus a 44-page hardcover book.  Each album has been freshly remastered from the original analog tapes by Greg Calbi (Bruce Springsteen, John Lennon, Talking Heads) at Sterling Sound. Greg Calbi: “For such ferocious music, it was actually a very delicate process. I found, in dealing with one of the earlier albums, that my signal path and compression, including my Burl B2 convertor, gave me a more resonant, deeper sound on the guitars than the originals. Because the band rarely, if ever, used bass, I felt that this added to the aggressiveness and power of the band overall. I believe this treatment added a subtle, yet important, dimension to the band, and I explored each of the other albums with the same intention. Above all, their music, from inception, stands the test of time for the cleverness and emotional impact they brought to their genre.” This box set coincides with Sub Pop’s October 2014 release of remastered versions of Sleater-Kinney’s seven individual albums: Sleater-Kinney (1995), Call the Doctor (1996), Dig Me Out (1997), The Hot Rock (1999), All Hands On the Bad One (2000), One Beat (2002) and The Woods (2005).

File Under: Indie, Punk, Boxsets
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sparks

Sparks: Kimono My House (Universal) LP
Remastered for its 40th Anniversary and packaged in a thick spined outer sleeve with original inner bag plus notes from Russell Mael and a new essay, this new 2LP version of Sparks’ 1974 commercial breakthrough Kimono My House really is the definite version of a true landmark. Not only is the original album – containing the all-time classic singles “This Town Ain’t Big Enough For Both Of Us” and “Amateur Hour” – sounding better than ever, its second disc is truly special, containing the first release anywhere for seven demo recordings Sparks made in 1973 prior to signing with Island Records. Although a handful of the tracks were later re-recorded by the band, all seven have never seen the light of day…until now.

File Under: Pop, Rock, Reissues
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supreme

Supreme Jubilees: It’ll All Be Over (Light in the Attic) LP
If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. “We won’t have to cry no more,” the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. “It’ll all be over.” Prepare to dance and contemplate death all at the same time. A band of brothers and cousins, the group was founded from two families: brothers Joe and Dave Kingsby plus Dave’s son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price–who belonged to neither family–completed the line-up that recorded the group’s first–and, prophetically, only–album, It’ll All Be Over. Released in 1980 on the group’s own S&K (Sanders & Kingsby) label, It’ll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it’s a feel captured by the album cover–a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, “both apocalyptic and seductive.” Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group’s requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs–one side of the album–and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album’s title track in a single take. After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbecue in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

File Under: Funk, Soul, Disco, Gospel
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thin blue

Thin Lizzy: Shades of a Blue Orphanage (Future Days) LP
Thin Lizzy’s second album is a nod to the past: Shades Of A Blue Orphanage were former outfits of two of the band’s members, their names combined to create an oddly evocative image–especially when combined with a sepia-tinted image cover of three small, shoeless children intended to represent vocalist Phil Lynott, guitarist Eric Bell, and drummer Brian Downey. Looking back is a common theme of the LP. The soft, sensitive “Sarah” was written for Phil Lynott’s grandmother who raised him in lieu of his absent mother. It’s an album that challenges your perceptions about a group you think you have nailed down through future singles “Jailbreak,” “The Boys Are Back In Town,” and “Whisky In The Jar.” Here, “I Don’t Want To Forget How To Jive” sees the band try their hand at rockabilly, and “Chatting Today” evokes the emotive performances of Richie Havens. As a whole, Shades Of A Blue Orphanage presents a version of the band that places its foundations beyond the hard rock for which the group are famous. The preposterously titled “The Rise And Dear Demise Of The Funky Nomadic Tribes,” which opens the LP, epitomizes this, including tribal beats, funky guitars, and Lynott singing in full soul-power mode. It’s begging to be sampled, like the group’s contemporary–but incognito–work as Funky Junction, under which name they released Funky Junction Play A Tribute To Deep Purple the same year. Those who prefer Thin Lizzy in more recognizable form will find things to love, too: “Buffalo Gal” is as restrained as a song with an insistent, descending riff could ever be, and “Call The Police” is a bluesy swagger that shows off Lynott’s talent for describing life on the gritty streets of the Republic Of Ireland’s much-romanticized capital city. The record culminates in the world-weary title track with a chorus that cuts straight to the bone: “It’s true blue, Irish blue.” Released in 1972, just three years after the band formed in Dublin, it’s fair to say that Shades Of A Blue Orphanage represents a group on the move, still finding their feet, and possibly bending to the will of a record label who didn’t quite know what to do with a multiracial, multi-faith rock band from a sectarian country. Sales of the their debut album, Thin Lizzy, had been poor, and Shades Of A Blue Orphanage wasn’t the one to turn their fortunes around. Still, it’s fascinating listening for even those with a passing interest in their history.

File Under: Rock, Classic Rock
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thin vaga

Thin Lizzy: Vagabonds of the Western World (Future Days) LP
Seismic shifts happened between the previous year’s Shades Of A Blue Orphanage and 1973’s Vagabonds Of The Western World. Frontman Phil Lynott was still documenting working class life in the group’s native Dublin, and the band still featured guitarist Eric Bell and drummer Brian Downey, even if Bell was soon to leave; the shift was in the feel of the album. Between Jim Fitzpatrick’s lurid album cover which depicted the band in space, the new, hot-rod-like Thin Lizzy logo, and Lynott’s newly throaty howl, it’s possibly the first Thin Lizzy album on which they truly could be described as a hard rock band. Vagabonds presented a swaggering confidence, a band buoyed by the success of semi-accidental smash hit “Whisky In The Jar,” and carved out a moody, dark sound by borrowing bits from the blues, folk, psych, and Celtic music. Check out “Slow Blues” for proof, and decide whether Lynott or the guitars win the wail-off that begins the track. “Whisky In The Jar” had been a bone of contention for the band who felt it didn’t represent them. Pushed out due to their presence on package tours with rockers Slade and Suzi Quatro, it seemed to seal their fate, and their Vagabonds single, “The Rocker,” set out their stall for good. The weirdness and idiosyncracies of Phil Lynott’s early songwriting hadn’t been ironed out completely: “The Hero And The Madman” saw them try their hand at acid-fried cowboy rock–if such a thing ever existed. After the album, and after Bell’s departure due to ill health and disillusionment with the music industry, Thin Lizzy were reinvented once again. Lynott recruited two guitarists and the band left Decca to record Nightlife for Phonogram. Their big hits and glory years–beginning with 1976’s Jailbreak–were still ahead of them, but, with Vagabonds as a centerpiece, Thin Lizzy’s early years left behind a cabinet of curiosities.

File Under: Rock, Classic Rock
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west

Willie West: Lost Soul (Timmon) LP
Open your mind and be propelled to the deep outer rims of your soul with this new album by the New Orleans legend Willie West. The man might be best known for his work with Allen Toussaint and The Meters in the 60’s and 70’s, but more recently his underground hit “The Devil Gives Me Everything” has became popular among lowrider soulies and younger generation beatheads. On the “Lost Soul” album Willie is backed by the same gut wrenching always in the back pocket rhythms of The High Society Brothers Band, the same soul investigating force, that supplied the beat for the successful Nicole Willis and Myron & E albums.

File Under: Soul
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BFTG-vol-9-CD

Various: Back from the Grave 9 (Crypt) LP
18 years after Grave 8, and at last it is here! Monstrous, gatefold, thick color inner jacket – all crammed with liner notes, band photos, label scans. The ulimate in 60s punk insanity!!!! Balls-out, cruder-than-hell, RARER than hens teeth rawness – 7 of which are the ONLY copy in existence, 3 of which there are only 2 copies in existence! 15 cuts from: Warlocks, Raevins, Emeralds, Why-Nots, Turncoats, Shakles, Knoll Allen & The Noble Savages, etc!

File Under: Punk, Garage, Comps

…..used jazz…..

PLEASE READ THIS…. Alright folks! The moment we’ve been teasing you with, well sort of. The first batch of our massive jazz collection is hitting the shelves today at 6 pm! Now, this is only a tiny portion of the collection, less than 10% of it! We intend to trickle this stuff out over the next 6 months or so, maybe 50-100 records per week. Not only is there spacial issues, but just the amount of time it takes to clean and price this much stuff. Now in the sake of fairness, we will NOT be taking special requests for records that may be in the collection. We also will not be doing holds on these records. If you want it come and get it. This is likely the only list of stuff we will post to our news letter/site for the time being. If you want to see what’s hitting the shelves, you’ve gotta come down and see it for yourself. Keep in mind, this is top notch stuff. Largely original pressings. Most often mono. Lots of stuff that hasn’t been reissued for decades, if ever. And with that said, here’s a list of about HALF of what is going out today…

Art Ensemble of Chicago: People In Sorrow (Nessa N-3) LP
Albert Ayler: Bells (ESP-Disk 1010) LP
Chet Baker: Peace (Enja 4016) LP
Gary Bartz: Another Earth (Milestone MSP 9018) LP
Art Blakey & The Jazz Messengers: s/t (Impulse A-7) LP
Art Blakey & The Jazz Messengers: Kyoto (Riverside RS3303) LP
Anthony Braxton: New York, Fall 1974 (Arista AL-4032) LP
Marion Brown: Geechee Recollections (Impulse AS-9252) LP
Kenny Burrell: Asphalt Canyon Suite (Verve V6-8773) LP
Centipede: Septober Energy (Neon NE.9) LP
Paul Chambers/John Coltrane: High Step (Blue Note BN-LP451-H2) LP
Don Cherry/Gato Barbieri: Togetherness (Durium ms A 77127) LP
Alice Coltrane: Universal Consciousness (Impulse AS-9210) LP
Johnny Coles Quartet: New Morning (Criss Cross Jazz 1005) LP
John Coltrane: African Brass Sessions Vol. 2 (Impulse AS-9273) LP
John Coltrane Featuring Pharoah Sanders: Live in Seatle (Impulse AS-9202-2) LP
John Coltrane: Giant Steps (Atlantic 1311) LP
Miles Davis: At Plugged Nickel, Chicago (CBS 25AP 1) LP
Miles Davis Quintet: Relaxin’ (Prestige 7129) LP
Eric Dolphy: Iron Man (Columbia KZ 30873) LP
Eric Dolphy: Far Cry with Booker Little (New Jazz NJ 8270) LP
Ella Fitzgerald/Joe Pass: Take Love Easy (Pablo 2310 702) LP
Dizzy Gillespie: The New Continent (Limelight LM 82022) LP
Dexter Gordon: Go (Blue Note BST84112) LP
Joe Harriott: Indo-Jazz Fusions (Atlantic SD1482) LP
Roy Haynes Quartet: Out of the Afternoon (Impulse A-23) LP
Andrew Hill: Smoke Stack (Blue Note BLP4160) LP
Freddie Hubbard: Sing Me A Song of Songmy (Atlantic SD1576) LP
Bobby Hutcherson: Components (Blue Note BLP4213) LP
Elvin Jones: And Then Again (Atlantic 1443) LP
Rolank Kirk: I Talk With The Spirits (Limelight LM82008) LP
Steve Lacy/Don Cherry: Evidence (New Jazz NJ8271) LP
Art Lande/Jan Garbarek: Red Lanta (ECM 1038 ST) LP
Charles Lloyd: Forest Flower (Atlantic 1473) LP
London Experimental Jazz Quartet: Invisible Roots (Scratch SR-10) LP
Jackie McLean: It’s Time! (Blue Note BLP4179) LP
Charles Mingus: Jazz Portraits (United Artists UAL4078) LP
Billy Mitchell Quintet: A Little Juicy (Smash MGS 27042) LP
Lee Morgan: The Cooker (Blue Note BLP1578) LP
The Music Improvisation Company: s/t (ECM 1005ST) LP
Teruo Nakamura: Unicorn (Three Blind Mice TBM-18) LP
Al Neil: Boot & Fog (Music Gallery Editions MGE 33) LP
Charlie Parker: The Essential Charlie Parker (Verve V-8409) LP
Sam Rivers: Fushscia Swing Song (Blue Note BST84184) LP
Max Roach/Clifford Brown: Daahound (Mainstream MRL386) LP
Sonny Rollins: Tenor Titan (Verve VSPS-32) LP
George Russell: The Esoteric Circle (Flying Dutchman FD-10125) LP
Pharoah Sanders: Tauhid (Impulse A-9138) LP
Archie Shepp Quartet: Live in Tokyo (Denon YX-7538) LP
Wayne Shorter: Night Dreamer (Blue Note BLP4173) LP
Sun Ra and the Arkestra: Sound of Joy (Delmark DS-414) LP
Cecil Taylor Unit: Akisakila – In Japan (Trio PA-3004~5) LP
Leon Thomas: Spirits Known And Unknown (Polydor 2424 003) LP
Mtume Umoja Ensemble: Alkebu-Lan Land of the Blacks (Strata-East SES-19724) LP
Sarah Vaughan: Sweet, Sultry & Swinging (Spin-o-rama M-73) LP
Harold Vick: Don’t Look Back (Strata-East SES-7431) LP
Kenny Wheeler: Around 6 (ECM 1156) LP
Joe Williams w/ Thad Jones & Mel Lewis: s/t (Solid State SS18008) LP

…..restocks…..

Alt-J: This Is All Yours (Atlantic) LP
Aphex Twin: Selected Ambient Works 85-92 (Apollo) LP
Arcade Fire: Funeral (Merge) LP
Arcade Fire: Neon Bible (Merge) LP
Arcade Fire: Suburbs (Merge) LP
Black Angels: Passover (Light in the Attic) LP
Black Angels: Directions to See A Ghost (Light in the Attic) LP
Black Keys: El Camino (Nonesuch) LP
Boris w/ Merzbow: Sun Baked Snow Cave (Hydrahead) LP
Buzzcocks: Singles Going Steady (Music on Vinyl) LP
Alice Coltrane: Journey in Satchidananda (Impulse) LP
Karen Dalton: 1966 (Delmore) LP
Doors: s/t (Elektra) LP
Electric Wizard: Dopethrone (Rise Above) LP
Flipper: Generic Flipper (4 Men With Beards) LP
Goblin: Susperia (AMS) LP
Goblin: Tenebre (AMS) LP
Goblin: Profondo Rosso (AMS) LP
Grouper: Ruins (Kranky) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Jimi Hendrix: Electric Ladyland (Reprise) LP
Joy Division: Unknown Pleasures (Rhino) LP
Kyuss: Blues For The Red Sun (Elektra) LP
Kyuss: Welcome to Sky Valley (Elektra) LP
Kyuss: And the Circus Leaves Town (Elektra) LP
LCD Soundsystem: s/t (DFA) LP
Led Zeppelin: Houses of the Holy (Warner) LP
Led Zeppelin: I (Warner) DLX LP
Neutral Milk Hotel: In An Aeroplane Over The Sea (Merge) LP
Neutral Milk Hotel: On Avery Island (Merge) LP
Parquet Courts: Light Up Gold (What’s Your Rupture) LP
Pink Floyd: Dark Side of the Moon (EMI) LP
Django Reinhardt: Anthology (Not Now) LP
Django Reinhardt: Djangology (Cleopatra) LP
Ty Segall: Manipulator (Drag City) LP
Sensational Saints: You Won’t Believe (Numero) LP
Sex Pistols: Never Mind The Bullocks (Warner) LP
Shooting Guns: Brotherhood of the Ram (Easy Rider) LP
Sleater-Kinney: No Cities To Love (Sub Pop) LP
Slow Season: Mountains (Easy Rider) LP
Dusty Springfield: Dusty in Memphis (4 Men With Beards) LP
The Stooges: Fun House (Rhino) LP
The Stooges: s/t (Rhino) LP
Tom Waits: Small Change (Rhino) LP
Woo: Into the Heart of Love (Emotional Rescue) LP
Neil Young: Harvest (Reprise) LP
Various: Country Funk II (Light in the Attic) LP
Various: Eccentric Soul: Capsoul Label (Numero) LP
Various: Eccentric Soul: Big Mack Label (Numero) LP
Various: Eccentric Soul: Deep City Label (Numero) LP
Various: Eccentric Soul: Prix Label (Numero) LP
Various: Eccentric Soul: Dynamic Label (Numero) LP
Various: Eccentric Soul: Forte Label (Numero) LP
Various: Sly Stone’s Flower (Light in the Attic) LP
Various: WTNG 89.9 FM Solid Bronze (Numero) LP

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…..news letter #675 – room for squares…..

Well, we are slowly unpacking the jazz into the back room. But in the meantime we’ve got a good stack of other cool used stuff hitting the floor this week to tide y’all over until we start getting some price tags on all this jazz stuff.

…..pick of the week…..

orourke

Jim O’Rourke: All Kinds of People ~ Love Burt Bacharach (BJLxAWDR) LP
Finally a new pop album from the brilliant Jim O’Rourke! This Japan only release is packaged in a beautiful gatefold cover with insert and is pressed on some of the best vinyl in the world! “O’Rourke – an iconic experimental musician known for collaborating with the likes of Christian Fennesz, Sonic Youth and Peter Rehberg, as well as producing classic albums by Wilco, Stereolab, Joanna Newsom and many more – has long harboured a soft spot for the veteran American songwriter, recording a version of his ‘Something Big’ in a ravishing arrangement on the 1999 album Eureka. Here he helms a collection of eleven new covers, with contributions from Boredoms’ Yoshimi, Sonic Youth’s Thurston Moore, Wilco drummer Glenn Kotche and others. O’Rourke – who currently resides in Japan – not only produces and sings on the album, entitled All Kinds of People ~Love Burt Bacharach~, but plays an array of instruments including guitar, banjo, keyboards, bass, harpichord.”

File Under: Pop, Crooners, O’Rourke
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…..new arrivals…..

aphex

Aphex Twin: Computer Controlled Acoustic Instruments pt. 2 (Warp) 12”
New and unheard material from Richard D. James as Aphex Twin following the Top-15, Grammy nominated album Syro. 13 Tracks with a Total runtime of over 28 mins. Artwork by The Designers Republic. “There are few figures in the past twenty years of electronic music as important and as mercurial as James” – The New Yorker

File Under: Electronic, IDM
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263882

Belle & Sebastian: Girls In Peacetime Want To Dance (Matador) LP/Box/CD
Girls In Peacetime Want To Dance is the long awaited follow-up to 2010’s Write About Love. Produced and mixed at Maze Studios in Atlanta by Ben H. Allen III, best known for his work with Gnarls Barkley, Animal Collective, and Raury, among others, the band – who have been listening to things like vintage Detroit techno and Giorgio Moroder – have brought a dance party element into their gorgeous tales of sensitive souls navigating a world gone awry. It is perhaps the most inspired and wide-reaching album Belle and Sebastian have ever made. Given that band leader Stuart Murdoch has openly declared himself pro-bubblegum before, it shouldn’t come as a surprise that “Enter Sylvia Plath,” “The Book Of You” and “Play For Today” have keyboard hooks that recall Scandinavian pop machines past and present. The filmic loves, kitchen sink imagery and baroque touches are still there, too, don’t worry. It’s all about trusting in the restorative power of pop music. If you’d trust anyone to write a great Europop song about Sylvia Plath, you’d trust Belle & Sebastian. In addition to this standard 2LP edition, Girls In Peacetime Want to Dance is also available as limited edition, quadruple LP-set featuring two extended mixes and four bonus tracks, two of which are exclusive to this format. The 4LP-set comes housed in a lidded box with download voucher and poster.

File Under: Pop, Indie
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carpenter

John Carpenter: Lost Themes (Sacred Bones) LP
John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fu fighters, or a mirror holding the gateway to hell. The all-new music on Lost Themes asks Carpenter’s acolytes to visualize their own nightmares. “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who wrote the songs for I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.” As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and Goblin’s Suspiria. “They’re little moments of score from movies made in our imaginations,” Carpenter adds. “Now I hope it inspires people to create films that could be scored with this music.”

File Under: OST, Synth, Psuedo Soundtrack
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michna

Michna: Thousand Thursday (Ghostly) LP
Are we all tired of the “[Artist] Returns After [Number] Years in Obscurity” headline yet? Because Michna sure is. Nearly seven years following the NYC DJ/producer’s debut album for Ghostly, Magic Monday, he’s finished the official follow up to that record, but Adrian Yin Michna doesn’t want to overstate what happened in the interim. “Life just moves,” he starts casually, “there’s been a lot going on.” DJ gigs, music production for video games and commercials, and film scoring have kept him busy, along with a healthy balance of painting, biking, and other non-musical endeavors. In light of Michna’s sophomore LP, Thousand Thursday, though, it all seems beside the point. Simply put, his latest record is a celebration of the producer’s love for vibrant electronic music, bothering very little with conceptual or contextual baggage. And yet, in many ways, Thousand Thursday effortlessly streamlines Michna’s life and cultural background into affable dancefloor sounds. “My dad is from Ealing in West London,” he shares, “and that’s been a huge direct musical influence my whole life, especially when I was a teen and spent some time in London in the mid­-’90s.” You can easily hear that much in the ravey breakbeats and horn stabs that sneak into synthy tracks like “Cherry 2000″ and “Time Will Tell”, or even the vibe of rain­-soaked streets that permeates Thousand Thursday. Then there’s the artist’s enduring love for classic house, disco, and hip­-hop, which is more obvious. “Nuroq Legacy” effortlessly brings all of these influences into one lively, eclectic dance track, but the wistful “Increasing Ambition” is pure neon Italo and Michna’s unclassifiable brand of of hip-hop has never sounded better than on “She Exists In My Mind”. Perhaps less apparent is how the industrial tapes from Michna’s childhood played a role in creating these 10 spirited tracks. “I started re-­listening to them primarily just to hear how they flip samples,” he elaborates, and the technique is used all over Thousand Thursday. It lends the music an added bit of personal history and what Michna calls “subliminal messages,” as he borrows from years and years worth of field recordings—including bits of “Blackberry video, Flip camera tour footage, terrible interviews with friends, people on the street, and found sounds galore.” Rifle through the slow-grooving robo-beats on “Believe In It Pt. II”, or “Jace the Mind Sculptor”‘s densely textural ambient drift, and you’ll uncover layer upon chopped up layer of these lovingly curated snippets. There seems to be a tapestry of life’s strange, beautiful, and unexpected moments woven into Thousand Thursday. For all of its varying influences and reference points, Thousand Thursday is actually a strong cohesive listen; each of Michna’s productions flow seamlessly into the next. This is an album where NYC/LA dance-­pop vocalist MNDR can deliver her chilly falsetto next to a lifelong gearhead twiddling the knobs of his Akai S­950, Korg MS­20, E­mu SP­1200, and other coveted hardware. Thousand Thursday is the sound of Michna re-discovering his passion for writing tunes and crafting an album, and whether he likes it or not, it all tells us a bit about where his mind has been during the years of his process.

File Under: Electronic
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pixies

Pixies: Doolittle 25 (4AD) 3LP
The Pixies will celebrate the 25th anniversary of 1989’s Doolittle with the release of Pixies: Doolittle 25 – an expanded edition of the classic album that brings together all the album’s B-sides, Peel Sessions and demos for the first time, with nearly half of the tracks having not been commercially released before. The second studio album from the Pixies – Black Francis, Joey Santiago, Kim Deal and David Lovering – Doolittle was to prove a pivotal moment for both the band and the wider scene. Produced by Gil Norton and recorded between two studios (Downtown Recorders in Boston MA and Carriage House Studios in Stamford CT) in late-1988, it was an instant hit, containing some of the band’s most memorable singles (“Monkey Gone To Heaven,” “Here Comes Your Man,” “Debaser”). Included among the many plaudits thrown Doolittle’s way was Pitchfork ranking it at Number 4 in their Best Albums of the 80s poll, while NME writers in 2004 named it their Second Best Album of All Time. The band toured Doolittle in 2009 to celebrate its 20th birthday and five years on, it’s now time to give it the deluxe release treatment it deserves. The vinyl version will be pressed on to three pieces of 180g black vinyl, with the first containing 6 B-Sides and 2 full Peel Sessions and the second being the album in complete demo form plus 3 bonus tracks. Like all other Pixies sleeves before it, Vaughan Oliver returns to reinterpret his original design and Simon Larbalestier’s photographs to create a stunning gatefold design, printed in metallic ink. A download card is included which offers access to all LP tracks plus four more bonus tracks.

File Under: Indie Rock
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rush

Rush: Fly By Night (Mercury) LP
In 2014 UMe/Mercury reissued Rush’s self-titled debut on heavy-weight vinyl in celebration of the album’s 40th anniversary. Now in 2015, let the Rush 40 celebration continue with ’12 Months of Rush’ reissues – in chronological order – starting with 1975’s Fly By Night on LP. During the ’12 Months of Rush’ campaign all 14 of the band’s Mercury albums will be remastered on 200-gram heavy-weight vinyl at legendary Abbey Road, all from original analogue masters. All LPs will also include a digital download code for a 320kbps MP4 vinyl ripped Digital Audio album download. Rush’s second album, Fly By Night, was the first to feature integral new drummer Neil Peart who replaced original member John Rutsey and also became the band’s lyricist. On more complex songs like the title track and “Making Memories,” you can hear the band’s signature sound truly starting to take shape and the album enjoyed platinum certification in both their homeland of Canada and the U.S.

File Under: Classic Rock, CanCon
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shannon

Del Shannon: The Further Adventures of Charles Westover (Trouble In Mind) LP
Back on vinyl for the first time since its original release in 1968 with remastered audio restored artwork! Upon hearing Del Shannon’s misunderstood masterpiece for the first time, you gotta wonder—how was this album NOT a HUGE hit? Perhaps it was the changing times, music listeners were turning on to heavier sounds, or unwilling to embrace an “older” artists new output, but tunes like the haunting “Silver Birch” and “Gemini” and the cinematic popsike of “Colour Flashing Hair” and “Magical Musical Box” (not to mention the rockin’ “Runnin’ On Back” with it’s scorching layered lead guitar solos!) found their way into the eardrums of collectors everywhere & the album became an absolute cult classic.

 File Under: Pop, Psych
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smalls

Smalls: Selected Works (Smalls) 2LP
“We all put our heads together and tried to come up with five of our favourite songs from each of our albums for release on this vinyl compilation. It wasn’t easy, but we think it’s a good representation of the music we made together over the years. Hope you enjoy it.” – the smalls, 2014 (Fifth Instar) 2014 Reunion Tour Compilation Vinyl. Compilation of all four Smalls albums with each side or “Instar” covering five songs from a corresponding album.

File Under: Metal, Indie Rock, CanCon, Corb Lund
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PrintMark Templeton + Kyle Armstrong: Extensions (Graphical) LP+DVD
2015 marks the 104th birthday of Canadian visionary Marshall McLuhan. With each passing year the revelatory nature of his prophetic vision becomes more evident. The global village is becoming a distinct reality in this technological age. McLuhan’s ability to predict the full impact of technology and media on our culture decades in advance is unprecedented. And his deep concern and warnings to us in these drastic changes in civilization are rarely heeded as we head full-steam ahead past the point of no-return, the consequences which are increasingly self-evident. Sound artist Mark Templeton and filmmaker Kyle Armstrong have collaborated on a film/record released as a 12” LP and DVD in tribute to Canadian media visionary Marshall McLuhan. The audiovisual elements include both original and sampled film and audio inspired by the media visionary. The LP and DVD was mastered by Giuseppe Ielasi and pressed on 140g vinyl. Release comes with a digital download coupon.

File Under: Electronic, Ambient, A/V
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universal

Universal Togetherness Band: s/t (Numero) LP
Between 1979 and 1982, The Universal Togetherness Band tracked unearthly portions of their sprawling songbook for bewildered students in Columbia College’s audio engineering program. Storming the gates of Chicago’s premier recording studios, the erudite party band explored permutations of soul, jazz-fusion, new wave, and disco with little regard for studio rates or the availability of magnetic tape. Universal Togetherness Band captures the brightest, never-before-heard moments from this visionary group’s 5-semester recording bender. Universal Togetherness Band (CD/LP): The attractive gatefold LP edition boasts magnificent reproductions of never-before-seen images from the archives of Chicago photographer Steven E. Gross. The CD version features several candid snapshots from the group’s personal collections. Meticulously mixed from the original multi-track sessions by Sean Marquand (Phenomenal Handclap Band), Universal Togetherness Band is presented in peak fidelity.

File Under: Soul, Funk, Jazz, Fusion
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venicedawncover_1_grande

Adrian Younge: Venice Dawn- Something About April (Wax Poetics) LP
The story begins in 1998 as budding hip-hop producer Adrian Younge finds himself confined by the limitations of the MPC. He begins teaching himself how to play various instruments so he can fully realize his vision. First it was keyboards, then drums, sax, guitar, and bass. Fascinated with the sounds of Italian soundtracks by the likes of Ennio Morricone, Younge begins work on the soundtrack to the fictional film Venice Dawn, recording the album intermittently over the course of the next year. What developed was a sound equal parts Morricone and Air. Self-released, the entire album was composed, arranged, and played by Younge. Only a thousand CDs were pressed, replete with faux soundtrack album art designed by Younge himself. Sold mostly in the L.A. area, the CD became collectable among those in the know. Fast forward to 2008, and Younge finds himself at the center of the Black Dynamite zeitgeist. Instrumental in the film’s development, Younge not only edited the film, but composed the original score as well. Hailed as a modern blaxploitation masterpiece, the Black Dynamite score solidified Younge’s position as a force to be reckoned with on the new worldwide soul and funk scene. Taking some time off after the success of Black Dynamite, Younge began revisiting some of his earlier work from Venice Dawn and envisioned a new sound that would take the blaxploitation of Black Dynamite and mesh it with the more left-field sounds of Venice Dawn, eventually deciding to bring everything full circle by releasing the material under the Venice Dawn moniker. This new LP, titled “Something About April”, will be released on Wax Poetics Records..

File Under: OST, Pseudo Soundtrack, Soul, Funk
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…..used goodies…..

AC/DC: Highway to Hell (Atlantic) LP
AC/DC: Let There Be Rock (Atlantic) LP
AC/DC: Power Age (Atlantic) LP
Acid Mother Guru Guru: Underdogg Express (Fuenfundvierzig) LP
Acid Mother’s Temple: Shakespeare From The Cosmic Inferno (Blackest Bootlegs) LP
And You Will Know Us By The Trail of Dead: Festival Thyme (Justice) 10″
The Band: s/t (Capitol) LP
Bardo Pond: Peri (3Lobed) LP
Bardo Pond: Batholith (3Lobed) LP
Bellini: The Precious Prize of Gravity (Temporary Residence) LP
Black Mountain: In The Future (Jagjaguwar) LP
Bootstrappers: s/t (New Alliance) LP
Anthony Braxton/Derek Bailey: Moment Precieux (CBC) LP
Camper Van Beethoven: II & III (Pitch A Tent) LP
Captain Beefheart: Strictly Personal (Blue Thumb) LP
Captain Beefheat: Mirror Man (Reprise) LP
Captain Beefheart: Trout Mask Replica (Reprise) LP
Coachmen: Failure To Thrive (Ecstatic Peace) LP
John Coltrane: Giant Steps (Atlantic) LP
Ry Cooder: s/t (Warner) LP
The Creepers: s/t (Last Time Round) LP
Dick Dale: Greatest Hits (GP Crescendo) LP
Miles Davis: Agharta (Columbia) LP
Miles Davis: In A Silent Way (Columbia) LP
Miles Davis: Nefertiti (Columbia) LP
Miles Davis: On The Corner (Columbia) LP
Miles Davis: Live Evil (4 Men With Beards) LP
Bo Diddley: s/t (Chess) LP
Dinosaur Jr: Bug (SST) LP
D.O.A.: War on 45 (Alternative Tentacles) LP
D.O.A.: Hardcore 81 (Friends) LP
Doors: Strange Days (Elektra) LP
Doors: Waiting for the Sun (Elektra) LP
Bob Dylan: Live In Colorado 1976 (Vinyl Passion) LP
Godspeed You Black Emperor: Allelujah! (Constellation) LP
Gone: Let’s Get Real (SST) LP
Gone: II: But Never Too Gone (SST) LP
Son House: s/t (Folklyric) LP
Husker Du: Zen Arcade (SST) LP
Johann Johannsson: Fordlandia (Cobraside) LP
Albert King: Born Under A Bad Sign (Atlantic) LP
Freddie King: All Hits (Gusto) LP
Last Exit: Noise of Trouble (Enemy) LP
Last Exit: s/t (Enemy) LP
Bill Laswell: Hear No Evil (Venture) LP
Leaving Trains: Kill Tunes (SST) LP
Mission of Burma: The Horrible Truth About Burma (Ace of Hearts) LP
MX-80 Sound: Out of the Tunnel (Ralph) LP
Negativeland: House Arrest (SST) LP
Octoberfaction: The Second Factionalization (SST) LP
Pavement: Live Europaturnen MCMXCVII (Matador) LP
Gabby Pahinui Hawaiian Band: Vol 1 (Edsel) LP
Quicksilver Messenger Service: s/t (Capitol) LP
Radiohead: In Rainbows (TBD) Box
Hans Reichel: Bonobo Beach (FMP) LP
Rites of Spring: s/t (Dischord) LP
Otis Rush: Cold Day In Hell (Delmark) LP
Pat RuthenSmear: RuthenSmear (SST) LP
Sleep: Holy Mountain (Kreation) LP
Soft Machine: 2 (Probe) LP
Soundgarden: Screaming Life EP (Sub Pop) LP
Richard Thompson: Mock Tudor (Bong Load) LP
Violent Femmes: 3 (Slash) LP
Wilco: The Album (Nonesuch) LP
Yo La Tengo: Ride The Tiger (Coyote) LP

…..restocks…..

Ariel Pink: Pom Pom (4AD) LP
Beck: Morning Phase (Capitol) LP
Belle & Sebastian: Dear Catastrophe Waitress (Matador) LP
Belle & Sebastian: Boy With The Arab Strap (Matador) LP
Belle & Sebastian: Tigermilk (Matador) LP
Belle & Sebastian: Life Pursuit (Matador) LP
Black Keys: Magic Potion (Nonesuch) LP
Can: Ege Bamyasi (Mute) LP
Chrome: Half Machine Lip Moves (Cleopatra) LP
John Coltrane: Blue Train (Blue Note) LP
Deerhunter: Microcastle (Kranky) LP
Lana Del Rey: Ultraviolence (Interscope) LP
Doors: LA Woman (Elektra) LP
Doors: Morrison Hotel (Elektra) LP
Grouper: Dragging A Dead Deer Up A Hill (Kranky) LP
Guns n Roses: Use Your Illusion 1 (Geffen) LP
Hookworms: s/t (Faux) LP
King Khan: Idle No More (Merge) LP
Kraftwerk: Man Machine (EMI) LP
Fela Kuti: Live with Ginger Baker (Knitting Factory) LP
La Dusseldorf: s/t (4 Men With Beards) LP
Led Zeppelin: Houses of The Holy (Warner) LP
Led Zeppelin: I (Warner) LP
Led Zeppelin: II (Warner) LP
Led Zeppelin: III (Warner) LP
Magnolia Electric Co.: Trials & Errors (Secretly Canadian) LP
Magnolia Electric Co.: Fading Trails (Secretly Canadian) LP
Thelonious Monk: Straight No Chaser (Music on Vinyl) LP
Monolord: Empress Rising (Easy Rider) LP
National: Alligator (Beggars) LP
National: Boxer (Beggars) LP
National: High Violet (4AD) LP
National: Trouble Will Find Me (4AD) LP
Old Man’s Will: s/t (Easy Rider) LP
William Onyeabor: Who Is… (Luaka Bop) LP
OST: Transformers (Music on Vinyl) LP
Pink Floyd: Endless River (Columbia) LP
Pink Floyd: Wish You Were Here (EMI) LP
Queens of the Stone Age: Like Clockwork (Matador) LP
Django Reinhardt: The Legendary Django (Doxy) LP
Rolling Stones: Let It Bleed (Abkco) LP
Rural Alberta Advantage: Mended with Gold (Paper Bag) LP
Shooting Guns: Brotherhood of the Ram (Easy Rider) LP
Songs: Ohia: Magnolia Electric Co. (Secretly Canadian) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) LP
Sword: Age of Winter (Kemado) LP
Sword: Gods of the Earth (Kemado) LP
Sword: Warp Riders (Kemado) LP
Thin Lizzy: Black Rose: A Rock Legend (Universal) LP
Thin Lizzy: Chinatown (Universal) LP
Thin Lizzy: Thunder & Lightning (Universal) LP
Tops: Picture You Staring (Arbutus) LP
Tragically Hip: Fully Completely (Universal) LP
Tycho: Awake (Ghostly) LP
Velvet Underground: & Nico (Verve) LP
Kurt Vile: Wakini’ On A Pretty Daze (Matador) LP
Tom Waits: Mule Variations (Anti) LP
Tom Waits: Alice (Anti) LP
War on Drugs: Lost in the Dream (Secretly Canadian) LP
White Stripes: Icky Thump (Third Man) LP
Lucinda Williams: Car Wheels on a Gravel Road (Music on Vinyl) LP
XX: xx (XL) LP
Various: Bloodstains Across Texas (Bloodstains) LP
Various: Bloodstains Across California (Bloodstains) LP
Various: Bloodstains Across The Midwest (Bloodstains) LP
Various: Bloodstains Across Sweden 1 (Bloodstains) LP
Various: Killed By Death #2 (KBD) LP
Various: Killed By Death #3 (KBD) LP
Various: Studio One Classics (Soul Jazz) LP
Various: Studio One Dub (Soul Jazz) LP
Various: Studio One Lovers (Soul Jazz) LP
Various: Studio One Rockers (Soul Jazz) LP
Various: Studio One Roots 3 (Soul Jazz) LP
Various: Studio One Sound (Soul Jazz) LP

Tagged , , , , , ,

…..news letter #674 – california screamin’…..

I’m back! And what a mess I’ve made already. Between all the new records and used records pouring in here we might need to take over the neighbours! Anyway, loads of killer stuff in and lots to do so I’ll leave you to it….

…..pick of the week…..

holy mountain

Alejandro Jodorowsky: The Holy Mountain (Real Gone) LP
“One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York’s Elgin Cinema. After six months of sold-out midnight screenings at the Elgin, it was Lennon’s manager, Allen Klein (ABKCO’s founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, ‘another kind of music — something that wasn’t entertainment, something that wasn’t a show, something that went to the soul, something profound,’ for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver — the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, ‘Trance Mutation,’ give way to an almost jaunty percussion-and-plucked-strings melody, ‘Pissed and Passed Out.’ On the next track, ‘Violence of the Lambs,’ a single flute is slowly joined by a set of mournful strings while, onscreen, Gestapo-like soldiers in gas masks parade with bloody lamb carcasses on sticks. ‘Drink It,’ an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief’s ill-considered decision to guzzle tequila (or sleeping potion). Then there is ‘Christs 4 Sale,’ a blaring orchestral riff that sounds like it was ripped from a 1950’s swords-and-sandals epic. The next track, ‘Cast Out and Pissed,’ begins with a beelike buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. ‘Eye of the Beholder’ which follows, changes moods entirely once again — a string section swells with overwrought romanticism. (Onscreen, a group of young prostitutes prays in a church. One of them later walks arm and arm with a chimpanzee.) And then there is ‘Communion,’ a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. (As ‘Communion’ plays, the Thief is not driving through Los Angeles at night but eating the face off a statue of Christ.) This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain’s first 24 minutes. Still ahead lie the hard rock of ‘Psychedelic Weapons,’ the pomp and circumstance of the waltz ‘Miniature Plastic Bomb Shop,’ the gospel-inflected sax of ‘Isla (The Sapphic Sleep),’ and so on. Every one of the 24 tracks on the film’s soundtrack presents another vertiginous twist in the philosophical and spiritual journey that is The Holy Mountain. Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents, for the first time ever on vinyl, the original soundtrack to Alejandro Jodorowsky’s 1973 masterpiece The Holy Mountain. The double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece (with lacquer cutting on the LP by Carl Rowatti at Trutone Mastering), this long-awaited release of Alejandro Jodorowsky’s The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience.”

File Under: OST, Cult Films, Psych, Folk, Rock
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…..new arrivals…..

ba

Black Angels/Sonic Jesus: Fuzz Club (Black Angels Inc.) 10″
The Fuzz Club SPLIT SINGLE SERIES. 2 very long tracks. Fuzz Club Records are thrilled to announce the next issue of the ‘Split Single Series’, a regular release of 10″ vinyl limited editions. Formed in 2004, The Black Angels have already gained the cult status. Their critically acclaimed fourth LP, ‘Indigo Meadow’, was another big statement from the champions of Psych Nouveau. In a way they represent a solid bridge between the ‘Brian Jonestown Massacre’ and the international Psych scene of today, and they keep spreading that joyful psych-infection that has been taking over the globe in the last few years. Sonic Jesus are a young band from Doganella Di Ninfa, Italy. They took part in the Reverb Conspiracy (curated by Fuzz Club and Austin Psych Fest) twice. Their sound is a colourful blend of Sixties, Folk, Krautrock and Shoegaze, made up of drones and layers of sound combined with poetic lyrics. This single is a preview of their debut LP, which will be released next year.

File Under: Psych, Fuzz
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mamiffer

Circle & Mamiffer: Enharmonic Intervals (Sige) LP
Forget what you know about the Seattle-area sound-art project Mamiffer and the Finnish hypno-rock institution Circle. Enharmonic Intervals (for Paschen Organ), the first in a proposed series of joint efforts involving these parties, contains few of the musical hallmarks you might associate with either performer. The comforts of austere piano sketches and solemn nocturnes are largely absent; the wallop of repetitive rhythms and metallic kitsch is nowhere to be found. It’s as if an unseen hand has erased the auditory signatures of each group and left behind only impressions, embers, filaments, and shadows. As with Mamiffer’s recent collaboration with Locrian, the work is anything but a predictable merger of two bands’ established visions. Recorded over a single day at Keski-Porin Kirkko, the nineteenth-century stone church in the heart of Circle’s hometown, the basic tracks for Enharmonic Intervals exude divine inspiration. Caressed by Faith Coloccia, Aaron Turner, Jussi Lehtisalo, and Mika Rättö, the house of worship’s immense Paschen organ sets a liturgical, contemplative mood, which persists unabated through a cycle of improvisations and short compositions. The album opens and closes with slowly building sinfoniettas of sustained drone and flatlining feedback that shine heavenly light onto the wan, academic corpse of avant-garde minimalism. In the middle, all sorts of hell breaks loose: Coloccia chants wordless omens on a distant shore, Turner shouts his lungs out, Lehtisalo speaks in tongues from atop synthesized snowbanks, Rättö gargles operatic gibberish, hummingbird guitars flutter past, and delicate chords glisten like dewdrops on Arctic lichen. Much of this earthly ruckus stems from additional sessions spent brainstorming, fine-tuning, cooking, and stoking the sauna at the Lehtisalo family cottage, deep in rural Finland. (A couple of months later via the miracle of technology, Eyvind Kang tacked on a spot of viola while visiting Turner and Coloccia at their Washington state abode.) Instead of engaging in some lazy superstar jam, Mamiffer and Circle have gone above and beyond to create a site-specific triumph that bridges the gap between serene, holy bliss and the warm, messy sprawl of humanity. Amen to that, brothers and sisters.

File Under: Drone, Ambient, Metal
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calder

Alex Calder: Strange Dreams (Captured Tracks) LP
Alex Calder’s sophomore release with Captured Tracks is as familiar as it is foreign – brining together both infectious melodies and texture to create tidy, acid-induced pop sequences. Strange Dreams takes a confident step forward from Calder’s previous release and brings the focus and ambition of Alex’s songwriting to all aspects of his music. This record delivers, while still maintaining the youthful humour that has become his trademark.

File Under: Indie Rock, Pop, CanCon
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gbv

Guided By Voices: Bee Thousand (Scat) LP
Little introduction should be required here. Let it suffice to say that Bee Thousand is arguably the best, or at least among the top Guided By Voices albums in a copious discography. Accordingly, the album has stacked up accolades over the years, including being voted #1 on Amazon.com s  100 Greatest Indie Rock Albums of All Time.  It s a staple of such lists, and has also placed highly on those curated by Spin, Pitchfork, Mojo and Rolling Stone.This new LP pressing, the first since the late  90s, honors the album s 20th anniversary. It features new (and definitely improved) mastering from John Golden, a substantial gatefold jacket with a previously unpublished Robert Pollard collage, and high-quality virgin vinyl from RTI.

File Under: Indie Rock, Classics
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oceanic

Isis: Oceanic (Robotic Empire) LP
The defining Isis album, now that it’s all said and done, Oceanic finally returns to vinyl after being out of print for years. Showcasing a band at the height of a monumental transition, Oceanic is hailed by fans as the band’s landmark album and has earned widespread critical acclaim (even being dubbed “seminal” by Drowned in Sound). Raising the massive bridge between crushing metal and atmospheric post-rock, Isis truly came into their own on their brilliant sophomore album. This stunning double-LP comes housed in a heavyweight tip-on gatefold jacket and has been carefully re-mastered and re-cut for optimal sound quality.  “Isis is one of the few heavy metal bands recording without regard for convention, and […] few have succeeded in such breathtaking fashion.” —Chris Ott, Pitchfork (9.1 rating)

File Under: Doom, Metal
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panopticon

Isis: Panopticon (Robotic Empire) LP
Finally repressed after years of unavailability and highly sought-after. On ISIS’ third-full-length album, Panopticon, the unblinking eye of counterinsurgency is exposed with mesmerizing stereophonic clarity. The perpetual collapse and crush of ultra-dynamic sound-design takes on the heightened dimensions of institutionally-induced anxiety, and the carefully constructed artifice of an omniscient predatory apparatus becomes the paradigm of surveillance culture. Meanwhile, panoptic cognizance, while ostensibly the utmost of all Orwellian implications, portends to far more insidious applications: Just as hidden crosshairs hold sway over every prison yard, to see everything is to know all. Features a guest bass appearances from Justin Chancellor of Tool and production by Matt Bayles (Mastodon, Botch, Pearl Jam, etc.). Deluxe double-LP features a stunning gatefold jacket with different artwork than the CD version on Ipecac. Finally re-pressed after years of unavailability. Highly sought-after.* ISIS has grown considerably over the years and now has a highly devoted following as a result.* Recent tours include sharing the stage with Tool, Jesu, Torche, Boris, These Arms Are Snakes and an overall great variety of bands.* Double LP packaged in a deluxe gatefold jacket with exclusive artwork designed by Aaron Turner.

File Under: Metal, Doom
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lazerwulfLazer/Wulf: The Beast of Left & Right (Retro Futurist) LP
Lazer/Wulf is an instrumental metal trio, which sometimes includes vocals. No, let’s start over. It’s a funk group with thrash roots. Or a jazz trio with sludge issues. Whatever it is, it’s not the easiest thing to describe, which makes it that much easier to love. Just ask the band’s rabidly devoted following. To put it another way; imagine a giant trampoline rigged to explode. It’s fun for everybody, but likely to kill you at any moment. Circumstantially, it’s heavy as hell, and tends to unify audiences with how simply fun it all is, even as it toes the line between “challenging listen” and “utter alienation.” The Beast of Left and Right was written to be a palindrome, here is an explanation from the band: “As far as the symmetricality, we wrote the album to be a palindrome—that is, it’s the same backwards and forwards. The album is in two distinct halves, Left and Right, and we wrote them to be the “opposite” of each other. On the full 9-track version that’s on CD, track 1 uses the exact same chords, riffs and drum tracks as track 9 but one is major and the other is minor; track 2 lyrically opposes track 8 (and both are re-recordings from our EP); track 3 uses the rhythm of track 7 backwards (we even recorded the guitars for track 3 backwards and reversed them to the version that’s on the album); track 4 uses all the same drum parts and melodies as track 6 but the song structure is backwards, and 5 is the center track—no song opposes it, but it incorporates parts of the songs on either side of it. The idea is that either way you choose, Left or Right, the paths are the same.” Released on Carl McGinley of Kylesa’s Retro Futurist label.

File Under: Metal, Instrumental
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melvins_eggnogliceall_mid_main

Melvins: Eggnog/Lice All (Boner) LP
This double-LP package combines two of the earliest releases from the often imitated but never duplicated Melvins. Formed in the early-’80s in the scenic wonderland known as Aberdeen, WA, the band took inspiration from Black Flag, Black Sabbath, Venom, Flipper, Stooges and other floggers of high-energy, low-velocity plod. Today, more than 30 years later, they might be more popular than ever. Slow and steady wins the race. Disc one is Eggnog, from 1991. Originally released as a 10-inch, Eggnog is a wild ride into the outer limits of Melvins-dom. The first side cuts loose with three quick blasts. “Wispy” has the Lorax (Lori Temple Black) on bass and Dale Crover on drums, pounding one note in unison while Buzz Osborne bellows and whispers and turns his guitar on and off. “Antitoxidote” is a rabid horse galloping off into the desert, with yet more stops and starts and feedback detonations. “Hog Leg” sounds like a syphillitic Jimmy Swaggert trying to mimic Dio while being backed by a drunken ZZ Top cover band. Side Two features the side-long epic “Charmicarmicat,” with seasick waves of guitar and slow-motion madness bringing communicable disease and poisonous jellyfish ashore, stinging and infecting the unsuspecting sunbathers before gently washing out to sea again. Disc two is Lice-All, from 1992, previously known as self-titled, and also previously known as something else we’re all not gonna talk about, thank you very much. This was their last release before signing their Atlantic deal, and features the introduction of new bass player Joe Preston (previously of Earth, currently of Thrones). It’s one long, slow, loud blob of drones, moans and fuzztones. The opening endless power chord shimmer influenced Sleep, Sunn O))), and countless other sludge metal drone freaks for years to come. The LPs have been remastered and are back in print on vinyl for the first time in 15 years. The new gatefold packaging includes never-before-seen vintage photos, as well as the original artwork and insert, all tidied up and ready to meet Mom and Dad. Free download is included.

File Under: Metal, Doom, Sludge
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melvins_ozmabullhead_mid_mainMelvins: Ozma/Bullhead (Boner) LP
This double-LP package combines two of the earliest releases from the often imitated but never duplicated Melvins. Formed in the early-’80s in the scenic wonderland known as Aberdeen, WA, the band took inspiration from Black Flag, Black Sabbath, Venom, Flipper, Stooges and other floggers of high-energy, low-velocity plod. Today, more than 30 years later, they might be more popular than ever. Slow and steady wins the race. Disc one is Ozma, from 1989, which was recorded soon after their move from Washington to San Francisco, and was their first release to include the diminutive yet mighty Lorax (Lori Temple Black) on bass. In fact, the first sound one hears at the album’s opening is Lori standing on her tiptoes to switch on her amp, thereby warning the listener of the onslaught to come. Distorted, down-tuned doom riffs start, stop, lurch sideways with no warning, and seem to end before they start. Buzz Osborne adds extraneous guitar static and vocal squeals. Drummer Dale Crover plays as if he’s inside a barrel going over Niagara Falls; the long, slow fall allows the space between beats to grow and grow until he crashes into the water with the vessel blasting apart in an explosion of drum rolls. The classic Melvins heavy grind is set up and broken up by assorted odd sidetracks: “Revulsion / We Reach” flows forward slower and slower until it eventually melts into a gooey feedback drone. “Raise a Paw” is a superball paddled against one’s head by a grinning village idiot. “Love Thing” enlists in the Kiss Army before getting dishonorably discharged.  Disc two is Bullhead, from 1991. The songs are longer, the mood is calmer, yet more menacing. “Boris” (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. “Zodiac” is a frantic punk rock machine gun blasting away at Buzz’s demons (both inner and outer). “Cow” is a happy baboon bashing away at the best drum solo of his life. “It’s Shoved” is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom. The LPs have been remastered and are back in print on vinyl for the first time in 15 years. The new gatefold packaging includes never-before-seen vintage photos, as well as the original artwork and insert, all tidied up and ready to meet Mom and Dad. Free download (with one extra track) is included.

File Under: Metal, Doom, Sludge
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jackname

Jack Name: Weird Moons (Castle Face) LP
Jack Name’s genius is the listener can never anticipate his next direction. A change of trajectory is as likely a return to the beginning as it is a sharp upwards spike that pulls one deeper into one’s seat and threatens unconsciousness. Nothing here is concrete or predictable. Songs float, attract, repel, and rebound off each other like pitch black matter. A wonderful followup to 2014’s masterpiece Light Show (God?), Weird Moons was recorded in a room with mirrored walls, moth-eaten shades pulled low to block the sun’s brutal radiation and the howls of the urchins 60 stories below. Less a sequel to the tales spun in the first, and more a rocket that has jettisoned its initial thruster to be driven further away from this mortal orb and deeper into this sticky story. Reminiscent of late-era Can, Bruce Haack, Hans Edler, Solid Space, Dario Argento and VHS tapes, it’s fucking great. Listen to this album in an egg-shaped speaker chair, if possible.

File Under: Rock, Glam, White Fence
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hannibal

OST: Hannibal Season 2 Parts 1 & 2 (Invada) LP
Invada Records are proud to announce the vinyl release of two volumes music from hit NBC television series Hannibal by Brian Reitzell. Spread across two double gatefold LPs, each volume available as 140gm and coloured variants. Accompanying the release, director David Slade has provided rare photos from his personal collection for the artwork. Each LP comes with a download card. The music has been sequenced in the chronological order it appears on the show itself, allowing for an essential listening experience as dictated by the music’s creator. Over the last decade and a half, multi-instrumentalist, composer and producer Reitzell has created his own unique method of scoring films, drawing equally from his experience as a recording and touring musi-cian with bands such as Redd Kross and Air, and his massive knowledge of recorded music. Brian’s past films include The Virgin Suicides, Lost In Translation (for which he received a BAFTA award nomination), CQ, Friday Night Lights, Stranger Than Fiction, Thumbsucker, Marie Antoinette, The Brothers Bloom, 30 Days Of Night, Beginners, and Red Riding Hood. His video game credits include his critically acclaimed score for THQ’s Red Faction: Armageddon and the upcoming Watch Dogs for Ubisoft.

File Under: OST
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refn

OST: My Life Directed By Nicolas Winding Refn (Milan) LP
My Life Directed By Nicolas Winding Refn is a fascinating, behind the- scenes documentary directed by Liv Corfixen, the wife of Nicolas Winding Refn (Drive, Bronson). It is a heartfelt and authentic portrait of the acclaimed and controversial director during the filming and release of Only God Forgives. This one hour-long film takes the audience on-set with the director in the streets of Bangkok and offers a unique perspective on the filmmaker’s family life.

File Under: OST, Drive
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warning

OST: Warning Sign (Invada) LP
Invada Records proudly presents the release of a Synth-Heavy Score from one of the Industry’s most creative composers; Craig Safan’s music to the 1985 20th Century Fox sci-fi thriller Warning Sign. Famous for his score to the timeless classic The Last Star Fighter, as well as A Nightmare on Elm Street, Part IV and (amazingly) the hit series Cheers! Safan’s film music is notable for its clever use of electronics, and Warning Sign is no different. Recorded using a Synclavier Synthesizer – an expensive piece of kit at the time – the score is fully electronic but no less effective than his orchestral work, and provides an entertaining and futuristic soundscape for the story of a man-made virus that is accidentally released into its laboratory, turning its work-ers into zombies. The Synclavier creates an appropriate atmosphere, which Sa-fan layers with different effects, from an electric piano that illus-trates a desolate location in the film’s early stages to the use of metallic effects as percussion for the chemically-affected staff. Safan weaves dissonant sounds to suggest chaos and para-noia, and innovatively synthesises human voices to convey a sense of tortured souls to those infected. An intense score where the foreboding turns to reality with an eerie and uncomfortable texture, broken only by a beautiful and warm melody for the resolution and end credits, where all is well. This special edition that features an expanded version of the original 1985 LP program, along with 15 unreleased cues presented as bonus tracks. The release features new art-work by Marc Bessant, liner notes by Safan himself plus George Ginn presenting a comprehensive package befitting one of the scores that was an important part of 80s electronic film music.

File Under: OST
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parquet

Parquet Courts: Content Nausea  (What’s Your Rupture) LP
Content Nausea, Parkay Courts’ second release of 2014, is the inevitable repercussion to Sunbathing Animal’s pure emotion. With one member completing a degree in mathematics, and another starting a family, Content Nausea features mostly the work of Andrew Savage and Austin Brown, with the help of a few friends (Jackie-O Motherfucker’s Jef Brown on saxophone and Eaters’ Bob Jones on fiddle). This likely explains the homophonic name shift from Parquet Courts to Parkay Courts, which was previously used on last years’ Tally All the Things That You Broke EP. Featuring some of the band’s most accessible and dissonant recordings, Content Nausea was recorded, mixed and mastered in two weeks on a 4-track tape machine. The band wanted something that listeners could “live with over the winter.” At 35 minutes, the record lies somewhere between an EP and an LP, but who’s counting? On Content Nausea, we find the band confidently exploring sounds that were previously only hinted at; Townes Van Zandt and Dylan are evident points of departure on “Uncast Shadow of a Southern Myth,” a lonesome tale about “two men tragically colliding in the deep south,” explains Savage. The 13th Floor Elevators get a hat tip via NYC reinterpretation of “Slide Machine,” and there’s even an unexpected, gender-bending cover of Nancy Sinatra’s “These Boots Are Made for Walking.” “A personal karaoke standard,” explains Savage. Mostly, Content Nausea reflects the rapid change in the band’s hometown of New York City, while at the same time emphasizing the changes in the band itself. The record’s sleeve is a bleak vision of Freedom-Tower-era NYC flooded by (what else?) content. A city that is becoming increasingly unrecognizable to its romantic history. Not unlike Parkay Quarts.

File Under: Rock, Punk
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iggy pop

Iggy Pop: American Caesar (Plain) LP
American Caesar was originally released in 1993, a couple of years after Iggy Pop’s all star “comeback” album Brick By Brick. Returning to the studio with his muscular, tight touring band, Iggy and Co. made what is arguably his best solo effort since New Values in the 1970s, a dark, loud and subtly atmospheric double album recorded in New Orleans with producer Malcolm Burn. Iggy explores the dark heart of America in songs that range from all out hard rock such as “Wild America” and “Sickness” to calmer numbers like “Jealousy” and “Mixin’ The Colors.” Iggy also puts his stamp on the rock classic “Louie Louie” and makes it his own via some updated lyrics. The provocateur ends the record with the funny and brutal spoken word piece “Caesar” in which he plays a U.S. version of the ancient leaders of the Roman Empire. This is most definitely an Iggy Pop record and a hidden gem in his catalog at that. Includes a previously unavailable insert with an image of Iggy on one side and the lyrics on the other. 180 gram vinyl pressing from Plain Recordings.

File Under: Rock, Stooges
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red aunts

Red Aunts: Come Up For A Closer Look (In the Red) LP
The Red Aunts were an all-female punk band that formed in 1991 in Long Beach, California, when Terri Wahl (guitar / vocals) recruited friends Kerry Davis (guitar / vocals), Debi Martini (bass / vocals), and Lesley Ishino (drums). Their brand of unfiltered music is toxic, taking a sharp claw to every riot grrrl cliché it can shred.  After five albums, several years of touring and a huge fanbase, they called it quits in 1998. The ladies recently decided it was time to wake people up and save the music with their unique form of rock. Come Up for a Closer Look is their “Greatest Hits” compilation, a gatefold-sleeve double-album complete with killer art and photos, plus liner notes by Red Aunts fan Sasha Frere-Jones.  “The Red Aunts are nothing to mess with … wonderfully reckless rock.” —L.A. Times

File Under: Punk
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sleater kinney

Sleater Kinney: No Cities to Love (Sub Pop) LP/DLX LP
“We sound possessed on these songs,” says guitarist/vocalist Carrie Brownstein about Sleater-Kinney’s eighth studio album, No Cities to Love. “Willing it all – the entire weight of the band and what it means to us – back into existence.” The new record is the first in 10 years from the acclaimed trio – Brownstein, vocalist/guitarist Corin Tucker, and drummer Janet Weiss – who came crashing out of the ’90s Pacific Northwest riot grrrl scene, setting a new bar for punk’s political insight and emotional impact. Formed in Olympia, WA in 1994, Sleater-Kinney were hailed as “America’s best rock band” by Greil Marcus in Time Magazine, and put out seven searing albums in 10 years before going on indefinite hiatus in 2006. But the new album isn’t about reminiscing, it’s about reinvention, the ignition of an unparalleled chemistry to create new sounds and tell new stories. “I always considered Corin and Carrie to be musical soulmates,” says Weiss, whose drums fuel the fire of Tucker and Brownstein’s vocal and guitar interplay. “Something about taking a break brought them closer, desperate to reach together again for their true expression.” The result is a record that grapples with love, power and redemption without restraint. Produced by longtime Sleater-Kinney collaborator John Goodmanson, who helmed many of the band’s earlier albums including 1997 breakout set Dig Me Out, No Cities to Love is indeed formidable from the first beat. Sleater-Kinney’s decade apart made room for family and other fruitful collaborations, as well as an understanding of what the band’s singular chemistry demands. “Sleater-Kinney isn’t something you can do half-assed or half-heartedly,” says Brownstein. “This band requires a certain desperation, a direness. We have to be willing to push because the entity that is this band will push right back.” “The core of this record is our relationship to each other, to the music, and how all of us still felt strongly enough to about those to sweat it out in the basement and to try and reinvent our band,” adds Tucker. With No Cities to Love, “we went for the jugular.” The deluxe version of No Cities to Love comes pressed on colored 180-gram vinyl complete with a bonus colored 180g 12” featuring two exclusive tracks on one side and an etching on the other. All of which is housed in a very cool slipcase with its own exclusive cover art and a 2-sided poster. The album is also available as standard vinyl edition pressed on black vinyl.

File Under: Indie Rock
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viet cong

Viet Cong: s/t (Flemish Eye) LP
It takes less than sixty seconds of album opener “Newspaper Spoons” for you to realize that Viet Cong is a winter record. The album has barely begun, and the guitar doesn’t snarl until the end of that opening minute, but it still presents a palpable iciness in just a few short moments. It’s bitter. It stings. But once you’re in it, and you’re bracing yourself and charging ahead, “Newspaper Spoons” moves from a punishing, almost militarized drumbeat to a melody that’s still menacing but also delicate, almost celestial. That instinct for humanizing a stone-cold song is Viet Cong’s greatest gift and sharpest weapon. It’s harsh, but exhilarating. Themes of deconstruction and disintegration, of hardening and crumbling seem to come from every direction. But time and again, they are rescued by something – a little bit of humor, a cathartic moment, even a basic human goof. In fact, as the members of Viet Cong worked through the songs that make up this record, they erred on the side of keeping those moments that save it from being overly mechanized. “There have to be strange little goofups and stuff that’s sometimes intentional, sometimes not,” bassist and lead singer Matt Flegel explains. “I have a bleak sense of humor, too, so some lyrics might seem funny to me even though anyone else might think they’re desperately hopeless.” Recorded in a barn-turned-studio in rural Ontario, the seven songs that make up Viet Cong were born largely on the road, when Flegel and bandmates Mike Wallace, Scott Munro and Daniel Christiansen embarked on a 50-date tour that stretched virtually every limit imaginable. Close quarters hastened their exhaustion but also honed them as a group. With all four members traveling in one car, the mood conflated with the soundtrack, the soundtrack with the cities around them, and so forth. There was repetition, but it was all different. This combined with the grey, chilly emptiness of Calgary rendered a record with a viscerally rugged vibe, one that Flegel even describes as “shit earth.” As Viet Cong pushes forward, the six-minute “March of Progress” is when it begins to really take flight. A lengthy, almost industrial march chugs along for a full three minutes before the floor gives out underneath it and gives way to a spare little riff and the album’s first real melody. “That’s the one where I thought ‘that’s what I want us to be doing. Finally,'” explains Flegel. “That was the sound that I had heard in my mind before we even got started.” Later still, that negative space gives way to a richer melody, and it’s here that Flegel sings “we build the buildings and they’re built to break,” a declaration that is in many ways this album’s thesis. The repetition throughout Viet Cong hypnotizes but it also softens, leaving a space that is deceptively personal. “Continental Shelf” orbits a thousand-watt hook with a thick crackle and a battering-ram drum line. It’s so arresting that you barely notice it doesn’t have a chorus, and then in comes a line like “if we’re lucky we’ll get old and die” and you can’t believe Leonard Cohen (or Trent Reznor, or Nick Cave, or Sinatra) didn’t get to it first. “Silhouettes” is a tripwire of a song, opening with an almost Joy Division-esque exposition and moving at breakneck speed – frantic and pitch-black at a thousand miles an hour – until before you know it they are howling. Actually howling, and maybe you are too. You can designate records as seasonal, and you can feel Viet Cong’s bleakness and declare it wintry. But the only way you get a frost is when there’s something warmer to freeze up. So yes, Viet Cong is a winter album, but only until it is a spring record, then a summer scorcher, then an autumn burner, then it ices over again. They build these buildings, and they’re built to break.

File Under: Indie Rock, Post Punk
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…..Restocks…..

Aphex Twin: Selected Ambient Works II (1972) LP
Black Keys: Thickfreakness (Fat Possum) LP
Glenn Branca: Lesson No.1 (Superior Viaduct) LP
Caribou: Our Love (Merge) 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 Hands (Vengence) LP
Cramps: Rockinnreelininauckland… (Vengence) LP
Cramps: Smell of Female (Vengence) LP
Cramps: Stay Sick (Vengence) LP
Crime: Murder By Guitar (Superior Viaduct) LP
Death in June: Nada Plus! (Pylon) LP
Decemberists: Tain/5 Songs (Jealous Butcher) LP
Tashi Dorji: s/t (Hermit Hut) LP
Kyle Bobby Dunn: And The Infinite Sadness (Students of Decay) 3LP
Alain Goraguer: La Planete Sauvage OST (Superior Viaduct) LP
Hawkwind: Doremi Fasol Latido (Rock Classics) LP
Lee Hazlewood: Love & Other Crimes (1972) LP
The Heads: Everybody Knows We Got Nowhere (Rooster) 5LP Box
Mark Hollis: s/t (Ba Da Bing) LP
Hot Snakes: Automatic Midnight (Swami) LP
Hot Snakes: Suicide Invoice (Swami) LP
Isis: In The Absence of Truth (Robotic Empire) LP
King Khan & BBQ Show: Invisible Girl (In The Red) LP
Natural Snow Buildings: Night Coercion… (Ba Da Bing) 4LP
Life Without Buildings: Any Other City (What’s Your Rupture) LP
Night Flights: Vol 1 (Agitation) LP
Oh Sees: Carrion Crawler (In The Red) LP
Oh Sees: Castlemania (In The Red) LP
Oh Sees: Drop (In The Red) LP
Oh Sees: Putrifiers (In The Red) LP
Oh Sees: Singles Collection 1 & 2 (Castle Face) LP
Oneohtrix Point Never: Betrayed In The Octogon (Software) LP
Oneohtrix Point Never: Zones Without People (Software) LP
Oneohtrix Point Never: Russian Mind (Software) LP
Oneohtrix Point Never: Drawn And Quartered (Software) LP
Oneohtrix Point Never: The Fall Into Time (Software) LP
Pip Proud: A Bird In The Engine (Superior Viaduct) LP
Pip Proud: Adreneline & Richard (Superior Viaduct) LP
Ty Segall: Lemons (Goner) LP
Ty Segall: Manipulator (Drag City) LP
Ty Segall: Melted (Goner) LP
Ty Segall & White Fence: Hair (Drag City) LP
Silkworm: Libertine (Comedy Minus One) LP
Sleep: Volume One (Tupelo) LP
Sonic Youth: A Thousand Leaves (Goofin) LP
Sonic Youth: Anagrama (Goofin) LP
Sonic Youth: Destroyed Room (Goofin) LP
Sonic Youth: Goodbye 20th Century (Goofin) LP
Sonic Youth: Smart Bar Chicago 1985 (Goofin) LP
Dusty Springfield: Dusty In Memphis (4 Men With Beards) LP
Stereolab: Mars Audiac Quintet (1972) LP
Swans: The Seer (Young God) LP
T Rex: Slider (Fat Possum) LP
Total Control: Henge Beat (Iron Lung) LP
Total Control: Typical System (Iron Lung) LP
Tom Waits: Frank’s Wild Years (Music On Vinyl) LP

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…..news letter #673 – mouseman…..

The new releases are finally starting to roll in and there’s some big ones coming out next week, but don’t let those distract you from the killer stuff in this week. I’m sending this out a couple days early as I will be away from the shop, but Nora and James will be around so stop in, say hi and grab some wax!

…..pick of the week…..

Red Noise: Sarcelles-Locheres (Souffle Continu) LP
Souffle Continu Records presents the first official vinyl reissue of Sarcelles-Lochères by Red Noise, originally released in 1970. This LP inaugurates Souffle Continu’s series of ten reissues from the catalog of the cult French label Futura Records, fully licensed by Futura founder Gérard Terronè. Red Noise were founded in May of 1968 by Patrick Vian (son of Boris Vian), who would go on to release Bruits et Temps Analogues (STAUB 126CD) in 1976. Red Noise developed their own unique blend of free jazz and rock with highly political and satirical lyrics. The highlight of their sole full-length release is the 18-minute closer, “Sarcelles c’Est l’Avenir,” which charts an epic journey into proto-noise territories that prefigure the sonic experimentation of the decades to come. Presented in a gatefold sleeve with obi strip and matte finish. Limited to 1000 copies: 700 on black vinyl.

File Under: Jazz Rock, Free Jazz, Experimental, Futura
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…..new arrivals…..
afrikan

Afrikan Sciences: Circuitous (PAN) LP
At the nexus of Afrofuturism, science fiction, transcendental free jazz, and future hip hop, this new work from Eric Douglas Porter casts itself and its creator in a liminal zone most recognizably charted by astral traveller Sun Ra. Circuitous follows nearly a decade of releases for Deepblak — the Oakland-rooted imprint of frequent collaborator Aybee — and shares common blood with both the elevated consciousness of late ’80s club culture and contemporary west coast beat scene. Built around Porter’s signature polyrhythms and complex melodies, the album’s 14 tracks demonstrate an unorthodox agility honed over a long history of live improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist’s own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to Circuitous reveal the dynamic multiplicity within. Circuitous is a free and unbound body of work — one that defies easy classification yet translates fluidly across multiple environments — presented on double LP in order to fully realize the scope of Afrikan Sciences’ sonic palette. The album was mastered and cut by Rashad Becker at Dubplates & Mastering and features artwork by Louis Reith and Bill Kouligas.
File Under: Electronic, Future Hip Hop, Free Jazz
arthurArthur: Dreams & Images (Light in the Attic) LP/CD
The pantheon of performers known by but one name is full of superstars. Arthur–the nom de plume of singer-songwriter Arthur Lee Harper–is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption. Released on Lee Hazlewood’s LHI label, the haunting Dreams And Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as “A man who will someday be a child again… A reason to cry and be unafraid… A bird with eighth-notes for wings.” Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World Of Peace Must Come has been reissued by Light In The Attic. “Arthur was a peace person. He was all about peace, love, and harmony,” remembers Kalinich in the brand new, extensive liner notes for Dreams And Images. “He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace.” While Kalinich and Buckingham were signed by the Beach Boys’ Brother Records, Arthur allied with Hazlewood, having knocked on the door of the label’s Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. “He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind,” remembers Randi. A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is The Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. “I never stopped writing or recording,” he later said. “I recorded in studios, friends’ houses, and live. I just recorded music with my friends or by myself when I felt inspired. For me, singing and songwriting is like breathing; I just do it.” On January 10th, 2002, Arthur’s wife Lora died in a car crash. He tragically passed away of a heart attack the same night. Now, with this reissue of his great, lost album, Arthur’s fragile heart can finally be enjoyed by all.

File Under: Psych-folk, LHI, Lee Hazlewood
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bishopSir Richard Bishop/Bill Orcutt: Road Stories (Kali) (Unrock) LP
The first installment in Unrock’s new string wringer Saraswati Series presents two of today’s most extraordinary guitar maniacs captured on location. While Bill Orcutt, “Re-inventor of the Blues,” falls from abstraction into acoustic hardcore serenade on his wooden 4-string guitar, the Kali-inspired Sir Richard Bishop improvises elegantly and calmly through a feverish 17-minute variation of “Zurvan.” Limited edition of 700 numbered copies. 180 gram vinyl, ncludes a solid cardboard info sheet.

File Under: Guitar Soli, Sun City Girls
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bloomKath Bloom: Pass Through Here (Chapter Music) LP
Pass Through Here is the first album from Connecticut folk icon Kath Bloom since 2010’s Thin Thin Line, which was released on Mark Kozelek’s Caldo Verde Records. Since she began performing in the late 1970s, Bloom has become renowned for her ’80s private press recordings with avant-garde guitarist Loren Connors, particularly her signature tune “Come Here,” which was featured in Richard Linklater’s film Before Sunrise (1995), and has come to be revered around the world for her devastatingly emotional songwriting. Devendra Banhart called her “one of the most beautiful singers ever,” and Stephen M. Deusner, reviewing 2010’sThin Thin Line for Pitchfork, wrote, “she can snap a heart like a twig.” Chapter Music brought Bloom’s work to a renewed audience with the solo compilation Finally in 2005 and the studio album Terror in 2008, as well as reissues of four of her six albums with Connors as double CD set. Then in 2009, Chapter released the celebrated tribute album Loving Takes This Course, featuring covers of Bloom’s work by the likes of Banhart, Kozelek, Bill Callahan, and Josephine Foster. For Pass Through Here, Bloom travelled far from her Connecticut home to record in California with a coterie of freewheeling west coast folk rock types, including engineer Jeff Hassay and fellow performer Levi Strom. It’s a distinctive new sound for Bloom, uplifted by floating synthesizers and disembodied choruses, while retaining the direct simplicity and power for which she is loved. Bloom faces turbulence head-on in “Criminal Side,” while “Let the Music Come” condenses her 60-something years of music-making into two incredibly affecting minutes. “Bubble Bath” is Kath at her most idiosyncratic and touching, while “Shirt Off Song” is an anthem to the wayward men in her life. Recorded in just a few takes, her vocals are raw and honest, but the overall impression is as masterful as it is ramshackle. For Kath Bloom, music has never been about finesse, but always about feeling. Pass Through Here is emotional, uplifting, haunting, and heartwarming songwriting from a master of the craft.

File Under: Folk
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cast

Cast Five: Popsound N.1 (Sonor) LP
Sonor Music Editions presents a reissue of The Cast Five’s highly collectible Popsound N. 1, originally released in 1971 on Flirt Records, the Italian label responsible for Paese Sotto Inchiesta (1971) by Peymont/Braen and Underground Mood (1972). This is obscure library music by a studio group composed of Ernesto Nicelli, Stellio Subelli, and Pasquale Castiglione. Tons of psychedelic grooves, including those on “Diatomea” and “Gospel 71″, and killer breakbeats on “Speedball Experience.” Generally, the whole record features some of the best b-boy breaks to be found on a library LP. This reissue is pressed on 180-gram vinyl and housed in a heavy cardboard sleeve replicating the original edition. Limited to 500 copies
File Under: Library, Italian, Psych
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contents

Contents Are: Through You (Machu Picchu) LP+7”
“Rumours of a limited demo LP pressing from this renowned Iowa garagey-folk rock band remained unconfirmed until a copy popped up at a 2005 Austin Record Show. Curiosity grew into excitement as the album turned out to feature 13 band originals in a terrific melodic Beatles ‘65-66 style with a sprinkling of Byrds on top. In other words, an ideal sound for a ’lost’ 60s album, reminiscent of the Beauregard Ajax recordings from L.A. Drawing inspiration from the Beatles is usually an indication of both taste and cojones, and the Contents Are deliver a string of skillfully arranged 3-minute gems from the point where beat and folk rock turn into melodic psychedelia.” – Patrick Lundborg, The Acid Archives. The Contents Are’s debut album was originally issued in 1967 in an edition of just 100 copies. Hailing from Quad City, Iowa, these four young men recorded one incredible song after another, their ambitions well beyond that of the typical group at the time.This record, more rumoured than heard, lives at a wild nexus in American culture, simultaneously expansive and reflective, searching for answers in society through music and art. The great German label Shadoks first reissued this legendary set almost ten years ago, and we’re very happy to bring you a new deluxe edition of “Through You”, this time with the very special addition of the band’s two non-album 45s, originally released on the ROK label (these two singles are seeing their first ever reissue on vinyl; previously only available as CD bonus tracks, and well worth rediscovery). Let this record turn you on to new horizons.
File Under: Psych, Folk, Private Press
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imarc4Peppino De Luca/I Marc 4: L’Uomo (Sonor) LP
Originally released by Italian promotional label Pegaso, the 1971 soundtrack to the film L’uomo dagli occhi di ghiaccio (The Man with Icy Eyes) was pressed on very few copies, like all Pegaso editions, becoming a truly sought-after gem among record collectors. Trombonist and arranger Giuseppe “Peppino” de Luca, who died shortly after its release, wrote this magnificent score, ripping off Hugo Montenegro’s main theme from the 1968 film Lady in Cement. The music is played by I Marc 4 (Maurizio Majorana on bass, Carlo Pes on guitar, Antonello Vannucchi on organ) featuring de Luca on trumpet and Vincenzo Restuccia on drums. Magnificent vocals by the scatting queen Edda Dell’Orso with Alessandro Alessandroni’s I Cantori Moderni choir. Includes A3 poster. Limited to 500 copies.

File Under: Library, Italian, OST
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imarc

I Marc 4: GLP 1004 (Sonor) LP
Sonor Music Editions presents a reissue of the first of cult library music group I Marc 4’s self-titled albums, originally released in October of 1970 on Nelson Records (catalog number GLP 1004). This is probably the toughest and most psychedelic Nelson release from I Marc 4. A killer blend of down-tempo funk, atmospherics, psych, lounge, and bossa nova. Includes such fantastic tracks as “Distorsion-Mind” and “The Trip”, both heavy psych with screaming organ, and “Compression,” which features mellow, laid-back acoustic guitar and a fat, raw drum break, plus other rare and raw tracks with sounds samples and loops. This reissue is pressed on 180-gram vinyl and housed in a heavy cardboard sleeve replicating the original edition. Limited to 500 copies.
File Under: Library, Italian, Psych, Lounge
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kurzmaanChristof Kurzmann: Then & Now (Trost) LP
Christof Kurzmann, Austrian musician and composer, curator, label-founder (Charhizma), co-founder of the legendary Viennese bar for electronic music (Rhiz) with many releases/bands/projects over the years, turns 50. A perfect time for a big multi-variant collection of his unreleased work: solos, duos, special collaborations, groups, for instance with B. Fleischmann, Ken Vandermark, Robert Wyatt, Mats Gustafsson,Tony Buck, and many more. From electronica to avant-garde and improvisation to political chansons.

File Under: Electronic, Avant-Garde, Improv

mahog

Mahogany Brain: With (Junk-Saucepan) When (Spoon-Trigger) (Souffle Continu) LP
Souffle Continu Records presents the first official vinyl reissue of With (Junk-Saucepan) When (Spoon-Trigger), Mahogany Brain’s 1971 debut album. This LP is the second in Souffle Continu’s series of ten reissues from the catalog of the cult French label Futura Records, fully licensed by Futura founder Gérard Terronè. Mahogany Brain was led by street poet and underground filmmaker Michel Bulteau and Patrick Geoffrois, and shared a raw aesthetic with The Velvet Underground fully realized on this album’s savage and unhinged songs, built upon distorted guitars and crude lyrics. Presented in a gatefold sleeve with obi strip and matte finish. Limited to 1000 copies: 700 on black vinyl.
File Under: Psych, Freakout, Futura, Experimental
blueOST: Blue Valentine (MVD) LP
First time on vinyl for the soundtrack of the acclaimed film, Blue Valentine, with music by Grizzly Bear. Numbered edition of 2000 pressed on blue vinyl.

File Under: OST
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candyman
OST: Candyman (One Way Static) LP
One Way Static Records is really proud to be bring you their latest release where we had the chance to work with two icons in their own respective fields! Today we present to you the Original Motion Picture Soundtrack to Clive Barker’s 1992 ‘Candyman’ composed & performed by Philip Glass. Clive Barker who wrote the story for Candyman is a multi talented artist, painter, director & producer. The extent of his work is endless. Spawning Nightbreed, Hellraiser, Lord Of Illusions and the Books Of Blood just to name a few. Philip Glass also needs no introduction. Considered one of the most influential composers of the last century his works are featured in a multitude of movies like Koyaanisqatsi, Hamburger Hill, The Truman Show, etc. Mr. Glass was nominated for and won several Golden Globes, Bafta & Academy Awards.
File Under: Horror OST
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class

OST: Class of Nuke Em High (Ship to Shore) LP
The Ship to Shore Phonograph Company is proud to announce the release of The Class of Nuke ’Em High Original Soundtrack and finally give this classic unreleased soundtrack a proper release! With artwork by Godmachine and liner notes by director Lloyd Kaufman and Nuke ’Em High theme song composer Ethan Hurt, this is a release that we are sure fans of horror cinema will go nuclear for!

File Under: OST, Troma
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dance
OST: Dance of Reality (Real Gone) LP
“The release in 2014 of The Dance of Reality marked the triumphant return, after a 23-year hiatus, of Alejandro Jodorowsky, the visionary Chilean filmmaker behind cult classics El Topo and The Holy Mountain. In the radiantly visceral autobiographical film, a young Jodorowsky (played by his son, Brontis) is confronted by a collection of compelling characters that contribute to his burgeoning surreal consciousness. Adding to the autobiographical nature of the work, the film was shot in Tocopilla, a coastal town on the edge of the Chilean desert, where the filmmaker was born in 1929. Blending his personal history with metaphor, mythology, and poetry, The Dance of Reality reflects Jodorowsky’s philosophy that reality is not objective but rather a ‘dance’ created by our own imaginations. Jodorowsky’s films have always placed a special emphasis on music — his soundtracks rank as among the most daring and fascinating in film history — and for The Dance of Reality, Jodorowsky tapped his own son Adan Jodorowsky (aka ‘Adanowsky’), whose work as a composer and performer (with Devendra Banhart among others) has won him an international following in his own right. Adanowsky’s score is alternately lush and comical, blending brooding string passages with hypnotically repeating piano figures that create a mood that is at times foreboding, at times wistful and, as is always the case with a score to a Jodorowsky film, surreal. As part of its continuing association with ABKCO Music & Records, Inc., Real Gone Music is proud to present the complete soundtrack to The Dance of Reality on LP, mastered by Joe Yannece and with lacquer cutting by Carl Rowatti at Trutone Mastering. The album jacket includes a number of production stills from the film. Alejandro Jodorowsky’s tradition of remarkable film soundtracks lives on with The Dance of Reality.”
File Under: OST, Jodorowsky
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knick

OST: The Knick (Milan) LP
The acclaimed soundtrack to The Knick is finally being released on vinyl! Illustrator Kilian Eng designed the whole layout for the release. This release features additional music from the show not available on the CD and digital release! THE KNICK is the new exciting TV series by writer/director Steven Soderbergh (HBO’s Behind the Candelabra, Side Effects…). Cinemax is to premiere The Knick on August 8. Starring Clive Owen and set in New York 1900, the show centers on Knickerbocker Hospital and the groundbreaking surgeons, nurses and staff, who push the bounds of medicine in a time of astonishingly high mortality rates and zero antibiotics. The soundtrack features a fantastic score by acclaimed composer Cliff Martinez (Drive, Springbreakers, Only God Forgives, Solaris).

File Under: OST, Soundtrack, Electronic, Drive
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sauvageOST: La Planete Sauvage (Superior Viaduct) LP
Animated sci-fi masterpiece La Planète Sauvage (a.k.a. Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and drug-induced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes and strings. While the lush arrangements are reminiscent of Goraguer’s collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era. Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo Air and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between Pink Floyd’s Obscured by Clouds and Broadcast’s Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin and David Axelrod.File Under: OST, Classics, Animation
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lungs

Evan Parker/Derek Bailey/Peter Brotzmann: Topography of the Lungs (Otoroku) LP
Otoroku caps off the 2014 celebrations of saxophonist Evan Parker’s 70th birthday with a vinyl reissue of The Topography of the Lungs, by Parker, guitarist Derek Bailey, and percussionist Han Bennink — Parker’s first recording as a leader. Originally released in 1970, this was the first LP issued by Incus, the label that Parker founded with Bailey and drummer Tony Oxley. This reissue has been produced from an original vinyl pressing from Parker’s archives, carefully transcribed and restored by Andreas (Lupo) Lubich at Calyx Mastering, Berlin.
File Under: Free Jazz, Skronk
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pesCarlo Pes: Un Uomo Dalla Pelle Dura (Sonor) LP
Sonor Music Editions presents a reissue of the 1972 soundtrack to the film Un uomo dalla pelle dura (The Boxer), originally released on Italian promotional label Pegaso. The score was composed by I Marc 4 guitarist Carlo Pes, who most likely recorded it with the other members of I Marc 4. The amazing jazz-funk track “Tough Guy” is the main theme of the record, appearing in three different versions. The album also features the tense, dramatic “Morte di un Hippie,” Hammond organ improvisations, guitar, and flute on the lounge track “Relaxing in New Mexico,” and bossa nova jazz piano on “Joinin’ the Swimming Pool.” Includes two A3 posters. Limited to 500 copies.

File Under: OST, Library, Italian
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radian

Radian/Howe Gelb: Verses (Radian) LP
“A seemingly curious collaboration. A wrangling and grappling, a confrontation, a quarrel. A checking-out, a weighing of compromises. The Viennese trio Radian has recorded an album with songwriter Howe Gelb from Tucson, Arizona. Here the situation is different: Radian Verses Howe Gelb is primarily a Radian release. In four sessions that were rather freely dispersed over time, Howe Gelb, usually devoting himself to a cosmopolitan rethinking of Americana and desert country in his day job, fed acoustic contributions into the microphone for Radian: piano, guitar, above all: voice — sometimes as a reaction to material prepared by Radian, sometimes pulled liberally and unexpectedly from his own vast and tangled pool of ideas. The tones of Howe Gelb provided further material for Radian: They were dissected, dissolved, reoriented, mutated and made to fit into their own world. Radian Verses Howe Gelb is the first Radian release with guitarist Martin Siewert, who joined the band in 2011 and here also is responsible for processing and sound treatment. As usual, drummerMartin Brandlmayr was in charge of the selection and arrangement of sounds, and John Norman of the bass. As always with Radian, this record resembles a particularly carefully and cautiously-assembled collage: sounds, tones, noises — the tracks are busy. They are teeming, quavering, vibrating. As before, the kinds of things that Brandlmayr, Norman and Siewert scrape and tease out of their machines and instruments make up an exuberant buffet of ideas and strangeness. The way the sounds are arranged here however creates an aura of fragility, a lean design. The tones appear to be artfully suspended in space, and you can feel the air flowing between them. You can hear Howe Gelb croaking and whining in the process of disintegration, and the entanglement and fusion with this highly-focused free music. The categories and genres crumble away ? whether it’s exploring jazz, intricate tinker-electronics, dub, growling, hissing, bubbling, rock, a lot of things wondrously permeate this music, one that is indeed rather post-everything.” –Philipp L’Heritier; Howe Gelb (voice, guitars, piano); Martin Brandlmayr (drums, vibraphone, electronics, synths, editing and arrangement); Martin Siewert (guitars, lap-, and pedal steel, electronics, synths, processings); John Norman (bass).
File Under: Jazz, Electronic, Dub
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firstSchlippenbach Trio: First Recordings (Trost) LP
Found in the archives of FMP! The very first — never released — recordings of the Schlippenbach Trio: Alexander von Schlippenbach (piano); Evan Parker (tenor and soprano saxophone); Paul Lovens(drums). Recorded by an unknown engineer on April 2nd, 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin.

File Under: Free Jazz
seasrchSearch Party: Montgomery Chapel (Lion) LP
Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that’s equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter ‘So Many Things Have Got Me Down,’ for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they’ve become holy grails of collectors. Artists as disparate as Current 93’s David Tibet and Sonic Boom have heaped praise on it. We’re thrilled to give this lost classic a proper reissue. Audio restoration by Anders Peterson. Insert is packed with info thanks to Nick Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent—and perhaps most unlikely—psychedelic groups to ever record an album.

File Under: Psych, Soul, Xian
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SD44-Mock8.inddShindig! #44 Mag
The Damned: Punk pioneers in dark psychedelia shocker! The Rockingbirds: British country-rockers back on the road. Neighb’rhood Child’n: Overlooked West Coast psychedelic folk-rockers. Xian Rock: The strange world of underground Jesus freak music. Plus: Cool Christmas Records, Jim Noir, Fairport Convention, White Hills.

File Under: Psych, Magazine
visitorVisitors: s/t (Lion) LP
Visitors was the brain-child of French producer/composer/genius, and enfant terrible Jean-Pierre Massiera. In 1974, he recruited a group of nineteen musicians (most notably jazz violinist Didier Lockwood, who made an indelible mark on Magma’s 1975 live album), to record his latest compositions. Massiera had been impressed by violin-fronted jazz-rock acts such as the Mahavishnu Orchestra and Jean-Luc Ponty. He decided that his new psychedelic nightmare should be a concept album on the theme of extra-terrestrial contact. It is a truly startling mix of prog, psych, fusion and zeuhl elements, with complex arrangements and grandiose vocals. Massiera kept the basics: keyboards (Hammond organ and mini-Moog), guitar, and rhythm section. That said, he also insisted on a type of vocal polyphony, with voices singing in unison or performing call-and-response echo effects in the style of Vanilla Fudge. To push it further, Massiera peppered the album with special effects. Samplers were non-existent, which meant that he had to transfer location-recorded “found sounds” onto the master-tape by hand! The Visitors album which resulted from this musical alchemy is a dark and doom-laden psyched-out masterpiece: other-worldly, with outer space violins, burning guitar leads, layers of lysergic organ, and twisted choral voices creeping up on you from behind the shadows. It’s hardly surprising that it has attained cult status around the world!

File Under: Psych, Insanity, JP Massiera
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cyberneticVarious: Cybernetic Serendipity Music(Vinyl Factory) LP
Reissue of the Institute of Contemporary Art’s groundbreaking compilation Cybernetic Serendipity Music, originally released in 1968 to coincide with their exhibition “Cybernetic Serendipity,” which proved to be a landmark in the history of audio/visual art, and the first exhibition of its kind in the UK devoted to the relationship between music and early computers. Both unique and extraordinarily influential, Cybernetic Serendipity Music captured a nascent scene on the cusp of a synth-led electronic revolution and was the only compilation of its kind to bring together the musicians, composers and inventors pushing the boundaries of early computer music on one record, a good six years before Kraftwerk’s Autobahn changed modern music forever. It documented a frontier spirit where pre-eminent composers John Cage and Iannis Xenakis rubbed shoulders with the likes of Peter Zinovieff, the founder of EMS and inventor of the game-changing VCS3 synthesizer, with music that was either composed by computers or, in Zinovieff’s case, even performed by them. With only a handful of copies pressed and exclusively available from the ICA at the original exhibition, Cybernetic Serendipity Music has long held Holy Grail status among collectors and enthusiasts of early electronics, with the original record, on the rare occasions it becomes available, often changing hands for upwards of £150. Now to mark their forthcoming archival exhibition of “Cybernetic Serendipity” in the Institute’s Fox Reading Room, The Vinyl Factory are teaming up with the ICA to reissue Cybernetic Serendipity Music on vinyl for the first time since 1968, faithfully reproducing the artwork — taken from one of Peter Zinovieff’s visual scores — housed in a Garrod & Lofthouse-style sleeve in an edition of 500 copies

File Under: Early Electronic, Experimental
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everywhereVarious: Everywhere Chainsaw Sound (Feed the Mind) LP
This reissue of Everywhere Chainsaw Sound, the legendary 1960s US garage psych compilation, is available on 180-gram vinyl in a strictly limited, hand-numbered edition of 500 copies. Featuring tracks from many legendary 45s, it is presented with remastered sound and includes the original insert and a deluxe, full-color, double-sided info sheet with detailed notes and rarely-seen pictures, making it an essential addition to any psych connoisseur’s record collection. “In a field full of weeds the earliest garage psych/punk compilations still possess a charm that endears them to collectors. Back in the early 1980s a number of now extremely rare compilations were briefly available via mail order. They almost immediately disappeared onto the shelves of a small but hardcore group of US ’60s rock fans. Everywhere Chainsaw Sound was one such compilation that originated in France and was produced in a microscopic numbered edition of only 100 copies. Housed in a plain white card sleeve with handmade artwork, it remains, even to this day, almost unknown by the majority of ’60s US garage psych collectors. Inspired by Elektra’s Nuggets LP, grey area compilations such as Pebbles, Boulders, and Acid Dreams created a demand for underground compilations that grew into the US garage rock reissue market that has since produced many thousands of records. An unceasing demand for music from probably the most exciting period of rock and roll has turned into a minor industry. Thankfully Everywhere Chainsaw Sound is once again available as a limited edition high quality vinyl reissue with improved sleeve notes and sound. You may have some of these recordings on other compilations but somehow the mystery excitement and sense of discovery that fuelled the first era of the garage rock revival is captured on this iconic compilation.” –Richard Allen, founder of The Freak Emporium, now writes for Shindig! Everywhere Chainsaw Sound includes tracks by Lincoln St. Exit, The Spiders, The K-Otics, The Scepters, The Reverbs,Strangers, Ken & the Fourth Dimension, The Guilloteens, Fe-Fi-Four Plus 2, Unchained Mynds, Kan Dells, The Spokesmen, The Original Dukes, Heros, The Monacles, The Music Explosion, and Electric Prunes.

File Under: Psych, Garage, Punk
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…..news letter #672 – all that jazz…..

Well this is about the latest I’ve ever sent a news letter this small, but take a look at the pick of the week and you may understand why….

…..pick of the week…..

records

Used Jazz
You can blame this week’s pick for the lateness of this news letter. I just got home from closing the deal on roughly a 3000 piece, killer jazz collection. All the titles from all the greats… Miles, Coltrane, Mingus, Parker, Art Ensemble, Blakey, Sonny Rollins and on and on. Original pressings on Blue Note, Prestige, Impulse, Atlantic, Columbia, Strata East, ESP, BYG Actuel… lots of mono. Anyway, the biggest and the best collection I’ve ever purchased. It will be a little while before this starts hitting the shelves, and it’ll be even longer before it all makes it’s way in to the shop, but I figured after the bangin’ December you gave us, we’d give a little back and start this year off with a bang.

File Under: Jazz, Used, Mono, Mayhem
…..new arrivals…..
mangan

Dan Mangan & Blacksmiths: Club Meds (Arts & Crafts) LP
After a two year hiatus, an induction into fatherhood, and some time to regroup, two-time JUNO Award-winner Dan Mangan has returned under a new moniker, Dan Mangan + Blacksmith. The new name encompasses the spirit of the project’s longstanding ensemble members joining the band from Vancouver’s experimental music community, Kenton Loewen, Gordon Grdina, John Walsh (and often Jesse Zubot, JP Carter and Tyson Naylor) with a communal sensibility that merits the marquee amendment. Produced by Colin Stewart and Mangan, Club Meds at times evokes images of subtler American-underground innovators like Blonde Redhead or Steve Reich. At other moments, it hits emotional pay dirt reminiscent of British scene-survivors like Peter Gabriel or Radiohead. Blacksmith brings an unmistakable character to Club Meds; a stark glassy edge that swells and sways like a roaring ocean. Through a fog of analog feedback loops and synths, the band’s performances breathe deeply and steadily like a dragon at rest.
File Under: Indie Rock, CanCon
basementNew Basement Tapes: Lost on the River (Harvest) LP

The New Basement Tapes is an album project from Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops) Taylor Goldsmith (Dawes), Jim James (My Morning Jacket), Marcus Mumford (Mumford & Sons) and producer T Bone Burnett, who joined forces at Capitol Studios to create music for nearly two-dozen recently discovered lyrics written by Bob Dylan in 1967 during the period that generated the recording of the legendary Basement Tapes. Bob Dylan’s original Basement Tapes – recorded in 1967 with musicians who would later achieve their own fame as The Band – have fascinated and enticed successive generations of musicians, fans and cultural critics for nearly five decades. This collective recorded more than a hundred songs in the basement of a small house in upstate New York that summer and fall, including dozens of newly-written future classics such as, “I Shall Be Released,” “The Mighty Quinn,” “This Wheel’s On Fire,” “You Ain’t Going Nowhere” and “Tears Of Rage.” Lost On The River: The New Basement Tapes celebrates the discovery of new Bob Dylan lyrics from that noted 1967 period and marks a unique creative opportunity for Burnett, Costello, Giddens, Goldsmith, James and Mumford, who are bringing them to life nearly 50 years later. For Burnett, whom Dylan has entrusted with this endeavor, it was imperative to provide an environment in which these artists could thrive. “Great music is best created when a community of artists gets together for the common good. There is a deep well of generosity and support in the room at all times, and that reflects the tremendous generosity shown by Bob in sharing these lyrics with us.”

File Under: Folk
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panda bear

Panda Bear: Meets the Grim Reaper
(Domino) 2LP/3LP/2CD
Domino is pleased to announce the release of Panda Bear Meets The Grim Reaper, the fifth studio album from Animal Collective founding member and critically acclaimed solo artist Noah Lennox aka Panda Bear. Panda Bear Meets The Grim Reaper or PBVSGR, as the album has been referred to cryptically online over the past few months, will be out in January 2015. Lennox has had a far-from-quiet few years with the release of his fourth solo record, 2011’s Tomboy. Since the breakout success of 2007’s universally-adored Person Pitch, each new Panda Bear release is a highly anticipated event, and with a high-profile Daft Punk collaboration also under his belt (“Doin’ It Right,” from 2013’s Random Access Memories), that’s more the case than ever. Panda Bear Meets The Grim Reaper finds our hero leaving the airy minimalism of Tomboy and unpacking his sonic toolbox again, rearranging the multitude of his disparate influences into the ever-morphing concoction he refers to as “the soup.” Old school hip-hop textures and production techniques meld with the intuitive, cyclical melodies he has become known for a sound that is at once dense and playful. The album signifies a pivotal point for an artist who has proven he can continue to evolve while remaining at the top of his game. As Lennox says, “It’s sort of marking change – not necessarily an absolute death, but the ending of something, and hopefully the beginning of something else.” This deluxe indie store only 3LP/2CD edition of Panda Bear Meets The Grim Reaper includes the album on heavyweight vinyl in a deluxe gatefold jacket and includes an MP3 download card as well as the 4 track Mr. Noah EP.

File Under: Indie, Pop, Electronic, Animal Collective
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beckVarious: Beck Song Book (Capitol) LP

The now legendary Song Reader – 20 Beck compositions previously released exclusively as stunningly illustrated sheet music in partnership with McSweeney’s – will receive a long awaited traditional release, when Warby Parker/Capitol Records issues the album, produced by Beck and Randall Poster, known for his music supervision work with directors Wes Anderson, Martin Scorsese, Sam Mendes and many others. The 20-track all-star collection features exclusively recorded versions of Song Reader charts by the likes of Jack White, Jeff Tweedy, David Johansen, Norah Jones, Jarvis Cocker, Jason Isbell, Laura Marling, Bob Forest, Fun., Eleanor Friedberger, Swamp Dogg, Loudon WainwrightII and several more including Beck himself. The Warby Parker release of Beck: Song Reader marks the first officially recorded incarnation of the project, which has already inspired interpretations from hundreds of musicians the world over. The record includes the studio-quality debut of songs previously only played live either by Beck himself or at one of the handful of Song Reader concerts staged over the last two years. The most recent of these was presented by the L.A. Philharmonic in partnership with McSweeney’s and Warby Parker at the Walt Disney Concert Hall in Los Angeles on November 24, 2013. Described by The Los Angeles Times as an “expertly delivered and received night…another big step in Beck’s long, fascinating evolution,” the show’s highlights included Jarvis Cocker’s interpretively danced “Why Did You Make Me Care?” and Jack Black’s borderline frightening “We All Wear Cloaks,” the latter of which makes its recorded debut on the Beck: Song Reader album.
File Under: Indie, Covers
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…..restocks…..
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Godspeed You Black Emperor: Allelujah! (Constellation) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
How To Dress Well: What Is This Heart (Weird) LP
Iron & Wine: Creek Drank the Craddle (Sub Pop) LP
Iron & Wine: Endless Numbered Days (Sub Pop) LP
K. Leimer: A Period of Review (Rervng) LP
William Onyeabor: LP Boxset 1 (Luaka Bob) 5LP
OST: The Good, The Bad & The Ugly (Universal) LP
Rural Alberta Advantage: Mended with Gold (Paper Bag) LP
Elliott Smith: From A Basement on the Hill (Kill Rock Stars) LP
Elliott Smith: Roman Candle (Kill Rock Stars) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) LP
Songs: Ohia: Magnolia Electric Co (Secretly Canadian) LP
Timber Timbre: Creep on Creepin’ on (Paper Bag) LP
Timber Timbre: s/t (Paper Bag) LP
Chad Van Gaalen: Shrink Dust (Flemish Eye) LP
War on Drugs: Lost in the Dream (Secretly Canadian) LP
War on Drugs: Future Weather (Secretly Canadian) LP
White Lung: Deep Fantasy (Domino) LP
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…..news letter #671 – new calender…..

Well Happy New Year to all our fine friends out there! Hopefully you survived the holiday season and had some time off to spend with family and friends and your turntable. We here would like to thank all of you who chose to shop locally last month and made December our best month ever, by a long shot. It was absolutely bonkers here, so THANK YOU! Anyway, now hopefully we’ll have some time to breathe and tidy up a bit. Meanwhile, here’s some stuff that came in late last year, mostly while I was out of the shop so it’s just hitting the shelves today, enjoy….

…..pick of the week…..

white noise

White Noise: An Electric Storm (Island) LP
Originally issued in 1969 on Island Records, An Electric Storm is the ambitious debut album from electronic music groupWhite Noise. Cited as an influence by Aphex Twin and Chemical Brothers, An Electric Storm was the work of American-born David Vorhaus, Delia Derbyshire (who had created the electronic version of the Doctor Who theme for the BBC) and Brian Hodgson. 1969 was a year which saw the world of popular music blossom. Musical freedom was the watchword and experimentation was welcomed by an ever increasing underground audience who were eager to feed their heads with ambitious albums by acts who embraced the worlds of rock and the avant garde. It was also a year in which independent record labels began to make their commercial mark in Britain. Of these companies, Island was undoubtedly the biggest player. Of all the albums released that year by Island, White Noise’s An Electric Storm was by far the most experimental and ground breaking. The album was equally surprising in that two of the three members of White Noise were not long haired rock musicians, but were respected pioneers of electronic music who worked at the BBC’s legendary Radiophonic Workshop. Initial recording work was undertaken by Vorhaus, Derbyshire and Hodgson at the BBC Radiophonic Workshop in Maida Vale during the night after staff had gone home. “It was all very unofficial and the BBC was unaware of us using the studio and equipment for our own ends,” recalls Vorhaus. “However, it’s common knowledge now that the first couple of tracks recorded by White Noise were actually recorded at the BBC, so I think it’s safe to come clean!”

File Under: Electronic, Library Pop, Essential Grooves, Delia Derbyshire
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…..new arrivals…..

baxter

Les Baxter: Barbarians (So Far Out) LP
The soundtrack to the 1959 Italian peplum/sword-and-sandal film Goliath and the Barbarians starring American bodybuilder and mega-star in Europe at the time, Steve Reeves, Barbarian is about a million times better than the movie it was made to accompany. Featuring Les Baxter’s signature percussion sound and moody arrangements, Barbarian is one of Baxter’s finest titles of the late ’50s/early ’60s. Back in print on 180-gram LP courtesy of the exotica enthusiasts at So Far Out.

File Under: Lounge, Exotica
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black to comm

Black to Comm: s/t (Type) LP
Hamburg’s Marc Richter has been busy with his Black To Comm project since his last appearance under that name on Type, 2009’s genre-bending and critically acclaimed Alphabet 1968. Aside from helming the prolific Dekorder imprint, he’s put out a number of musical curios, including 2012’s excellent film soundtrack EARTH. Now Richter is back with Alphabet 1968’s proper follow-up, a self-titled double album pieced together from crumbling samples, vocal snippets, and an arsenal of noise generators and filters. Richter’s material has always been characterized by an air of surrealism, but it’s never been more obvious than on the pulsing, chattering opener “Human Gidrah” or in the delirious, fractured pop of “Hands.” There are real songs hidden in here somewhere, but they’re disintegrated by Richter’s sound manipulation techniques and dissolved into soupy, extended drone marathons. The centerpiece is undoubtedly “Is Nowhere,” which builds slowly over 20 minutes with rumbling organ sounds and buzzing filters, never losing the listener’s attention for a second. Black To Comm is a deeper, more challenging record than its predecessor, but one which repays the patient listener. Richter’s dusty, unique sound has never sounded so well-honed and pointed, and it’s a patchwork of ideas and fragments that only improves over time. Mastered and cut by Matt Colton. Artwork by Andreas Diefenbach.

File Under: Electronic, Ambient
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boldern

Bolder Damn: Mourning (Guerssen) LP
Bolder Damn’s 1971 album Mourning is an absolute monster among U.S. hard rock private pressings. Hailing from Florida, Bolder Damn boasted an ultra-heavy, “raw-in-your-face” sound with devastating fuzzed-out guitar, a solid rhythm section, and manic vocals. First discovered and reissued by the legendary Rockadelic label in 1990, the album has gained a cult status among new fans of ’70s proto-doom and hard rock sounds since then. Bringing it back into print after many years, Guerssen presents the definitive vinyl reissue of Mourning, featuring original artwork and fold-out insert with liner notes, interview with singer John Anderson, and rare pictures. Remastered sound. Highly recommended if you like Sabbath, Blue Cheer, Pentagram, MC5, Sainte Anthony’s Fyre…

File Under: Hard Rock, Fuzz
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brotz

Peter Brotzmann & Jason Adasiewicz: Mollie’s In the Mood (Bro) LP
BRÖ presents Mollie’s in the Mood by Peter Brötzmann & Jason Adasiewicz, the label’s third LP since its revival in 2003 and the sequel to the Brötzmann/Adasiewicz 2012 tour-only CD. Recorded in “you-are-there” fidelity, the LP captures a performance at Chicago’s Hideout on the duo’s 2012 U.S.A. tour. Brötzmann played alto and tenor saxophones, b-flat clarinet, and tárogató; Adasiewicz played vibraphone. This is what happens when the most original vibraphonist of his generation slams into a force of nature. Vinyl cut at Sterling Sound by Steve Fallone and manufactured by Record Technology, Inc. Hand-pulled screen-printed covers on heavyweight Stoughton “laser disc” sleeves by Alan Sherry (Siwa). One-time pressing in an edition of 600, vinyl only.

File Under: Free Jazz, Jazz, Skronk

gala

Gala Drop: II (Golf Channel) LP
Golf Channel Recordings presents II, the first full-length recording from Lisbon, Portugal-based Gala Drop in six years, and their first release since 2012’s Broda, an acclaim split with Ben Chasny of former tour-mates Six Organs of Admittance. For this release, Gala Drop joined forces with Detroit ex-pat Jerrald “Jerry the Cat” James to pull together the variant strands of the Motor City’s aural lineage with the more off-the-cuff Balearic grooves of their native Lisbon in a hypnotic melting pot of sound. From percussion work with Parliament-Funkadelic, to live performances with John Lee Hooker, to collaborations with Derrick May, Theo Parrish, and Moodymann, James’ involvement in the great rise of black music through the mid-to-late 20th century cannot be understated. It’s as a vocalist that he makes his mark on II, with his dub-smeared murmurs and galvanizing cries pushing Gala Drop even further away from the introspective delay-pedal drone that they started out with nearly a decade previously. Seductive 808s and samplers sit alongside Afonso Simões’ drumming, allowing the lighter tissue of the track, shimmering synths and soulful vocals, to weave and wind their way around the foundations — never more apparent than on the pirouetting Mediterranean disco of the final track, “Samba da Maconha.” The track closes an album that shows definite Jamaican reggae and dub influences, while at the same time drawing deeply from the progressive Afrofuturism aesthetic that’s come to typify the Lisbon club scene of the past few years. That scene has certainly had an influence on Gala Drop’s development, as Simões says: “I was going out to a techno club at the weekend but going to see a garage rock show or some free jazz band in the week. The post-millennium Lisbon has been very fertile musically speaking.” It’s that eclecticism that’s allowed the group freedom to be similarly unhemmed. Their music takes on the bustling heat of the streets of Lisbon but, like the city itself, remains tied to the open seas and panoramic scenery beyond. A song like “Sun Gun” is a perfect example, built around intricate basslines and restless drumming that eventually stretches out into the distance as the track races along, with Gala Drop skipping through their alluringly idiosyncratic world.

File Under: Electronic, Dub, Disco, Rock
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grits

Grits ‘n Gravy: Second Shot (Stag-o-Lee) LP
14 months after their debut release, German duo Grits ‘n Gravy returns with Second Shot. Grits ‘n Gravy still consists of drummer and singer Mighty Mike (The Juke Joint Pimps, Voodoo Rhythm) and Cat Lee King, a young and skinny piano player with a big voice. Who knows where he gets it, but he has the soul of Ray Charles and the mean attack of Bunker Hill. The guys spent two days in the studio to lay down 12 tracks, 10 of which made the final cut. Musically, Grits ‘n Gravy still stands for ’50s rock ‘n’ roll, raw rhythm ‘n’ blues, and early soul. While their first release consisted mainly of covers, this time the duo has written seven originals, which appear alongside interpretations of “Tell a Whale of a Tale” (Wynonie Harris) and “Act Right” (Wynona Carr), as well as an inspired re-working of “I Put a Spell On You” (Screamin’ Jay Hawkins). In order to broaden their sonic palette, Mike and Cat invited a few friends from Ray Collins’ Hot Club to add double-bass, guitar, and saxophones on selected tracks.

File Under: Blues, Boogie Woogie
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johannssonJohann Johannsson & BJ Nilsen: I Am Here (Ash) LP
Based on the original score for the film I Am Here (2014), written and directed by Anders Morgenthaler, starring Kim Basinger, Jordan Prentice and Sebastian Schipper. Written and produced by Jóhann Jóhannsson and BJ Nilsen. This is the first collaboration between Jóhann Jóhannsson and BJ Nilsen — very much a mix between their two worlds, you can hear both their signatures, and with the help of additional musicians, including Hildur Guðnadóttir on cello and the remarkable voices of Elfa Margrét Ingvadóttir and Guðmundur Vignir Karlsson, they together create a world of great beauty and mystery. Hildur Guðnadóttir (cello), Daniella Strasfogel (violin and viola), Elfa Margrét Ingvadóttir and Guðmundur Vignir Karlsson (vocals), Jóhann Jóhannsson (piano, guitar and electronics), BJ Nilsen (electronics). Recorded and mixed by Jóhann Jóhannsson and BJ Nilsen in Berlin, December 2013-January 2014. Mastered and cut by Jason at Transition August 20th, 2014.

File Under: Ambient, OST, Neo-Classical
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lauten

Elodie Lauten: Transform (Wilde Calm) 12”
Wilde Calm Records is honored to present new work from the late Elodie Lauten, New York City-based composer and recipient of the 2014 Robert Rauschenberg Award. Lauten had been exploring microtonality and alternative temperament since the early 1980s, first with a Fairlight CMI synthesizer and more recently with the Klio, her custom modular Reaktor software synthesizer. Many Wilde Calm fans will be familiar with Lauten’s music from her numerous collaborations with fellow downtown luminary Arthur Russell. Lauten and Russell met through their mutual poet friend Allen Ginsberg and shared a similar sensibility, evident in their spiritual club classic In the Light of the Miracle and Russell’s appearance on Lauten’s seminal post-minimalist masterwork The Death of Don Juan. This EP includes five remastered selections from Lauten’s 2013 album, Transform, and a Wilde Calm remix. Lauten’s synth explorations are essential for fans of Laurie Spiegel and Suzanne Ciani. Limited edition of 500 in hand-stamped and numbered silkscreened jackets with full-color insert and liner notes by Jayson Greene. Cover and insert artwork by Josh Gurrie.

File Under: Electronic, New York Downtown, Arthur Russell
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lubomyrLubomyr Melnyk: Evertina (Erased Tapes) 10”
Erased Tapes first introduced Lubomyr Melnyk and his unique continuous music technique to a wider audience with Corollaries, (an album produced by Peter Broderick in 2013. Now he returns with a 24-minute mini-album entitled Evertina. Featuring three newly-composed solo piano pieces, the long-form EP showcases another side to Lubomyr Melnyk — his more gentle and melodic work. In 2012 Lubomyr’s ears began to notice the remarkable tonal depth of upright pianos. To Lubomyr the upright piano sound is like a natural forest of microcosmic colors. “Evertina” and “Awaiting” were created on a middle-aged upright piano at a friend’s home in New York in October 2012 — just before Hurricane Sandy hit the city. Some children were listening to Lubomyr as he played in a hotel lobby in Cologne and “Butterfly” is the piece that he made for them. It was recorded on a battered grand piano somewhere in Switzerland in late 2013, with the lid closed down to soften the effect. “The piano for me has so many different faces, so many personalities and wonders, it is like life itself, ever-changing yet always holding to a permanence of beauty. Like butterflies that never fly in a straight line but always carry their loveliness with them in their multi-angled paths. I want people to hear these pieces, that are always hidden from the world. I keep them locked away in a quiet place, far from the concert hall. Why do I do that? I guess it is because they are so easy to play, so effortless, I can do them while sleeping. Whereas my more demanding abilities on the piano come out in the forceful nature of continuous playing. There, the new ground is being broken and a new door is being opened for the world. But that does not mean that I am bound by nature or by god to do only continuous music. My heart moves into these pieces just as it moves into the continuous modalities. So here, for the very first time, I am bringing three of these little miniatures to the public view.” Lubomyr Melnyk is a true innovator, exploring new directions for contemporary music. Classically-trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world’s fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. To accomplish this requires a special technique, one that has taken Melnyk many years to master. To witness one of his rare live performances is nothing short of a mind-opening experience.

File Under: Piano, Neo-Classical
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gta

OST: The Music of Grand Theft Auto V (Mass Appeal) 6LP Box
One of the most popular upcoming games (widely revered for it’s killer “car-radio” soundtracks) is now available as Deluxe 6 LP soundtrack boxset! There will be less than 5,000 copies worldwide. The soundtrack features 59 songs including original music from A$AP Rocky, Tyler The Creator, Twin Shadow, Wavves, Flying Lotus, Yeasayer and more. The original sore was composed by Tangerine Dream, Woody Jackson, The Aclhemist and Oh No mixed by DJ Shadow. This limited edition three color – 6LP Vinyl collection features a high end collectible box that houses a color booklet and lithograph poster!

File Under: OST, Video Games, Hip Hop
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trans

OST: Transformers (Music on Vinyl) LP
Soundtrack of the classic 1986 Transformers movie. First pressing of 1000 numbered copies on transparent blue vinyl. Set to a soundtrack of synth-based incidental music and hard-driving metal music, composed by Vince DiCola, the movie has a decidedly darker tone than the television series. Stan Bush’s song “The Touch”, which prominently featured in the film, was originally written for the Sylvester Stallone movie Cobra. The movie also feature other well known songs including “Instruments of Destruction” by NRG, Stan Bush’s song “Dare”, two songs by Spectre General, “Nothin’s Gonna Stand In Our Way”, “Hunger” as well as “Weird Al” Yankovic’s song “Dare to Be Stupid”. The Transformers theme song for the movie was performed by the band Lion. “Beyond good. Beyond evil. Beyond your wildest imagination.” The 1986 animated feature film The Transformers: The Movie was based on the animated TV series by the same name. The film was directed by Nelson Shin, who produced the original Transformers television series, and features the voices of Eric Idle, Judd Nelson, Leonard Nimoy, Casey Kasem, Robert Stack, Lionel Stander, John Moschitta, Jr., Peter Cullen and Frank Welker. It also marked the final roles for both Orson Welles, who died just days after his last voice recording session for the film, and Scatman Crothers, who died months after its release.

File Under: OST, Cartoons
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pade

Else Marie Pade: Electronic Works 1958-1995 (Important) 3LP
Pressed on audiophile grade heavy duty vinyl in an edition of 500 copies. Else Marie Pade, born in 1924 in Denmark, is a precious golden gem in the world of contemporary electro-acoustic music. She is a true pioneer of electronic music and musique concrète. Pade is Denmark’s first lady of electronic music and her piece “Syv Cirkler (Seven Circles)” became the first electronic piece performed on Danish radio. Pade’s fascination with sound began in early childhood. Isolated in her bed for long periods due to illness, she began listening and intensively observing the sounds around her. As a teenager being imprisoned for spying on Nazi compounds in Arhus, she had a similar experience of isolation and sharpening her awareness of sound. Once released from prison, she became a piano student at the Royal Danish Conservatory of Music in Copenhagen. When she was introduced to Pierre Schaeffer in 1952, she instead chose to pursue the nuances of her inner sound-world. Shortly after beginning her studies with Schaeffer, she had her first electronic composition premiered in 1958. Else Marie Pade’s Electronic Works 1958-1995 is a three LP set of Pade’s most important compositions which was restored, mastered, and cut at Dubplates & Mastering in 2014 in Berlin under the watchful ears of curator Jacob Kirkegaard. These monumental works are presented, for the first time, pressed on audiophile-grade heavy-duty vinyl. Pressed in an edition of 500 copies. “The sounds outside became concrète music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music.” –Else Marie Pade

File Under: Early Electronic, Musique Concrete
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zu

Eugene Robinson & Zu: Left Hand Path (Trost) LP
Zu has always been a mercurial and ever-changing entity: unafraid of cross-genre explorations, eager to break down barriers between musical styles. Despite playing traditional instruments, major influences on Zu’s music have always been sonic explorers like Coil, Throbbing Gristle, or early Neubauten. The sound of The Left Hand Path is the somewhat hidden side of Zu, though latent in all of its previous music. It’s like digging out a box from the earth, containing everything the band had wished to highlight in previous works: ambient and droney landscapes; acoustic explorations in obscurity. The album starts programmatically with the sound of a shovel digging the earth — a soundtrack for a descent into the underworld. It’s moon musick. All of the members played electronics and Massimo focused mostly on guitars. The recordings were then sent to Eugene S. Robinson of Oxbow fame. Zu knew he was the right person to add vocals to it, and to transform the music again, into a sort of contemporary post-everything voodoo blues.

File Under: Electronic, Avant Garde
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slow season

Slow Season: Mountains (Riding Easy) LP
Press “play” on Slow Season‘s second full-length album Mountains, and you might just forget what era you’re in. It could very well be the sixties, seventies, or now. It almost doesn’t matter though because this is hypnotic, heavy, and howling rock ‘n’ roll that defies both musical and temporal categorization. The Central California quartet – Daniel Rice (vocals, guitar), David Kent (guitar), Hayden Doyel (bass), and Cody Tarbell (drums) – scale new heights, while recognising where it all began. “I’d love for people to wonder if this record is actually from 1969,” grins Cody. “We wanted to capture that spirit. That was the goal.” In order to do so, the musicians holed up in Cody’s home studio, which actually doubles as his parents’ garage, and cut Mountains ten tracks throughout the course of early 2014. Hayden had just returned home from a short detour at college in Idaho before recognizing he belonged jamming with his brothers. Officially back in the fold, excitement to record proved pervasive. Moving when inspiration struck, they actually recorded the songs live on reel-to-reel tape. Eschewing the digital mindset of today and not even uttering the words “Pro Tools”, everything was caught on analog, giving the music a crackling kinetic energy. “I like everything associated with reel-to-reel,” Cody goes on. “I love the sound. I like the mojo that comes along with it.” “Working with the limitations of tape really pushed us to play our best,” adds Daniel. “You have to prioritize your ideas. You can’t layer too much on there. You also have to nail the takes. You don’t get to go back and cut paste. You have to feel it when you’re playing it. When everything comes together, it really shines because we’re all playing together on tape.” They lock in during the album opener and first single, Sixty-Eight. It snaps into a bluesy riff and bombastic beat before Daniel lets out a soaring refrain and a screeching solo roars. “We wanted to nod back to Led Zeppelin,” the vocalist says. “We managed to get this really big sound in the garage. It’s very organic and natural. The subject matter is pretty gnarly, and I’d encourage everyone to take a close listen to the lyrics.” That mystique carries over to the hazy Synanon, which details the exploits of a mountain cult nearby where the boys reside. Meanwhile, Endless Mountain drives forward on robust guitars and propulsive drums. It also reflects the overarching theme inherent within the title. “Mountains embody a few things,” explains Daniel. “They’re difficult, seemingly insurmountable, and bigger than us. They’re both foreboding and beautiful at the same time. I had been doing a lot of hiking and backpacking in the higher Sierra Nevada. It all fit together. We live right next to Sequoia National Park, and we go up there all the time. We connect with the idea of man versus nature.” Slow Season first emerged in 2012 with their self-titled debut. Supported by shows throughout California and nationally, they began to garner palpable buzz. Now, Mountains kicks off their next chapter. However, they’ll continue to exist within an epoch of their own. Daniel leaves off, “I want people to walk away knowing there’s integrity behind the music, the process, the words being sung, and the notes being played. We love what we do, and we hope that listeners do too.”

 File Under: Blues Rock, Stoner Rock
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sultan

Juma Sultan’s Aboriginal Music Society: Father of Origin (Eremite) 2LP
Deep archeology into a long buried and previously undocumented chapter in the history of the early ’70s loft era brings forth the revelatory Father of Origin, Eremite’s box set retrospective of percussionist and bassist Juma Sultan’s Aboriginal Music Society. Drawn from Sultan’s mammoth private archive of recordings, this groundbreaking set includes two audiophile LPs and a CD, a 28-page 12″ x 12″ book featuring previously unpublished photographs and ephemera, and a detailed historical essay by jazz scholar Michael Heller, all manufactured to highest quality-freak standards. This old school multimedia extravaganza exposes some of the most extraordinary and explosive free jazz of the period to the light of day for the first time. Established by Sultan and percussionist Ali Abuwi in Woodstock in 1968, Aboriginal Music Society was both a radical arts organization and a killer band. For ten years, Sultan and the loose alliance of like-minded musicians in AMS produced independent concerts, owned and operated their own recording studio, and collaborated with legendary artist-run New York loft space Studio We on performances and educational programs. But during that whole time, they never released a record. Inspired by an emerging understanding of African cultures and the political ideas of the black power moment, AMS synthesized an African approach to percussion and collective performance with the revolutionary jazz of its day. In open-ended free improvisations they played an incendiary mix of massive trap kit, hand drum grooves, and heaven-storming free jazz. The first of the set’s two LPs, a 1970 Boston studio date, features a New York-Woodstock sextet — including Sultan, Abuwi, Gene Dinwiddie, Philip Wilson, Ralph Walsh, and Earl Cross — engaged in a characteristically percussion-heavy improvisation. The other vinyl disc features a private jam session by Sultan, Abuwi, and saxophonist Frank Lowe at the Broadway headquarters of AMS. Recorded in April 1971, it predates by several months Lowe’s recording debut on Alice Coltrane’s World Galaxy. The CD features yet another historic meeting — an undated concert with the Woodstock crew and a trio of midwesterners recently relocated to New York — saxophonist Julius Hemphill, cellist Abdul Wadud, and drummer Charles “Bobo” Shaw, all members of the St. Louis music and arts collective, Black Artists Group. Father of Origin is presented in a heavyweight telescoping box in paper wraps screen-printed by Alan Sherry at Siwa, who also screen-printed the LP sleeves, CD jacket, and additional loose memorabilia.

File Under: Free Jazz

vercky

Verckys Et l’Orchestre Veve: Congolese Funk, Afrobeat & Psychedelic Rumba 69-78 (Analog Africa) LP/CD
Congo’s turbulent and exhilarating ’70s: Nightclubs and dancefloors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence achieved a decade prior, grooved to the sounds of the country’s classics. In fact, the whole continent was submerged in the Congolese rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo’s sounds from Léopoldville across the continent, making these tunes the country’s top export. This unexpected success nurtured a wealth of talented musicians. One of them was Verckys, born Georges Mateta Kiamuangana. At age 18, he became a member of the country’s most dominant and influential band: Franco Luambo’s OK Jazz. This relationship was short-lived, however, as Verckys, now a versatile and potent multi-instrumentalist, had plans of his own: the formation of Orcheste Vévé in 1968, with the aim of reinventing and modernizing the Congolese sound. Blending the ever-influential prowess of James Brown with Congolese merengue, rumba, and soukous, Verckys stripped away the conventional approach that OK Jazz had pioneered, allowing his saxophone-laced melodies to dominate. Verckys also began recording young urban artists with guitar-driven cavacha sounds and releasing their work on his label, Les Editions Vévé; Les Freres Soki, Bella Bella, Orchestre Kiam, and others shot to stardom overnight, making Verckys quite wealthy. But that wasn’t enough for a man with a vision. He built a sprawling entertainment complex called Vévé Centre and oversaw the construction of the Congo’s most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Lay Rochereau. Orchestre Vévé’s popularity poured across borders and in 1974 the band traveled to Kenya for a two-month tour. James Brown, upon seeing Verckys perform that year, was moved to dub him “Mister Dynamite.” “Bassala Hot,” “Cheka Sana,” and “Talali Talala” were some of the tracks recorded in Nairobi for the Kenyan market, songs which are now available to the ears of the world for the very first time. Analog Africa now has the privilege to present 11 tracks by Verckys et L’Orchestre Vévé at the height of their most funky capabilities, compiled over the course of many years in a land of hardship. Analog Africa welcomes you to the grooviest era of the Congo with a CD accompanied by in-depth liner notes and vintage photographs.

File Under: Afro Beat, Funk, Rumba, Africa
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zummo

Peter Zummo: Lateral Pass (Foom) LP
Peter Zummo’s Lateral Pass suite continues on stylistically from where Zummo With With an X left off, with four unique and arresting movements: “Sci-Fi,” “Slow Heart”, “Song VI,” and the original quintet version of one of the most acclaimed of Zummo’s collaborations with Arthur Russell, “Song IV.” Originally written as the score for the Trisha Brown Dance Company production of the same name, Lateral Pass prominently features Russell on amplified cello and vocals, as well as regular Russell collaborators Bill Ruyle on tabla and marimba and Mustafa Ahmed on marimba and percussion, the acclaimed accordionist Guy Kluvecsek (collaborator of John Zorn and Alvin Lucier), and Zummo himself on trombone. Peter Zummo is best known for his work with John Lurie’s Lounge Lizards, Peter Gordon’s Love of Life Orchestra, and Arthur Russell. Zummo’s signature trombone style, renowned for its rich and soothing tone, has become one of the most beloved features of Russell’s celebrated sound. As well as being close friends, their musical symbiosis was so complimentary that they almost seemed to form a single entity at times, to the point where it would be hard to imagine one’s music with the other. Lateral Pass provides another example of the fruits of this relationship, as well as a further insight into Russell’s cello-dominated World of Echo period. Recorded live at Battery Sound, NYC, in 1985, Lateral Pass was mastered in Brooklyn by Paul Gold from the original ¼” tapes in the summer of 2013, exclusively using analog equipment for the vinyl edition and foregoing compression in order to preserve the original dynamics of the recording. In contrast to the version released by New World Records with Zummo With an X in 2006, these arrangements are previously unreleased and exclusive to Foom. Lateral Pass is now presented on vinyl for the first time, accompanied by American artist Nancy Graves’s artwork from the original shows.

File Under: Arthur Russell, Neo-Classical, Experimental
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bombay

Various: Bombay Disco 2 (Cultures of Soul) LP
“Welcome to our second celebration of the sounds of Bombay Disco, which digs deeper into the recordwallah shops in the bazaars of India. As fans of our first collection will recall, disco arrived in India in 1979, shortly after its mainstream popularity had peaked in the West. Disco songs remained in vogue throughout the subcontinent for a dozen years, in many ways because of the ‘cabaret scene’ or ‘item number,’ a mainstay in South Asian cinema that dates back to the 1920s. Back then, these scenes depicted traditional courtesans or nautch (dancing) girls, but by the early 1960s dance sequences became much more surreal, with visuals inspired by Busby Berkley and music infused with jazz, Latin, and rock ‘n’ roll. This tradition continued with an East-meets-West fusion of funk, disco and electro, to the hip-hop and EDM influences popular in South Asian films today. Disco songs continued to flourish after its early ’80s ubiquity, often in the more tawdry films such as the horror movies that were immensely popular as the decade wore on. As the ’90s continued, the cabaret sequences began to bear a closer resemblance to MTV videos. The music in these scenes changed to a similar style, while the perennial love songs continued to entrance listeners. We haven’t delved into the more massive film hits here, since the majority of those songs have been anthologized elsewhere. We prefer to dig deeper into the thousands of dusty, mold-encrusted records found in the back alley shops in India’s teeming cities. For your dancing pleasure, we’ve cleaned off and polished up these vintage disco delites for your manoranjan (entertainment). Enjoy a cocktail and get on the dance floor!”

File Under: Disco, Bollywood, India
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brazilian

Various: Brazilian Disco Boogie Sounds 1978-1982 (Favorite) LP
Brazilian Disco Boogie Sounds is a compilation that brings together nine of the most important and obscure hits of the Brazilian funk-boogie-disco scene during the years of 1978 to 1982. Junior Santos has been a carioca drummer since he was 15 years-old, and is today a respected vinyl collector and music researcher. More than anything, he is carried on by the love of Brazilian music, which has never been forgotten. Favorite Recordings’ initiative of seeking a unique project with Brazilian music spurred Junior to dig into old record companies’ files and bring out pearls from what he sees as the end of the samba-rock period. At that time, musicians and arrangers such as Lincoln Olivetti, Robson Jorge, and Oberdan Magalhaes, along with Banda Black Rio, were responsible for the new music scene. They had dominated the studios with sophisticated and original arrangements that have forever transformed Brazilian musical perspective. This music, at that point, had gained a new style and great world respect that has remained up to contemporary times. Brazilian Disco Boogie Sounds pays tribute to this great era. Artists include Cristina Camargo, Solange, Sandra De Sa, Rabo De Saia, Claudia Telles, Carlos Dafe, Famks, Painel De Controle, and Paulo Ramos.

File Under: Disco, Brazil, Boogie

for the people

Various: For the People Part 1 (Get on Down) 5×7″ Box
“Continuing Get On Down’s People Records deluxe reissues series – which launched on Record Store Day in April 2014 with the release of the JB’s classic 1972 album Food For Thought – this unique box is the celebration of James Brown’s People label and some of the imprint’s most famous singles. Each 45 has been lovingly re-created with visuals taken from the original artwork. And beyond the singles themselves, this set includes a deluxe, cloth-covered carrying case with a People Records logo on the exterior and purple People embossing throughout the interior. Featured 45s include James Brown’s ‘Escape-ism’ (1971); Lyn Collins’ ‘Think (About It)’ (1972); Fred Wesley & The JBs’ ‘Same Beat’ (1973); The Devils’ ‘X-Sorcist’ (1974); and Maceo & The Macks’ ‘Cross The Track (We Better Go Back)’ (1974). This is a soul, funk and hip-hop DJ’s dream!”

File Under: Funk, James Brown, Soul

slow grind

Various: Slow Grind Fever 3 (Stag-o-Lee) LP
Stag-O-Lee presents the third volume of Slow Grind Fever, compiled by Richie1250 and subtitled YET MORE… Adventures in the sleazy world of POPCORN NOIR… The decade between 1953 and 1963 offers an endless supply of danceable, up-tempo tunes. We’re talking rhythm ‘n’ blues, and the phase in the early ’60s when it morphed into soul (now called new breed), as well as popcorn — Belgian music with a mid-tempo style and a high groove-factor. The Slow Grind Fever series highlights the slower side of this period, and takes its title and inspiration from an Australian club night billed as “Melbourne’s only slow dance party.” These events would include only the “slowest, spookiest, sweetest records” the DJs could find, with folks dancing “real slow in a haze of smoke and dim red light.” Stag-O-Lee was convinced that this was a great concept for a compilation series, and have collaborated with those behind the Melbourne club night to present Slow Grind Fever, the third volume of which includes tracks by The Notes, The El Torros, Eddie Cooley & The Dimples, Isley Brothers With Ray Ellis & Orch., Donna Dee, Charlie Williams, Henry Thome, Bob Lee, Little Willie John, Elizabeth Waldo, Bobby Rebel, Jessie Hill, The Flamingos, and Jimmy Scott. The fourth volume in the series, compiled by DJ Diddy Wah, will follow in 2015, with the third and fourth volumes to be then presented as a single CD release.

File Under: Rhythm & Blues, Dance, Saucy

…..restocks…..

Kevin Ayers: Joy of a Toy (Vinylisssimo) LP
Bitchin’ Bajas: s/t (Drag City) LP
Christian Bland: The Lost Album (Reverberation) LP
Christian Bland: Pig Boat Blues (Reverberation) LP
Dead Rider: Chills on Glass (Drag City) LP
Earth: Primitive & Deadly (Southern Lord) LP
Faust: Just Us (Bureau B) LP+CD
Nils Frahm: Spaces (Erased Tapes) LP
Grouper: Ruins (Kranky) LP
Grouper: The Man Who Died In His Boat (Kranky) LP
Etta James: Tell Mama (Bear Family) LP
Konstrukt/Allen: Vibration (Holiday) LP
Love: Black Beauty (High Moon) LP
Thee Oh Sees: Carrion Crawler (In The Red) LP
OST: Oldboy (Milan) LP
Relatively Clean Rivers: s/t (Phoenix) LP
Solidarity Unit: Red, Black and Green (Eremite) LP
Twink: Think Pink (Sunbeam) LP
Various: Planet Earth Vol 2 (Stag-o-Lee) LP
Various: Travelling Archive (Sublime Frequencies) LP

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…..news letter #670 – noel…..

Merry Christmas all! Just a quick note today before I tuck into some heavy food and drink action. Our hours for the upcoming weird days in the next week or so….

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 gear and accessories are 10% off! 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!

And lastly, below is my top picks for the year that was 2014, and Nora’s. We had a stellar year at the shop and it has, as always been a great pleasure sharing all kinds of weird and wonderful things with all of you. Your support of our little shop makes it all possible and we greatly appreciate each and everyone of you. Have a wonderful holiday season. Eat, drink, be merry, and let everyone you love know it.

…..Kris’s Top 14 of  2014…..

Dada Plan: A Dada Plan is Free: s/t (Kingfisher Bluez) LP
Ben Frost: A U R O R A (Mute) LP/CD
Goat: Commune (Sub Pop) LP/CD
Ignatz & De Stervende Honden: Teenage Boys (Ultra Eczema) LP
Khun Narin’s Electric Phin Band: s/t (Innovative Leisure) LP
Lussuria: Industriale Illuminato (Hospital) LP
Malayeen: s/t (Discrepant) LP
Nazoranai: The Most Painful Happens Only Once… (Idealogic Organ) LP/CD
Not Waving: Human Capabilities (Emotional Response) LP
Pye Corner Audio: Black Mill Tapes 3 & 4 (Type) 2LP
Shellac: Dude Incredible (Touch & Go) LP/CD
Sinoia Caves: Beyond The Black Rainbow OST (Jagjaguwar/Death Waltz) LP
Scott Walker + Sunn o))): Soused (4AD) LP/CD
:zoviet*france: & Fossil Aerosol Mining Project: Patina Pooling (Alt.Vinyl) 2LP

…..Kris’s Top 14 Reissues of 2014…..

Braen Raskovich: Abnormal Sensations (Cacophonic) LP
Chrome: The Visitation (Cleopatra) LP
Brian Eno & Robert Fripp: No Pussyfooting (Pangea) LP
Futuro Antico: Dal Primotovo All’ Elettronica (Black Sweat) LP
The Group: The Feed-Back (Schema) LP+CD
Bruce Haack: The Electric Lucifer (Omni) LP
Heldon: Allez-teia (Superior Viaduct) LP
Mar-Vista: Visions of Sodal Ye (Strawberry Rain) LP
Bruno Nicolai: All The Colours of the Dark (Finders Keepers) LP
Lino Capra Vaccina: Antico Adagio (Die Schachtel) LP
Ruth White: 7 Trumps From The Tarot Cards (Black Mass Rising) LP
Z aka Szajner Bernard: Vision of Dune (In Fine) LP
Various: Native North America Volume 1 (Light in the Attic) 3LP/2CD
Various: Wayfaring Strangers: Darkscorch Canticles (Numero) LP

…..Nora’s Tops of 2014…..

Ignatz & De Stervende Honden: Teenage Boys (Ultra Eczema) LP
Sunroof!: Rock Power (Nashazphone) LP
Bremen: Second Launch (Blackest Ever Black) LP
The Cosmic Dead: Easterfaust (Sound of Cobra) LP
Eric Holm: Andoya (Subtext) LP
Tashi Wada: Duets Saltern) LP
H. Usui: Sing the Blues (VHF) LP
Daniel Lanois: Flesh and Machine (Anti) LP/CD
Khun Narin’s Electric Phin Band: s/t (Innovative Leisure) LP
Warfaring Strangers- Darkscorch Canticles (Numero) LP/CD
The Body: I Shall Die Here (RVNG Intl.) LP

….. Nora’s Top Reissues  of 2014…..

Josefus: Dead Man (Numero) LP
Ingram Marshall: Fog Tropes/Gradual Requiem (Arc Light Editions) LP
Hartmut Geerken Rock and Free Jazz Group: Live in 1976 (Holidays) LP
The Braen Machine: Underground (Schema) LP
Bent Wind: Sussex (Ugly Pop) LP
Christopher: (Out-Sider) LP
Chrome: Visitation (Cleopatra) LP
Peter Gutterbridge: Pure (540) LP
Mirkwood: s/t (Machu Pichu) LP
Glenn Branca: Lesson No.1 (Superior Viaduct) LP

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