Author Archives: listenrecords

… 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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… arrivals…..


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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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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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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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 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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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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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: 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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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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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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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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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 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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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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… 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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… arrivals…..

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 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 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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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


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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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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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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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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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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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/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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… 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…..


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
… arrivals…..

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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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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… 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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… arrivals…..


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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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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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 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 ‘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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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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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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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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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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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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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


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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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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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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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


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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… 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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… letter #669 – xmas knives…..

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

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

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

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… letter #668 – ’tis the season…..

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

…..pick of the week…..


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

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


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

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

File Under: Psych, Private Press, Lounge
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blind shake

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

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

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

File Under: Minimalism, Drone, Avant-Garde, No Wave
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Harold Budd & Eraldo Benocchi : Music For Fragments From The Inside (Sub Rosa) LP
A “classic” from the Sub Rosa catalog, never released on vinyl before. An astonishing piano-player drifts on beats and soundscapes. Recorded during a magical night in the courtyard of a Siena Renaissance Italian Palazzio where the lightness of Harold Budd meets Eraldo Bernocchi’s deep electronics. Beats and bass, drones and soundscapes tie together harmonically to meet one of the most emotionally-involving piano players/composers.

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

File Under: Blues, Psych


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

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

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

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

 File Under: Goth, Industrial
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destroy all monsters

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

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

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

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

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

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

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

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

File Under: Punk, Garage

invisible hands

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

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

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

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

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

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

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

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

File Under: Psych, Private Press
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quiet place

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

File Under: OST, Italian, Maestro
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christmas evil

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

File Under: OST, Horror, Festive(?)


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

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

File Under: OST, Korean

stage fright

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

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

File Under: OST, Electronic
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making picturers

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

File Under: Books, Depression


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

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

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

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

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

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

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

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

File Under: Krautrock, Ambient, Kosmische
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shake logo

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

File Under: Punk, Garage, CanCon, Tapes

she & him

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

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

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

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

File Under: Jazz, Free Jazz
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ugly things

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


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

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

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

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

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

File Under: Pre-War Blues, Crumb


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

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


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

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

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

File Under: Gospel

…..used goodies…..

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


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

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… letter #667 – devember…..

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

…..picks of the week…..


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

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

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


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

File Under: Folk, Soft Rock, Spanish
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blown out

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

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

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

File Under: Free Jazz, Improv


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

File Under: Electronic, Techno, Ambient
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torn hawk

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

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

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

File Under: Garage, Punk
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unsettled society

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

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

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

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

File Under: Funk, 70s, Belgian
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Various: Funky Side of Goldband & Anla Records (Tramp) LP
Goldband Records played a key role in documenting and shaping of musical traditions, tastes, and trends, both regionally and internationally since 1944. The focus of the Goldband catalog is certainly set on Country & Western, Swamp Pop, and Cajun music. However, from the 1960s until the early 1970s Goldband, and it’s sub-label ANLA Records, released many high-quality Soul and Rhythm & Blues recordings. Simply put, Shuler had an ear for talent. He always believed in “…giving a man a chance; otherwise, how would you discover what somebody could do?” That was the guiding philosophy and the secret to the success of Goldband Records. Born March 27, 1913 in Wrightsboro, Texas, Eddie Shuler moved to Lake Charles in 1942 to work as a dragline operator. He found additional part-time work in a music store, leading him into a career in the music business. He then joined the country, western swing, and Cajun group The Hackberry Ramblers. Having sharpened his musical skills, he left the group to form his own band, The Reveliers. By the early 1950s, Shuler acquired the Goldband complex in north Lake Charles. It would be a combination record store (Eddie’s Music House), television repair shop (Eddie’s Quick Service T.V.), and recording studio for over a half-century thereafter. Being the one and only recording studio in town, it did not take long for other artists in the area to migrate in Shuler’s direction. A grassroots operation, Shuler was head of distribution and promotion. He distributed the recordings from the back of his car to record stores and to jukebox operators. Knowing that getting airplay was the key to increasing sales he created multiple labels which assured him better chances with the radio. One of those auxiliary labels was ANLA which featured Soul and R&B artists from South Louisiana and East Texas, including Clifton White, Charles Greene, and the Original Soul Senders. Around the same time, future Zydeco celebrity “Count” Rockin’ Sidney joined Goldband for almost a dozen releases. At the time of Eddie Shuler’s passing on July 23, 2005, he was the head of the nation’s longest running independent record label, Goldband, which is still based in Lake Charles, Louisiana.

File Under: Funk, Soul
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music from earth

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

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

File Under: African, Jive, Kwela


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

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

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

Tagged , , , , , ,

… letter #666 – yikes…..

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

…..pick of the week…..


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

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

… friday exclusives…..

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

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… letter #665 – ngoziwow…..

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

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

…..pick of the week…..

circle guillotine

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

File Under: Psych, Krautrock, Prog, Finland
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… arrivals….. 

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

File Under: Krautrock, Prog, Essential Grooves
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sun zoom

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

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

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

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

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

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

File Under: Psych, Prog, Finland, Space Rock

circle surface

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

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

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

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

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

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

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

File Under: Percussion, Classical, Minimalism

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

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

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

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