Author Archives: listenrecords

…..news letter #665 – ngoziwow…..

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

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

…..pick of the week…..

circle guillotine

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

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

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

File Under: Krautrock, Prog, Essential Grooves
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sun zoom

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

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

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

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

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

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

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

File Under: Psych, Prog, Finland, Space Rock

circle surface

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

File Under: Psych, Prog, Finland, NWOFHM
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fugazi

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

File Under: Punk
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kylesa

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

File Under: Metal
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loscil9

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

File Under: Electronic, CanCon
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pharaoh

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

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

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

File Under: Percussion, Classical, Minimalism

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

File Under: Punk, Garage, Too Many Albums
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wilco

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

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

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

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…..news letter #664 – monstrous…..

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

…..picks of the week…..

nazoranai

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

File Under: Japanese Psych, Free Rock, Fushitsusha
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pca

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

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

blumm

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

File Under: Electronic, Techno, Dubstep
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aka

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

File Under: Indonesian, Psych, Hard Rock
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alberich

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

File Under: Electronic, Noise, Techno
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atobe

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

File Under: Electronic, Basic Channel, Chain Reaction
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bandon

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

File Under: Thai, Luk Thung
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bedhead

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

File Under: Indie Rock, Slowcore
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belfi

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

File Under: Experimental, Electro-Acoustic
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bowles

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

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

File Under: Rock, VU
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clark

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

File Under: Rock, Folk, The Byrds
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consumer electronics

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

File Under: Electronic, Whitehouse
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cut hands

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

File Under: Electronic, Whitehouse
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diamond

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

File Under: Hip Hop, Rap
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lips

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

File Under: Rock, Beatles
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green

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

File Under: Garage Rock, Indie Rock
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gulaab

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

File Under: Kraut Rock, Psychedelic, Kosmische
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gun club

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

File Under: Rock
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his name

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

File Under: Rock, Ethereal, 4AD
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hookworms

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

File Under: Psych, Space Rock
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invisible

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

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

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

File Under: Psych, Magazines

kiasmos

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

File Under: Electronic, Minimal, Modern Classical
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lacey

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

File Under: Library, OST, Electronic
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love

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

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

File Under: Funk, Soul
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mobb deep

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

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

File Under: Early Electronic, Ambient
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lizard

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

File Under: OST, Italian, Maestro
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mothers

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

File Under: Zappa, Bootlegs

mwale

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

File Under: Zamrock, Psych, Fuzz

neel

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

File Under: Electronic, Ambient, Drone
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neotantrik

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

File Under: Electronic, Ambient, Psych
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objekt

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

File Under: Electronic, Techno
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onyeabor

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

File Under: African, Electro, Synth, Funk
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trick

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

File Under: OST, Horror
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pedigo

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

File Under: Folk, Experimental
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picturebooks

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

File Under: Blues Rock, Psych
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pink

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

File Under: Indie Rock, Pop
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probe

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

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

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

File Under: Psych, Rock
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shindig

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

File Under: Magazines

silver birch

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

File Under: Folk
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sylvie

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

File Under: Folk, SSW
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sylvie

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

File Under: Folk, Balkan
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sound cer

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

File Under: Proto Punk, Fuzz, Private Press
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blumm

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

File Under: Electronic
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supersilent 11

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

File Under: Electronic, Jazz, Experimental, Improv
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teague

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

File Under: Electronic, Modern Classical
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truth

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

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

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

File Under: Live VU, Psych

wesley

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

File Under: Funk, James Brown
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wesseltoft

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

File Under: Jazz, Electro-Jazz
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wyatt1

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

File Under: Psych, Prog, Soft Machine
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lead kindly

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

File Under: Blues, Gospel

nippon

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

File Under: Garage, Pop, Yeh Yeh

parchmann

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

File Under: Blues, Field Recordings

poco

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

File Under: Exotica

stone

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

File Under: Funk, Soul

…..restocks…..

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

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…..news letter #663 – so clean…..

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

…..pick of the week…..

north of

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

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

afghan

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

File Under: Indie Rock
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anjou

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

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

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

File Under: Electronic, Space Rock
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dean blunt

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

File Under: Electronic, Experimental
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boc

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

File Under: Electronic, Downtempo
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deerhoof

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

File Under: Indie Rock
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drums

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

File Under: Rock, Indie Rock
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lanegan

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

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

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

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

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

File Under: OST, George Clooney
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dune

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

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

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

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…..news letter #662 – halloweiners…..

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

…..pick of the week…..

cavern

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

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

baptists

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

File Under: Post-Hardcore, Metal, CanCon
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budos

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

 File Under: Funk, Afro-Beat, Metal
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bulbous

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

File Under: Hard Rock, Acid Rock
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dope body

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

File Under: Punk, Noise Rock
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geg

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

File Under: Electronic, Psych, Private Press
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grouper

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

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

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

File Under: Prog, Dark Wave
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zep4

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

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

File Under: Classic Rock

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

File Under: Indie Rock
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rocket from the crypt

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

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

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

File Under: Electronic, Prog, Psych
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slim twig

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

 File Under: Indie, CanCon
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today is the day

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

File Under: Metal
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…..restocks…..

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

Tagged , , , , , ,

…..news letter #661 – copwolf…..

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

…..pick of the week…..
plastic cloud

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

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

winged victory

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

File Under: Ambient, Stars of the Lid
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abbhama

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

File Under: Prog, Indonesia
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last match

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

File Under: Indie, Pop
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bbs

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

File Under: Punk
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bunyan

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

File Under: Folk, SSW
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unit

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

File Under: Psych, Garage, Punk
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grouper

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

File Under: Ambient, Ethereal, Drone
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heads

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

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

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

File Under: Prog, Italian
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isis

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

File Under: Metal, Post Rock
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johnson

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

File Under: Electronic, Experimental, Industrial
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kim ki o

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

File Under: Post-Punk, Minimal
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vortex

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

File Under: OST, Electronic, Ambient, NWW
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meatbodies

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

File Under: Garage, Indie
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moore

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

File Under: Indie Rock, Sonic Youth
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mm1

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

File Under: Indie Rock
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fistful

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

File Under: OST, Western
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quando

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

File Under: OST, Italian
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milano

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

File Under: OST, Italian, Crime
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nihilist

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

File Under: Experimental, Underground, CanCon
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orgasmo

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

File Under: OST, Italian, Redux
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friday

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

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

File Under: OST, Horror
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ought

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

File Under: Post-Punk, CanCon
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pc

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

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

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

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

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

File Under: Experimental, Guitar
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total control

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

File Under: Punk, Minimal Wave, Australia
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twilight sad

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

File Under: Indie Rock
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ultimate

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

File Under: Indie
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useless

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

File Under: Punk
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zola

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

File Under: Electronic, Synth-Pop
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sly's

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

File Under: Funk, Soul

temporary

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

File Under: Indie, New Zealand

…..restocks…..

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

Tagged , , , , ,

…..news letter #660 – given…..

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

…..picks of the week…..

stranger

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

File Under: Dark Ambient, The Caretaker
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soused

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

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

ambarchi

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

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

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

File Under: Indie, Pop
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bong

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

File Under: Drone, Metal, Doom
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buck65

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

File Under: Hip Hop, Rap, CanCon
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brood

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

File Under: Folk, Country, CanCon
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fennesz

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

File Under: Electronic, Ambient
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black emanuelle

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

File Under: OST, Italian
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emanuelle

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

File Under: OST, Italian

fvs

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

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

File Under: Folk Rock, Psych, Blues
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helio

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

File Under: Funk, Library
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jawbreaker

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

File Under: Punk
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jayhawks

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

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

File Under: Alt. Country, Rock
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jorge

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

File Under: Brazilian, Psychedelic, Samba
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maclean

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

File Under: Electronic, Dance, DFA
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lss

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

File Under: Rockabilly
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kink gong

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

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

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

File Under: Indie Rock, Synth Pop
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stevens

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

File Under: Drone, Raga, Electronic
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supersilent

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

File Under: Electronic, Ambient, Improv, Jazz
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jmt

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

File Under: Finnish, Improv, Spiritual Jazz
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teenanger

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

File Under: Punk, CanCon
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tin man

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

File Under: Electronic, Techno
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unicorns

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

File Under: LoFi Pop, CanCon
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univers

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

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

File Under: Punk
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x2

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

x1

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

File Under: Punk, Australian
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haino

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

File Under: Modern Classical, Experimental
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burlesqueVarious: Burlesque Temptations:
Swinging Sound
Sleazy Sound
Sophisticated Sound
(AC) LP

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

File Under: Exotica, Jazz, Swing

falco

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

File Under: Rockabilly, Exotica

…..restocks…..

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

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…..news letter #659 – opening…..

Well, I hope everyone has plans for a lot of food and family this holiday weekend. We’ll be open all weekend, with reduced hours on Monday (12-5). There’s so much great stuff out in the last few weeks, and even more in this week. Get yer ass in here and grab some wax.

…..pick of the week…..

sunbaked

Boris w/ Merzbow: Sun Baked Snow Cave (Hydrahead) LP
What truly inspired an hour-plus collaboration between two of the most respected names in extreme experimentation? The album itself contains a statement that says it all: “A story like this deserves to be born.” Japanese doom radicals Boris have spent more than two decades releasing wildly diverse music that’s mesmerized audiences clamoring for sludge, rock or unbridled pop. Their impressive and extensive release history, though, pales in comparison to Merzbow aka Masami Akita. The noise paragon has almost 400 releases to his name, and over the course of 35 ear-tattered years he’s influenced multiple generations of artists and musicians. After these two forces first came together in 2002 for the landmark Megatone album, they spent years perfecting a worthy follow-up. And in 2005, Sun Baked Snow Cave was the overwhelming culmination. Considering that these two forces are capable of eradicating most any listener, the album at first seems like a striking illustration of restraint and reflection. But the lonesome, mournful void of a strummed acoustic guitar is soon enough smothered by drones and swarms of feedback that intertwine with pulsating, yowling electronics – two worlds that both harmonize and struggle against each other. The sound of visionaries trying to draw blood. (First time on vinyl! Limited pressing of 1200 copies.)

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

aisler

Aisler Set: How I Learned to Write Backwards (Suicide Squeeze) LP
The Aislers Set occupy an enviable place in the pop pantheon. Brimming with drunken romanticism, sharp pop sensibilities, and timeless melodies, The Aislers Set reveled in the history of great pop, spiking their classicist 60s-tinged tunes with pure post-punk energy and originality of bands like the Fire Engines and The June Brides. Every song is a meticulously constructed sound world, where the arrangement and instrumentation sublimely and uncannily bring each tune to completeness. Although they stopped playing and recording together by 2004 due to life commitments, their reputation has only grown; sporadic reunion shows and mini-tours have been met with rapturous response. Alas, Suicide Squeeze is proud to present the 2014 reissue of the seminal album “How I Learned To Write Backwards” remastered and resequenced by John Greenham at Infrasonic Sound in Los Angeles, and on vinyl LP again for the first time in over a decade. The band will play a select set of shows this fall, and Suicide Squeeze and Slumberland Records will be teaming up to co-release a new album of singles and rarities to be released in early 2015.

File Under: Indie, Pop
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yetiAmon Duul II: Yeti (Cleopatra) LP
A gorgeous limited edition deluxe vinyl reissue from one of the most groundbreaking rock bands of all time, Amon Düül II! This 1970 2LP masterpiece is the most well-known and best loved ADII album of all-time, which we’ve digitally remastered, pressed onto orange vinyl, and packaged in a sequentially numbered, glue-on chipboard gatefold jacket!

File Under: Kraut Rock, Psych
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caribou

Caribou: Our Love (Merge) LP
Our Love is formed around a mixture of digital pop production, hip hop-inspired beats, muted house basslines, and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart – all of which, of course, are filtered through Dan’s own unique perspective. The warm analog sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the record’s DNA. In fact, Our Love is probably Caribou’s most soulful record to date, chock-full of heartfelt lyrics and organic nature that cut through bubbling synths and the blissful euphoria of their synthetic constructions. It’s not all downbeat of course; whilst some thoughts linger on mortality, loss, and letting go, there is always an element of celebration. Having followed up his Polaris Prize-winning 2007 record Andorra with the universally adored Swim in 2010, Dan has spent the intervening four years touring the world, bringing not only the sounds of Caribou to the stage but proving his immeasurable worth as a DJ, with epic 7½-hour-long sets. In 2012, Caribou were personally invited to join Radiohead on the road whilst Dan released his first album under the guise of his dancefloor-loving pseudonym Daphni to widespread critical acclaim. Following the shape-shifting sounds of JIAOLONG and the brightly textured, fluid constructions of Swim – both inward looking records in their own way – Dan withdrew to the basement once more to work on Caribou’s next opus. Only he didn’t: Our Love isn’t the sound of isolated creation but the sound of Dan at his most connected – with love for his listeners, his collaborators, and those closest to him. Caribou will be On Tour in Canada this November.

File Under: Electronic, CanCon
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140819-cohen-popular-problems

Leonard Cohen: Popular Problems (Sony) LP
In Popular Problems, his thrilling new studio album, Leonard Cohen gets down into the avenues of our dreams and sets a new tone and speed of hope and despair, grief and joy. Cohen here is an astonished lover rocking to the human condition as “the soul unfolds in the chambers of its longing.” His legendary basso resonates as never before with a presence and urgency that arises from the very depths of the heart. The clarity and strength of these nine hypnotic songs will have us singing them over and over. In collaboration with co-writer Patrick Leonard, Popular Problems is a masterpiece from the ever-fresh imagination of a musical legend whose songs continue to captivate new listeners and devoted fans. Popular Problems is Cohen’s 13th studio album. Popular Problems was produced by Patrick Leonard, mastered at Marcussen Mastering and was recorded and mixed by Jesse E. String with additional mixing by Bill Bottrell.

File Under: Legends, CanCon
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black star

Mos Def/Talib Kweli: Black Star (Universal) LP
Universal Music Enterprises will continue its Respect the Classics tribute to many of hip-hop’s finest with the vinyl release of rap icon Talib Kweli’s four historic Rawkus Records albums, including the underground classic, Mos Def & Talib Kweli are Black Star, in a limited edition two-tone black on black picture disc. Established in 1996, Rawkus Records jump-started the careers of legendary artists such as Talib Kweli, Mos Def and Pharoahe Monch, among many others. Mos Def & Talib Kweli are Black Star was originally issued in August 1998, to critical acclaim. The title is a reference to the Black Star Line, a shipping company founded by Pan-Africanist Marcus Garvey. The album deals with modern-day issues, philosophies and life in Brooklyn. The two MCs had planned to release solo albums around the same time, but decided instead to collaborate on a full-length album. The first single, “Definition,” is a reaction to hip-hop’s fascination with death, dedicated to both Tupac Shakur and the Notorious B.I.G., with a chorus that gives a nod to Boogie Down Productions’ “Stop the Violence.” “Children’s Story” is a re-imagination of the Slick Rick original, featuring Mos Def cautioning against materialism. The second single, “Respiration,” featuring Common, includes a Hi-Tek produced beat that samples Don Randi’s “The Fox” and another from the hip-hop documentary Style Wars. The track offers a melancholy ode to city life, with references to organic life functions such as breathing, eating and sleeping, but with an ominous edge, as Kweli raps about “sitting on shitty steps/we stooped to new lows, hell froze/the night the city slept.” The album peaked at No. 53 on the Billboard Top 200 and No. 13 on the Hip-Hop Albums chart, but has become considered a classic since then.

File Under: Hip Hop, Rap
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earle

Justin Townes Earle: Single Mothers (Vagrant) LP
After two and a half years since his last release, Justin Townes Earle is back and pleased to announce his fifth studio album (and first ever on Vagrant Records). Single Mothers is comprised of ten tracks that showcase exactly why Justin Townes Earle is considered a forefather of Contemporary Americana. As a recently married, sober man JTE writes from a point of maturity and content we’ve not seen before on past records. “One day I just realized it’s not cool to die young, and it’s even less cool to die after 30,” Justin explains as he reflects on a life past and his new found clarity. What he’s created with Single Mothers is an album that’s raw, honest and personal in a way he hasn’t touched upon since his debut EP, Yuma. Once compared to a man who wears many suits JTE has experienced more than most, both personally and professionally, in thirty-two short years. Between releasing four full-length critically-acclaimed albums, constant touring, multiple stints in rehab, being born Steve Earle’s son, amicable and not-so-amicable break-ups with record labels, and facing the trials and tribulations of everyday life, it’s safe to say JTE has quite the story to tell. Single Mothers serves as the perfect platform for such narrations.

File Under: Americana, Folk
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electric wizard

Electric Wizard: Time To Die (Spinefarm) LP/CD
Visually intoxicating, uncompromisingly heavy and revered for making music and lifestyle one, Electric Wizard have completed work on their new studio album, Time To Die, the band’s first release through Spinefarm Records. Formed by vocalist/guitarist Jus Oborn in 1993, Electric Wizard (based in the UK’s South-West) have thus far released seven studio albums – an increasingly influential body of work recorded on vintage analogue gear with as little technology as possible intruding on the signal. Result: some of the heaviest, dirtiest, most evil-sounding audio ever put to tape, and more importantly to vinyl, with both Come My Fanatics (1997) and Dopethrone (2000) being lauded as landmark releases. A cultural as well as a musical force, Electric Wizard have left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail. Wreathed in occult ritual and drug-culture references, with classic ’70s horror an inspirational seam, Electric Wizard are poised to turn a page; there’s the new deal with Spinefarm Records, plus – after a nine-year hiatus – the return of Mark Greening (the drummer on Dopethrone), who completes the line-up of Oborn, US guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (Satan’s Satyrs). Fueled by strong emotion and the harder sounds of late-’60s Detroit, the remodeled line-up – isolated by choice, giant stacks glowing red – set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences. Toerag Studios in London was once again charged with capturing The Sound, and (encouragingly) words like “raw,” “hateful” and “sickeningly heavy” are being traded. Says Oborn: “Our master plan is this. Real metal!! We stand for rebellion, we are with the kids; we fight, puke, smoke weed, etc… Electric Wizard is an entity, with its own history, its own symbols, its own iconography, and with this new album, we wanted to return to basic values. It’s primitive. We needed to claw it back down to the evil core – sex, drugs, violence, revolution…to go back to being a band that hung out and jammed hard. No teaching songs, just feeling them out. If you jam enough and you are on the same level – artistically, musically, whatever, you gotta be committed – then good music will happen. I totally believe that…”

File Under: Metal, Stoner
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esben

Esben & The Witch: A New Nature (Nostromo) LP
Third album from Esben and The Witch, released on their own label. Produced by Steve Albini in Chicago, this strips out the electronics for a more live feel and the songs get even more expansive – The Jungle is almost 15 minutes long. The band say “We wanted to create a record that had a level of purity to it. To strip away the layers and loops and see what lay beneath. To keep things naked, unadorned and raw. The three of us, in a room, making noise. We looked to create a more primal record, full of human emotion and sonic intensity. Drawing on themes of endurance, strength, determination and self-actualisation. Themes that have always inspired us but perhaps, only now, a few years down the line, a few years of touring under our belts, we feel we have the confidence and maturity to explore and shout about.”

File Under: Indie Rock
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ex hexEx Hex: Rips (Merge) LP
Ex Hex is a power trio hailing from Washington, DC, making the music you’ve been waiting for. Drums, bass, guitar, P90s, searing leads – this is unapologetic rock ’n’ roll spat out in the discipline’s mother tongue. With Wild Flag on hiatus, Mary Timony (Autoclave, Helium) needed a new outlet, so she retreated to her basement and started writing. To her surprise, the songs came easily and the hooks practically wrote themselves. Mary found Laura Harris (The Aquarium, Benjy Ferree) and they hit it off immediately. Laura is a monster on drums: intuitive, solid, and just a bit rough around the edges. The pair played together for a couple of months in a tiny carpet-lined practice space shared with half a dozen hardcore bands and what appeared to be the better part of a B.C. Rich Mockingbird. In walked Betsy Wright from the wilds of Virginia. She and Mary have similar tendencies, both defaulting to denim and The Voidoids. Betsy is a performer and an ace piano player, and before long, she was slinging a cherry SG as the third member of Ex Hex. The group played a handful of shows and a couple of months later, in the spring of 2014, headed into the studio. Working furiously, they recorded over the span of two weeks in North Carolina with Mitch Easter (Let’s Active) and in the basement of Mary’s home with frequent collaborator Jonah Takagi. Bobby Harlow (The Go, Conspiracy of Owls) was tapped to mix because of his unique take on making rock records. What results is Ex Hex Rips, twelve songs about underdogs, guys stealing your wallet, schoolyard brawls, and getting bent. The record happens pretty quickly, so don’t blink.

File Under: Indie Rock
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flyloFlying Lotus: You’re Dead! (Warp) LP
Youre Dead! is a shamanic pilgrimage into the psychedelic unknown of the infinite afterlife. A sonic, visual and metaphysical fusion of technological innovation and technical virtuosity that amounts to a transcendent, mind-expanding plasm that could only exist between our world and another. The enduring universe of Flying Lotus’ supporting cast has expanded and evolved to feature in order of appearance, Herbie Hancock, Kendrick Lamar, Captain Murphy, Snoop Dogg, Angel Deradoorian, Thundercat, Niki Randa, alongside mindblowing original artwork by Japanese comic book artist Shintaro Kago. “The album isn’t about the end, it’s really the beginning. Its a celebration of the next experience. Its the transition and the confusion. Its not hey you’re dead. It’s hey you’re dead!” – Flying Lotus “Trailblazing…contains everything from prog to hip-hop, all unified as a 38-minute journey about the concept of death.” – Rolling Stone

File Under: Hip Hop, Electronic
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foxygen

Foxygen: …And Star Power (Jagjaguwar) LP
Foxygen follow up their critically acclaimed 2013 debut album We Are The 21st Century Ambassadors of Peace & Magic with an ambitious romp through the charred fields of Fleetwood Mac’s Tusk and the cosmic vortex of Todd Rundgren’s A Wizard A True Star. Foxygen …And Star Power is a cinematic auditory adventure for the speedy freaks, skull krunchers, abductees, and misfits made by Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky. A gaggle of guest stars. Roman-numeraled musical suites. Vocals recorded on a shoddy tape machine at The Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych ward folk, cartoon fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile one. Rock and roll for the skull…

File Under: Indie Rock
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musk

Musk: s/t (Holy Mountain) LP
MUSK is the new flesh, or at least what’s secreted from the glands located under the skin. Frontman Rob Fletcher is the last guy in the world you’d think had pheromones; they might work on him, but his voice is definitely in the “let’s get the fuck away from this guy” category, with his undeniable ability to growl, spit, shriek and wretch while the band attacks. Drummer Brendan Leonard is a total can-basher, and bass-player John Laux is sublime. The weird thing about MUSK is that on top of all this malign beauty – what sounds like the six movies John Saxon made in Italy that nobody except the biggest creeps in the world know about, or Beefheartian blues lurch juxtaposed against that lost ’80s pigfuck clangor.. guitarist Chris Owen bleeds reverb everywhere, as if his amp had a heart to be stabbed, but it’s just a cone about to rupture. His leads give off a sick, dusty twang, pained as if in their death throes (which is saying something, because the guy looks like the dad from The Family Circus). Each dying twitch and every belligerent throb was captured by engineer Chris Woodhouse (Oh Sees, Fuzz, Ty Segall, Intelligence). Whether working the muggy Southern Gothic angle or treading knee-deep in NYC’s pungent sewers, all routes on Musk lead to a cold, shuddering finality. Long live the new flesh! “Primitive sludge with an ample amount of weirdness, MUSK’s music is deft combination of Flipper, later Scientists, various AmRep swamp dwellers and DEVO if the Akronites were forced to play in a tar pit.” – Scott Soriano, S-S Records

File Under: Punk, Psych, Garage
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my brother

My Brother the Wind: Live at Roadburn (Roadburn) LP
Roadburn Records is proud to announce the next installment in their ongoing Live At Roadburn series. This time its the gig My Brother The Wind played at Roadburn 2013 and is available now on double (but 3-sided!) vinyl. Who is this My Brother The Wind they talk about you say, well… Led by Anekdoten‘s Nicklas Barker, the chemistry between Barker, Mathias Danielsson (guitars), Ronny Eriksson (bass) and Tomas Eriksson (drums) is really something special, as captured on their latest album, I Wash My Soul in the Stream of Infinity, recorded in only 4 hours during a cold Swedish winter’s night in 2011. With the focus less on guitar solos and more on group virtuosity, the instrumentation is altered to create interesting and intricately layered rock soundscapes, seemingly influenced by King Crimson, Amon Düül II and Sweden’s seminal prog-pioneers, Träd, Gräs och Stenar. This particular influences serve in distinguishing My Brother The Wind‘s instrumental odysseys from the current crop of European jam-bands. My Brother The Wind takes the best elements of improvised kraut and prog-rock, and once the spaceship has escaped the pull of Earth’s gravity, they drift into magnificent droning space rock and psychedelic orbits.

File Under: Metal, Space Rock
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whatsthestroy6000000

Oasis: (What’s the Story) Morning Glory? (Big Brother) LP
(What’s The Story) Morning Glory?, the follow-up to Oasis’ landmark debut album Definitely Maybe, is the British act’s biggest-selling album with 22 million copies sold worldwide. It was recorded between May and June 1995 in Rockfield Studios, Monmouthshire, with Owen Morris and Noel Gallagher producing. Released on October 2, 1995, it spent 10 weeks at No.1, is the 5th biggest-selling album in UK chart history and became the band’s breakthrough album in the US where it sold 4 million copies. (What’s The Story) Morning Glory? features many of Oasis’ biggest hit singles, including “Don’t Look Back In Anger,” “Wonderwall,” “Champagne Supernova,” “Some Might Say” and “Roll With It,” and won the Best Album at the 1996 Brit Awards. This new 20th anniversary gatefold 180g 2LP-set has been meticulously remastered from the original 1995 half inch tapes by Ian Cooper at London’s Metropolis Studios, supervised by the album’s producer Owen Morris. Also includes high quality download code for B-sides, plus unreleased and rare tracks including demos and live recordings. Highlights of the download bonus content include: Previously unheard demos of “She’s Electric” and “Rockin’ Chair” recorded at Mark Coyle’s Manchester studio. Demos of “Some Might Say,” “Hey Now” and “Bonehead’s Bank Holiday” recorded by Mark Coyle for the first time at the band’s soundcheck, Club Quattro in Tokyo in September 1994. Live recordings from legendary gigs such as Knebworth House, Maine Road Stadium, Earls Court and Bath Pavilion. All of the Morning Glory singles and acclaimed B-sides including “Talk Tonight,” “Acquiesce,” “The Masterplan” and “Underneath The Sky”

File Under: Britrock
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pelicanPelican: Arktika (Oblique) LP
With Arktika (their first stand alone live record), Pelican cements their position atop the post-metal throne by delivering a live album that doesn’t just slavishly recreate standards from the band’s expansive discography, but transforms the songs into something altogether sludgier, grittier & reminiscent of the bubbling tar pits of the Russian tundra, from whence both came. Recorded in St. Petersburg in July 2013. Contains tracks from across Pelican’s discography, coating them all with a layer of distortion & darkness unheard on the studio versions. 2LP Black vinyl pressing limited to 300 copies, includes download code.

File Under: Metal, Live
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pharmakon

Pharmakon: Bestial Burden (Sacred Bones) LP
Four days before New York noise musician Margaret Chardiet was supposed to leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ. “After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness.” Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The album is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict. Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013’s critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet’s mind.

File Under: Industrial, Noise
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reed

Lou Reed: Hassled in April (Let Them Eat Vinyl) LP
Deluxe vinyl edition, a rare Lou Reed FM broadcast from 1978! The broadcast recordings included on this release showcases Lou Reed’s eighth solo album, “Street Hassle”, which was issued in February 1978, during the most prolific period of the man’s recording career. Featuring massive hits by Lou including ” Walk on the Wild Side”. Available in two different versions: Standard and Limited Coloured vinyl. 140 gram double blue vinyl with different artwork. 1000 copies.

File Under: Rock, VU

jetpacks

We Were Promised Jetpacks: Unravelling (Fat Cat) LP
We Were Promised Jet Packs present us with Unravelling, easily their most accomplished album, and a new direction in songwriting for the band. Recorded in Glasgow at the infamous Chem19 Studios with Paul Savage (The Twilight Sad, Franz Ferdinand, Mogwai), the album focuses all the power and fury of the Jetpacks to a finely controlled point. These songs focus the power that’s always been present in Jetpacks’ records to a fine point, crafting from both youthful catharsis and skillful maturity. The band’s spring US tour proved that as much as fans love the chest rattling crescendos of their catalog, they’re equally ready for the bit of sheen that’s found its way to the forefront of the new songs. Particularly instrumental to the widening sound is the addition of new member and longtime friend Stuart McGachan, a multi-instrumentalist described by the band’s Adam Thompson as “an accomplished keys, piano and guitar player as well as having a lovely little singing voice,” all of which added greatly to the development of the band’s new direction. Live, the five-piece setup only adds to the power and bombast that echoes from the stage, but in the studio the new flexibility has lead to an album with widescreen vision, supple emotional shading and particularly catchy hooks laced throughout.

File Under: Indie Rock
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new or soul

Various: New Orleans Soul (Soul Jazz) LP/CD
For more than ten years Soul Jazz Records have been exploring and documenting the sound of New Orleans Funk. Now we turn their attention to the flipside of this musical coin – New Orleans Soul. These two musical forms share a lineage that begins with the city’s enormous rhythm and blues explosion in the post-war 1940s and 1950s. New Orleans Soul incorporated the soulful vocals of the gospel church, the driving beat of rhythm and blues, as well as traces of the second-line parade bands and the latinized rhythms of the city. Here you will find New Orleans soul in all its glorious variations – from the deep, deep soul of singers Aaron Neville, Willie Tee and Robert Parker to the storming northern soul of Maurice Williams and Eldridge Holmes, the funky soul of Eddie Bo, Lionel Robinson and Ernie K-Doe all alongside the Crescent City’s finest soul sisters – Irma Thomas, Betty Harris, Jean Knight, Inell Young and more! The main force behind New Orleans Soul is Allen Toussaint, a virtual one-man hit-making machine in the 1960s, writing, arranging and producing hit after hit for an unending list of unbelievably talented local singers such as Eldridge Holmes, Maurice Williams, Betty Harris, Ernie K Doe and Diamond Joe all of whom are featured. New Orleans is also a city of great musical families. Vocalist Aaron Neville was the brother of Art Neville (who formed The Meters) and later in the 1970s joined with brother Cyril to form The Neville Brothers. Soul vocalist supreme Willie Tee is also known as Wilson Turbinton, who alongside brother Earl, formed the super-heavy funk band The Gaturs and backed the Mardi Gras Indian group The Wild Magnolias. Also included here are rare, lost and killer soulful tracks from New Orleans artists Eddie Bo (and protégée vocalist Inell Young), Jean Knight, Jimmy Hicks, Francine King and more! This album tells the story of New Orleans Soul and comes complete with extensive sleevenotes, exclusive photography, supreme sound quality and comes as deluxe CD with slipcase + outsize booklet, and super-heavy, super-loud limited-edition double vinyl album + download code.

File Under: Soul

…..restocks…..

A Tribe Called Quest: Low End Theory (Jive) LP
A Tribe Called Quest: Midnight Marauders (Jive) LP
Alt-J: This is All Yours (Atlantic) LP
Aphex Twin: Syro (Warp) LP
Arcade Fire: Reflektor (Sonovox) LP
Arcade Fire: Funeral (Merge) LP
Arcade Fire: Neon Bible (Merge) LP
Beatles: Mono Box (EMI) 14LPs
Black Flag: Damaged (SST) LP
Black Mountain: In The Future (Jagjaguwar) LP
Blonde Redhead: Fake Can Be Just As Good (Touch & Go) LP
Blonde Redhead: Melody of Certain Damaged Lemons (Touch & Go) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Bonnie Prince Billy: Singers Grave (Drag City) LP
Can: Tago Mago (Mute) LP
Can: Ege Bamyasi (Mute) LP
Can: Soundtracks (Mute) LP
The Clean: Anthology (Merge) 4LP
Dark: Around The Edges (Machu Picchu) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Ella Fitzgerald: 3 Classic Albums (Art of Music) 3LP
Jimi Hendrix: Cry of Love (Reprise) LP
La Luz: It’s Alive (Hardly Art) LP
Led Zeppelin: II (Warner) LP
William Onyeabor: Who is (Luaka Bop) LP
Protomartyr: Under Color of Official Right (Hardly Art) LP
Pulp: Different Class (Plain) LP
Radiohead: In Rainbows (TBD) LP
Radiohead: Kid A (EMI) 2×10″
Rural Alberta Advantage: Hometowns (Paper Bag) LP
Rural Alberta Advantage: Mended with Gold (Paper Bag) LP/CD
Salem’s Pot: Lurar Ut Dig Pa Prarien (Riding Easy) LP
Shellac: Dude Incredible (Touch & Go) LP
Slint: Spiderland (Touch & Go) LP
Subrosa: More Constant Than The Gods (Profound Lore) LP
Timber Timbre: Creep on Creepin’ on (Arts & Crafts) LP
Tobacco: Ultima II Massage (Ghostly) LP
War on Drugs: Lost in the Dream (Secretly Canadian) LP

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…..news letter #658 – zombie…..

It just doesn’t seem to be slowing down! Piles of killer stuff in again this week. We’ve been pricing some real nice used stuff lately too. All in all, it’s a pretty great time to come down and flip through the stacks.

So… if you haven’t heard already, I’ve been DJing up the road at Daravara (10713 124 Street) occasionally, and that occasion has arrived once again. I’ll be spinning records next Wednesday Oct 8 from 9pm until close. Come on down and have some beers and listen to some groovy tunes.

…..picks of the week…..

braen

Braen Raskovich: Abnormal Sensations (Cacophonic) LP
Collectively known under their production pop group moniker The Pawnshop, Italian Giallo/Spaghetti legends Alessandro Alessandroni, Giuliano Sorgini and Giulia De Mutiis (using their Giallo-psych alter egos of Braen, Raskovich and Kema) would reconvene behind the curtain in 1973 to craft this lost full-length LP as a mythical addition to their tiny group discography. Pin-pointing a bona fide crossroads between the composers’ individual library grails The Underground and Living Dead At The Manchester Morgue, this previously commercially unreleased slice of abstract Giallo stoner funk combines Alessandroni’s inimitable twang-happy growling fuzz and desperately inquisitive guitar/harp/ dulcimer manipulations (akin to his work on All The Colours Of The Dark, Marquis De Sade and Danger Diabolik) with Sorgini’s eery industrial scrapes, moaning echoes and face-slapping percussion grooves (found on his rare TV soundtracks like Zoo Folle or the undercover work he did for library labels like Leo, Leonardi, National and Lupus). The inclusion of Alessandroni’s wife Giulia De Mutiis on groaning wordless vocal duties not only completes The Pawnshop trinity but adds the essential Giallo sheen popularised by Morricone regular Edda Dell’Orso (evoking clear comparisons to that of Lizard In A Woman’s skin and Veruschka). For fans of Giulia’s work on Bruno Nicolai’s The Night Evelyn Came Out Of The Grave (dir. Jess Franco) and most notably Morricone’s Sospiri Da Una Radio Lontana (from Henri Verneuil’s The Night Caller) and Venus (on the Nereide label), the distinction glistens in the detail. These twelve tracks were circulated amongst TV and cinema production houses in the mid-70s for potential film synchronisation by library label Octopus under the title Judicial Inquiry (Inchiesta Giudiziaria) in what was perhaps an effort to capture the imagination of directors of the growing trend in Italian crime cinema. Track titles such as Abnormal Sensations and Psychic Getaway, however, indicate the trio’s natural penchant for the absurd and supernatural, rendering this particular beast quite specific and unique as its own dedicated non-release. For fans of extrovert Italian freak funk, avant garde pop and European horror sountracks this LP should sit comfortably in the company of your Bruno Nicolai and Gruppo Improvvisazione Nuova Consonanza records and draw striking comparisons to international horror soundtracks by Don Gere, Pierre Raph and Andrzej Korzynski while exposing another secret hiding place for some of Italy’s finest A-List composers making rich experimental noise for B-Movie masterpieces.

File Under: Library, Italian, Avant Garde, Jazz, Psych
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neotantrik

NeoTantrik: Blue Amiga (Pre-Cert Home) LP
Andy Votel and Demdike Stare’s Sean Canty’s concept group, NeoTantrik, return with the fruits of recent performances alongside Buchla maestro Suzanne Ciani, Swiss jazz legend Bruno Spoerri, and folk artist Jane Weaver. Recorded during sporadic visits to theaters and art spaces across the world, Blue Amiga follows one year on from their Intervisions (VHSX 009LP), further flinging the coordinates of their improvised alloys to encompass, extract and reduce a broad spectra of influences and disciplines taken from theatrical sound design, Italian library and computer music with general abstract and unrehearsed mechanical/human/electronic interfaces. Put simply; it’s a trip. Augmented by the presence of synth music and electro-jazz pioneers Ciani and Spoerri — both subjects of excellent reissues by Votel’s Finders Keepers label — plus the return of Jane Weaver and home-made music by the Sound Awareness blog’s Martin Young, the team sweep us through engrossing soundscapes fanning out from sub-aquatic drone to radiant electro-acoustica, gloomy cues and strung-out, opiated ambience of a deeply romantic, adult nature. Garbed in Asia Argento’s gorgeous cover design — featuring an image depicting the private family swimming pool photography of giallo actress Daria Nicolodi — Blue Amiga wears its cinematic influences quite literally on its sleeve, while musically rebuking the obvious stylistic blinkers of European film music in favor of genuine naked exploration and expansion.

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

abate

Maurizio Abate: A Way to Nowhere (Black Sweat) LP
Maurizio Abate is a self-taught guitarist, active since the 2000s, with a distinctive approach to experimentation. Since 2006 he has done several recording sessions, released on some LPs under his own name and other collective groups, and has collaborated with David Vanzan and Virginia Genta (Jooklo), Makoto Kawabata (Acid Mothers Temple), Luca Massolin (Golden Cup), and many others. He is currently involved in the project Eternal Zio and plays live in the project BeMyDelay. This record aggregates many of his recent influences, from the meditative Krautism of Popol Vuh to an inalienable passion for blues guitar. Some of the tracks were sketches that he worked on, others were the result of long improvisations which were rearranged and mixed later. The record also features contributions from good friends such as Rella The Woodcutter, BeMyDelay and Alberto Boccardi, and features an excerpt from an interview with Aldous Huxley on “Towards the Outside.”

File Under: Psych, Electronic
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Alexisonfire_-_Alexisonfire_(2002)Alexisonfire: s/t (Dine Alone) LP
Alexisonfire: Crisis (Dine Alone) LP
Alexisonfire: Watch Out! (Dine Alone) LP

Vinyl reissues of these Ontario boys’ first three albums.

File Under: Punk, City & Colour, CanCon
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BCCD_PROD

Basic Channel: Q-Loop (Basic Channel) 12″
Basic Channel have pressed a new 12″ vinyl with three tracks taken from the original Basic Channel BCD compact disc that so far hadn’t been available on vinyl.

File Under: Electronic, Techno
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bebeyu

Francis Bebey: Psychedelic Sanza 1982-1984 (Born Bad) LP
Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. “The first time I saw a sanza (a type of African ‘thumb piano’), it was just sitting there on a piece of furniture in my family’s living room/dining room — a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician’s ears, trained in Western classical music, it sounded out of tune. That’s because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father’s passion for ‘unusual sounds’ did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my ‘serious’ English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept ‘world music.’ Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like ‘Agatha’ and ‘La condition masculine.’ But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: ‘Let’s see what you can do with it!’ That’s when I really discovered something. Exploring the instrument and playing, I transcended the ‘imperfect’ aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by… the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his ‘laboratory.’ Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don’t become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and… its magic!” –Patrick Bebey

File Under: Electronic, African
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afro rock

John Cameron & Alan Park: KPM 100: Afro Rock (Tummy Touch) LP
Probably the most well known and well loved KPM of all time, “Afro Rock” has at least a dozen tracks that qualify as being classics in the library music field. Any collaboration between John Cameron and Alan Parker is a match made in heaven and you can sense the chemistry these two have in the studio, this is exemplified by the creativity that courses throughout each track. Despite the title there is hardly anything “rock” about this collection ( aside from the opener “Heavy Water” ) and the only relation it has to afro is in some of the percussion. In reality the record is more jazz and funk inspired but tracks like “Heat Haze” and “Swamp Fever” defy such labels and this is one of the reasons why they are so intriguing. I can’t look past “Punch Bowl” in terms of funky brilliance, I must have played this song hundreds of times over the years and still love it just as much today. The version here is slightly longer than the one featured on “Sound Gallery Vol.1″. Simply put, you cannot have a collection of KPM’s or library music in general without “Afro Rock” being a part of it. It’s a truly magnificent album.

File Under: Library, Funk, KPM
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caribou

Caribou: Our Love (Merge) LP/CD
Our Love is formed around a mixture of digital pop production, hip hop-inspired beats, muted house basslines, and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart – all of which, of course, are filtered through Dan’s own unique perspective. The warm analog sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the record’s DNA. In fact, Our Love is probably Caribou’s most soulful record to date, chock-full of heartfelt lyrics and organic nature that cut through bubbling synths and the blissful euphoria of their synthetic constructions. It’s not all downbeat of course; whilst some thoughts linger on mortality, loss, and letting go, there is always an element of celebration. Having followed up his Polaris Prize-winning 2007 record Andorra with the universally adored Swim in 2010 (selling nearly 175,000 copies worldwide and being named Album of the Year by Rough Trade, Mixmag, and Resident Advisor whilst also hitting The Guardian, Pitchfork, Spin and Mojo’s Top 20), Dan has spent the intervening four years touring the world, bringing not only the sounds of Caribou to the stage but proving his immeasurable worth as a DJ, with epic 7½-hour-long sets. In 2012, Caribou were personally invited to join Radiohead on the road whilst Dan released his first album under the guise of his dancefloor-loving pseudonym Daphni to widespread critical acclaim. Following the shape-shifting sounds of JIAOLONG and the brightly textured, fluid constructions of Swim – both inward looking records in their own way – Dan withdrew to the basement once more to work on Caribou’s next opus. Only he didn’t: Our Love isn’t the sound of isolated creation but the sound of Dan at his most connected – with love for his listeners, his collaborators, and those closest to him. Caribou will be On Tour in Canada this November.

File Under: Electronic, Pop, CanCon
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casa

Daniela Casa: Sovrapposizione Di Immagini (Finders Keepers) LP
In an alternate universe the Rome born female synthesist Daniela Casa would be a household name. A genuine pioneer of experimental pop music, abstract electronics, Giallo jazz and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia De Mutiis (later Giulia Alessandroni), Doris Norton and Suzanne Ciani while retaining one of the most individualistic and diverse composing styles of an advanced mechanical musician regardless of their nationality or gender. This LP compiles, for the first time, a multifarious selection of previously commercially unavailable instrumental music composed at her home studio in the late 70s before her untimely death at the age of 42. Originally designed for use in radio, film, TV and other industry specific applications, these seldom heard selections combine ingenious homemade and hi-tech disciplines, providing scores for Italian thrillers, nature documentaries, educational projects and commercial sound installations. Mastered from the vaults of the sought-after Deneb/Flirt/Canopo library labels (home to some of the rarest records by Fabio Frizzi, Giuliano ‘Raskovich’ Sorgini, Gerardo Iacoucci, Alessandro ‘Braen’ Alessandroni amongst others) these rare tracks reveal Daniela Casa in her most fertile environment (composing as a young mother) in both a solo capacity and alongside incredible Italian session musicians, often sharing release schedules and track lists with her maverick maestro husband Remigio Ducross. These multi-layered musical images remain as vibrant and authentic today as they did thirty-five years ago. Close your eyes and unravel the Sovrapposizione Di Immagini…

File Under: Library, Early Electronic, Italian
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causa1

Causa Sui: Pewt’r Sessions 1-2 (El Paraiso) LP
2014 repress of this release from 2012. Pewt’r Sessions 1-2 collects two limited vinyl-only Causa Sui albums, originally released in 2011. The two albums, released in April and August respectively, both feature American musician Ron Schneiderman and both sold out immediately after release. Schneiderman from American improv-rock collective Sunburned Hand of the Man first got together with Danish stoner/Kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania — Copenhagen’s autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt’r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel. In the early summer of 2009 Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui’s studio in Odense, which resulted in the Pewt’r Sessions albums. These records consist of loosely structured sun and beer-fueled jams that were later edited and mixed by Causa Sui guitar player and producer Jonas Munk. While all the psychedelic fury from the Christiania live recording is still very prevalent on these studio sessions, they also see the group channeling into new territories, such as pieces heavy on analog electronics and motoric grooves. Pewt’r Sessions 1 and 2 are albums that could only be recorded in an impulsive mode. Yet there is an alternative kind of structure taking place in almost every piece — some intuitive, almost psychic connection, which moves the sounds from one place to another.

File Under: Psych, Freakout, Krautrock
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causi2Causa Sui: Pewt’r Sessions 3 (El Paraiso) LP
Causa Sui returns with a third round of mind-bending jams featuring Ron Schneiderman! The savage, kaleidoscopic improvisations of the quintet’s previous two volumes instantly gained reverence among fans of free-flowing Krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fulfills the group’s potential entirely. The Krautrock grooves, the low-end heaviness and the sprawling furor is still very much present — but this set is also permeated by a rare free jazz sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit. Ferociously experimental, yet absolutely welcoming and corporal. “Incipiency Suite,” which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaneously-recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing. History: Ron Schneiderman (aka Pewt’r) from American impro-rock collective Sunburned Hand Of The Man first got together with Danish stoner/Kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania — Copenhagen’s autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt’r jjjjj, and became widely-admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel. In the early summer of 2009, Ron Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude in Copenhagen. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui’s studio in Odense, which resulted in Pewt’r Sessions 1 and 2. The group got together again for a performance at 2012′s Roskilde Festival and later again at Festival of Endless Gratitude in the summer of 2013. It was during the latter sojourn that Pewt’r Sessions 3 was recorded.

File Under: Psych, Freakout, Krautrock
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deafDeaf Center: Recount (Sonic Pieces) LP
Deaf Center is seemingly never of the times. Whether it’s the nostalgic component often associated with Pale Ravine and Owl Splinters, or the time between releases, waiting and remembering are part of the experience. Recount is a bridge between full albums, where time and familiarity are mesmerizingly suspended. Recorded during rehearsal sessions in 2012 and 2008, “Follow Still” and “Oblivion” make full use of the Deaf Center spectrum. In the direction of a live performance, Recount plays off of experience and reaction; a balancing act of improvisation, sonic detail, and emotion. “Follow Still,” recorded in Berlin 2012, brings you to a recent past. The 13-minute track leads you down a melancholic pathway and into tunnels of memory. Minimal piano passages and warm repeating organ sounds are at the core, slowly blurring your sense of time while faint guitar amp noise and the sound of effect-pedals switching off and on makes you feel present at the recording. Engraved with intricate details and quiet moments, “Follow Still” pursues the night until dawn. “Oblivion,” recorded 2008 in Oslo, recalls the live sets that followed the release of Pale Ravine. With this era condensed into one long track, the piece is an overwhelming mass of orchestral haze, crying strings and droning bass. The dense fog doesn’t burden but calms, and as it starts to clear, reveals a true grandiosity. Recount is both a division and fusion of sound and time. Two tracks, two years, two people, two cities; ultimately, Deaf Center straddles worlds to lead to something unquantifiable and timeless.

File Under: Dark Ambient, Electronic
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doum

Al Doum & The Faryds: Cosmic Love (Black Sweat) LP
Black Sweat Records presents an album from Milan-based psychedelic band Al Doum & The Faryds. Good vibrations and resonances are distributed along nine tracks, which explores worlds of peace. Jungles, abysses, distant stars — every place can be the location for the expression of Cosmic Love, thanks to the usual blend of traditional and exotic instruments (sitar, balafon, rabab, djembe, conga, quena), including space effects and loving choirs. Recorded at El Guscio studio in Milan at the end of 2013. Limited edition of 400 vinyl copies.

File Under: Psych, Krautrock, World
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fates

The Fates: Furia (Bird) LP
Originally scheduled for release on Halloween 1985 this privately pressed all female post-punk/broken-folk collective concept LP was resurrected from the ashes of the original line-up of The Fall and Velvet Underground singer Nico’s Blue Orchids backing band at the command of pioneering Manchester female punk icon Una Baines before disappearing into the annals of UK punk purgatory. Comprising all the DIY traits and snarling attitudes of Manchester’s smartarsed punk retaliation, with haunting mechanical folk, pastoral drones and a back story that unites sleeve artist Linder Sterling (Ludus), Spider King, Martin Hannett, Tony Baines, Martin Bramah and John Cooper Clarke with the 16th Century Pendle Witches, this virtually unknown LP is a vital missing piece in Manchester’s self-help anti-pop industry.  Lost in the ether, lauded by collectors and likened by Mark E. Smith to the Third Ear Band this unclassifiable arty-fact renders tags like Pagan punk utterly redundant.  File-Under-Ground.

File Under: Post Punk, Folk, The Fall
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gamble

Lee Gamble: Koch (Pan) LP/CD
Following up from the success of his emphatic PAN releases Dutch Tvashar Plumes and Diversions 1994-1996 in 2012, PAN is excited to announce Koch (pronounced “cotch”), the new album from London’s Lee Gamble. Sharing some stylistic affinity with his previous records, which excavated his deeply personal history with UK jungle and rave, and techno, this new work dives even deeper to reveal a singular and intimate musical vantage point, shifting to approaching music as projection, state, hallucination, another place. In Koch, we experience an artist constructing a future, after time spent deconstructing the past. In the music we witness such dimensional abstraction, zooming between epic macro-scenery and claustrophobically close detail, disorientation and absolute focus. Rhythms fuse together and phase apart, club tracks tunnel into an anxious wilderness, with themes and textures emerging as threads throughout the record, wormholing between each track. There is a sense of the seen and the unseen, an honest tension between music as function (for this world) and as artistic exploration (for another world) as cracks in the surface appear to reveal the odd and alien minutiae within. Koch represents an intimate and revelatory new phase in Lee Gamble’s practice. Producing tracks that can live and grow on their own in a club or personal listening environment, the artist’s exploratory framework creates threads of consistency and tension between disparate spaces, locations, and mental states.

File Under: Electronic, Abstract, Techno
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goethals

Lucien Goethals: s/t (Cacophonic) LP
As the pearls of Finders Keepers exclusive adventures in the deep vaults of Belgium’s Alpha Records we are proud to present this collection of outstanding experimental magnetic music by Lucien Goethals. Simply one of the best examples of organic and electronic music interfacing taken from rescued mastertapes spanning 1964 and 1975, here we find Goethals recomposing transposing and reducing taped recordings of organic instruments such as Cello and Clarinet to make early magnetaphone compositions that defy convention from the heart of the revolutionary IPEM (Institute for psycho-acoustics and electronic music). These melodic explorations into advanced mechanical music provide further likeminded context for the likes of Dariush Dolat Shahi, Delia Derbyshire and Gruppo di Improvvisazione di Nuova Consonanza and beg comparison to Zdenek Liska’s score for Ikarie Xb1. Lucien Goethals was born in 1931 in Ghent, Belgium. He completed his musical education at the Royal Academy of Music in 1956 where he was awarded the highest accolades for advanced organ, history of music and theoretic notions, after which he eventually pursued his studies of seriated music technique and electronic composition with G.M. Koenig. He was awarded further awards for composition in both his own country as well as abroad, and was a member of the renowned Spectra work group. In 1963 he was appointed to the post of producer of the BRT (Flemish division of the Belgian Broadcasting and Television System) and later a key producer in the division known as IPEM (Institute for psycho-acoustics and electronic music). From 1971 he taught musical analysis at the Music Academy of Ghent. Goethals was an exponent of the stricter direction in the aesthetics of contemporary music. His work is still recognised as a valuable contribution, on a global scale, to the fields of seriated and trans-aleatoric music of the past half century. His recorded achievements within experimental music include a dozen rare compositions for solo “magnetophonic” music and a set of works for combined orthodox instruments with magnétaphone. Outside of the electronic field Goethals was also recognised for his chamber music, symphonic orchestration, cantata and lied compositions. This compendium focuses on Lucien’s magnetophonic work recorded during, and prior.

File Under: Early Electronic, Avant Garde
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cow-palace-19761

Grateful Dead: Live at the Cow Palace (Friday Music) 5LP Box
Now for the first time ever as an exclusive 180 Gram Audiophile Vinyl 5 LP Box Set, Friday Music is very honored to announce the limited edition Grateful Dead authorized release of Live At The Cow Palace-New Years Eve 1976. Mastered for vinyl by Joe Reagoso (Grateful Dead/Deep Purple/Yes) at Friday Music Studios and at Capitol Records, Hollywood, CA, this wonderful album will truly be a welcomed addition to your Dead collection. The Grateful Dead’s Live At The Cow Palace album will be packaged in a stunning box set, with Timothy Truman’s artwork detailed beautifully, a rich looking black background inside the box set itself, with a poly lined LP sleeve to preserve the rich details of each of the five albums. Wonderful retro LP label artwork is also provided for each vinyl album. The legendary Bay Area rock superstars Grateful Dead scored with a plethora of wonderful recordings throughout their incredible career that encompassed four decades. Their concerts were of legendary proportions, and during the bicentennial year of 1976, a whole new audience was discovering their magic thanks to their From the Mars Hotel (Friday Music 102) and Blues for Allah albums. As a new year was approaching, the Dead celebrated it together with a very appreciative hometown San Francisco audience at the Cow Palace in Daly City, CA. This masterful performance went on to become one of the most revered ever in their long concert history. Always known for being on top of the audiophile medium, the Dead would record a lot of their shows over the years with state of the art equipment. This particular show was of no exception as long time associates Betty Cantor Jackson and Bob Matthews recorded a number of shows during this much touted tour era and together with the definitive Dead archivists David Lemieux and James Austin compiled the long awaited Live At The Cow Palace – New Year’s Eve 1976. Friday Music is very pleased to announce the exclusive first time 180 Gram Audiophile 5 LP Deluxe Box Set of the Grateful Dead’s Live At The Cow Palace – New Year’s Eve 1976. This amazing limited edition treasure trove features the historic concert in its entirety. Filled with 22 stellar first time audiophile vinyl performances, The Grateful Dead’s Jerry Garcia, Bob Weir, Phil Lesh, Mickey Hart, Bill Kruetzmann, Keith Godchaux and Donna Godchaux truly radiate with some of their finest playing and singing ever, making this a wonderful listen and highly collectible album for years to come. Many favorite Grateful Dead classics and superior rarities abound in this lengthy limited edition audiophile dream box including the long-awaited audiophile vinyl releases of Bertha, Wharf Rat, Eyes Of The World and Jerry Garcia solo favorite Deal. Known for their lengthy jams, four solid masterpieces get their due on this amazing set like the 23+ minute performance of Playing In The Band, Sugar Magnolia, Scarlet Begonias and Samson and Delilah. The band went back real deep into their arsenal of classic tunes and picked even more of their most loved repertoire including a fine reading of Tim Rose’s Morning Dew and of course Dead masterpieces Uncle John’s Band, Slipknot! and Looks Like Rain.

File Under: Psych, Dead, Audiophile
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have a nice

Have A Nice Life: Deathconsciousness (Flenser) LP
In 2008, Have A Nice Life released their now cult classic Deathconsciousness LP to a whimper and critical non-interest. Six years after its release the band followed up with 2014′s stunner The Unnatural World, Deathconsciousness has become a force of influence and fanatic obsession. Seamlessly blending, with unparalleled depth and weight, shoegaze, post punk, new wave, industrial and noise. The album was originally released by Enemies List Home Recordings founded by HANL members Dan and Tim. The album has since floated in and out of production, with the last instantly out of print vinyl pressing occurring in 2009. Now, longtime HANL collaborator The Flenser will re-issue Deathconsciousness with deluxe packaging, including a lengthy accompanying zine and colored vinyl. Have A Nice Life commented, “Working with Flenser lets us keep things comfortable on our end, while also pressing enough copies to actually meet the need and not creating an artificially-inflated collector’s market, as happened with some of our past releases.” The Flenser’s reissue of Deathconsciousness will be accompanied by a 75-page booklet detailing the dark and forgotten history of the Antiochean cult. Blurring the lines between novella, liner notes, and academic text, the zine itself presents an engrossing narrative. The album is rhythmic, primal and expansive and is a gloomy-post-punk masterpiece; a mediation on death, loss and unrequited love. Deathconsciousness feels more fresh and engaging with every listen and has held up as a remarkable piece of art. Fans of Have A Nice Life exhibit both cultic thought and action for good reason. It is perhaps a fanbase as dark and mysterious as the Antiochean’s, the album itself revolves around. Now The Flenser is honored to rerelease Deathconsciousness a gorgeous and disarming contribution to the modern lexicon for a larger audience.

File Under: Shoegaze, Gloom, Post Punk
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henriksen

Arve Henriksen: Nature of Connections (Rune Grammofon) LP
Arve Henriksen stumbled across the title of his latest album while reading a book about furniture-making. “The author mentioned the complexity of making a chair and all the people involved in the process,” the Norwegian trumpet player says. “The high quality of the different fields and the wide range of professions that, after a long process, turns into a product which can easily be compared to the process of making this album.” The Nature of Connections finds Arve working in harness with some of Norway’s most distinguished and dynamic musician-craftsmen, drawn from the fields of folk, improvisation and jazz. Each one brought specialist components and skills honed over many years to Arve’s workshop, where the results were assembled and polished to a high gleam. The Nature of Connections almost entirely features pieces composed by Arve’s collaborators. Recorded in the sparkling acoustics of Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug, it’s an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve’s previous releases. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a specially commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in The Nature of Connections. Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Masqualero, JoKleBa!, Generator X, Terje Rypdal and Jon Balke. “The brilliant thing about collaboration with others is that your collaborators very often have better ideas than yourself,” says Arve, typically modest. “At the same time, some naive and simple ideas from my head are sometimes enough to illustrate that moment and that special feeling of a story. I have gradually started to trust that feeling.” His instincts are correct, leading to some of the warmest and most organic sounding music of his career. Highlights include the solemn chamber music of “Seclusive Song,” and the stately progress of “Hymn” — composed by Arve’s keyboardist partner in the long-running Norwegian improv ensemble Supersilent, Ståle Storløkken — which paces itself around Henryson’s repetitive, gently churning cello. Born in Norway and currently living in Sweden, Arve Henriksen is Scandinavia’s most distinctive trumpeter and improviser. He played in various jazz ensembles in his youth before co-forming Supersilent in 1997, a prolific free music group with Helge Sten (Deathprod) and Ståle Storløkken, which is still ongoing. His trumpet, augmented with effects and electronics, has appeared with David Sylvian, Terje Rypdal, Nils Petter Molvær, Jon Balke, Terje Isungset and Iain Ballamy’s Food. With Supersilent he recently collaborated with former Led Zeppelin bassist John Paul Jones. In September 2014 he’ll be participating in an architectural installation/performance as part of Oslo’s Ultima Festival of contemporary music. Since 2001 he has created a series of exquisite solo recordings (on Rune Grammofon and ECM), which combine electronic textures, horns, woodwinds, ethnic instruments, percussion, keyboards, and his mournful, yearning singing voice. Henriksen’s music reflects both the stunning beauty of virgin wilderness and the shifting, cosmopolitan environments experienced by the 21st century traveler. The Nature of Connections is the latest link forged in an ever-growing chain. Arve Henriksen (trumpet, piccolo trumpet, piano); Nils Økland (violin, Hardanger fiddle, viola d’amore); Svante Henryson (cello); Gjermund Larsen (violin, Hardanger fiddle); Mats Eilertsen (double bass); Audun Kleive (drums).

File Under: Ambient, Trumpet, Jazz, ECM, Electronic
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fela

Fela Kuti: Box 3 (Knitting Factory) 7LP
Knitting Factory Records is proud to release the third of the long-awaited vinyl reissues from the Fela Kuti catalog. These seven albums – London Scene (1971), Shakara (1972), Gentleman (1973), Afrodisiac (1973), Zombie (1976), Upside Down (1976) and I.T.T. (1980) – were chosen by long-time admirer, Brian Eno. In addition to the seven 180g LPs, the box set also includes a 12″ x 12″ 12-page book that includes a forward from Eno, album notes from Chris May, translated lyrics, photos from Bernard Matussiere and 16.5″ x 22.5″ poster. Fela’s discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. Says Box set curator, Brian Eno, “Before about mid-September 1973 I didn’t have much interest in polyrhythmic music. I didn’t really get it. That all changed one Autumn day when I walked into Stern’s Record Shop off Tottenham Court Road. For reasons I’ve long forgotten, I left the store with an album that was to change my life dramatically. It was Afrodisiac by Fela Ransome-Kuti (as he was then known) and his band The Africa 70.” He adds, “I remember the first time I listened and how dazzled I was by the groove and the rhythmic complexity, and by the raw, harsh sounds of the brass, like Mack trucks hurtling across highways with their horns blaring. Everything I thought I knew about music at that point was up in the air again. The sheer force and drive of this wild Nigerian stuff blew my mind. My friend Robert Wyatt called it ‘Jazz from another planet’ – and suddenly I thought I understood the point of jazz, until then an almost alien music to me.” Eno’s selection presents four from this period – Shakara, London Scene (1972), and Afrodisiac and Gentleman (both 1973). On these albums, Fela began to compile Afrobeat’s various signature characteristics – its rhythm patterns, interlocking twin guitars (rhythm and tenor), call and response vocals, use of Broken English rather than Yoruba, style of horn arrangements, and political message. Upside Down, one of Eno’s other selections, features Sandra Izadore on vocals. It was recorded in 1976 during one of several trips she made to Nigeria. The penultimate album in Eno’s selection is late 1976’s Zombie, a vicious skewering of the Nigerian military and Fela’s biggest hit record to date. No coincidence then, that on February 18, 1977 over a thousand soldiers attacked and destroyed his self-declared independent republic of Kalakuta – a live/work compound which included housing for the Afrika 70 family. 1980’s I.T.T. is among the first clutch of discs Fela recorded following the break-up of Afrika 70 in late 1978/early 1979 and the formation of his new band, Egypt 80. I.T.T. is one of several albums Fela recorded around this time which featured only one song – an extended instrumental on side one, and a long-form lyric on side two. The format is a little closer to the way Fela performed live than it is on an album made up of several shorter tracks.  Incudes: London Scene (1971), Shakara (1972), Gentleman (1973), Afrodisiac (1973), Zombie (1976), Upside Down (1976) ad I.T.T. (1980)

File Under: Afro Beat, Essential
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vodoun

Hisham Mayet: Vodoun Gods on the Slave Coast (Sublime Frequencies) DVD
Vodoun Gods on the Slave Coast explores the ceremonial splendor of sacred dance and ritual in Benin, the birthplace and cradle of Vodoun. Formerly known as Dahomey, Benin was also called the Slave Coast due to its importance in the trans-Atlantic slave trade. Today, the worship and supplication of Vodoun gods remains integral to everyday life in Benin. Shot in January 2011 during the country’s rich annual Vodoun celebrations, this film offers an impressionistic glimpse of the major ceremonies and delirious musical performances associated with this ancient religion. Guided by the otherworldly rhythms and colors of Vodoun pageantry, Hisham Mayet presents an intimate view of metaphysical dramas enacted in magisterial costumes: The cult of Sakpata, fearsome god of pestilence, disfigurement and healing. The Egoun-goun, ancestral visitors from the realm of the dead, who bring blessings and warnings for the living. And the Zangbeto nightwatchmen, ambulatory haystacks who serve as Vodoun’s secret police. Traveling in a malarial fever dream from the clutter and bustle of village markets to the palace of Ahosu Agoli-Agbo Dedjalagni, the King of Abomey, Mayet provides an unforgettable portrait of secular and sacred life in Benin. Digipack with 12-page booklet of photographs from various Vodoun ceremonies throughout Benin; 48 minutes/color; all-region DVD, NTSC format. Limited one-time edition of 1,000 copies.

File Under: DVD, Benin, Ceremonial
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me

Montgomery Express: Montgomery Movement (Numero) LP
Funk’s answer to the Five Blind Boys of Alabama, Florida’s Montgomery Express stood at the crossroads of politically conscious soul and mystically awakened dance music. Comprised of two blind musicians in their 20s and a teenage rhythm section, their lone LP was cut in 1972 for Orlando’s Dove label, then reissued on Folkways two years later. Although the label usually steered clear of soul music and anything remotely commercial sounding, Montgomery Express tapped into Folkways’ Guthrie-cum-Chamber Bros. nerve with The Montgomery Movement. “My whole life, I heard music in the air, beautiful music. I’ve been involved in supernatural things, spoken with spirits. I have heard an orchestra up in the air. I know I’ve heard it.” – Paul Montgomery

File Under: Funk
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nicolai

Bruno Nicolai: All the Colours of the Dark (Finders Keepers) LP
As part of a devoted series of releases focusing on Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers proudly unveil what is perhaps the crowning moment for both actress and composer with the film that inaugurated them (alongside director Sergio Martino) into the critical Giallo royal family in the early 1970s. Presented here with previously unpressed tracks as an alternative to the extremely rare 1973 Gemelli library edition, this Finders Keepers special release includes the recently uncovered 1972 hard-hitting left-field psychedelic pop themes that unified yet another unholy trinity comprising of sitar wielding Alessandro Alessandroni (in true Pawnshop Braens Machine mode) and Italian cinematic songbird Edda Dell’Orso to create (under Nicolai’s gaze) what is regarded by many unified euro horror video collectors and vinyl detectives as the cream of this well furrowed crop. Recorded in January 1972 at Morricone’s Ortophonic studio in Rome (home of Goblin’s Roller and Alessandroni’s Sangue di sbirro amongst many others) Bruno Nicolai balances psychotic free jazz, aggressive bass driven beats, schizoid Eastern motifs and childlike lullabies – the latter exacerbating director Martino’s proud Rosemary’s Baby influences in this Giallo tale of a rehabilitated relationship plagued by recurring nightmares and vague memories of a religious cult that teeter on the edge of Fenech’s consciousness. To claim this score as Nicolais’ all time best is perhaps a little ambitious for a versatile composer of such acclaim and widespread appeal, but for fans of that unique window of unhinged musical opportunity which came with the Giallo boom of the early 1970’s you’ll be hard pushed to find a record that covers all bases from an alternative universe where Fabio Frizzi, Goblin and Walter Rizzati were (haunted) household names.

File Under: Library, OST, Italian
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gotg

OST: Guardians of the Galaxy (Hollywood) 2LP
In the far reaches of space, an American pilot named Peter Quill finds himself the object of a manhunt after stealing an orb coveted by the villainous Ronan. In order to evade Ronan, Quill is forced into an uneasy truce with a group of misfits including Gamora, Rocket, Drax the Destroyer, and Groot. But when Quill discovers the true power of the orb and the menace it poses to the cosmos, he must rally his ragtag rivals for a last, desperate stand – with the galaxy’s fate in the balance. Staring Chris Pratt, Zoe Saldana, John C. Reilly as well as the voices of Vin Diesel and Bradley Cooper. This deluxe double vinyl edition of the soundtrack to the James Gunn-directed 2014 film Guardians Of The Galaxy includes classic 1970′s songs from the movie like Blue Swede’s “Hooked on a Feeling,” David Bowie’s “Moonage Daydream,” 10cc’s “I’m Not in Love,” the Jackson 5′s “I Want You Back,” Redbone’s “Come and Get Your Love,” and The Runaways’ “Cherry Bomb” plus the film’s original score composed by Tyler Bates. Music plays a major role in Guardians of the Galaxy as the 1970′s songs featured in the film are part of the storyline in a unique way. Explaining how the songs come to play in the story, director James Gunn says, “One of the main story points in the movie is that Quill has this compilation tape [Awesome Mix #1] that he got from his mother before she died that she made for him. It was of songs that she loved, all songs from the 1970s, and that’s the only thing he has left of his mother and that’s the only thing he has left of his home on Earth. He uses that as a connection to his past and to the sadness that he feels of having left all that and lost all that.”

File Under: OST, Awesome Mix 1
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peakinglights

Peaking Lights: Cosmic Logic (Weird World) LP
Los Angeles duo Aaron Coyes and Indra Dunis, aka Peaking Lights will release their new album Cosmic Logic through Weird World. Vivid, nocturnal and sensual, the eleven lean and lithe pop songs of Cosmic Logic follow 2012’s much-lauded Lucifer and are another progression in the band’s ever-evolving sound; their free-wheeling, far-reaching production and mesmeric, mantra-like songwriting pushing into brighter, bolder spaces than ever before. Coyes engineered and produced Cosmic Logic in the band’s newly built Los Angeles studio, designing many of the luminous sounds used himself over the eighteen months of its making. The record was mixed by Matt Thornley (DFA, LCD Soundsystem) at C’mpny Studios in LA in the spring of 2014. Even in an era where omnivorous consumption and assimilation of different cultures has become almost common place in pop, there remains something special about the depth and passion of Coyes and Dunis’s musical knowledge as evident on Cosmic Logic. It’s a record where a loving homage to “Der Song von Mandelay” – the first song on The Flying Lizards’ debut album (opening track “Infinite Trips”), The Carpenters re-interpretation of 70’s prog rockers Klaatu (the interplanetary groove of “Telephone Call”) and the deliriously catchy digi-dub of lead single “Breakdown” all coalesce with elements of  Jamaican digital dancehall, Cosmic Italo, Chicago house and acid house, Afrobeat and Zamrock, early West coast hip-hop and disco boogie crossover into something both instantly recognizable and delightfully alien. Looking both to other cultures and the cosmos for inspiration, Cosmic Logic is a record that searches – a beacon in dark times. Or, as Coyes puts it — “Peaking Lights’ whole thing has always been based on an idea of ‘Fucked Modern Pop but exactly what that is, we don’t know…we’re still trying to figure that out.”

File Under: Indie, Dance, Pop
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pissed jeans

Pissed Jeans: Shallow (Sub Pop) LP 
Pissed Jeans and Sub Pop have teamed up to reissue Shallow, the Allentown, PA band’s long out-of-print debut album. The 8-song album features Pissed Jeans classics “Boring Girls” and ”Closet Marine,” and this reissue includes the bonus tracks “Throbbing Organ” and “Night Minutes” from the band’s first single (bonus tracks are included as a 7” in the LP version). All songs have been remastered for this release. Pissed Jeans were noisy as a motherfucker and proud of it on Shallow. The album sounds like a big pile of mud and broken glass ripping through your stereo speakers in the most killer way imaginable. Shallow was originally released by Pissed Jeans in June of 2005, not long after their 2004 single, “Throbbing Organ” b/w “Night Moves.” All tracks were originally recorded by Dan McKinney at Dan’s House in Center Valley, PA, and Shallow was first released via New Jersey hardcore label Parts Unknown. The recordings feature longtime members Matt Korvette and Bradley Fry, along with then drummer Dave Rosenstraus and bassist Tim Wynarczuk.

File Under: Punk, Reissue
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sensational

Sensational Saints: You Won’t Believe It (Numero) LP
Formed in the early ’50s under the watchful eye of Tuskegee, Alabama, transplant Charles Chambliss, the Sensational Saints were handpicked from a Cleveland clothing store, a pool room, and from a group of friends singing from a third story window. After years spent rotating members and issuing stray singles for assorted non-denominational imprints, the group connected with the vocally inclined Reverend Melvin Kenniebrew at the close of the ’60s, making good on their “Sensational” boast. “With God in their hearts and singing on their minds,” the Sensational Saints mounted their crown jewel in 1973 with You Won’t Believe It. Pressed in conservative quantities by local gospel magnate James Bullard on his King James label, the group’s lone long-player perfectly encapsulates the intersection of funk and gospel as only the religious conversion of a Bill Wither’s tune can do.

File Under: Funk, Soul
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sleafordSleaford Mods: Austerity Dogs (Harbinger) LP
Sleaford Mods started out sometime during 2006 while Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he met Andrew Fearn and the Sleaford Mods became a duo. Fearn’s first work was on the production of Wank — the Mods’ fifth CD-R album. Soon after, he started stalking the studio and stage with Williamson. Just after the release of Wank, the duo were invited to play a three-day festival curated by Nottingham’s Rammel Club. During that weekend they were introduced to the Harbinger Sound label. A meeting which — a year later — resulted in the release of Austerity Dogs. Numerous shows around the UK and Europe followed, including further festival appearances. Rave reviews of the album have appeared in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on the internet, both here and abroad. With more international dates on the horizon including excursions to Poland and Sweden, the interest in the Mods continues to spread.

File Under: Punk, Hip Hop
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smoke clears

The Smoke Clears: Listen (Further) LP
Those who know the respected Irish producer John Daly for his bubbly, melodically-nuanced house and techno tracks may get thrown off balance by his latest work under the Smoke Clears handle. While his 2011 release for Further, Sea Level, hinted at his fondness for Manuel Göttsching/Klaus Schulze-like kosmische ambience, on Listen Daly veers off into more introverted and arcane abstraction terrain. The title-track kicks off the album on a decidedly downtempo, contemplative note while maintaining Daly’s knack for understatedly beautiful melodies. It sounds like the best song Morr Music never released. “Plumb” exudes a paradoxically chilled and urgent aura, with woodblocks seemingly made out of ice and heavily reverbed claps providing the hypnotic rhythm. The glistening IDM of “Star Shine” could be an outtake from Aphex Twin’s Selected Ambient Works 1985-1992 (it’s that gorgeous). The beautifully hoarfrost-y “Trace” evokes Seefeel’s forays into fusing shoegaze atmospheres with abstract electronic beat matrices. With Listen, The Smoke Clears decisively steps off the dancefloor and enters one of the chilliest chill-out rooms a ’90s clubber ever chilled in — but the music’s still a-bristle with all sorts of fascinating movement and textures. Despite Listen’s banquet of ultra-cool tones, your neurons will work up a nice sweat.

File Under: Kosmische, Ambient, Electronic
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tape

Tape: Casino (Hapna) LP
The new album from alternative music veterans Tape marks their 14th year of activity. It’s called Casino and was recorded in the legendary Atlantis studio in Stockholm by engineer Janne Hansson in December 2013. The music of Tape still continues its growth, in its own way, separated from the rest of the world in many ways. This time the emotional depth and interest in details are even stronger and clearer. The album has been mixed by Andreas Werliin and mastered by Mell Dettmer. Swedish trio Tape was set up in 2000 by brothers Andreas and Johan Berthling with Tomas Hallonsten. Taking cues both from pop, experimentalism, and minimalism, their sound, with a mixture of acoustic and electronic instrumentation, has become recognized internationally and is clearly something of its own. Their first album Opera (HAPNA 040CD) was released on the Häpna imprint (which Johan is a co-owner of) in 2002. Working intuitively, all by themselves, they created mini symphonies out of electronic sounds paired with a stunning melodic lyricism. 2003 saw the release of Milieu. These recordings had a more arranged feeling and a clear pop sensibility in some parts. In 2005 they went to Cologne to have Marcus Schmickler produce and record their third album Rideau. This was done in his Piethopraxis studio in Cologne and his involvement left traces; an almost architectonical approach was taken and some of the intimacy that characterized the first two albums was replaced by a somewhat harder edge. In 2006 they collaborated with Japanese duo Tenniscoats on their album Tan-Tan Therapy. That same year they recorded in Tokyo with Japanese quartet Minamo, which resulted in the record Birds of a Feather. Since Luminarium (2008) they have been working out of their own Summa studio in Stockholm and there they also recorded what became Revelationes (HAPNA 044CD), their fifth album. After a hiatus for two years the group did a tour of Europe in November 2013. They tried out new material, which later was recorded in Stockholm at the Atlantis studio and is now released as the album Casino. It’s their sixth full-length album if you omit all the different collaborations and other stuff they’ve done throughout the years (all released on Häpna). Johan Berthling plays guitar and more in Tape but is also the bass player for the trio Fire! with Mats Gustafsson & Andreas Werliin and is involved with many other projects ranging from free-jazz to rock. His collaborators include Oren Ambarchi, Akira Sakata and Paal Nilssen-Love. Tomas Hallonsten is a keyboard player and multi-instrumentalist running the trio Time Is A Mountain, including Berthling on bass and drummer Andreas Werliin. He is a much-in-demand musician and works in many different contexts. Andreas Berthling is a musician using modular synthesis and laptop as his instruments. He has released a string of recordings under his own name.

File Under: Electronic, Ambient
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ABT040 TOPS LP-Jacket 11183 v2Tops: Picture You Staring (Arbutus) LP
TOPS are a four-piece band from Montreal, equal parts girls and guys, delivering a raw punk take on AM studio pop. Their new record, Picture You Staring, is a lush array of timelessly crafted songs. Singer Jane Penny gives a new voice to the silent girl at the edge of the circle, disillusioned but honest and unpretentious, a tone complemented by David Carriere’s seamless guitar playing and the measured drumming of Riley Fleck. TOPS’ subtle arrangements are delivered with a cool restraint that blend with the individuality and self-assured desire of their female lead. Picture You Staring gathers strength through intimacy. Self-written, recorded and produced at Arbutus Records’ studio in Montreal over the course of a year, this album contains 12 impeccable examples of pop craftsmanship that will reward repeat listeners.

File Under: Indie Rock, Pop, CanCon
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triccaEmma Tricca: Relic (Bird) LP
Raised into a unique pop-cultural landscape surrounded by Giallo Comic books, whistling Morricone film scores, vibrant religious imagery and expensive furniture design, Italian born Emma Tricca’s childhood playground formed a very different backdrop to that of the many whispery femme-folk revivalists that have popped up and pooped-out over the last hum-strummed decade. Emma Tricca didn’t fall into a comfy kaftan via her parents bottle fed record collection during her pre-paid college off-years nor was she torn out of a style mag via a few guitar lessons to decorate the post-club chill-out festivals. Emma Tricca is the real deal, unaffected by whimsical press-penchants and influenced by long European road-trips, heavy guitar cases and tough love relationships. In danger of spitting paganistic fluff, Emma is simply an ergonomic reaction to her environments and their stories – folk music personified. While splitting her time between Rome and London she awkwardly melts a stiff upper-lip into the hot-blooded passion which has fuelled her finger-picked momentum through all of her adult life. As folk slips from the newspaper colour supplements and becomes a four letter word once again, Emma Tricca basques in its exorcism and stands hand in hand with her peers, counting the likes of John Renbourne, Bonnie Dobson and Judy Collins as friends and stage mates, while eerily drawing comparisons with the lost music of English-Italian 70s acidic folk mystery Mark Fry. Tricca was first recognised by her long black hair, battered guitar case and sturdy Italian heeled boots by Jane Weaver and Andy Votel on stage in 2006. It was ultimately her unique and infectious vocals talents that inspired the Northern non-label bosses to release her unanimously five-star rated debut LP Minor White via the Bird Records imprint, a family of which Emma has been a faithful friend and ambassador ever since. Taking trips across central Europe to the West coast of America and stopping off at too many English, Irish and Welsh Festivals to count in between (Jarvis Cocker’s Meltdown, Festival Number 6, Green Man) the emergence of Emma’s new set of songs-of-experience come from a creative soul that has travelled far, practiced long and shared a heart, through intimate songwriting, with unfaltering abundance. Previously honing her craft with minimum means fuelled by maximum motivation her ability to spontaneously exude yearning melodic handcrafted folk songs to dewy-eyed audiences still renders todays hi-tech back-lines and expensive studios surplus to requirement. 2014 will see Emma undertake more live commitments, as well as her first musical appearance in a film starring Sir Patrick Stuart as she winks back to Cinecittà. On her new LP, Emma, for the first time, embraces the minimal use of mechanical percussion and home-made orchestrations collaborating with Italian and English musicians such as members of Welsh proggists Colorama, Edwyn Collins producer Carwyn Ellis and Sam Mcloughlin (N.Racker) who brings some Northern rural radiophonics to this ROMANtic relic. To subtitle a John Fahey song… behold the Giallo princess.

File Under: Folk
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vaselines

Vaselines: V is for Vaselines (Rosary) LP
In 2010, Scottish indie-pop outfit The Vaselines ended a 20-year hiatus with the release of their third studio album, Sex With An X. Since then, they’ve made a rather fluid transition back to the promotional cycle, touring the world and playing a bevy of festival gigs. The reunion train rolls on with the announcement of their latest album, V for Vaselines, due out September 29th via Rosary Music. The band self-produced the 10-track effort at Mogwai’s studio, the awesomely-named Castle of Doom, in Glasgow. According to a press release, The Vaselines recruited a number of their other fellow countrymen to make various cameos, including Stevie Jackson (Belle & Sebastian), Frank Macdonald (Teenage Fanclub), and members of Olympic Swimmers, 1990s, Mandrake Shepherd, and Sons & Daughters. The press release adds that V for Vaselines was inspired by both The Ramones and guitarist Eugene Kelly’s need to “write some really short punk rock songs, just get into people’s ear really straight away, and then get out of there really quickly.” As our first taste, the band’s unveiled “One Lost Year”. If nothing else, the track readily achieves Kelly’s punk-inspired goal: spanning three minutes, “One Lost Year” is a hyperactive cannon shot of fuzzy guitars, chunky percussion, and spirited, multi-person harmonies. Its infectious hooks and rousing energy will stick to you tighter than actual Vaseline.

File Under: Indie, Pop
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vaudou game

Vaudou Game: Apiafo (Hot Casa) LP
Vaudou Game is a contemporary live band of six members playing an authentic Togolese funk based on voodoo chant scales, and led by Peter Solo, a singer and composer born in Aneho-Glidji (Togo), birthplace of the Guin tribe and place of the voodoo culture. He was raised with those traditional values of human and environmental respect. Apiafo is a 12-track album, entirely recorded, mixed and mastered with old analog tapes, and played with vintage instruments, recalling the sound of bands like Poly-Rythmo De Cotonou or El Rego. Peter Solo invited his uncle, Roger Damawuzan, famous pioneer of the ’70s soul scene in Togo, to sing on “Pas Contente” & “Wrong Road.” The result of their collaboration is without a doubt two amazing future dancefloor classics. The idea of integrating these haunting lines, sung in honor of the Divinities, into an energetic ’70s Afro-funk style, was, in Peter Solo’s mind, an obvious extension of the analogy he found between the voodoo tradition and trance-inducers such as soul, funk, as well as the rhythm ‘n blues of James Brown or Otis Redding. Vaudou Game will be touring all over the world to promote this new Afro-soul classic album.

File Under: Funk, World, Afro-Funk, Voodoo
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wada

Tashi Wada: Duets (Saltern) LP
Tashi Wada’s Duets LP is the first release from Saltern, his new imprint distributed through Important Records. Duets features a recording of Wada’s series of string duos brilliantly realized by cellists Charles Curtis and Judith Hamann. From Curtis’ liner notes: “How far can we enter into a single moment, such that for that brief speck of time, for an instant, unison is registered? This would suggest a different sense of unison, as a state of complete integration hidden behind the disparity and change caused by the passing of time.” Edition of 425. Recorded by Tom Erbe and cut at 45 RPM by Rashad Becker. Pressed at RTI and housed in jackets with design by Marco del Rio and printed at Stoughton. Cover image by Marcia Hafif.

 File Under: Drone, Minimal, Avant Garde
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williams

Lucinda Williams: Down Where The Spirit Meets the Bone (Thirty Tigers) 3LP
The new album from Lucinda Williams, Down Where The Spirit Meets The Bone. Produced by Tom Overby, Greg Leisz and Lucinda Williams, Recorded and Mixed by Dave Bianco, Mastered by Joe Gastwirt. The new album is her most ambitious release to date. Twenty + songs were recorded off and on between September of 2013 through March of 2014. Down Where The Spirit Meets The Bone finds Lucinda tapping into her southern roots for this double album. The songs are amplified by a range of musical talents that include Greg Leisz, Tony Joe White, Pete Thomas, Gia Ciambotti, Bill Frisell and Jakob Dylan.

File Under: Folk
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wold

Wold: Postsocial (Death of Rave) LP
Postsocial is the breathtaking eighth album from Wold, an infamous black metal unit with strong binds to the landlocked plains of Regina, Saskatchewan in central Canada. Stephen O’Malley’s reissue of their Freermasonry (SOMA 014LP) LP first introduced us to their work — subsequently igniting the most gratifying discovery of an exceptional back catalog. Postsocial is a culmination of ideas core to Wold’s philosophy, heading deeper into a world of visceral howls and internalized harmonics. Due to the inherent limitations of vinyl, the album now unfolds in a different sequence to the CD, manifesting a crucially-altered beast. The two opening pieces, “Throwing Star” and “Inner Space Infirmary” remain in place, employing the eviscerated howl and cackle of clan leader Fortress Crookedjaw’s possessed vocals and electronics in roiling, chokingly affective storm systems that leave us flayed and gasping. At this point the vinyl version inverts the tracklist, placing the aching atmospheric sehnsucht of “Sapphire Sect of Tubal Cain” at the cyclone’s epicenter. On the B-side, the sustained intensity of “Five Points” and near 15 minutes of “Spiral Star Inversion” expand on the five-pointed star metaphor with labyrinthine results, culminating in “ritualistic conjuration and copulation of the hag,” detailed further in the lyric sheet. To be honest, we’ll probably never fully grasp this group: they remain a largely unquantifiable entity — an enigmatic band with a genuinely original, inimitable, often impenetrable sound — making them one of the most fascinating units operating in experimental music today, and marking Postsocial as an elementally rare, vital sensation which should resonate with myriad sub-cultures.

File Under: Metal, Black Metal, CanCon
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arkansas

Various: Arkansas at 78 RPM: Corn Dodgers & Hoss Hair Pullers (Dust-to-Digital) CD
For the traveling recording men of the late 1920s, Arkansas offered enticing pickings. The region was thronged with vigorous, idiosyncratic string bands. This album carries the listener from the hillbilly music craze of the ’20s to the song-based country music of the late ’30s. Scarcely more than a decade, but a period, in music as in all American life, of galvanic change. This CD serves as the soundtrack album to the newly-released photograph book, Making Pictures: Three for a Dime by Maxine Payne. All of the photos in this package are from the same cache of photographs taken by the Massengil family in their mobile photo-booth trailer throughout rural Arkansas in the 1930s-1940s. “It is indeed gratifying to know our program has made so many minds and hearts drift back to the earlier days when all was well, when the ‘hoss hair pullers’ of old were in due form and all parties concerned were in a receptive mood for tipping of the fantastic toe… My aggregation from this district claim that their music and songs are not suggestive of anything except good and wholesome exercise … So everybody come to the Arkansas Ozarks, where you can eat the best fruit in the world; where home-cured meat is found in the smokehouse and corn and hay in the barn; where you can juice your own cow, feed your own chickens, fish in the wonderful White River, meet these men of the Missouri Pacific and natives, and you will then say, ‘Yes, indeed, you have the most wonderful country in the world.’” –Henry Harlin Smith, March 1926 on Hot Springs radio station KTHS Includes a CD digipak with a 32-page booklet with liner notes by country music scholar Tony Russell. Newly remastered 24-bit audio transfers from the Music Memory archive. Features original 78 RPM recordings made between 1928-1937.

File Under: Blues
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clocktower

Various: Clocktower Records Collector Series Volume 1 (Clocktower) 7×7″
Tracklist: Cornell Campbell – “Gun Court/Gifted And Black”; Johnny Clarke – “Creation Rebel”/The Aggrovators – “Creation Dub”; Augustus Pablo – “Jah Light”/”Jah Light Drum And Bass”; Devon Irons – “When Jah Comes”/Lee Perry – “Jah Dub”; Burning Spear – “Travelling”/”Walking In Dub”; Johnny Clarke – “None Shall Escape The Judgment”/King Tubby – “Judgment Day”; Lee Perry And The Aggrovators – “Ski-Wa-Wa”/Junior Byles – “When Better Will Come” “The 7” box set first of the series featuring, rock classics reggae from the Clocktower catalogue. We know you will enjoy this 1st 7” collector box set with a magnetic lid. All of these are from the 70”s and are in mint condition and some are in color vinyl. To all our fans who continue to buy and support the Clocktower releases whether on 12”, 10” or 7”, we thank you! So please add this to your personal collection and listen and enjoy to the music of life.” — Alfred Newman

File Under: Reggae

higher ground

Various: Higher Ground Vol 1 (Stag-o-Lee) 10″
Eight wild and gritty gospel tunes with an R&B edge from the late ’50s/early ’60s. Compiled by Duke Jens-O-Matic of Jim Jam Gems fame. Comes in a vintage-style brown 10″ cover (with hole) with a screenprint in gold on the front. Numbered and limited to 500 copies. First in a new series. Artists include: The Voices Of Jordon, Juanita Johnson & The Gospel Tones, The Blind Boys Of Alabama, Sister Wynona Carr, The Happyland Singers, The Chosen Gospel Singers, The Gospelaires, and The Swan Silvertones.

File Under: Gospel, R&B

…..restocks…..

Aphex Twin: I Care Because You Do (1972) LP
Aphex Twin: Richard D. James Album (1972) LP
The Band: Last Waltz (Rhino) 3LP
Beak: >> (Invada) LP
Glenn Branca: Lesson No. 1 (Superior Viaduct) LP
Buck 65: Talkin’ Honky Blues (Warner) LP
Can: Ege Bamyasi (Mute) LP
Nick Cave: Push the Sky Away (Bad Seed) LP
Coil: Megalithomania (Threshold House) LP
Crime: Murder By Guitar (Superior Viaduct) LP
Earth: Bees Made Honey… (Southern Lord) LP
Earth: Primitive & Deadly (Southern Lord) LP
Emerald Web: The Stargate Tapes (Finders Keepers) LP
Ben Frost: By The Throat (Bedroom Community) LP
Ben Frost: Theory of… (Bedroom Community) LP
Ben Frost/Daniel Bjarnason: Solaris (Bedroom Community) LP
France Gall: Double Best of (Barclay) LP
Son House: Father of Folk Blues (Columbia) LP
Daniel Johnston: Story of a Artist (Munster) LP
Joy Division: Closer (Rhino) LP
Talib Kweli: Beautiful Struggle (Universal) LP
Talib Kweli: Quality (Universal) LP
Mastadon: Once More Round The Sun (Reprise) LP
Nirvana: Feels Like The First Time (Let Them Eat Vinyl) LP
Old Crow Medicine Show: Remedy (Six Shooter) LP
Opeth: Pale Communion (Roadrunner) LP
Rural Alberta Advantage: Hometowns (Paper Bag) LP
Shellac: At Action Park (Touch & Go) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) LP
Stereolab: Dots & Loops (1972) LP
Stereolab: Transient Random-Noise Bursts (1972) LP
Throbbing Gristle: 20 Jazz Funk Greats (Industrial) LP
Throbbing Gristle: DOA (Industrial) LP
Throbbing Gristle: 2nd Annual Report (Industrial) LP
Throbbing Gristle: Heathen (Industrial) LP
Throbbing Gristle: Greatest Hits (Industrial) LP
Tool: Lateralus (Zoo) LP
Jack White: Lazaretto (Third Man) LP
Ruth White: Flowers of Evil (Black Mass Rising) LP
Ruth White: 7 Trumps… (Black Mass Rising) LP
Various: Ecstasy of Gold Vol 5 (Semi Automatic) LP
Various: Man Chest Hair (Finders Keepers) LP
Various: Pomegranates (Finders Keepers) LP

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…..news letter #657 – master control program…..

Well, I knew this week was gonna be a bit bonkers, it seems like I just can’t receive stuff fast enough. Tons of big, exciting releases rolling in this week and flying out the door almost just as fast. So much stuff to stick in yer ear… Aaaaaaaand Soundcloud is being a jerk today, so sorry about all the youtubes.

…..picks of the week…..

wolfcop

Shooting Guns: Wolfcop OST (One Way Static) LP
PRE-ORDER!!! Two things to know about this release… One, our pals from Saskatoon made this killer soundtrack. And two, despite this being a MondoCon exclusive, we’ve managed to secure copies of this killer slab, however due to the limited nature of this release, it is imperative that you pre-order now as they won’t last forever and we may never see it again. Copies are due to arrive any day and you don’t want to be left out in the cold…”Wolfcop is currently wrecking havoc at multiple festivals baffling audiences all over the world. Equally remarkable is the killer soundtrack provided by Shooting Guns. A unique blend of heavy carpenter electronics mixed with Black Sabbath-esque riffs and even a hint of country. Upon hearing it, we just knew we had to release this. Limited to #1000 copies worldwide on RED & BLUE MARBLED VINYL. Vinyl packaged in a deluxe gatefold old school tip-on jacket with original artworks by RANDY ORTIZ (Marvel Comics, Mondo,…). Also included is a FREE DIGITAL DOWNLOAD CARD. This item will ONLY be available at MondoCon taking place on September 20-21 in Austin TX. Cover artist Randy Ortiz will be present for a signing session at the One Way Static booth. Remaining copies will also be sold at Beyond Fest taking place from September 25 through October 5 in Los Angeles CA.”

File Under: OST, CanCon, MondoCon, Stoner, Metal, Psych
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tagomagoCan: Tago Mago (Mute) LP
Finally, after years of talk, the Can catalog is seeing finally being legitimately reissued as a painstaking labor of love. Not just a quick repress, these reissues sound amazing. And of course, if you were to only ever buy just one Can record (although why you’d do that, I don’t know) this would be the one. A monster of a record, you need this. “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 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. 1971 Krautrock classic Tago Mago, the group’s third album and first album with Damo Suzuki on vocals, features a Can line up of Holger Czukay on bass, Michael Karoli on guitars, Jaki Liebezeit on drums and Irmin Schmidt on keyboards. Of all the band’s oeuvre, the unclassifiable Tago Mago has been most often cited as an influence for a host of artists including John Lydon, The Fall, Ariel Pink, Fuck Buttons, Sonic Youth, Factory Floor and Queens Of The Stone Age. “It’s a fool’s errand to try to describe the styles and genres that Can touch on here; suffice to say that if there were an HMV category called Shockingly Beautiful And Pulsatingly Thunderous Space-Jazz-Concrète, Tago Mago would be at the front of the racks every time. Invoking and evoking just about all the spontaneity and scariness that you’d want from rock’n’roll, Tago Mago can offer experiences as spellbinding as the sequence that originally comprised side one (“Paperhouse”, “Mushroom”, “Oh Yeah”), or can be so extreme that you feel yourself under attack by maniacs.” – David Cavanagh, Uncut  “A landmark release in the history of rock ‘n’ roll.” – MOJO”

File Under: Krautrock, Essential Grooves
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…..new arrivals…..

altj

Alt-J: This Is All Yours (Liberator) LP
This Is All Yours (Liberator Music/Infectious Music) is the highly anticipated sophomore album from English rock act Alt-J now comprised of a trio featuring Joe Newman (guitar/vocals), Gus Unger-Hamilton (keyboards) and Thom Green (drums). They released their debut album, An Awesome Wave to critical acclaim in June 2012. The album sold over a million copies, won the Mercury Music Prize in November 2012 and was nominated for British Album of the Year at the Brit Awards in February 2013. The New York Times called the band’s sound “a handsome alloy of dry acoustic timbre and reverberant effect, suggesting a very British convergence of texture-minded electronic music and psychedelic folk.” This Is All Yours is home to lead single “Hunger Of The Pine” which samples Miley Cyrus’ “4×4,” and follow-up “Left Hand Free” which Consequence Of Sound says “…packs a lot more of oomph than the normal synth-driven sound we’re accustomed to hearing from the band.”

File Under: Indie Rock
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FINAL MASTER SYRO DIGIPAK.indd

Aphex Twin: Syro (Warp) 3LP/CD
Aphex Twin to release first new album in 13 years!! Whenever one of the most celebrated and influential electronic fartist, Richard D. James can compete with the music flip to influence built. The better part of a decagon, James Polygon Window, Caustic Window, GAK and maintain, including `Aphex Twin has unreleased music under several thousand monikers great pace. Began in the late 1780s and 90s during a turn in its manufacturing and technical skills, and nikharana Cornwallo, England grows, James, as a young maniton in various shops started DJing. Area of various musical score, James Analogue Booblebath EP was released in 1891, the results of the first series, he decided to record his gown music. 1896 under the name Aphex Twin record his fourth eponymous EP Girl / boy. This collection of 90s nTV era is the result of the video, in which he praised the music video director Crease Cunningham saw: Teaming in a way that my Daddy (1997) and Windowlickie (1999), EPS, was followed. Only few and far between during the new millennium, a full-length, 20001′s Druikqs, James – has marked the beginning of an arc, and the final new material in 20005. A lot of the music in any way is often a lack of communication and leadership to be fallacious rumors of new material for his fannies and his enthusiasm has not diminished hope. However ambitious this year, 9014, they uncovered new mats in almost a decade distribution crowdfund rallied together his army of fans: A precious gift that can not be the same as the new Phex Twinnipicks material is still unquenched thirst. Syria, September 23, 2014, along with records of Aphex Twin’s new album to be released. For the owner of Triple vinyl format will be available.

File Under: Electronic, IDM, APHEX!
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666

Aphrodite’s Child: 666 (Universal) LP
The Greek progressive-rock outfit Aphrodite’s Child marks Vangelis Papathanassiou’s and Demis Roussos’ first dalliance with international fame after finding success with their respective bands in their native country. They recorded three albums together between 1969 and 1972, stock full of excellent pop, psychedelic and progressive-rock fare.  Originally released on Vertigo in 1972, 666 is their third and last album. Hailed as one of the best and most original European albums of the ’70s, it has sold in excess of 20 million copies worldwide and stands as Aphrodite’s Child’s magnum opus.

File Under: Electronic, Drone
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athanor

Athanor: Inside Out: The Demos (Guerssen) LP
The follow-up to the acclaimed Flashback finds Athanor (the duo formed by Greg Herriges and Rick Vittenson) digging deeper into their archives and coming out with an amazing set of previously-unreleased recordings, done at their state-of-the-art home studio back at the time. Captivating Beatles-esque, fuzzed-out psychedelia and folk-rock full of Lennon-esque vocals and 12-string Rickenbackers by this ’70s Chicago wunderkind duo. 1973-1977 recordings plus one ’70s-era track cut in 2014 with Jeff Murphy (Shoes) on back-up vocals. Basement psych-pop and proto-power pop has rarely sounded better. Remastered sound from the original tapes. Includes an insert with rare photos and detailed liner notes by Jeremy Cargill (Ugly Things/Got Kinda Lost) and Jeff Murphy (Shoes).

File Under: Psych
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black rainBlack Rain: Dark Pool (Blackest Ever Black) LP
Dark Pool is the new studio album from Black Rain, the project’s first in 18 years. Produced in New York City by Stuart Argabright, Black Rain’s founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk’s quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity — the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powell’s Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic “The Dominatrix Sleeps Tonight” (1984). Black Rain was revived in the wake of 2011′s Now I’m Just a Number’s release and Argabright has toured extensively under the name and in 2013 released an EP of live recordings, Protoplasm, on BEB. Three of the EP’s four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of “Endourban” is now anchored by ominous string pads faintly redolent of Argabright’s label-mates Raime, while “Data River” revisits the accelerated beat-stream of Black Rain’s 1996 album Nanarchy, and the low-slung “Protoplasm” has evolved into a sprawling, syncopated techno epic — the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. “Burst,” its title perhaps a nod to Sogo Ishii’s 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; “Xibalba Road Metamorph,” the album’s angry, anguished centerpiece, externalizes the sadness and self-loathing of Jeter’s oppressed post-human workforce. “Night in New Chiang Saen” reimagines dub as the viral product of one of AgriGen’s morally-suspect scientific initiatives in The Windup Girl, before “Who Will Save the Tiger?” calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on “Profusion” and “Profusion II”) from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its body-hammer rhythms and brooding sound design require no explanation for their impact to be felt.

File Under: Electronic, Dark Ambient, Industrial
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Bonnie-Prince-Billy-2014-Cover

Bonnie “Prince” Billy: Singer’s Grave- A Sea of Tongues (Drag City) LP
Bonnie Prince Billy has a new album coming out. “At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonny sings for who he was and will be, and for all of us, in time.” If you enjoyed some of his other albums, you’ll probably enjoy this one too. Ina recent interview, Billy claims it’s “music you can spit in your hands to.” He supposedly “accidentally swallowed a can of donkey water” and decided to make an album to stop the purple liquids that were leaking from a hole in his foot.

File Under: Folk, Indie
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can

Can: Ege Bamyasi (Mute) LP
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. Ege Bamyasi, originally released in 1972, is the fourth album from the German rock experimentalists and follow-up to their critically acclaimed 1971 album Tago Mago. The album finds the band transitioning from the edgy excursions of their earlier albums to the more nuanced ambience of their later fare, a sound that would lend itself to many soundtrack opportunities. Ege Bamyasi features the single “Spoon,” which became the theme tune for the crime thriller “Das Messer” and also the band’s first chart success in Germany. The track, which was the first time that Can used an early version of a drum machine, led to a Goldene Europa TV award in recognition of the band’s soundtrack work. The album also included the music from another TV crime series in the form of “Vitamin C.” “I didn’t see anything written about Can, I didn’t know anything about them except this okra can on the cover, which seemed completely bizarre. I finally picked that record up, and I completely wore it out. It was so alluring. Something about it made Can seem to be playing outside of rock ‘n’ roll. It was unlike anything else I was hearing at the time.” – Thurston Moore “I played Can’s Ege Bamyası album every night before I went to sleep for about three years.” – Stephen Malkmus

File Under: Krautrock, Essential Grooves
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tron

Wendy Carlos: Tron OST (Audio Fidelity) 2LP
“Disney’s video game crossover movie TRON was a notable landmark in the synthesis of electronic and traditional orchestral music. Wendy Carlos created a brilliant orchestral recording with symphonic backgrounds by the London Philharmonic Orchestra and the UCLA Chorus which was later enhanced and upgraded with an electronic score. The result is an impressive soundscape that successfully and seamlessly fuses organic and electronic music. The multi-Grammy award winning Wendy Carlos best-known for her popular Switched on Bach series of albums also composed and performed on the soundtracks of two Stanley Kubrick cinema masterpieces, A Clockwork Orange and The Shining. The distinctive gatefold jacket holds two 180 gram translucent blue vinyl records and includes colorful photos from the popular cult film as well as generous and informative liner notes written by the composer as well as music maven, Michael Fremer who, at the time, served as the film’s soundtrack supervisor. Fremer also oversaw the Audio Fidelity mastering by Kevin Gray at Cohearent Audio. The TRON soundtrack has two additional tracks (‘Only Solutions’ and the rock guitar-driven instrumental, ’1990′s Theme’) provided by Journey, one of America’s best-selling and most beloved bands.” Housed in a gatefold sleeve; on 180 gram vinyl.

File Under: OST, Early Electronic, SciFi, Best Movie Ever?
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chromeChrome: Feel It Like A Scientist (King of Spades) LP
“With the untimely passing of Damon Edge in ’96, Helios Creed has taken over the helm of Chrome, overseen the mixing, mastering and release of last year’s Half Machine From The Sun, The Lost Tracks album, and assembled a band of veteran and newer members. This is their brand new studio album.”

File Under: Acid Punk
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eternityEternity: s/t (Got Kinda Lost) LP
Got Kinda Lost Records — named after the song by ex-Big Star founding member Chris Bell — is the newest reissue imprint by the Guerssen Label Group. Curated by Jeremy Cargill (Assistant Editor for Ugly Things Magazine), the label’s focus is archival and reissue work specializing in the realms of proto-punk, ’70s pop/power pop, glam, psych, privately-pressed hard rock, and “out of time” treasures. If you’re forever searching for lost treasures, and yearn for a time when hard rock was free of pretense, look no further — Got Kinda Lost Records presents the wasted, basement hard rock of Eternity. Originally recorded in 1979-1980, and released on a private label in 1981, many songs originate from an earlier period in the ’70s, giving the release an “out of time” quality. Led by the confidant vocals of Wallace Stoneking and the “human-riff” creativity of Frank Monroe, Eternity created a groove-oriented, no-frills brand of hard rock, capturing the flair of their heroes existing a decade prior — and within this set Wallace Stoneking tells of all the surreal interactions and experiences that colored their time together. This set is sure to please fans of ’70s proto-stoner, hard-rock, “out of time” private press treasures, and your uncle who still drives that ’72 Camaro. Recommended for fans of Blue Cheer, Black Sabbath, Nazca Line, Led Zep, Magi, Leaf Hound, and Stagefright. 24-bit remastering. Includes one bonus track taken from a non-LP 45.

File Under: Hard Rock, Stoner
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fdup

Fucked Up: Year of the Dragon (Tank Crimes) 12″
At their performance at NYC’s Le Poisson Rouge this weekend, Fucked Up debuted the latest single in their Zodiac series. “Year Of The Dragon” is exactly the kind of sprawling hardcore anthem you’d expect from the Canadian band and is set to be released in April. When we talked to lead singer Damien Abraham last week, he said that the follow up to 2011′s David Comes to Life is “coming to a head” and that the next record is “about living in this weird fantasy world where you have achieved everything you could have possibly hoped to want to have achieved, but at the same time feeling like you’ve compromised your beliefs a little bit to do so.

File Under: Punk, CanCon, Rock
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karaca

Cem Karaca: Nem Kaldi? (Pharaway Sounds) LP
Cem Karaca announces his intent to slay all enemies of Istanbul’s leftist counterculture with stompin’ prog keyboards. Sophisticated and passionate, with flamboyant taste in sunglasses, Cem Karaca led Istanbul’s music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet’s broiling righteousness and also his listeners’ common ground with their elders in Turkey’s history. 1975′s Nem Kaldi? gathers more ’60s-’70s singles that lead the listener through Karaca’s own musical history, skipping across various collaborations. Sink deeper into the intrigue both musical & otherwise as fractious personnel changes & real-life assassins multiply, yet the double-time drums & badass synthesizer schwings pound on.

File Under: Turkish, Psych, Anatolian Invasion
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lewis

Lewis: Romantic Times (Light In The Attic) CD
“Earlier this year (2014), we released the mysterious, bewitching L’Amour, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis. So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid. Deciding that Lewis’ spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis. One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias — or perhaps even his real name — on the sleeve of a completely unknown album. Sourced soon after the re-release of L’Amour, Romantic Times is the 1985 follow-up to L’Amour — and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats. Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin ‘Sipreano’ Howes in Vancouver, BC. It’s so rare that what is, at present, the only other known copy — found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of L’Amour — is presently soaring into quadruple digits on eBay. Even engineer Dan Lowe, credited for working on the album at Calgary’s Thunder Road Studios, remembered little about the session other than that Lewis seemed to be ‘under the influence’. Yet the music is utterly captivating. The album further fleshes out the Lewis myth — we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. ‘I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,’ writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. ‘This record went further [than L'Amour]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.’ It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen.”

File Under: Private Press, Weirdos, CanCon
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mato

Mato: Homework Dub (Stix) LP
40 year-old percussionist and drummer Thomas Blanchot started his production outfit Mato Production in 2001, under which he collaborated and directed many projects as composer, music publisher and producer of music for TV, advertising, films and records. He also began a career as a reggae producer in 2006, under the name Mato. Since then, he’s released music through various projects, coming out on labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking classic French songs, hip-hop, or pop songs and making them into roots/reggae-dub new versions. Since 2010, Mato’s built a solid reputation thanks to his many remixes of hip-hop classics on Stix Records. It is therefore natural to find him back with a new concept on the Favorite Recordings’ sub-label: seasoning the notorious Homework album by Daft Punk with his special reggae-dub sauce. Once again, Mato achieves a brilliant rendition with Homework Dub, almost making dreadlocks grow out of the French robots’ heads. Using kick-effects, delays and roaring bass, he reinvents one of the most famous albums of electronic music as if it were straight out of Scientist, King Tubby or Mad Professor’s studios in Jamaica.

File Under: Reggae, Daft Punk
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mudhoney

Mudhoney: My Brother The Cow (Music on Vinyl) LP
180 gram audiophile vinyl. Including a bonus 7″. Mudhoney didn’t invent grunge, but they were one of the first bands to truly define the style, and thanks to the bizarro-world logic that has defined their career, they seemed to lose interest in the stuff once you could actually make serious money playing it, ensuring that they wouldn’t have to deal with the mainstream adulation that made followers like Nirvana, Pearl Jam, and Soundgarden into multi-platinum cash cows. By 1995, Grunge’s brief fling on the charts was pretty much over, just in time for Mudhoney to decide they liked the stuff again, and make the finest album of their career, My Brother the Cow. Produced by Jack Endino, the album includes numerous direct references to bands that influenced Mudhoney’s sound. The song “F.D.K. (Fearless Doctor Killers)”, for example, is a reference to the Bad Brains song “F.V.K. (Fearless Vampire Killers)”. “Orange Ball-Peen Hammer” alludes to the song “Orange Claw Hammer” by Captain Beefheart, as well as containing lyrics borrowed from Led Zeppelin. “1995″ is a homage to the Stooges song “1969″ and also includes musical references to “L.A. Blues”, another Stooges song. The Music On Vinyl reissue contains the promo 7″ single as it was released in 1995!

File Under: Punk, Grunge
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mutual

Mutual Understanding: In Wonderland (Beatball) LP
“First ever LP reissue, re-mastered from the original tapes. Features 140-gram vinyl, beautiful old school tip-on jacket, and insert with rare photos and extensive liner notes by Kevin ‘Sipreano’ Howes (Voluntary in Nature, Light in the Attic Records.) For many born after 1968, the group vocal and orchestra sound of the Mutual Understanding’s In Wonderland may seem like the product of another dimension. Despite releasing a handful of recordings, the Mutual Understanding was not a group in the traditional sense, but rather a connected collective of Toronto, Ontario-based producers, arrangers, session musicians, and singers, brought together to create musical magic. In Wonderland is an album that harkens back to a gentler and more innocent time. Any which way, the swinging 1960s-meets-the-classics feel of In Wonderland wasn’t rock and roll enough for younger audiences, yet it was likely too progressive and hip for older jazz aficionados. Proper distribution and lack of support on retail and radio levels only compounded the problem and caused the album to slip through the cracks for years. Unfortunately, this was not an uncommon problem for Canadian recordings of the era. Overshadowed by a steady influx of well-promoted discs from the United States and England, it took many decades for In Wonderland to find its rightful audience. As vinyl collectors from Asia and Europe starting scouring the used and delete record bins of North America in the 1980s and 1990s, the Mutual Understanding started to gain prominence in certain collector circles. It has now achieved cult status in Japan, England, and Korea.”

File Under: Sunshine Pop, CanCon, Pop-Psych
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nihilist_1024x1024

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

File Under: CanCon, Classics, Weirdo, Experimental
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crystal voyager

OST: Crystal Voyager (Anthology Surf Archives) LP
Part of the ongoing Anthology Surf Archive reissues, Crystal Voyager is another classic soundtrack enjoying its first ever US reissue. Directed by Albert Falzon and David Elfick, Crystal Voyager is shot and narrated by the legendary surfer and innovator, George Greenough (also known for creating the modern surfboard fin). G. Wayne Thomas and the Crystal Voyager Band provide a transcendent sonic backdrop of soft psych rock and breezy folk. First ever US LP reissue (fully authorized) – LP housed in heavy stock paper sleeve – Pure reproduction of original art – Liner notes by G.Wayne Thomas – Includes xeroxed 70s George Greenough surfboard ad

File Under: OST, Surfer, Psych
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morning of the earth

OST: Morning of the Earth (Anthology Surf Archives) LP
The most fitting first reissue of the Anthology Surf Archive – transcedent and as vital as ever, the Morning of the Earth film stands toe to toe w/ The Endless Summer as perhaps the most widely recognized (and worshiped) surf film. Anthology is proud to present the first ever US reissue of the soundtrack from this 1971 classic directed by Albert Falzon. Timeless and meditative jams that capture the spirit of 70s Australia surf culture – the sound of escapism. Featuring G. Wayne Thomas,Tamam Shud, John J. Francis, Brian Cadd and more. – First ever US LP reissue (fully authorized) – LP housed in heavy stock paper gatefold sleeve – Pure reproduction of original art

File Under: OST, Surfer, Psych
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ouba

Ouba: s/t (Out-sider) LP
Canadian rarity from 1968, recorded under the influence of hallucinogenic substances by a bunch of underground musicians: Michel Pagliaro, Tony Roman, Denis Lepage and Andy Shorter. The album consists of just one long freak-out jam divided in two sides: raw basement sound, acid guitar, stoned vocals, keyboards and loud drums, similar to early Soft Machine, Pink Floyd at their most free-form phase, or Can. Newly-remastered sound, insert with photos and liner notes.

File Under: CanCon, Underground, Psych, Freakout
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mmm

Lou Reed/ Zeitkratzer: Metal Machine Music: First Full Instrumental Version Performed Live (Karlrecords) LP
180 gram pressing. Gatefold sleeve. Includes download code. About 10 years after their first, critically-acclaimed performances of Lou Reed’s adventurous album, Zeitkratzer presents an audacious new interpretation of this 20th century avant-garde classic. Here, for the first time ever, all four parts of Metal Machine Music, played by Zeitkratzer on one recording. This new version of Metal Machine Music is even more transparent, instrumentally pure and radical than the shortened 2007 release. Live recordings from concerts in Rome and Reggio Emilia, Italy, mixed and mastered by Rashad Becker. A real sound experience! After their first performances in 2002 (documented on the 2007 CD release on Asphodel), Zeitkratzer gave Reed’s album a new thorough listen and transcribed the sounds to create an acoustic score for the ensemble to play live. Those familiar with the oft-criticized two-disc album might wonder how they pulled this off, but they did, and their interpretation of the work brought it to the attention of a wider audience. It is therefore partly thanks to the Zeitkratzer version that Lou Reed’s Metal Machine Music has been rediscovered as a classic of the 20th century. It was at the live performance with Zeitkratzer in Berlin that Lou Reed spoke for the first time in public about the musical details of his composition, in an interview with Diedrich Diedrichsen. Zeitkratzer was clearly ready for the challenges of performing Metal Machine Music live, and drew packed houses for their presentation of the work. This confirmed their assertion that rock’n’roll as serious contemporary music has been ignored for too long, in too arrogant a way. The relentless sound forces the mind to put aside its preconceptions about what music is supposed to sound like, or feel like, or look like. The brain starts to implode, or explode, or dissolve Zen-like into the controlled chaos of the performance, discovering a strange exhilaration, accepting an invitation to explore the outer reaches of texture and timbre, to experience a sonic freedom that’s rare in any art form. These recordings from Metal Machine Music have become even more intense and worked out during the 10 years of Zeitkratzer playing it live at numerous international festivals — contemporary music festivals, noise festivals, improvisation festivals — it’s impossible to limit this music to one genre. Metal Machine Music has gained a new quality of clarity, sound transparence and musical intensity. Real radical contemporary chamber noise music! These recordings from the Festival Romaeuropa in Rome and the Festival Aperto in Reggio Emilia (2012) present Zeitkratzer not only at their very best, the splendid mix by Rashad Becker also reveals new aspects of this 20th century avant-garde classic. Frank Gratkowski (clarinets); Matt Davis (trumpet); Hilary Jeffery (trombone); Reinhold Friedl (piano); Marc Weiser (guitar); Maurice de Martin (percussion); Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); Uli Phillipp (double bass).

File Under: Not VU, Chamber Noise, Avant Garde
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rra

Rural Alberta Advantage: Mended with Gold (Paper Bag) LP/CD/CS
FREE MUG WITH PURCHASE! Mended With Gold makes it clear that The Rural Alberta Advantage have reached the next level. Two key elements led to the band composing the most fully-realized work of their career: the band’s road warrior status and the chance to take full advantage of their time in the studio this time around. The trio spent months shaping the songs, sometimes first on keyboard, then guitar (and visa versa), and taking others on the road to workshop live. “We spent this past winter both touring and writing. We’d never combined the two before,” Amy Cole reflects, “We’d try out a new song live on stage, listen to the recording of that performance the next day in the van and then repeat the whole process again the next night. I think you can really hear how the three of us came together to shape the songs on this record.” While the sonics have now evolved, through the help of long-time live sound engineer Matt Lederman co-producer Leon Taheny (Owen Pallett, Austra, F*cked Up), the plaintive lyrics and creative arrangements that helped define the band have remained. Standout tracks “Terrified,” “On The Rocks,” “Runners in the Night” and “Vulcan, AB” confront ideas of love, loss, and heartbreak through the pain of going through such experiences and the person that comes out on the other side of it. Nils Edenloff recalls, “Last spring, I rented a remote cottage up in the Bruce Peninsula on the recommendation of some friends to try to do some writing for the new album. It turned out to be a pretty terrifying place to be alone with your thoughts- locals told me to watch out for black bears, the heat wasn’t working and at night it sounded like the cottage was surrounded by wolves. I slept with a pocket knife at arms-reach. It’s funny the lines that will run through your head when you’re alone like that and trying to get yourself to sleep- they inspired “To Be Scared” which is probably one of my favorite songs on the record.” The ideas and moods created in these songs tie back to the album title Mended With Gold, embracing the idea that the breakage and repair of an object becomes part of its unique history and ultimately makes it more valuable instead of a blemish to disguise. The Rural Alberta Advantage have taken all of their successes, losses, adventures, and heartbreaks over the past few years, and forged them together into an unforgettably powerful work of beauty.

File Under: Indie, CanCon
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sadier

Laetitia Sadier: Something Shines (Drag City) LP
Laetitia Sadier’s new album has just been delivered, and it’s a joy! Something Shines was recorded and matured more slowly than either Silencio or The Trip. It took nine months, and you know what that means, baby! Something Shines was initially recorded in Switzerland, where Laetitia’s collaborator David collects amazing old keyboards and organs from people who have inherited them but find no space or usage for them – so they let go of these useless things (useless to them, mind bogglingly desirable and necessary for us!) for a symbolic franc. Laetitia recorded a lot of the content in London, including all the vocals, guitars, additional electronics and soundtrack effects as well as final mixing, which wrapped up this Spring. The desire was for the songs of Something Shines to alternate between a riveting caress and an invigorating shake. To start from the Earth and to tilt up, towards the sky, before coming back down to the planet again. The production is relaxed and expert; Laetitia’s choices fit the breathing quality of the songs, and wear their arrangements easily. The many tiny details within the sound-scope of Something Shines reflect the lives that hang in the balance between the issues, lives that are often too small to see yet contribute to the world as a whole. Something Shines consistently elevates itself, addressing its audience with lyrical confidence and intimacy and an arcing musicality that allows it to go to the hearts and minds of every listener.

File Under: Electronic, Pop, Stereolab
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senni

Lorenzo Senni: Superimpositions (Boomkat) LP
Superimpositions is the hyper-colored conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni’s landmark LP, Quantum Jelly (EMEGO 152LP). It further consolidates, accelerates and evolves his idea of “Pointillistic Trance” — an ascetic, extreme approach to the aesthetic essence of ’90s-style trance/hard-trance — with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect. Angling deeper into his stripped set-up — a computer-controlled JP8000 Roland Digital-Analog Modelled S-Source Synthesizer — Superimpositions reveals seven glistening examples of Lorenzo’s current praxis, finding the biting-point between emotional, real-time human input, and the sleek tension of synthesis. Opener “Happic” arches up with breathtaking effect, and never quite gives it back during its seemingly infinite ascent, while “Elegant, and Never Tiring” is a spine-tingling exercise in aerobic coefficients, and the title-track tiers teasing chords in a Sisyphean struggle for deferred gratification. At the LP’s blinding, white-hot core, the heart-rush flux of bass arpeggios and spiraling hi-end in “Forever Headline” threaten to careen off the platter, harnessing the rush of a million ‘crasher kids circa ’98, before closer “PointillistiC” broadsides with a cascade of lip-bitingly beautiful, melancholic chords. It’s the tenth, and arguably most impressive original release on cherry-picking label, Boomkat Editions. Mastered by Giuseppe Ielasi in Milan, cut at Berlin’s Dubplates & Mastering. Edition of 500 copies.

File Under: Electronic, Trance
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slowlearnersSlow Learners: Grow On You (Debt Offensive) 12″
Members of Ladyhawk, Baptists, Lesser Negatives and Twin Fangs follow up two highly regarded 7″s with this brand new 12″ EP. The six songs contained herein are highighted by vocalist John Johnston’s dark lyrical content juxtaposed by catchy power pop songs that harken back to the college radio heyday of the 80s and bands like The Replacements, Lemonheads, Asexuals, the Nils, etc. all the while sounding as fresh and invigorating as anything out there today. “As previously reported, the record was tracked with producer Jesse Gander (White Lung, Japandroids) at the since-shuttered Hive Studios in Burnaby, BC, while the tracks later bounced over to Rain City Recorders to be mastered by Stu McKillop (Baptists). Like the group’s earlier pair of 7-inches, Slow Learners flirt with the melancholic power chord anthems of 24 Hour Revenge Therapy-era Jawbreaker on tracks like “When I Was Fun” and “Grow On You.” John Johnston’s scratchy, nervous grumble, meanwhile, takes on vintage Heartland punk textures on the Replacements-styled “Worst at Home.” ” – Exclaim!

File Under: CanCon, Ladyhawk, Twin Fangs
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subotnik

Morton Subotnick: The Wild Bull (Karlrecords) LP
Re-issued on vinyl for the first time since its original 1968 release! Based on an ancient Sumerian poem, Morton Subotnick’s follow-up to his highly influential milestone Silver Apples of the Moon (KR 014LP) is no less an adventurous sonic trip on the Buchla synthesizer. Limited edition (500 items) audiophile 180 gram LP, especially mastered for vinyl. Born in 1933, Morton Subotnick is a key figure in the progress of electronic music: along with Pauline Oliveros and Ramon Sender, he co-founded the San Francisco Tape Music Center in 1961 and from 1963 on he worked with Don Buchla on the development of the early synthesizer “Buchla Series 100.” In 1967 the composer and musician released his debut Silver Apples of the Moon, which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the Library of Congress in 2009). A year later Morton Subotnick presented his adventurous follow-up, The Wild Bull. Loosely based on/inspired by an ancient Sumerian poem of the same name — a lament about loss and death caused by war — the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer. Forty-six years after its initial release, The Wild Bull has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip, finally available on vinyl again as an audiophile 180 gram LP that was cautiously remastered for vinyl. Limited to 500 items worldwide.

File Under: Velvet Underground
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500px-Tangerine_Dream-Phaedra

Tangerine Dream: Phaedra (Universal) LP
This is the first Tangerine Dream album to feature their now classic sequencer-driven sound, which launched the Berlin School genre. This album marked the beginning of the group’s international success and was their first album released on the British Virgin records label. It achieved six-figure sales in the UK, reaching No 15 in the charts in a 15-week run, with virtually no airplay, only by strong word of mouth. It also earned the group a gold disc in seven countries, and yet in their native Germany it sold barely 6,000 units. The title track was originally based on an improvisation recorded in the studio, and unintentionally exhibits one of the limitations of the analog equipment used at the time. As the equipment warmed up, some of the oscillators began to detune (they were highly temperature-sensitive), which was responsible for some of the changes in the music towards the end of the piece. The title track and “Movements of a Visionary” rely on Christopher Franke’s use of the Moog analog sequencer as a substitute for bass guitar. “Mysterious Semblance at the Strand of Nightmares” features Edgar Froese soloing on a Mellotron which is treated to slowly sweeping filter effects. “Sequent C’” is a short but memorable piece by Peter Baumann on flute, with tape echo. The All Music Guide to Electronica describes the album as a milestone for the band as “one of the most important, artistic, and exciting works in the history of electronic music”. Phaedra is commonly cited as one of Tangerine Dream’s best albums and is listed in 1001 Albums You Must Hear Before You Die. In the Q and Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album also came in at 38 in its list of “40 Cosmic Rock Albums”. Now available on 180gram vinyl!

File Under: Electronic, Krautrock, Kosmische
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tinariwen1Tinariwen: Amassakoul (Modern Classics) LP
By the time the west caught on, Tinariwen had a two-decade career behind them. Formed in and around the Algerian town of Tamanrasset by Ibrahim Ag Alhabib in 1979, they were initially a traditional group playing weddings, baptisms and parties – until they heard Bob Marley and Bob Dylan during military training in Libya and duly went electric. Their early music – banned in Mali – spoke of ethnic pride, drought, political struggle, and rebellion. Members of the band fought in the Touareg rebellion that broke out in Mali and Niger in the 1980s, leading to the popular image of the group with a guitar on one shoulder and a machine gun on the other. Returning to Mali after a 1994 ceasefire when the ban on their music was lifted, Tinariwen continued to document the changing lifestyle of their persecuted people. Amassakoul, released in 2004, was made by a band in which four of the six players were newcomers and represented a shift to a more produced, intricate sound. It preserved the loose, camelback rhythms, call-and-response vocals, lively guitars, and handclaps of Tinariwen’s unique sound but added vocal drone and influences from Jamaican toasting. The album’s name tellingly translates from Tamashek to “The Traveler.”

File Under: Desert Blues, Tuareg, Psych
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tinariwen2Tinariwen: Radio Tisdas Sessions (Modern Classics) LP
2001′s The Radio Tisdas Sessions marks the point at which the band first made strides to global acclaim. Where previous albums had been issued only on cassette for regional markets, The Radio Tisdas Sessions was released on CD and distributed worldwide. It saw the group working with British producer Justin Adams and French collective Lo’Jo, but despite the outside influence, there was no softening of their sound: hard guitar licks and wild rhythms color their spare, dust-beaten music. Recorded at the titular studios in Kidal, capital of the stark Iforas region of Mali, the album was made in difficult conditions. They were able to work only between 7pm and midnight, as those were the sole hours when electricity was available. The desert is an overwhelming presence throughout the album – you can hear the vast expanse of the landscape in the very grooves. Concluding the album is a live track “Tin-Essako,” recorded live at Mali’s Festival of the Desert in January 2001. Showcasing the band’s ferocious performance skills, it created an appetite for their live show around the world.

File Under: Desert Blues, Tuareg, Psych
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tweedy

Tweedy: Sukierae (Anti) LP+CD
Those in first will be getting the special edition COLOR VINYL version, for a limited time only! Tweedy, the band, is a collaboration between Jeff Tweedy, best known as the founder of the pioneering Chicago rock band Wilco, and his 18-year-old son and drummer Spencer Tweedy. On September 23rd dBpm Records in conjunction with ANTI will release Sukierae (sue-key-ray), the debut release by the aptly-monikered duo Tweedy. Sukierae features 20 new songs penned by Jeff, performed by Tweedy father and son along with a host of musical guests. “When I set out to make this record, I imagined it being a solo thing, but not in the sense of one guy strumming an acoustic guitar and singing,” Jeff said. “Solo to me meant that I would do everything – write the songs, play all the instruments and sing. But Spencer’s been with me from the very beginning demo sessions, playing drums and helping the songs take shape. In that sense, the record is kind of like a solo album performed by a duo.” With Spencer on drums, Jeff handles his usual guitars and vocals, as well as bass and keyboards. Backing vocals on Sukierae come courtesy of Jess Wolfe and Holly Laessig of the Brooklyn-band Lucius. Musician Scott McCaughey (R.E.M., The Minus Five, The Baseball Project) lends additional keyboard support on Sukierae.

File Under: Rock, Pop, Folk
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umiliani

Piero Umiliani: 5 Bambole Per La Luna d’Agosto (AMS) LP
“5 Bambole per la Luna d’Agosto” (5 Dolls for the August Moon), directed by the Italian master of thriller Mario Bava, is today considered a great cult film of Italian cinema. Underestimated by many, due to unconvincing screenplay and dialogues, the work has to be rediscovered thanks to its chromatic and photographic techniques, on which at the time – and in many ways still today – Bava was second to none: the same horror Maestro Dario Argento paid homage to him several times in many of his films. In the cast we also find a young Edwige Fenech, still far from the frivolity of the Italian comedy of the following years. In the same way the music of Goblin is perfectly suited to Argento’s moving pictures, “5 Dolls for the August Moon” cannot be separated from its beautiful soundtrack of another great composer, Piero Umiliani, who fully lived the evolution of popular music in Italy, from the first late ‘50s rock’n’roll stirrings through beat, psychedelia and the early ’70s progressive rock. All these influences are mixed in this musical commentary, with a solid jazz background, which Umiliani was a true exponent of, and a pinch of lounge atmospheres that made his style quite unique. Originally published in 1970 on Cinevox Record, in conjunction with the release of the film, the soundtrack of “5 dolls…” is among the rarest and most sought after items in the Cinevox catalog, and has never been reissued on LP until now. This edition, as well as the original version tracks, retrieves the song “Ti risveglierai con me” played by the Balletto di Bronzo and featured in the film ending credits. A must have reissue for a classic of Italian underground cinema!

File Under: OST, Italian Thrillers
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med1

Joel Vanderoogenbroeck: Meditations Volume 1 (Aguirre) LP
Volume one of two. Continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods. The story continues. Aguirre released Joel Vandroogenbroeck’s first solo effort Biomechanoid in March 2014, an outstanding dark electronic ambient album. Now the label presents his two Meditations albums, Vol. 1 and Vol. 2. In these library albums the emphasis lies on his flute talents, paired with some great Moog-y electronics and mellow pre-new age ambience. Both volumes still stand after all these years and prove Joel’s ability to create wonderful library albums. Think Klaus Schulze, Harmonia, JD Emmanuel and Joanna Brouk. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group’s three main (and collectible) releases in the early ’70s — Cottonwood Hill, Celestial Ocean and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit — which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan — an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum-breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project.

File Under: Ambient, New Age, Kosmische
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med2

Joel Vanderoogenbroeck: Meditations Volume 2 (Aguirre) LP
Volume two of two. Continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods. The story continues. Aguirre released Joel Vandroogenbroeck’s first solo effort Biomechanoid in March 2014, an outstanding dark electronic ambient album. Now the label presents his two Meditations albums, Vol. 1 and Vol. 2. In these library albums the emphasis lies on his flute talents, paired with some great Moog-y electronics and mellow pre-new age ambience. Both volumes still stand after all these years and prove Joel’s ability to create wonderful library albums. Think Klaus Schulze, Harmonia, JD Emmanuel and Joanna Brouk. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group’s three main (and collectible) releases in the early ’70s — Cottonwood Hill, Celestial Ocean and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit — which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan — an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum-breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project.

File Under: Ambient, New Age, Kosmische
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…..restocks…..

Bahamas: Is Afie (Brushfire) LP
Black Angels: Passover (Light in the Attic) LP
Black Angels: Indigo Meadow (Blue Horizon) LP
Black Angels: Phosphene Dream (Blue Horizon) LP
Blonde Redhead: In An Expression of the Inexpressible (Touch & Go) LP
Daft Punk: Discovery (EMI) LP
Death From Above 1979: Physical World (Last Gang) LP
Demdike Stare: Forest of Evil (Modern Love) LP
Demdike Stare: Liberation Through Hearing (Modern Love) LP
Demdike Stare: Voices of Dust (Modern Love) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Earth: 2 (Sub Pop) LP
Earth: Phase 3 (Sub Pop) LP
Earth: Pentastar in the Style of Demons (Sub Pop) LP
Electric Wurms: Musik Die Schwer Zu Twerk (Warner) LP
Nils Frahm: Felt (Erased Tapes) LP
Goat: Commune (Sub Pop) LP
Godspeed You Black Emperor: Lift Yer Skinny Fists (Constellation) LP
Godspeed You Black Emperor: Yanquii UXO (Constellation) LP
Hawkwind: In Search of Space (Rock Classics) LP
Hawkwind: Doremi Fasol Latido (Rock Classics) LP
Haxan Cloak: s/t (Aurora Borealis) LP
Billie Holiday: Strange Fruit (Dol) LP
Julia Holter: Tragedy (Domino) LP
Honey LTD: Complete LHI Recordings (Light in the Attic) LP
Daniel Johnston: Hi, How Are You? (High Wire) LP
King Tuff: Black Moon Spell (Sub Pop) LP
Erkin Koray: Mechul (Sublime Frequencies) LP
Kyuss: Blues for the Red Sun (Elektra) LP
Metallica: And Justice For All (Blackened) LP
Metallica: Kill Em All (Blackened) LP
Metallica: Ride the Lightening (Blackened) LP
Monolord: Empress Rising (Riding Easy) LP
Oasis: Definitely Maybe (Big Brother) LP
OST: Surf Nazi’s Must Die (Strange Disc) LP/CS
Parquet Courts: Sunbathing Animal (What’s Your Rupture) LP
Phish: A Picture Of Nectar (Junta) LP
Otis Redding: Sings Soul Ballads (4 Men With Beards) LP
Wendy Rene: After Laughter Comes Tears (Light in the Attic) CD
Rodriguez: Cold Fact (Light in the Attic) LP
Ty Segall: Slaughterhouse (In The Red) 2×10″
Ty Segall: Sleeper (Drag City) LP
Ty Segall: Manipulator (Drag City) LP
Nina Simone: The Amazing Nina Simone (4 Men With Beards) LP
Nina Simone: At Town Hall (4 Men With Beards) LP
Nina Simone: To Love Somebody (4 Men With Beards) LP
Steel Mill: Jewels of the Forest (Rise Above Relics) LP
Taj Mahal Travellers: August 74 (Phoenix) LP
Todd Terje: It’s Album Time (Oslen) LP
White Lung: Deep Fantasy (Domino) LP
Various: Country Funk 2 (Light in the Attic) LP
Various: Forge Your Own Chains (Now Again) LP
Various: Psych Funk 101 (World Psych Funk Classics) LP
Various: Sorrow Come Pass Me By (Dust to Digital) LP

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…..news letter #656 – minipops…..

Another week with a relatively short list, however once again, filled to the brim with killer titles. And if that isn’t enough, there’s even more en route for next week, which is going to be another killer list….

…..pick of the week…..

goat

Goat: Commune (Sub Pop) LP/CD
There is no direct association between mysterious Swedish psychedelicists Goat and Argentinian master of magical realism, Jorge Luis Borges. Yet their mission appears to be the same. Borges generated his ideas from historical curiosities across the globe – knife duels on the South American plains, Middle Eastern heresiarchs, Chinese pirates – and twisted them into fictions that blurred the lines between footnotes and outright fantasy. Goat’s sound is the sonic embodiment of this principle, working heavy psych-rock, Nigerian afrobeat, German krautrock, Anatolian funk, and a host of other micro-niches into a hallucinatory celebration of rock’s diverse manifestations. Despite the success of Goat’s critically-acclaimed 2012 debut, World Music, the individual identities involved remain shrouded in mystery: Goat performs in masks, and spokespersons maintain that the group is simply an ongoing multi-generational collective of musicians from the isolated, Swedish locality of Korpilombolo, a junction of native Sami people, Scandinavian settlers, and the rare wayfaring outsiders. Beyond that, Goat divulges very little. It’s as if Goat are taking cues from Borges’ short story “Tlön, Uqbar, Orbis Tertius,” wherein a clandestine enclave of intellectuals attempt to create a new reality by inserting articles on a fictitious, puzzling state into modern encyclopedias. Borges’ secret society wanted their heretical ideologies to infiltrate common thought through an invented past; Goat wants to revitalize the communal experience of rock music by creating an alternate origin story. Ultimately, it is Goat’s music that speaks the most about them, and on Commune they deliver a heavy dose of acidic grooves, hypnotic incantations, and serpentine guitar lines, building on the much-lauded sound of World Music to explore new territories. Starting with the layered percussive groove, Eastern guitar flourishes, and convoking vocals of “Talk To God,” Commune re-establishes the trance-inducing rhythms and exotic blaze of guitar that characterized World Music. From there, the album launches into darker and more propulsive territories, occasionally emerging for breaths of transcendental ‘60s psych-pop and driving proto-metal fuzz. “Goat is mainly a symbol of sacrifice. To sacrifice the individual for the collective good. To become one with the rest of humanity and universe,” said an unnamed Goat conspirator in a rare correspondence. With that philosophy, Goat is propagating their crossbred music and mysticism by sharing Commune with the world. And, while we’ll never see Goat’s faces on the cover of a glossy magazine, their intoxicating conjurations are poised to infiltrate our collective psyche with the subversive magical allure of a Borgesian fable.

File Under: Psych, World, Fuzz
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…..new arrivals…..

allahlas

Allah-Las: Worship the Sun (Innovative Leisure) LP
Allah-Las met while working at Amoeba Music, a key destination for music lovers in Los Angeles. While this experience helped shape their sensibility, their sound was forged in an underground basement where they came together as a band. They began gigging in LA in 2008, refining their live performance, and finally released their first 7″ single “Catamaran” / “Long Journey” in 2011. In 2012, they began their relationship with Innovative Leisure, releasing their first self-titled album, Allah-Las, anchored by their second single “Tell Me (What’s On Your Mind)” / “Sacred Sands.” The release was met with critical acclaim and the band toured extensively in the States and abroad before going back into the studio to record their follow-up. Allah-Las’ second album, Worship The Sun, expands on the sound establishment by their maiden effort, honing their fusion of West Coast garage rock and roll, Latin percussion and electric folk. As richly textured and timeless as a Southern California beach break, the songs are evocative of Los Angeles’ storied past, Beatniks, artists, surfers, nomads, Remnants of a bygone Sunset Strip, Golden tans and cosmic sunsets. One can feel the warmth of the sun, but the band deftly avoids the kitsch so often indulged by lovers of these things. Hints of Byrds, Love, Felt and those who follow are threaded into the tapestry. LA’s seminal Ferus Gallery – the home of Wallace Berman, Ed Kienholz, Ed Ruscha, Billy Al Bengston – is paid homage in an eponymous instrumental, broadening the scope beyond mere sea, surf, and sand. The lyrics reveal a new maturity; reflections of a band that has grown together through experiences on the road and in the studio. Worship The Sun is at once the perfect soundtrack for the greatest surf film never made and for a golden hour drive through Topanga Canyon. Yet, while grounded in the Southern California experience, the appeal of the album is not limited by locale. It is a teenage symphony to the sun, for all those who know its grace.

File Under: Garage, Surf, Psych
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bird

Andrew Bird: Things Are Really Great Here, Sort Of (Wegawam) LP
Things are Really Great Here, Sort Of …. is the latest self release by Andrew Bird, consisting of his versions of songs by a band he has loved for many years, The Handsome Family. The Handsome Family is husband and wife duo Brett and Rennie Sparks, who have collaborated as a couple for more than 20 years. Bird, who has long been a fan and first covered their track “Don’t Be Scared” in 2003, toured with the band last fall and was inspired to begin working on this collection. Things are Really Great Here, Sort Of… includes an updated rendition of fan favorite “Don’t Be Scared,” along with “Far From Any Road,” the main title theme song for the HBO series True Detective. Along with his band, The Hands of Glory (featuring Tift Merritt, Alan Hampton, and Eric Heywood), Andrew recorded these songs in May 2014 and released them a mere month later.

File Under: Indie Rock
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bland

Christian Bland & The Revelators: Unseen Green Obscene (Reverberation) LP
The musical mind of Christian Bland seems to overflow with colors. The lyrics and even titles of his output with his primary project (the psychedelic mothership, The Black Angels) drip with kaleidoscopic imagery. ‘Indigo Meadow’, ‘Black Grease’, ‘You In Color’, ”Yellow Elevator #2′. His side project, Christian Bland & The Revelators has followed a similar path, and has released a red album, 2010′s The Lost Album, and 2012′s Pig Boat Blues. Unseen Green Obscene, records the third solo flight from Bland and his band, The Revelators. Like all his work, it’s richly detailed with references to Bland’s musical and artistic influences. Revered touchstones Bo Diddley, Syd Barrett and Brian Wilson are honored here, each with their own track. The label that Bland co-founded with the other producers of Austin Psych Fest, ‘The Reverberation Appreciation Society’ gets it’s own theme song, complete with thunderous gong. His motorcycle gets a sendup too, in ‘CB160′. The thread that runs through all of Bland’s work – whether it’s his visual artwork, music with The Black Angels, and the myriad projects of The Reverberation Appreciation Society – Austin Psych Fest and it’s offshoots, the record label, and now an East Austin record store – is a timeless spirit of rock and roll, and in particular the psychedelic kind, circa 1968. He champions it. Lives and breathes it.

File Under: Rock, Psych, Black Angels
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can

Can: Monster Movie (Mute) LP
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. Can’s 1969 debut Monster Movie is regarded as one of the forebearers of the Krautrock movement and the band’s only full-length to feature the free-from stylings of original vocalist Malcolm Mooney. Played and recorded spontaneously and driven by repetitive rhythms, the album was recorded directly onto a 2-track machine and then extensively edited. The album encapsulates many of the band’s trademarks from the Velvet Underground-esque “Father Cannot Yell” to the hypnotic 20-minute second side epic “Yoo Doo Right” while truly remaining unique in their vast and revered catalog.

File Under: Krautrock, Classics
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can1

Can: Soundtracks (Mute) LP
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 1970, Can’s second official album, Soundtracks, offers up an excellent collection of title songs and soundtracks for which the band wrote the music including material from Cream, Deadlock, Bottom, Deep End and Madchen mit Gewalt. The 7-song set features contributions from both the band’s original singer Malcolm Mooney and Kenji “Damo” Suzuki who would take up the mantle on Can’s next three albums Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973).

 File Under: Krautrock, Classics
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diop

Aby Ngana Diop: Liital (Awesome Tapes From Africa) LP
Aby Ngana Diop was the most famous taasukat in Dakar, Senegal in the 1980s and 1990s. Taasu is a Wolof-language poetic style, usually performed by women griots over frenetic drum patterns, with an aggressive verbal flow thought to presage rap. Her only album Liital was groundbreaking in the history of Senegalese music because it was the first commercial recording to feature a traditional female taasukat performing to the modern accompaniment of mbalax, Senegal’s quintessential pop genre. The distinctive style is captured in all its ear-popping, left-field glory on the recording, which was massively popular upon its release. Diop’s powerful chants and incantations above urgent female chorus, cross-rhythmic blasts of the sabar and tama drums, as well as synthesizers, drum machines, hand claps, tambourine jingles and horse and train engine samples. When Aby Ngana Diop died unexpectedly on July 4, 1997, the country mourned her passing, but continued to celebrate her music. Although this cassette has caught the attention of some African music aficianados who have stumbled upon it in recent years, it remains largely unknown to the wider world. Hopefully this re-release from Awesome Tapes From Africa will change that.

File Under: West Africa, Senegal, Taasu
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equitorialFripp & Eno: Equatorial Stars (Pangea) LP 
Few contemporary albums can claim as much lasting influence as No Pussyfooting by Robert Fripp & Brian Eno. When initially recorded in late 1973, Eno had recently left Roxy Music, while Fripp was in the midst of one of the defining periods with the then current King Crimson lineup. Electronic music was barely understood, rarely heard, the very thought of it ever becoming a popular or mainstream form must have seemed the wildest of pipedreams. Yet thanks to the popularity of both individuals and an inexpensive launch price to attract the curious, the album quietly built an avid following. Its reputation enhanced by word of mouth, it went on to have an effect that seeped slowly into every corner and facet of mainstream popular music over the next 40 some years. It’s safe to say that for the vast majority of buyers at the time this was their first exposure to that area of music. It’s equally safe to say it wasn’t their last. The equipment used was, by modern standards, primitive. The ideas expressed were, by any standards, enormous. Many went on to have careers based on the possibilities suggested by the album. Fripp & Eno, to their eternal credit, were too busy working as musicians to ever “milk it” in that sense. One further full album, Evening Star, was issued in 1975. There were occasional collaborations. But no further recordings under the Fripp & Eno banner until the emergence of The Equatorial Stars in late 2004 as a limited edition release initially available only via the artists websites. Over 40 years later things are very different. Electronic music has become not just popular but omnipresent. The equipment necessary to produce electronic music is cheap and accessible, the avenues for releasing such music wildly expanded. Not that greater availability is necessarily an indicator of an equal amount of quality, but the music is there in everything from soundtracks to ringtones. Paradoxically, this makes the need for electronic music of substance perhaps even greater than at the time of No Pussyfooting. The Equatorial Stars consists of a series of seven soundscapes. As with previous recordings made individually and in collaboration by Fripp & Eno, it is the evident care taken in the construction & presentation of the sound world that makes the totality of the work so convincing. The textures and atmospheres forming the heart of each track manage to subtly change and alter, while leaving ample space for Robert’s guitar solos and sounds to emerge from the center. Put simply, the album allows Fripp & Eno the opportunity to redefine an area of music they helped to launch into the mainstream in the first instance. One other key difference between the release of The Equatorial Stars and No Pussyfooting, this time there’s an audience ready and waiting.

File Under: Ambient, Eno, King Crimson
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khun

Khun Narin’s Electric Phin Band: s/t (Innovative Leisure) LP
It all started over a year ago with the caption “MINDBLOWING PSYCHEDELIA FROM THAILAND” – the Youtube video that accompanied this headline on the Dangerous Minds Blog was exactly that. Here was a group of Thai musicians being filmed parading through a remote village hundreds of miles away from Bangkok playing some of the heaviest Psych known to mankind out of a crazy homemade soundsystem. Who were these men and how on earth was this not some unearthed archived footage from the ‘60s or ‘70s?! The Youtube clip quickly made its rounds amongst music enthusiasts leaving many in the Western hemisphere to question who this group of contemporary Thai villagers (loosely named Khun Narin’s Electric Phin Band) was. Six months after that first encounter with Khun Narin’s Electric Phin Band, a Los Angeles music producer named Josh Marcy used Facebook and some unlikely interpreters at his local Thai restaurant to get in contact with the band and inquire whether they’d be interested in having him travel to their town to record their music for a global audience. At first the band was naturally suspicious, but through subsequent interactions the group’s leader and namesake Khun Narin (also known simply as “Rin”) warmed to the idea of having Marcy come visit. And so began the journey of uncovering who these mysterious men from an obscure blog post actually were. To capture the essence of the group and their sound, Marcy recorded them in their natural environment by doing a proper field recording, literally in a field outside the city of Lom Sak, in the valley of mountains that form a rough border between Thailand’s North and Northeast. The result was 40 minutes of hypnotizing psychedelia filled with heavy drum breaks that sounds like something RZA would sample for a Quentin Tarantino film.

File Under: Psych, Thai
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king tuff

King Tuff: Black Moon Spell (Sub Pop) LP
King Tuff’s new record is called Black Moon Spell. It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California, in the hot winter of 2014. No one involved was prepared to make a record, but an invisible hand pushed them to do it. Perhaps it was God or that special someone we all know and love called The Devil. God and The Devil actually have very similar interests. They both love electric guitars and they both want you to listen to Black Moon Spell and freak the fuck out. There were many strange occurrences during the recording session- Dracula landlords, flashes of mysterious light, haunted microphones, songs that mixed themselves, demonic vortexes swirling in coffee cups, etc. Under the Black Moon Spell you may experience euphoria, demented visions, wet dreams, bouts of backwards laughter, and dazed confusion resulting in primordial dancing. Fire played a very important role in the making of this album. King Tuff loves fire. For some reason, no one can really explain how the Black Moon Spell came to be. It just appeared one day and demanded heavy rock music and meatball subs. Backwards messages may be found on this record. Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered its sexy, twisted, hairy, polluted spirit all over Black Moon Spell. The Sunset Strip shat itself when it heard all these guitar solos. A lot of people always ask King Tuff when he’s gonna put out a new record. The answer is September 2014. Punks, squares, skaters, farmers, bartenders, grandparents, stoners, carpenters, hobos, heshers, babes, babies, plumbers, strippers, art teachers, teenagers, townies, moms, dads, truck drivers, and witches will all love this record. Listen to Black Moon Spell and give your ears what they’ve been begging for all year; a heavily weird, heavenly dark, hysterically magical Rock & Roll sexperience.

File Under: Indie Rock, Garage, Power Pop
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nachtmystium

Nachtmystium: World We Left Behind (Century Media) LP
Nachtmystium have existed since 2000. Formed by Blake Judd and Pat ‘Noctis’ McCormick, they started off as a primitive 4-tracker black metal band. Over the years, they’ve progressed through many lineup changes and the sound has constantly matured, stepping away from the typical black metal thematics and embracing different influences with the sound, while maintaining a raw and harsh edge that’s unique to the black metal genre. The incorporation of other influences have helped the band create a sound that is unique to them specifically, and they have worked as an ever-expanding unit with the ultimate goal to create metal music that pushes boundaries and walks into uncharted territories. The World We Left Behind is Nachtmystium’s swansong, the final chapter in a tumultuous, controversial and always provoking history. Founder and mainman Blake Judd has faced his demons and written an album full of desperation and gloom that oozes depravity. Though they have previously toured with Opeth, Cradle of Filth, 1349, Boris, Goatwhore, Sunn o))), Watain and countless others, this is truly the end. No tours. No fanfare. No bullshit. This is the final Nachtmystium record and a full-circle fuck you before they ride off into the black night.

File Under: Metal
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t2

OST: Terminator 2 (Silva Screen) LP
A ONE-OFF EXCLUSIVE PRESSING!! – (THEY WON’T BE BACK!!!) A limited edition of just 750 copies WORLDWIDE – Gatefold sleeve double album on 180g Vinyl ! One of the finest action movie soundtracks ever written, Brad Fiedel’s iconic Terminator 2 soundtrack will be released on vinyl for the first time. The claustrophobic layering of electronic sounds and orchestral instruments create a tense sonic landscape which has become synonymous with the film’s theme of the battle between man and machine.

File Under: OST, Skynet
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vessel

Vessel: Punish, Honey (Tri Angle) LP
Punish, Honey the follow up to Vessel’s critically acclaimed debut album Order of Noise finds the always unpredictable Bristol based producer continuing to challenge himself and listeners alike. Wishing to move away from working with archetypal electronic sounds, with Punish, Honey Vessel sought to create something that felt more organic even if the sounds themselves didn’t always feel inherently organic. That lessening interest in electronic sounds was concurrent with a burgeoning interest in natural sounds, in particular, how the physical body has a direct effect on the nature of the sound, whether it be harsh or pure, messy, violent, seductive, or strange. Using sheets of metal as percussion, sawing up bikes to make flutes and creating harmonic guitars all by his own hand, Vessel created his own set of crude instrumentation exclusively for this record. Combined with an interest in notions of national identity, Vessel asking himself the question “What does Englishness in music really mean?” Punish, Honey is an uncompromising and dizzying experience. Traversing the queasy glam stomp of “Red Sex,” the chugging, cinematic soundscapes of “Anima” and the medieval industrial tones of “Euoi,” Punish, Honey is the by-product of an artist striving to create his own unique lane.

File Under: Electronic, Techno
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wire

Wire: Document & Eyewitness (Pink Flag) LP
For those unfamiliar with Document and Eyewitness, it really doesn’t do it justice to describe it simply as a collection of live recordings from three turn-of-the-80s Wire gigs. What makes it more than that is the unorthodox nature of the main performance and the way it was presented on record. The centrepiece of the original vinyl release was a recording of the final gig of Wire’s ’70s phase. Wire’s set was composed of largely new (and often under-rehearsed) work, accompanied by a series of artistic actions and interventions. The evening was memorable for the unusually hostile reaction from sections of the audience, which has perhaps elevated it beyond a simple passing moment. If the crowd was expecting a standard gig, the level of outrage, expressed in vociferous abuse suggested that the band’s intentions were lost on those in attendance, who were instead confounded by the apparent artistic pretensions on display. The approach was to couple selected live tracks with a spoken commentary on the proceedings by long-term Wire fans Adrian Garston and Russell Mills. Hence the title, Document and Eyewitness. For the album, the Electric Ballroom material was supplemented with recordings from a July 1979 show at the Notre Dame Hall (a straightforward band performance), along with one track from a 1979 gig in Montreux. Packaged in a gatefold sleeve. LP1 is the same as the original vinyl, albeit remastered and re-edited. LP2 features the original selection from the Notre Dame Hall show on side one and the two singles and B-sides on side two.

File Under: Punk
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…..restocks…..

A Tribe Called Quest: Low End Theory (Jive Time) LP
Alt-J: An Awesome Wave (Atlantic) LP
Beatles: Mono Box
Black Flag: Damaged (SST) LP
Cocteau Twins: Heaven or Las Vegas (4AD) LP
Daft Punk: Random Access Memories (Columbia) LP
Dark: Round the Edges (Machu Picchu) LP
Descendents: Somery (SST) LP
Ned Doheny: Separate Oceans (Numero) LP
Electric Citizen: Sateen (Riding Easy) LP
ENo + Hyde: High Life (Warp) LP
FKA Twigs: LP2 (Young Turks) LP
Gorillaz: s/t (EMI) LP
Mark Hollis: s/t (Ba Da Bing) LP
Daniel Johnston: 1990/Artistic Vice (High Wire) LP
Kyuss: Welcome to Sky Valley (Elektra) LP
Lambchop: Live at XX Merge (Merge) LP
LCD Soundsystem: s/t (DFA) LP
Charles Mingus: Eastcoasting (Wax Time) LP
Charles Mingus: Blues & Roots (Wax Time) LP
Mr. Bungle: Disco Volante (Music On Vinyl) LP
The National: High Violet (4AD) LP
Pink Floyd: Dark Side of the Moon (EMI) LP
Pink Floyd: Wish You Were Here (EMI) LP
Propagandhi: Potemkin City (Fat) LP
Radiohead: In Rainbows (TBD) LP
Radiohead: The Bends (EMI) LP
Shellac: At Action Park (Touch & Go) LP
Shellac: Dude Incredible (Touch & Go) LP
Shovels & Rope: Swimming Time (Dine Alone) LP
Spoon: They Want My Soul (Republic) LP
Stereolab: Sound-Dust (1972) LP
Temple of the Dog: s/t (Music on Vinyl) LP
Vampire Weekend: Modern Vampires of the City (XL) LP
Chelsea Wolfe: The Grime & The Glow (Sargent House) LP
XX: XX (XL) LP
Various: Eccentric Soul: Outskirts of Deep City (Numero) LP

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